From
the collection of the
2
2
m
w
PreTii] inger
V
b
JUibrary
t
Une 6ducationat
SCEEEN
cJANUARY-1922
,
VOL. I *&
N04
$1ooaYEAFo
SINGLE COPIES
FIFTEEN
CENTS
Advertisements
LANTERN
SLIDES
Professor
Edwin B. Frost
unci
Yerkes Observatory have selected and can furnish, in sets of one hundred, choice
Kit staff of slides on the following subjects:
Solar
Nebulae
Solar Prominence of
May
29, 1919
This "hundred list" is issued for the benefit of institutions or individuals desiring a small collection The price of the lantern slides is 75 thoroughly representative of present astronomical science. cents each, but for this special collection of one hundred slides, the price is $62.50, a saving of approximately $12.00. Carriage is charged to the purchaser.
One Hundred
Slides
Chicago, Illinois
found in
99
CE21Complete Catalog of "The Johnston-Nystrom Line" AE21GEOGRAPHY Maps, Globes, Charts HE21HISTORY Maps, Charts, Pictures BE21BIOLOGY Charts, Pictures VA
-^
,
Address correspondence to
A.
2249-53
J.
Calumet Avenue
it***
111
* 8
JANUARY,
1922
Slaught, President
Frederick
J.
Lane, Treasurer
Published every month except July and August Copyright January, 1922, by The Educational Screen, Inc.
I
$1.00 a year.
Back numbers,
25 cents
4
5
Better Times
Ahead
William R. Duffey
10
What
the University of
Kansas
is
in
Visual
12
Instruction
Joseph
J.
The
Pictorial
Lesson
in
"Carnival"
Marion F. Lanphier
18 21
School Department
Conducted by M. E. G.
From Hollywood
Conducted by M. T. 0.
25
27
17
Announcements
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Inc.
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Advertisements'
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have taken this step because we believe that thinking Americans want such a magazine and will furnish all the support needed to insure reasonable success. (There is not a dollar of commercial money behind this organization, directly or indirectly.)
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["HE
EDUCATIONAL SCREEN
Editorial Section
FOR
^ol.
JANUARY,
1922
No.
rHE
We
)
purpose of The Educational Screen is single and emphatic. This magazine intends to get at the truth about visual education in all its phases and in its broadest aspects and serve it up in a form palatable to inking Americans.
shall
in theory, opinion
in the
form of
articles
ill
We
>t
shall
all
wade through
and educational and offer This will mean an invaluable )ii a digest of all that is worth your attention. Terence source for any individual or organization conducting an investigation -whether brief or extensive on any phase of the great question of "the
only
serious writings on the question in scores of general
agazines, but even the motley contents of the "movie" publications
ctures."
We shall present a monthly survey of really significant visual activities ong educational lines which will keep you constantly in touch with everything at points toward progress in this undeveloped and more or less unknown field, will be uncolored evidence, gathered by investigators and not by promoters, hich can be trusted as a basis for further study by those interested in the Ivance of the new movement.
We
shall
moment a
technical department
by recognized authorities, schools, churches and other organizations all materially lculated to assist equipment. change in present installation tfitemplating new or
hich will give notes, suggestions
and brief
articles
become as rapidly as is consistent with complete reliability one impartial and authoritative source of information on the new field; a
shall
all
We
movement which
ou
community
center.
something unique in regard to the theatrical "movie" namely, to survey for you the output of each month even at the risk of ou sanity and submit a critical review and estimate of such films out of tb
shall
We
aim
at
mass as seem best worth viewing by intelligent persons, or any rate least of This department will have a distinct value fo fensive to their intelligence. the growing number of men and women who realize the tremendous influenc exercised over the national mass-mind by the movies as they are today, an< who would like to lend their occasional box-office support only to production that give some sign of progress toward better achievement. The motion pic ture can never go far toward becoming an art unless it is encouraged by thos to whom the word "art" has meaning and significance. These are a few of the means planned by The Educational Screen fo
the ultimate achievement of the purpose stated above.
amply realized by genuine co-operation between the personnel of the magazin and the intelligent public throughout the country, educator and layman alike
Your
It will be impartial.
We have not the slightest commercial connection with, nor financial dependence upon any branch or element of the great "visual" industry (Maps, Charts, Pictures, Slides, Films, or Projectors). We are interested solely in the cause not in any private interests in that cause and we have nothing to sell except the magazine, which we intend to make worth
more than
its price.
It will be independent.
have no part in commercial competitions. We have already and shall maintain none but the most cordial relations with every member of the industry, and with every school, church and community, which constitute the vast market for that industry. We owe no obligation to any one interest that is not owed to every other.
We
shall
It will be reliable.
We
shall
We
are
making
Editorial
ence.
Our information
will
come from
reports.
It will be complete.
Having free access to, and wjde contacts with both sides the commercial and the educational we shall be able to reach all sources of information; and because we. shall be furnishing impartial publicity for
field, this
It will be authoritative.
As
intellectual
resources behind
distinguish
be
better
able to
and
better
the true from the false, the important from the unimportant able to present this material in a form agreeable to the intelli-
gent reader
will give
much
expects to
be frowned upon
can perhaps spare these individuals and ourcators for its pains. question, "Why elves some futile correspondence by answering, in advance, the ?" /aste time and space on such useless rubbish The answer is simple. As far as the above policy is concerned, the in-
We
movies matters not at all. It matters not whether the an innotion pictures are a poison or an inspiration, a curse of a blessing, Whatever they are, they are exercising a tremendous influlustry or an art.
rinsic value of the
uncalculated and perhaps incalculable upon the mentality of Since the development of our national mentality, nillions in this nation today. this magaB any direction, is a fairly accurate measure of national education,
nce as
yet
zine
and vitally concerned with what is happening on the heatrical screen, and especially in front of it. The screen educates for better or worsewherever it hangs. If there (possibly) 2,000 screens in use ire 20,000 screens at work in the theatres and -bit of statistics may be interesting an schools, the in extent o any' considerable the wild variation of amid figures conservative always Adopting cached.
is
necessarily
o-called
"statistics"
md
conclusions:
If there
States,
and
if
United are 20,000,000 children in 200,000 schools in the regular in screen a possesses hundred in a school only one
use,
it
of worth while films every day (and seldom does any school attain this),
it
equivalent of
at
means about 5 hours of screen viewing a week for the child, or the two evenings in the movie theatre; If the average school child in America attends the theatrical movies least twice a week, as the vague statistics obtainable seem to show, the
The
total
Non-theatrical screen
Theatrical screen
(20,000,000 times 5)
100,000,000 hours
educator, high or humble,
In other words,
out of 100
it
when an American
is
a theatrical screen.
No American
effect
fact, unless,
one viewing
will not.
will
have a significant
on the child
and the 99
We may mention also, in passing, that the influence of the motion pictures on school children is but a fraction of their total power. Of the twenty or thirty million daily spectators of the pictures, at least four-fifths of them are non-school people. The political, economic and spiritual education of these Most of people is going on every moment the mighty screens are lighted. the "screen education" today an influence that is sweeping over the mentality of the movie devotees like the tides, twice every 24 hours is taking place outside the schools, as education is always wont to do. In short, if the question demands attention from educators, it is even more profoundly matter of conIt is something cern to our political, economic, social and religious leaders. eminently worth thinking upon for any and every American who can think. As we said at the beginning, therefore, The Educational Screen will
give
much
The Educational Screen is not the official organ of anything or anybody. It is published to give American educators, and every American who believes education important, the thing they have needed ever since the so-called "visual movement" started namely, a magazine devoted to the educational cause and to no other; a magazine distinctly intellectual and critical, rather than commercial and propagandist; a magazine written and produced exclusively by those whose scholarly training, experience and reputation qualify them to
Editorial
DURING
new
field
of visual education
and organizations whose greatest visible asset at the start was a formidable array of eminent names, uch names undoubtedly and very properly command quick attention from ie educational and educated public, which makes for an early start toward access for the organization or enterprise so inaugurated. These names, howthere have appeared various enterprises
ver,
ot create
while they suggest value in the forthcoming results or productions, canThe proof of such value, must always wait for the public's it.
itself
;
and the
public's final
judgment, whether
avorable or unfavorable, will depend upon the results achieved, not upon the
enterprise.
The Educational
eld
Screen,
Inc.
as
new
first,
proposes
to follow a
We
this
product nothing
magazine
and
else,
later, will
show a personnel
of
The
d
Directorate
is
composed of educators from University professors and of business executives and experts in the pub-
shing
who have
The members
laracter
are
all
nd have
in the
new magazine.
*
we
num-
to be judged solely
on
merits, without
There
t
once the
new
who
it,
who
who
will recognize
of such a publication.
get
fter.
When we
immediate value and the future posThese are the readers whose approval we are we shall be on the only sure road to winning the apwill realize the
proval
of everybody else.
ITwith
is
who
community leaders against the poorer class of non Not so long ago, those in charge of schools and communitiei
any sort of motion pictures that did not offend witt
titles.
is
were prone
to accept
changing rapidly.
Today
to the theatrical film in every way, but without the offensive elements some-
They
days of existence
il
were wearily ground out by hand in the loft of the dime theatre. Indeed, is most gratifying that individuals have learned to say about these films "Requiescant in pace." Seemingly, many community leaders are learning tc have nothing to do with such material, however it may be padded here and cul there, and prefer to leave the old theatrical films in some silent graveyard where they belong. What is more surprising, such leaders are doing this ir spite of the efforts of certain individuals, who must have derived their publicity graces from kissing the Blarney stone, and are still endeavoring to sell or rent these old releases by dubbing them "non-theatrical films, suitable foi community recreation." Despite this wholesome wariness as to what is offered to them for community recreation, many school and community leaders could still go to theii There still library and read the life of Barnum with considerable benefit. remain many educators who buy or rent motion pictures under the influence oi the title of the release. They are under the sway of names and if the name be that of a classic, so much easier is the tendency to be taken in. There is nothing in the name of an English classic, for example, to prove that it is in good physical condition and that it has not scenes and dramatic situations at
constant variance with the principles of art or with the literary subject matter,
Nothing can quite take the pleasure out of a motion picture performance
can mis-frames and broken
cannot
fail to
as
films.
Again,
if
whose name
it
bears,
11
The time
!
is
surely here
when
all
who
100I instruction
No
:1
demand
can give them information concerning both recreational and the class)m film. There should be no division of visual instruction in the country itent either to offer information about or distribute films made under oldie
photographic conditions and wherein the talent amounts only to naive posing and grimacing, which in former days constituted motion
Schools and community centers should demand the better and should seek them where they can be secured at possible prices.
i inartistic
ture acting.
eases
who
to be optimistic,
we
chosen
fields,
some educators who, because of their superior knowledge are quite supreme in their confidence that they can write
distinguished directors,
it
atrical films.
Under such
found who
known
it
The
ished product,
:
if it
way
be as recreational as
must be made with a selected optience ;arly in mind. The purely instructional film will be made, and for that matis now made in some instances, by talented directors, expert dramatic tnt, in conjunction with educators, who will watch the literary and scientific
films
shown
c:rpretation or aspects.
:h
The
advertising reel,
will
still
too
commonly seen
in
soon be a thing of the past and its place will be the industrial reel that will show, as its primary purpose, all There is no objection, of course, to including ises of a certain industry.
school and
community gatherings,
such a reel a
title
vocational study.
At the beginning of this new year those interested and they are more nerous than ever before can look forward with considerable pleasure and Sound business lfidence to future developments in the non-theatrical field. icies, right-minded attitudes on the part of both producer and exhibitor h recognizing that the other's cooperation is vitally needed for such produc-
What the
Weber
we LAST have we
fall
offered a course in visual instruction, and as a consequenc a class of twenty-six students, mostly seniors and graduates
who
members ing main
are
now
helping to
make
field.
During the
topics:
first
of the class,
few weeks, the instructor, in cooperation with th< worked out a general plan, which embodies the follow
History and Growth of Visual Education Types and Sources of Visual Aids
Principles of Visual Instruction
I.
II.
III.
IV.
Special
Methods
in Visual Instruction
V.
VI.
VII.
Administrative Problems
Picture Projection Technique Research in Visual Education
topics
VIII.
am
The
result
was a
detailed outline
which serves us now as a basis for the course. The work of the course is done by projects. At every class period, for time, projects were suggested, discussed, evaluated, and undertaken definite! by one student or a committee of two or three. Some of the projects under
taken so far are
A A
The use
of hygiene films
Binocular vision and the stereoscope Emotional effects of moving pictures Types and sources of visual aids County administration of visual instruction
12
13
E
of
The work
of extension divisions
working on an individual project. This some special methods in the field which be the student's college major English, history, chemistry, biology,
The
is
drawing
to its close.
still
But
it
confident, to a
bigger class
and with much more assurance. Then we shall have what has already been done as momentum. We plan to investigate some specific problems in connection with the comparative values of the various visual aids.
The
aids to
be considered will be
1.
2.
3.
4.
5.
Chalk and the blackboard Models, exhibits, devices Photographs, sketches, etc. Maps, charts, graphs, diagrams
Slides, lanterns, reflectoscopes
6.
7.
Moving
8.
In connection with these aids Ave shall consider briefly the soundness of each of the following theses:
of a skilled
Chalk and the Blackboard. The blackboard and -chalk in the hands and resourceful teacher constitute the handiest and most economical visual aid to instruction. They should be utilized to the full extent of their
1.
possibilities
is
advantage of animation
the presence of a
is
The most
stimulus in learning
the teacher;
The
black-
former and a
fair
approximation to the
who
is
can not adeptly visualize with chalk the thought relationships he or she
trying to create
2.
and
establish.
Models should be used whenever it is Models, Exhibits, Devices. obvious that they save time and make for clearer notions. The model of a canal lock may save hours of futile explanation and probably years of vague-
14
But perhaps the greatest value of models make them with their own hands and thus gain an insight that can not be attained by observation alone. Exhibits, such as the Eskimo habitat group, provide a vicarious experience which ranks in effectiveness probably next to actual reality. They serve very well as a basis for observation, discussion, and pupil expression. Their only drawback seems to be their rarity; but, whenever accessible or obtainable, they
ness or positive misunderstanding.
lies in
economy
in the
learning process.
day and night and the seasonal changes in a tiny fraction of the time ordinarily needed by verbal explanations and with decidedly better results.
3.
By photographs
only the separate picture prints but also most text-book illustrations.
forms are quite generally neglected. Teachers just take for granted that pupils know how to get the most out of them. Yet, if supervised study is justified
in getting
it is
The
learner.
boom.
Learning to draw a
makes for
in
clearer thinking.
Pupils should
mount
illustrations
projects
compositions,
Both teachers and pupils should make collections concerning situations from all parts of the world and illustrating all phases of life and industry. The pictures should be properly subtitled, systematized, correlated, indexed and cross-indexed for use along the textbooks of the fundamentals in all the school subjects. Whenever a picture can disrecitations, reports,
and the
it
considerably,
omission
is
If there
is
a better
way
of doing a thing,
4.
us do
it
sense
is
which
it
effects.
Maps, charts,
In miniature, outline,
on a
flat
The function of diagrammatic aids differs from that of photographic reproductions in that they are not vicarious experiences in themselves but Their rather helpful elucidations of invisible or generalized relationships.
15
nature as aids has been recognized from the beginning, and this has resulted
in a fairly satisfactory accumulation of
special methods.
In the use of maps, charts, graphs, and diagrams, care should be taken,
however, that the pupils rather than the teacher be the ones to use them more. Not only that, but the pupils should also have the opportunity to prepare them. Whatever a diagrammatic aid may illuminate, much direction, discussion, and
quizzing
is essential.
Slides, Lanterns, and Reflectoscopes. The slide is a photograph or 5. drawing made available for the social group and the lantern projects it on the screen for all to see at once. The slide has the advantage of being a single unit, which permits unlimited correlation with school projects; and the lantern is foolproof and practically under the absolute control of the teacher or pupi)
;
assistant.
Aside from the blackboard, the lantern and slide constitute the teacher's The slide has usually more artistic best visual aid for group instruction. and form; and the lantern profits by projection, which effects in color, line, compels attention, by semi-darkness, which excludes distractions, and by an
enlarged picture, which produces some illusion of reality.
What
in
the lantern does with the regular slide, the reflectoscope approaches
the projection
aids.
diagrammatic
reflection
from a mirror
*f |*!
*l
and the
indicates.
possibilities
much
The
'
made
of projected
still
pictures
is
to let the
grams
new group
The
Stereographs
and
the
Stereoscope.
stereograph,
when
seen
illusion of frozen
has also the advantage of durability, low cost, freedom from distraction, easy correlation with subject matter, and being
In addition to depth,
it
It is
Very few
teachers, however,
seem
;
to
know how
Many methods
group
sons:
activity.
but most of them are wrong in principle. They are hopeless attempts to make the study of the stereograph a routine
is a waste of time and effort for at least two good reaa better aid for group instruction in the lantern slide; and (2) there is a conflict of attention and interests in the teacher's untimely commands "Change scopes" when the pupil is reveling in a fairyland of illusion.
(1)
we have
16
Only directive and suggestive remarks can assist in the pupil's observation, and these had better appear in print on the stereograph. Probably the best method for using the stereograph is to place it with two or three stereoscopes on a table in the corner of the classroom or in the library, where it can be consulted as a reference, just like the dictionary, the encyclopedia, or any other source. The teacher may lay out a few correlated views for each lesson, or better, a pupil or two may be given the privilege of selecting them for the use of the class. Any members of the class who go to the table to look at the stereographs, then,' will have a motive for their act.
Moving Pictures and Projectors. The moving picture has the unique 7. advantage of depicting action or behavior, with its irresistible illusion of life and reality. But it is a very expensive visual aid, and for that reason should
be resorted to only (1) to show activity, which no other pictorial aid can actually portray, and (2) to provide such vicarious experiences as must be
we can not get them any other way. For schoolroom use, the long strip film will probably never be the vogue. Two to five hundred foot lengths are already taking its place. There is a psychological reason for it A minute or two is the most effective duration for More than that is intellectual overthe utilization of any single visual aid. feeding, for there must be an assimilation period' in the form of direction, discussion, quizzing, and pupil expression. The difficulty we now have in trying to introduce the moving picture into
brought to us because
:
the classroom
is
due
to the fact that the film in its present form, rather than
the teacher,
is
relentlessly the
master of the situation. Perhaps the film of the This will enable it to assume
If so, its place in the
humble position of an
aid.
classroom
is
absolutely
assured.
The
8.
eventual projector
is
It will
be
light,
Diagrammatic Moving Pictures. It makes one's imagination dizzy amazing possibilities of the animated drawing. In addition to all the afore -mentioned advantages of the realistic moving picture, it will have the additional one of visualizing the invisible. What this means in the
to contemplate the
field
of science and in
all
other fields of
human endeavor
reveal.
Conclusion
soil
is
undoubtedly
is
the elementary school; and the most important function of visual aids
that
and
inspiration, in the
and
the.
17
Since visual aids provide vicarious experience, their value increases with Consequently, the more limited
the greater
may
or other aid.
reiterated.
is
Learning
is
the effect
merely a fraction of the learning process. of thinking, feeling, doing in brief, cerebration. So,
Seeing
is
seized
little
has
of visual instruction
now
is
the
Every subject
in the
elementary
curriculum, and every fundamental element that can be elucidated with either a visual scene or a visualized scheme, will have to be correlated with one or
more
atize,
visual aids.
And
know how
to secure, systemin
most economically the various aids and be an expert guiding the pupils in their most effective use.
and
utilize
ANNOUNCEMENT
However
month
to
rapidly
we may be
from
all
month, we
shall
the material deserving a place in The Educational Screen. Space in the February number is already crowded, including the additional pages that thirty days of growth will justify. Among the articles for February will be "Musings on the Movies" by Donald Give Stuart, Professor of Dramatic Literature at Princeton University. Professor Stuart's quality as scholar and playwright gives particular interest and value
on the new theatrical medium. present departments will be continued and one or two the features planned for this magazine can probably begin in February especially the Digest and Survey of current articles in the periodical press. Our correspondents are furnishing matter which deserves SJ>ace shall be found at. the earliest a section of its own.
to his utterances
The more of
placed at the disposal of the to allow expansion, with corresponding increase in value to our readers, of this distinctly unique department. Editor.
in
THERE
American films. This is an erroneous and an unfair criticism of American productions. If the few foreign films that have been imported were typical of the foreign producing field, then indeed would the conclusion be justified. As a matter of fact, however, American films as a whole are far superior to foreign films as a whole. Generally our product, hopelessly limited by commercialism as it is, presents a
foreign films are far superior to
fair
artists more warmly than its own. But the occasionally good foreign film is of such flawless artistry that only the rarest of American productions can touch it. Three such films come to my mind three involving the very difficult technique of mob scenes. Mob scenes, usually, are street scenes, and the street scene has no place in the ordinary film, theoretically speaking. Unity in the
welcoming our
photoplay
is
much
so that
we
start
it
nowhere.
The
rooms or
cities,
but the unity of type of place (or relation of place) can and ought to be
we
;
gardens, verandahs,
a dangerous luxury.
effectively as
mob
scenes
were used as
them the accurate thought implied in the foregoing remarks, I can not say. The results, however, were the kind we never seem to get. In Carnival, Deception and Passion the mob scene and flash came only when they were logically the essential exception. The crowd was not flashed
foreign directors gave to
18
The
d
19
emphasize its purpose as it should not be if a compromise, for art's sake, etween the theoretical ideal and the practical exception, is to be maintained. Pictorially, too, these foreign mobs appeared to have been more adequately ehearsed. The reel might have been stopped at any point and, within a comlon sense latitude of judgment, would have presented a picture falling within
;ie
laws of
line
and curve,
light
in bal-
nce, the theory hinted at by Vachel Lindsay, and bizarrely carried out, via
dynamic force, in the Caligari film with its perspective of depths. The American film mob bunches. A real mob does ? Very well, but no art an afford to carry its realism beyond certain tendencies of standardization.
ines of
4o art can
make
license of freedom.
No
old.
art has ever held the limitless future of achievement that the
pictorial
"movies"
the age-
to
some of
human
judgments.
The modern
demand
still remembers that and recall, longest, that which, undamentally rears itself from certain definite and immovable tendencies in So with the photodrama. That it is pictorial action does not ill good writing.
lis
readers
'
liter
the case.
Why
>thers,
it
led
was Carnival a great picture, so great that, in company with two Americans into unfair criticisms of their own work?
the pictorial value of
It
First,
:xterior.
Carnival's
mob
scene,
interior
as
well as
was the most exquisite I ever witnessed. It had endless detail md movement (helped somewhat by the awkward panorama) yet blended into
quality that reflected the delicate texture of Venetian abandon, never thick enough to become debauchery, never rough enough to become vulgar. This Ltmosphere was the heart and end of the whole film, and, in the individual, )ecame a trait that determined the heroine's action up to the minute of climax.
l
Had
itle
the
mob
scene been less of a study of the effects of light and shade would have reached the public, necessitating
effort (art and sub) to readjust the false atmosphere. In itself, so clumsy method is unforgivable. Moreover, we are dealing with an art of pictures, lot words the latter must be cut to the minimum. From another viewpoint, pictorially, Carnival was remarkable. The much
;
nooted question of darkened stages in legitimate circles carries an analogy in Shall the action in pictures be so much a part of the set that it blends ilms. The next few years will see a choice made, is a pictorial detail of the set?
perhaps develop
lesirable one.
two
schools.
The
sets
were lighted
20
the room, attention was focused on his entry as an Then, he became a part of the dark loneliness of the room, pictorially, but one of its more important details. The minute he moved toward the sobbing child in the foreground his action alone was sufficient to focus attention on movement again, though from the standpoint of photography he still blended
so that
entry.
was
this
Carnival that
made
it
a tre-
mendously emphatic picture. Should sets figure so prominently? How else, pray, will you make up for a meager text? The stage play sets a stage but, after all, depends to a great extent for atmosphere, on the lines of its characters.
Minimum
action, not
subtitling
is
medium; therefore
sets
complete
in
merely
set
off,
themselves.
sub-
When
the action
was creeping
As the climax crashed and unwound the titles bunched titles. meet the acceleration in action. This can not be applied to all films. Carnival's climax was a mental-emotional one rather than a physically active In such a film words count as they would not in a story where action, one. pure and simple, carried the climax where not the thought but the actions of the characters betrayed the emotional significance. Such films do not need the effect of titles bunched at the crisis. Further, Carnival's art-titles were perfect, unless in one spot where a balloon effect was held for several feet too long and appeared in a flash once too often. Carnival's Venetian setting was lovely, and last but not least, it had a great cast under expert direction to sustain the utter humanness of the But all these possibilities could have been dimmed to the point of scenario. mediocrity had not Carnival been, pictorially, a perfect interpretation by the greatest medium man's genius has invented. These are the matters that made it greater than Deception and Passion;
weighted with
to
;
more
steadily
worthy American
film.
School Department
This department is devoted to actualities. Theory and opinion very properly have a large place elsewhere in this magazine, but these pages will be concerned exclusively with practice and experiment in school class rooms and auditoriums. The department is edited by the Head of Visual Instruction in an important
school district of Cleveland, Ohio.
The substantial co-operation of all teachers are actively interested in the visual idea, is cordially invited and confidently expected. Editor.
who
Foreword
VISUAL theory.
opinions
education
It
is
assumption that such and such about the subject are pedagogically sound and, therefore, should be
workable. Visual instruction is a practice, being carried on today after one fashion or another in hundreds of schools wherever maps, graphs, charts, diagrams, slides, pictures, films, or any other
available visual materials are chosen to
This department purposes to be of the utmost service to teachers who are on the firing line of the new movement's advance. It will print brief reports from the field of school practice, furnish an
opportunity for directors of visual education to contribute accounts of the organization of the
work
in individual schools
and school systems; it will make possible the comparing of notes- by successful teachers on the methods and results of
their
convey or elucidate an idea more clearly and more quickly than could be done by any other means. Even its most enthusiastic and earnest
own
practice.
In short,
this
deof
partment
miniature
aims
to
become
of
sort
handbook
helpful
notes,
advocates,
cational
however,
considering,
not
of
actual workings,
the
do
presume
are
its
to
its
assert
that
its
practices
fixed,
etc., written by and for pioneer teachers throughout the country who are making the experimental journey toward higher educational
present
guessed.
ultimate
efficiency.
possibilities
and
limitations
accurately
Visual education is in a purely experimental stage, as were laboratories It in school practice thirty years ago. is merely a teaching tool of positive value that has long been lying within reach of all but used by very few now about to be put into the hands of present-day remains for teachers everywhere. It
'
the
are
of its aspects, to
conditions
or
We
them
to learn to
use
it
sanely and
intelli-
By its results in the classroom must this new force ultimately be judged
gently.
can use a great variety of material germane to the question and based on experience, from 300-word accounts down to a sentence or two on the back of a postal. It should be remembered that we need to hear both the affirmative
that
is
and negative
illuminating
success.
The
and
its
evil taken.
may
be more
As usual, it will devolve upon the minority to perform the tedious experimental work, endure the failures, steadily increase the successes and finally achieve the evidence to win over the majority.
21
M. E.
G.,
A
An
is
Presentation Lesson
Norway
in 7th
Grade Geography
a tried-and-true statement THERE the educational psychology
to
in
in these or similar
effect
the statement
larly
life
if
that interest
to attention
is
a necessary preliminary
he be
words. Yet, how little may mean to him, particua child who has spent his
in
and learning.
Nor
is it
new
somewhere
discovery that a picture will attract and hold attention more surely than a page of type. To arouse interest in the study of the geography of a foreign country, an obvious method is, therefore, to permit the child to travel for a little while through that country via the silver screen,
words
from
may from
a
tell is
pictures.
scenic
tour
of
he has anything like an adequate mental image of such a topoggraphy. But he sees on the screen several views of Norway's steep-sided fords, her narrow mountain valleys and plunging waterfalls. When he is asked, then, to supply from his own vocabulary
that a
memory,
open
to see
what pictures
word which
full of
will describe
such a surface
as he sees,
the statement
becomes
real
of
its
people.
It
of
in
should be said, in passing, that much the success of such a visual lesson lies
the attitude of the class toward what they are to see. few moments of preliminary discussion should result in an anticipatory attitude. Questions should
A
it
meaning. Nor will he be in any doubt as to Norway's climate, if he is led to read from the pictures all that they show. Her snow-clad mountain tops, the gaping crevasses of her glaciers, the ice-fed lakes
and
facts
concerning
temperature
and
be raised
tures
which
is
rainfall.
a picture of
shall answer, if the class is alert and misses nothing which is to be shown. If rightly done, this preparation gives the class not only eager interest but definite purpose, and they will come to the picture with a whetted attention that insures
results.
haying
of
In the case of the lesson under discussion a dozen or fifteen slides of Nor-
does it north as Greenland, is not an Arctic waste? It is only a step from the contemplation of Norway's scenery to her indusraise
to
the
question:
How
far
tries.
The
limitation
to
agriculture
in
way
were chosen: several scenes of mountains and waterfalls, some dews of the "land of the midnight sun," and several glimpses of Norwegian farms and Norwegian cities. Not an elaborate collection of material, but one which any
fields,
in look-
ing at her narrow, rock-strewn villages; a picture of a little cabin perched almost in the path of a torrent, that its
cultivate the tiny ledge of
owner might
slide library
What may be taught from such material? Norway has a rugged surface. Any
geography
test will tell the child that fact,
green on a mountain slope. No elaborate process of reasoning is necessary for the class to understand that Norway's dependence on the sea for a large share of her living is a natural consequence of her scanty agricultural land.
22
School Department
23
An
understanding of the
life
of
the
Nor
is
it
may sometimes
the
frugal
Norwegian
by
painstaking
little
between the appearance of his own surroundings and that of a country which, because he never saw it, he is apt to think of as remote and somehow different. A view of a city street in Christ'iania caused one seventh grader to exclaim involuntarily, "Why, it looks modern!" With a pictorial background, how much
labor,
makes
the
more
enthusiastically
will
the
child
actual
atmosphere of
time Scandi-
navian
life.
approach the printed page, what increased understanding and insight he will bring to its study, and how clear-cut we may
expect his conclusions to
The
location of
is
Norwegian
cities close
be when he
observation.
to the coa:t
chance but determined by uncompromisFor exing geographical conditions. ample, a slide of Bergen shows the city to be crowded on a narrow piece of lowland along the shore at the head of a
own
The
slides
used
in this lesson
Underwood
set.
M.
E. G.
Film Catalogue
(For further information on these or other
parentheses.
films write firm
If name is abbreviated, address will be found under "Exchanges" at end of Film Catalogue, otherwise, under "Producers." All are single reel subjects unless otherwise indicated. E F C, Educational Film Corporation; Abbreviations used: Famous Players- Lasky; P, Pathe; U S Agric, U S Department of Agriculture; U S Mines, U S Bureau of Mines.)
named
in
FPL,
Cloud Busting
the
title
is
(U S Agric) Little excuse for be found in this record of the adventures of an automobile party in the White Mountain National Forest of New Hampshire.
to
beauty by any in the world. Fortunate we, to take this journey while staying comfortably at home.
in
Burton Holmes.
(F P L)
trip
to see the oil regions, to watch oil "struck," tanked, piped, and shipped, in the latest and greatest oil fields in the world.
of
(E F C)The first Bay Travel Series, made in cooperation with the Hudson's Bay Company.
Tale of the Fur North
the Hudson's
Spanish Holidays Burton Holmes (F P L) In a country where festivals are matters of importance, two stand out as typical examples. At Seville, in southern Spain, the annual country fair brings out the peasant folk in their provincial dress; and in Madrid, the Royal Birthday Celebration at the royal palace is when distinguished guests in the occasion gorgeous carriages come to pay their respects Both characteristically Spanish in to the king. their love of pageantry and display.
tour of this northern region of old romance and modern industry, taken in company with an Eskimo who tells the story of his life, introducing us to the sports of the Northland and
to the bringing in
in all other
which
the
Quaint Provincetown on Cape Cod VA reel) (George Kleine) The odd and quaint need not always be sought in foreign lands, for in this picturesque rendezvous of artists and fisher folk there is a typical old-world atmosphere.
as
hard work
the
women do
In
Barcelona
larger share.
Founded
in 255 B. C.
24
the
Carthage," ruled by the days of Columbus who returned there to report his discovery to his royal patrons, Barcelona is still remarkable today, playing its part in world commerce as the greatest port of modern Spain.
"New
Romans, famous
in the
Exchanges
(Write to your nearest exchange)
U.
S.
BUREAU OF EDUCATION
Something (E F C)
>
An
to
Worry About
absurd-
Chester
Outing
matdead
Yellowstone
title
Park
in the
of winter,
when hot
and "paint pots" boil up in the midst of deep snow, and the Yellowstone River frolics through
its
white draperies.
Agriculaural College, N. D...N. D. Agric. College Iowa State College Ann Arbor, Mich University of Michigan Athens, Ga University of Georgia Austin, Tex University of Texas Berkeley, Calif Univ. of California
Ames. Iowa
Kwang-Chow-Fu Burton Holmes (F P L) The city of Canton, with its maze of ancient streets, and its river colony of people who never know a home on land but live in the
most curious floating
Nature's
craft imaginable.
Indiana University
State Dept. of Pub. Instr.
University of Colorado
Society of Nat. Science University of Vermont
Vt
NATURAL SCIENCE
l Perfect Thread Spinner reel) ( 2 (George Kleine) The almost intelligent silkworms, seen in "closeup" from the egg through
Charlottesville,
Va
University
of-
Virginia
College Park,
Md
worm.
full of
mulberry
worms climb
their cocoons.
the
.
anter
title
than "Rodents"
classified best by that term. A working skeleton of jaws which distinguish this class of animal comes in for its share of attention. Animal hibernation told in story form.
The Mosquito
His
(Society for Visual Education) transformation from egg and larva stages to the adult form is shown as an introduction to the exposition of methods calculated to exterminate him.
University of Missouri Univ. of South Carolina University of Oregon .. .University of Arkansas University of Florida University of Iowa Univ. of Tennessee Knoxcille, Tenn Univ. of Kansas Lawrence, Kan Univ. of Kentucky Lexington, Ky .University of Nebraska Lincoln, Neb University of Wisconsin Madison, Wis Univ. of Minnesota Minneapolis, Minn State University Missoula, Mont Morgantown, W. Va....West Virginia University State Normal School Natchitoches, La Rutgers College New Brunswick, N. J HI. State Normal Univ. Normal, 111 University of Oklahoma Norman, Okla
Philadelphia,
Columbia. Mo Columbia. S. C Eugene, Ore Fayetteville, Arkansas. Gainesville, Fla Iowa City, la
INDUSTRIAL
The Honor of the Little Purple Stamp (U S Agric) Showing the protection afforded the meat supply of the American table by the Fed-
Pittsburgh,
Pa Pa
I
Commercial
Museum
C
Utah
eral Inspection
mark.
Reno,
Salt
Nev
City,
Lake
Sweet
Potatoes from Storehouse to Market (U S Agric) Handling by approved methods of storing, grading and shipping. The reel shows farmer and shipper how to prevent
Tucson, Ariz
University, Ala
University, N. Vermillion, S.
D D
Univ. of Nevada Univ. of Utah University of Arizona University of Alabama Univ. of North Dakota Univ. of South Dakota
losses.
The Story of Abrasives (U S Mines) The power generated at Niagara Falls is used for the production of carborundum. The film also
shows the important industrial operations performed with the aid of these abrasives.
The Story
tion
of
of
Petroleum
oil,
(U S Mines) Shows
the drilling and opera-
the
transportation,
refining
Boston, Mass. Buffalo, N. Y. Chicago, 111. Cincinnati, Ohio. Cleveland, Ohio. Dallas, Texas. Denver, Colo.
Mich.
Indianapolis, Ind.
Kansas City, Mo. Los Angeles, Calif. Louisville, Ky. Minneapolis, Minn.
Milwaukee, Wis.
a ;
From Hollywood
conducted personally by a member of the English faculty It will be written from a distinctly optimistic standpoint, treating various topics from month to month, and especially of commercial motion-picture activities which seem significant of certain aspects Adverse criticism of the movies can be found everywhere but it is real progress. surely worth while to point out also the signs which promise better things. The rather than the serious shortcomings of the present and possibilities of the future
This department
is
of the Indianapolis
Public Schools.
the past
will be the primary concern of the editor of this department. The Editor.
There was a litter of magazines, American and foreign, on the two desks in
walls.
WHETHER
habitual
you view the "movies" from the heights of a superior highbrowism or sit among the ardent host of
followers of the
"silent
the room.
Clippings fluttered.
The
place
drama,"
you
will
have
to
had the appearance of use and of usefulness. They told me the two young women
you
all
criticize,
and
in
charge
that
practically
every
moment
direc-
We
do
if.
long ago
saw a
film play
whose
locale
Not was
I
in the day,
files
or the book-
from
Being a Hoosier,
was prepared to be shown familiar scenery but it was a totally unknown Indiana that
presented
land
tains
!
to fifty
magafiction,
itself
to
my
astonished eyes
decoration,
pictures,
travel,
the
"Ha! Mountains
scathingly,
Indiana!"
muttered
and viewed the rest of the film Somein a slightly contemptuous silence. body made a mistake: as a result, every Hoosier, every Middle-Westerner who sees
it,
and every picture that could possibly have a bearing on any phase of motion pictures is' clipped and filed; and at the same time care must
theater, etc.
article
Every
or de-
be taken to avoid the accumulation of The subjects in useless reading matter. the files range over an unbelievably wide field from Art to Zoology; the books include encyclopaedia of all editions, historical treatises on fashions, works on
architecture, travel, customs, transportation, laws, superstitions, creeds
spent by producers
A
to
visit
the
and
pictorial histories of
Studio
make
one realize something of the great care which goes into the working out of the details of motion picture productions. The room which housed the research department was filled with book shelves and Big the shelves were filled with books. filing cases, bursting with data of every
They showed me a few of the many amazing things those files contained. I saw, for example, a communication in the former Kaiser's handwriting, with his own seal and his signature, written on his personal stationery. It had been necessary in a picture to show a closeup of that particular item; no substitute
25
26
do. The research department was asked to get the thing, and they got it. When I asked, "How?" they just smiled. Apparently that question never bothers them.
would
was
called
in;
finally
wire was
office,
New York
the needed information cannot found within the department, the workers mr.st go outside. They spend hours, sometimes days, in the public libraries of Los Angeles, museums, and other public institutions. Frequently they go far afield in their search. They
When
be
asking for information. And that was not the end. Some one in the New York office made a hurried trip to a theater,
learned the correct wording of the sign,
and wired
it
back
to
Then
never
take
fact
for
granted,
never
assume that a thing is so, and go ahead without making sure. Once it was necessary for one of the
staff writers to know the exact law regarding the employment of convict labor on roads in a certain state. His story was held up until the research department
Again, an entire cast was obliged to some one had noticed that in what was supposed to be a night scene in a replica of the New York
wait half a day after
Grand Central station, all the trains posted on the bulletins were day trains. Trust any New Yorker to have discovered that mistake, had it slipped past! A further check on inaccuracy in pictures is furnished in the person of the
technical
director. He or sometimes not necessarily one who knows anything about making pictures. He is
furnished him the information. Among their other amazing bits of general and specific information, they
she
is
know
the uniforms of the police and fire departments of every important city in the United States. They know, moreover, the dates on which the policemen change from sr.mmer to winter uniforms
chosen
a
for
of
his
knowledge
of
certain
localities.
Thus, a
number
the Siamese scenes in a recent picture. Although she had no hand in the actual
direction of the scenes, she
was able
of
to
On
prevent
the
occurrence
anything
the set-
set showing the stage and dressing rooms of a New York theater, the usual "No Smoking" sign had to be posted in
wrong
ting,
or out of
harmony with
to the director's
order to complete tha effect. You or I would have been satisfied with any sign at all; but it was not so simple as that. The director, himself a man of many years' stage experience, could not recall the exact wording of the many signs he had seen, nor could those in the cast who had had stage training. The research
ignorance of that locality or its customs. And so it goes time, thought, money spent in the serious endeavor to make the picture truthful and, as a rule, small thanks from the viewing public for the
M. T. O.
Hollywood.
Present Industry
PURPOSE OUR To
First
and foremost,
its
that,
we
art,
exclusively visual in
less in possibilities
because
Photography and pictorial composition applied to a subject in movement become cinematography; literary and dramatic expression become, respectively, sub-titling, including art titles, and the registration of action and emotion on
a silent screen.
With
we wish
granted
to
be
the
come from the studios, remembering always our second fact that photodrama public, like any public, is a composite of varying human capacities and understandings, demanding therefore legitimately a range of screen production from Rinehart sentimentalism to Galsworthian realism.
This department, therefore, addresses itself to those thinking individuals who are logical enough to be patient with the meagre material at hand from which generalizations about a future art must be drawn, and reasonable enough
to recognize occasional excellence
even though
it
be but
relative.
Amid
the
clogged with distraught symbolism, stuffed with the acting formulas of grimacing puppets, and based on the continuity of a jig-saw puzzle thoroughly shuffled
and with pieces missing there are a few significant, or at least forgivable pictures "happening in" more and more frequently. The "Movies," this twodecade-old brat of man's creative ingenuity, occasionally emits something more promising than an infantile howl. On the part of those who catch this promise, this department calls for intelligent optimism and understanding
cooperation.
Incidentally, after the first issue,
directory
chooses to risk
we aim to be an up-to-date and reliable may select an evening's film if it dependence upon our opinion. M. F. L.
intelligent public
This department
is
University of Chicago.
conducted by a member of the English faculty of The Correspondence is invited. All communications will be
The
Editor.
28
ever sturdy and chivalrous, could have had the grace of the film laddie. When His Lordship pitched from the stairs in
his
it
success.
casual observer
own way
Not at all! While he is sure of the eager sympathy of his audience he is at the same time aware of the ruthless comparative study they are going to make of his work against the book. He must so
arrange his continuity that he leaves
the exposition of the
all
headlong attack on the pseudo heir, largely Miss Pickford who leaped into the warmth of your chuckle of delight. Someone behind us remarked that Mary Pickford could "just stalk around in those clothes and be adorable." We do not agree. Adorable she was, in fight, in swaggering stride down the street, or with legs apart, arms folded and eyes lifted to the heavy look of the old Earl! But it was more than clothes and petite-
was
it
over.
book
to the skillful
;
t'o
a few
subtitles.
he must In
new medium he must achieve the same element of "touching the spot" that Frances Hodgson Burnett achieved in several hundred pages. Miss Pickford was fortunate in having the same scenario-man who made Mr. the Mark Twain picture a success. McConville did his job!
Miss Pickford is one of the few stars who has climbed steadily, from being merely a very clever and charming film star, to the undeniable status of an artist in a medium sadly unfrequented by sustained and earnest acting. We think Little Lord Fauntleroy and Dearest gained something when they stepped from the pages of fiction to the lights and
shadows of the celluloid. The entire was magnificent support. The Earl
cast
fur-
is
the
general public as
We
might go on
indefinitely in detail
individuals.
line,"
so to
Suffice
it
to say that
difficult)
(if
confronts herself,
visibly
restraint
upon the
actress. Yet if ever the camera could conquer the difficulties of such doubling up, it has been done in Little Lord Fauntleroy. Therefore, with its two handicaps minimized by clever cinema-
truly
supporting
cast
(its
most
Little
all
Lord Fauntleroy comes to us with charm of the lad of the book, enhanced by the beautifully sincere work
the dear
tography
and
perfect
continuity,
the
of
Mary
Pickford.
film's success
was
practically guaranteed.
For Miss Pickford herself we need to little. She has weathered the juries of criticism enough times to give us every
say
right to full confidence in her. The gentle the mother, and the tenderness of straight-eyed glory of the little chap shone through her every glance and
in
the midst of the gauche presentation stuff that seems to spell art to the movie
gesture.
We
Mary
Pickford's
Lord Fauntleroy was not the boy of the book. No boy, howLittle
There was, too, the added handicap of violent novelty the sudden transformation, at the climax, of the silent into the spoken play by introducing George Beban and company to continue
the
action
in
the
flesh.
Incidentally,
29
impatible differences between the two |rms of drama. To bring them together as a psychologically disturbing experihope that the "stunt" will not lce.
town is an example of the sort of thing that is usually dragged in if it appears at all. At no time in this film is such an incident
formally "included."
so are
We
it
afforded strikpoint.
Just as these minor details are flawless more general details. The titles
are
minimum
led
in
number and
realistically
the film the inevitable genius of Mr. eban was thrown in high relief against
simple in wording.
lected,
Add
by
the
David
nothing
(Richard
in beautiful
cinematography and
we
the artist in
Beban,
you
film.
find
We
ivful
acting on the part of the cast, rained actors in the minor roles are as tal for great photodrama as for the
our
minimum
maximum
artistic
poken drama. A film may be pictofial, Dncrete, mechanical, but it gets across
achievement; the slogan at the head of this department could then be dispensed with.
rhythms of personality and ained expression, and when these qualies are lacking in any part of the cast
lose subtler
ley are sadly missed.
charming
picture,
is
The
cast
beautifully adapted to
Twice
this film
had anti-climax
to
an
in
lipardonable degree.
The
finest
touch
picture
was
There is a lilting twinkle about Miss Compson's eyes that might easily have been caught direct from Barrie's lilting gypsy girl. Set off by the serically.
pne by Pietro and his daughter Christmas evening as they talked of Santa. The
story, carried on in his dialect, imbued with the quick restless lovements of an Italian, was a penetratig bit of foresight on somebody's part, he dialogue of father and child, too, character portrayed by that -oved most actionless conversation can be one, if in concentrated and economical
ither's
anta
ousness of the Little Minister's countethe dry sternness of the three omni-present elders of the church, and the grim imperialism of her father's discipline, Lady Barbara Rintoul is a very adequate Babbie of Thrums. The picture drags, particularly in its fragmentary
nance,
introduction.
we
shall
points though
it
has,
of this story.
ishion.
THE SHEIK
"The Sheik,"
filming.
its
OL'ABLE DAVID
But for the over-effect in horror durg David's struggle with the last of the
^sperado cousins, this production is an :hievement to please even the fastidious, xcellent direction had the advantage of A conII obviously excellent continuity.
incing atmosphere
>gically
is
lavishness foretold by
this
Very
naturally
picture
would have the compelling grip of its distant horizon, its sudden drama of
desert
tribes
appearing
breathlessly
introduced
life.
/eryday
fter
Two
atop some keen-edged dune. It is rich in the matchless grace of flying horses and slender lances flung arm high above the wind-stretched gar-
ments of the
riders.
its
30
overreach itself. The sensuously barbaric the wealth of a bold laughter loving savage. As the young Sheik, Rudolph Valentino is dominant. The one sustained closeup of the actor furnished one of those moments that do come in perhaps a year
interiors
Arab
to
some degree.
It
of
daily
reviewing.
The
over
Sheik's
his
swift
echo of Will Carleton's famous poem gav it a start that was, at once, a handicaj The devotion of the middle class mothe to her life and its unfair apportionmen of work and sorrow could be easil; maudlin. "Over the Hill" escapes larger, through the definite reserve of Mar;
Carr's interpretation.
mad
de-
Yet, at
moments
as
he
stooped
the
English
in this fashion; Mr. Valentino's long hands held tense for the smallest fraction of a second, then closed. He roje and looked straight into the
camera.
tion
The
a
lids
closed
of
recond
the
another
Would
frac-
Where
all
the nine
hundred
and
ninety-nine
have
even her economical use of the benigi smile, does not keep the theme con vincing; the morning scene was weak h this respect. But if Mrs. Carr faile< somewhat as the young mother, the effec was lost in the splendid restraint of Le characterization of the lonely, deserto old lady wandering from home to horn and over the hill to hard lrbor. Symbol ism was delicately managed and th
ruthless realism of the whole horn routine left one a bit dazed. As a com ment r n the family life of a centur
into emotional
spasms, Valentino depended on the sheer sincerity and concentration of his glance.
great moment, like the gesture of Sothern's hand as he came from the King's death chamber or that measure-
ago
life
we the
regret to admit
it
was
true
tt
coarseness of
its
men was
bit
terly
accurate.
We
were,
pictorially
call
moment of agony in Chaplin's eyes when he was being taken from the "Kid."
less
This time it came via the closeup, the abomination of most films. Throughout the picture, Mr. Valentino sustained
beautifully the swift conflicting forces of the dynamic Mohammedan prince, Arab
gentleman and Spanby blood. The gay charm of the persistent smile, the firm egoism
British
ish daredevil
by breeding,
of the gestures, in short, the secure touch of the whole interpretation was practically flawless.
us.
Time and
would be indeed, entirely satisfactory to Marl Twain himself. Harry Meyers, with hi: snappily swagger Yankee assuredness
carries himself with convincing mier through the "pre-anachronisms" of thii farce comedy. Rosemary Thebe is alwayi at home in a part requiring beauty anc cruelty combined to make one impression. It may be her own or the
director's fault but she overacts in spots
so. But we pass into a long introductory story before tion to Year 528. Cut that easy matter) and the film
gether
tiresomeb
the transi
down
(ai
lamented
few
vitally
alive
she has at last squared her accounts with the gods for her physical gifts and personal intensity.
screen,
women
of
the
Charles Clary looks his part and keeps pretty well that
the
photoplay,
the
fun
and
the
31
"NEW ERA"
Has
the Largest and
the incom-
"Broken Blossoms" could turn about ruin every last essential that makes Thomas rke a Thomas Burke, we cannot imagine!
1
Most Complete
Library of Appropriate
wonder with something akin to real pain which was the accident the matchless iduction or the over- symbolized, maukishly
\
to
ed ae
"Dream
to
Street."
No
Griffith
film
in
it
could
but
IlMILLE
the sensuously nostriled face of Ruph Valentino and the once more distinctive ing of Nazimova, Camille comes to the viewer h something of the warmth and tenderness t broken cadences played on the G string a violin would have. Mme. Nazimova first le to the screen a great and strong artist expression. She soon lost it, to become uty, crazily, and if it were not tragic, funnily
fader
Reels
Reels
6 Reels
5 Reels
more the
artist.
re-
We
dare to hope, that she is back into her to stay! As to the backgrounds and setin which this splendid stage classic has clothed, there is much room for violent erence of opinion.
we
Hamelin
1 Reel
1 Reel
Jack and the Beanstalk Jack the Giant Killer The Ride of Paul Revere.
Circus
3 Reels
1 Reel
Days
(And
2 Reels
HE
fr.
THREE MUSKETEERS
to
Many
Others)
Fairbanks spared nothing of cost to make production accurate in externals and then
give a
ceeds
splendid portrayal of what have been, had he been rtagnan. (What d'Artagnan was, we have to imagine.) 1 It is beautifully done and
rbanks
would
Programs
uld
be considered not so much a rendition classic as a great Fairbanks film. As such, a masterpiece.
NOVELTY SUBJECTS.
DDDD DDDD
Send for Our New Catalog
to
HE IDLE CLASS
istinctly a disappointment.
:re
It
attempts plot
of
there
is
the old Chaplin comedies. It jolly wee Charlie and his steadily amusing tomime but, following "The Kid," it is dis"The Kid" made us think :tly negligible.
stuff of
t
gag
The
New
Tel.
Era Films
5857-58-59
(Inc.)
still
804 So.
Wabash Avenue
CPERIENCE
xcellently
..
Wabash
hopelessly over-symbolWe never would have believed any human ig could have coached Richard Barthelmess the mediocre grimacing actor he appears
cast
but
Chicago Branches in Minneapolis, 306 Film Exchange Building Des Moines, 602 Younger man Building
St. Louis, 3405 Olive Street
>e
in
this
film.
32
HELIOS PROJECTORS
Professional and Semi-Portable Types
the Light
Warranted
for 2
Years
HELIOS MACHINE
Exchanges
New New New York
{.Concluded from page 24) Pittsburgh, Pa. Haven, Conn. Orleans, La. St. Louis, Mo.
City.
COMPANY SSE&S^LESK
PATHE EXCHANGE,
Albany, N. Y.
Atlanta,
Calif.
INC.
Ga.
San Francisco,
Seattle,
Buffalo,
Boston, Mass. N. Y.
C.
111.
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Omaha, Neb.
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Wash.
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City.
Washington, D. C.
Chicago,
Indianapolis, Ind.
Wash.
Chicago,
111.
Kansas
City,
Mo.
Washington, D. C.
Cincinnati, Ohio.
Cleveland, O.
Dallas, Texas.
Producers
George Kleine, 116 S. Michigan Ave.,
Chicago,
111.
Lake
City, Utah.
Calif.
San Francisco,
Seattle,
St.
Washington, D. C.
Chicago,
111.
tion
all
concerned
and more rational enthusiasm on the part endeavor to a point where visual
vast possibilities.
j
ii
jl.
FEBRUARY,
1922
No. 2
Lane, Treasurer
Nelson
L.
Greene, Editor
Published every month except July and August Copyright February, 1922, by The Educational Screen, Inc.
$1.00 a year.
Back numbers, 25
cents
4
7
F ranee
L. Rebillon
mong
the Magazines
15
Conducted by N. L. G.
rom Hollywood
Conducted by M. T. O.
18
chool Department
1^
Conducted by
M.
E. G.
heatrical
Film Critique
Conducted by M. F. L.
2d
nnouncements
10, 1/
Published by
Inc.
Chicago, Illinois
Harper Ave.
3
FEBRUARY,
1922
No.
CONSIDER
the laboratory, how it grew. How difficult it was tc convince our educational forefathers that such an "extravagance' was a pedagogical necessity! Today laboratories are part of the architect's problem as a matter of course. Physics and Chemistry require textbook and notebook equipment, as do other school subjects, and the laboratory in addition. Its initial cost is enormous, its upkeep high, and it
is
whole curriculum
and installation cost
rela-
Projection equipment
tively slight.
If
it
is
could perform a service for a single subject such as tru laboratory does for Physics or for Chemistry its adoption would be more
than equally justified. Yet such equipment can be employed in many sub< jects and is so employed already in many a school, college, and university.
in spite of the present scarcity of suitable slides
and
films.
immensely valuable, very limited in its range of use. and costly to a degree that bars it permanently from a large number of ouf humbler schools. Projection equipment is valuable to a degree still undetermined, usable by almost all subjects and departments, and relatively so moderate in cost as to be possible of attainment by practically every school These simple facts are highly significant for the development of the visual idea in these coming years.
laboratory
is
The
The
immediate attention
For, if it is a mere fad, it is too costly to be allowed to grow any further; if it is a thing of value, its cost is negligible and American education cannot afford to be without it.
Editorial
"
come through
When educators of high aim and capacity join forces with techmasters of the lens when the proper balance of authority has been ruck between them when each party, in singleness of purpose, is willing Ld eager to give his best within his own sphere of authority, and content
sments.
cal
do no more
we
shall
have slides and films as worthy of use by the great it has achieved.
When
that day
comes
and
no one knows
how
it
near
it
is
the
class-
new power.
The
potency of appeal. Talk of the visual idea undoing the ow work of centuries and nullifying the advances made with such vast fort in educational science, is rather too absurd to be worth refuting, ducation will let go nothing it has perfected through trial and test and ruggle. It will always be master of the tools it has created. The school ill still be "school" when the screen has come, as much as the home was
ill
"home"
after the
is
coming
it.
The time
on finds a
coming, and
many
It is
coming
its
fast, for
new
lephone, the automobile, the aeroplane, the wireless, yes, too, the theatriil
"movie"
great university or in the rural schoolhouse
Given the screen material that can be made, the teacher, whether in among the hills, will have his command an instrument whose power cannot be guessed as yet. The :reen cannot do everything, of course (it should be a waste of space to op to emphasize so obvious a fact) its strengths and its weaknesses must we do not use aeroplanes for pulling plows nor s accurately determined But once the le wireless for conversation with a friend across the table. itilities and dangers in visual teaching practice have been ascertained and iminated, the screen will help us do a host of things better than they have
le
:
ver
(If this be rash prophecy, let the sceptics make the most of it. "Wildfed" prophets there have been who said that gunpowder would dominate le battlefield, that the locomotive would do more to build nations than le canal boat, that the automobile would prove greater than the horse.)
MUCH
warming
it. Many of the "proofs" offered with loud emphasis by visua advocates are producing effects quite opposite to the ones these advocates fancy they are producing. The glow of the headlong enthusiast is ver)
it
is
and appreciates the profound meanings of th< great word "education," the subtlety and complexity of the educationa process. It would be a terrible thing, he thinks, if some of the presen promoters of visual education were allowed to have their way in Americar classrooms. But there is no danger of such disaster. Blacksmiths are no allowed as operatives in a watch factory nor do the men who paint circu! posters find entree for their work in art museums.
thinking individual
feels
1
who
However, such unrestrained activity by a few ill-advised propagandist* has already had an unfortunate effect. It has. provoked a reaction in th<
minds of a multitude of American educators which has led them to discredi entirely the whole visual instruction idea. In general it is the most emi nent and influential element that has been so affected. The visual move merit will never come into its own until the whole educational field is read) to give it unprejudiced attention to listen to arguments presented in san< and scholarly fashion by qualified advocates and to pass upon their validity Until the case is put in better form and until evidence comes from mon authoritative sources which can command respect, thousands of thoughtfu men and women outside the schools and educators from grade teachers t(
;
to
We
shall begin
which will be the first of a series to deserve particularly careful reading b} any educator or interested layman who has been disaffected by argument: he has heard so far. The article is written by an experienced educator, psychologist of attainment, a believer in visual education but one who recognizes limitations in this as in all other means and methods evei devised by man. We believe our readers will share our opinion that Mis: Castro's article entitled "Some Psychological and Pedagogical Aspects o Visual Education" is one of the most penetrating and valuable discussion: of the question that have yet appeared anywhere.
i
;;,
(No.
1)
L yTR. GRIFFITH
|\/| Lt
le
is
reported
to
what
story!"
One admires
the
to
pictures
must be suited
intellectually
individual
nine
as
ears of age.
im,
If this is
Mr.
Griffith's
he may be
congratulated
himself:
If
"The
plot sickens."
those
last,
a blatant
example
of
what
rightly
dustry,
affairs
appens when a producer aims to aptivate the lowest order of intelappeal. ligence to which he dares to
7he sole
his
made: "That
wants."
If
commendable elements
are
in
this
the
truth,
then
production
the
pictorial
and snow the which he cleverness with nd ice scenes were screened. Psyhologically, and hence dramatically,
harm
the effect of motion pictures on the drama is and will be to keep millions
of stupid people out of the theatre
te
picture
is
The majority
{
American
films
intelligence.
he fact
Of
course,
some
upon
\mericans
from an artistic )oint of view, morons. The importmt fact is, however, that Americans motion )f average mentality go to a with )ictures and come away disapof nore or less vague feeling )ointment. How often, coming out
are,
)f
the this fact with regret and accuse stealing of producers picture motion plays their audience but, fewer poor simply formerly than now succeed because the nine year old minds
;
have
left
a theatre,
It
was
Almost every great play or novel contains a story which can be presented artistically in motion picture,
German
origii
but
in
way
may
be insulted
almos
final artistic
of the story.
The
evidently realiz that, since the appeal of motion pic tures is universal, they do not havi
to stoop
constantly.
They
word
and physical action. The motion picturist cannot use the spoken
word.
He
generally
abuses
the
His ability to present any scene, with any pantomime, at any instant, constitutes the great advantage of his art the advantage which differentiates it from all other arts. Whenever a caption is thrown on a screen, the motion picturist tacitly admits his lack of artistic
printed word.
ability
at
that
moment.
At
least
and pander either primaril to people of low intelli gence. Yet in America the lates foreign film D ant on is renamed A< for a Woman by the America manager. It would be hard to de vise a title more fitting for clap tra; of a low order containing sex appea But of course I shall see Danton fo I have learned not to let myself b deceived by such hypocritical tricks My faith in motion picture art rest upon the realization that it survive offenses against art and commoi sense which would kill even spokei
or at
all
drama.
The
film
version
of
Way Dow
suppose<
I
of
the captionless
film
The
East begins by
"moral",
forcing a
throat.
Journey's
in
End with
down my
read
ii
printed lines.
One
of the
many
rea-
amy
story
is
the of
best
policy!
Now
it
thj
such pictures as The Cabinet of Dr. Caligari, Passion, One Arabian Night are eminently successful artistically
cially
sons
why
the
drama
trite,
Way Doza
did nd
truth
East
flaunt
is
pretty
but
in
but
absolutely
is
that
the
The
insistencj
tc
These German
of
end of the picture, entirel) changes the effect of the story. Ps)i
chologically,"
it
every
handicap
they
are
under
makes the
picturi
Furthermore,
morality
close
of place
comes dangerously
being immoral.
Artistically such
Sickly morand sentimentality in the captions are greeted with healthy bursts
Imagine
of
jealousy
in
or
ambition
before and
of.
and printed dialog draw forth cries of: "Hurry up! Go on! Cut it out!"
scenarioisms
The
even
signed
nine-year-old
pictures
mind,
Yet morality
when
and
the
have been
artistic
dignified,
give rise to
iends.
During
e
the
last
century
play-
But a film like The Journey's End is received in what Forbes Robertson calls "blessed
impatient booing.
artistic silence."
be stronger than the )peal to the ear, that spoken dialog ust often be sacrificed to pantoime. The scenariowright must arn that printed explanations and alog have no place in his art. He ust drop them as the dramatist has opped the moralizing chorus and Of course ie explanatory monolog. says it cannot te motion picturist done, that the audience will not iderstand what is happening. The eye
j
may
to
be
understood.
Artistically
ear. It
it
to the
is
and as soon as
art
logical
suffers.
effect
the
instantly
Line
protest
was
made by
the
ago when the .idience got weary of having the lorus ram morals down its throat;
ramatist
centuries
rose
in its
og
would become the art of motion picthe very soul Pantomime, tures. of this art, would develop to an undreamed perfection. The spectator would be given a part in the artisti* creation. He would feel the artistic He would thrill of understanding. be allowed to draw his own conclu-
under
benefited greatly.
Motion picture spectators must the moralizing and explanatory iptions. In the town where I see totion pictures, the more than audi:er
guidance of the action so delicate as to be unnoticed, instead of being led through the story like a mule, with unnecessary pulling and kicking.
If
this
cannot be
io
few cases.
To do
always will
require
,,
much more
.
cleverness not
r
-
they J
learn
.
turns
'
Unfortunately
r
the
American l pro-
average intelligence instead of re,. garding their spectators as morons. ,, A And they need not worry about los^
, ,
have been able to see in such films as Passion and Dr. Caligari is a financial menace to an "infant inclucers
n n e-year-olds.
i
The whine
is
for
a protective tariff
dustry
American
never
tures.
Editorial
Announcement
The Educational Screen is aware that a nation-wide development of visual education can never be achieved by the efforts of any single class or classes within the nation. Vigorous growth of a national idea must depend basically upon the desire and will of the millions, not of the few. However ardent the advocacy of the educational profession however energetic the effort of ambitious producers of serious slides and films the healthy success of the idea must await the united approval and support of the general public, of
the multitude of thinking men and women who control decisions in the social, economic and religious realms, and who alone can universalize the ideas and achievements of the specialists. The fiat of the public is necessary and it will be final. One of the primary influences in nationalizing public interest in such a question is the varied activity of the social-welfare organizations throughout the United States, including churches, clubs, community centers, parent-teacher groups, etc. They are already busy with this question in many of its aspects, but are often working independently and with too little coordination of effort. The Educational Screen, in an early issue, will start a new department which will aim to serve as an exchange through which such organizations may inform each other of significant things being done, planned and proposed throughout the country. shall seek to give news, notes, reports and brief articles from the whole field, covering not only the specifically "educational" aspect of the subject but the great question of the theatrical motion-picture as
We
well.
no
and
will be
conducted by one
who
organizations.
in
France*
et la
(I)
Rebillon
in
L'Ecole
Vie
rHE
in
is
to
presupposes the possession of an adequate proctor and facility in obtaining films illustrate the lessons as they are )
schools
rowing
with
a
somewhat
eclectic
pro-
gramme
One
ceded.
Museum
that
it
is,
without
third
on a useful animal,
ental charge.
or a harmful animal, or on
As
Ily
>t
will
undoubt-
eign lands.
The
or
last
on hunting, fishing
of sport.
for the
devolves
now
and
unquestionto
se-
some time
to
teacher
A
ilies
Sunday
town what
own room
nean by his
>ut
.id
few words
will explain
by recourse to other sources of such as the School Treasury, the .lumni of the school, the municipal
luthorities,
we
are after.
"We
seek to render
or through loans to be
for
but more true, more fruitful, more vital. Just as our grandparents regret not having had at their disposal
epaid
by admissions charged
etc.
issembly showings,
the splendid
visual aid
text
books of today,
In introducing this
is
new
is
it
vital
them so we
md
movement.
Part
II
of
M.
an early
issue.
11
18
The
Educational- Screen
was
lating films.
li
not available
ing your
in the
classroom dur-
shows
own
let
school-days," etc.
In
several
class
cinema have the stage. explanations Brief and suggestive interpretations can be deftly given as the film runs slowing up the machine or stopping it entirely at appropriate points a procedure which will increase not only the value but the interest of such a perthe
Then
are 275
constant
use even
no films
were repeated.
"Natural History"
general
lows:
title
is
the
under which
(23),
Geology
formance.
Anat(18)
When
omy and
Zoology
(15),
Physiology
(104),
Botany
been run, there will be few fathers and mothers who will not be pleased few who will not be convinced of our high purpose and of the erlectiveness of such aid toward achieving it. They will feel assured that, if the cinema can be la pire des choses it can also be like the dishes served
certain
Agriculture (14).
"Hygiene" comprises 33
films.
The
under
41
films
comprised
"Industries
Ma-
by a
famous slave
la meil-
dious travels
among
things
,
12
bring near and render almost tangible things and beings utterly remote, bring back dead epochs, disclose to the profane eye the secrets
of nature,
ful
small in number.
"Hunting"
cation
of
is
the classifi-
show
truths
more beauti-
26 films which will open the eyes of our little public. Better than
Buffon, these films afford a
sense of forms and move-
An
than the most beautiful legends." appeal for the needed financial
community
the
after such
demon-
stration.
Once
is
minimum
equipment
assured projector, screen and source of light send for the peda-
of
fur-
"Sports"
films)
13
"circuit"
route
is
still
large.
The
The method
rial
of selecting this
mathe
only cause for annoyance is that we cannot always receive our first
for
hool instruction
simple.
On
rogram of the courses in Geogiphy and Science we write in oposite each chapter the title or titles
i
and have to be content sometimes with films "approximately the same" an experience fairly common with users of slides, also. It is always advisable, therechoices
films
in coll-
preference.
it
When
ook.
)
Many
films
are
applicable
this no-
is
several chapters.
When
ition is
when
this is
made necessary
fate
is
our film resources is mazing. This wealth, however, is till extremely modest in proportion
ariety
by a substituted
film.
Whatever
cedure
arrives?
distortion
occa-
what
our pro-
our needs; there are 36,000 comin France, more than 100,000 lassrooms to use the films, and only
)
when
mnes
We
first
our
own
of
private
noting
In
all
number
of films will
work
how
of
tiese
when
the films
that is, until the General ttch ouncil shall have installed departlental
film
libraries
for
schools
hroughout
waiting
the
country.
''better
While
have no intention, of course, more than a fraction of our class time to the actual viewing
We
these
times"
we
of the pictures.
The
film is
shown
ave to content ourselves, like the age, with what we have for lack of aving what we should like.
But
rofit
we
can
still
realize
great
Tie
ion
number
is
always at the proper moment, in definite connection with the subject matter of which the film is the illustration, the application or the comThe showing should be plement. accompanied by valuable and concise comments; observation must be facilitated by slowing down the showing certain parts machine,
14
frame by frame, and by completely stopping the film at certain strategic Discussion and reflection points.
are to be encouraged in the class.
many
of
themselves readily for special trainkl ing in theme-writing and exercise! in French composition. We shoull take full advantage of this fact. Ol the other hand we can imagine easel:
and
the
finally, if it
where
films
on
arithmetic,
ol:
whole
film
without
stops
and
distraction.
we
recitation period should encourage discussion of the preceding day's lesson, to be sure, but also of the film shown. need not be surprised if the pupils, at first, have a tendency to endow the film with the importance
At the following
We
of the
whole
lesson.
Little
by
litttle
have already been made on the uJ of logarithms!), on moral instrucl tion, on history, etc., might seem tf< rouse a keen interest which woulfl be merely cinematographic curiosit m We should be distrustful of thesa pedagogical abuses which tend tlj substitute a machine for the teacheil to the great detriment of the pupilJ No more than any other means ci method, can motion pictures servi
for everything.
They
only on what concerns the lesson in hand. shall also see pupils who
we
call
for
to give
resume of the film, or some schematic drawings with a sifnple title or short caption under each drawing, we shall soon be delighted by the achieved in elements of results
knowledge
spirit
of
observation awakened, in
itself.
but futile without him. They are valuable especially in the sciences o| bti observation and experiment even in these, and a fortiori in thi other subjects, we have nobusinea to use the cinema in lessons whicl can be logically and easily tauglfl without it. Teaching time is tol limited to allow place for "fad" In I "luxury" in our curricula. word, let the "movie" be for us I
;
Among
was and rIME was when
still
the Magazines
Pennell claims, in support of her statement, that the movies began with "serious, instructive" stuff, can she be referring to the occasion in Indiana, in the early 90's, when Jenkins projected, for the first time on a screen, his pictures of dancing girls? Or is she thinking of the first feature film (about 400 feet long) called "The Great Train Robbery?"
(Quite Informally)
until
recently
it
our serious magazines would not deign to admit to eir pages discussion of the "Movies." ley have begun to do so, and, to judge the more conspicuous articles of the st few months, the motion-picture instry can hardly be overjoyed at the
mor.
iwever,
e
For the good of the country, and for the ultimate good of
motion-picture itself, it is a highly i* in cant thing that serious writers and inkers are beginning to give attention
the matter.
;s
will
The following approximate quotation make clear how little the writer
"Colossal capacity for boredom
thinks of photography:
The
made
are
is
now
acceptable
such
publica-
man
)ns
e
certain evidence of a
demand on
So
:
far,
Probably the condemnation of the mom-picture, past, present and to come, tiich has yet appeared is entitled
the order of the day.
ost relentless
ion for relief. Then religion made drama. The drama in time drifted reluctantly away from religion into the hands of artists, just as now it is drifting joyously away from art.. It is not art that draws
to the play, but the love of make-believe.
in the
hands of
artists,
was accepted
make-believe.
The Movies
in the
as Dope
But forgetfulness was all was wanted, so art oozed away. Tragedy, melodrama, comedy, musical
extravaganza,
To
5
what
has
not
and then, revue, farce, crowning achievement of modern progress, photography captured the drama and the happiness of people was complete; and so also, incidentally, was the For phodegradation of dramatic art.
tography is not, never can be, art. The attempt to photograph art in motion dramatic art is as foolish as the attempt to make Rembrandts and Whistlers out of photographs of people and places."
ready been behind the movies far from being in their infancy, they > ive reached full maturity and, in attaing it, have delivered themselves from all mptation to linger in the by-paths of One may readily admit ience and art." at "millions and time" are involved
.
This
is
contains
masterful non^sequitur.
re,
but one
it
may
is
also have a
calm sus-
cion that
ns
a case of too
little
many
mil-
and too
time.
'
When
Miss
15
Photographing art in motion is quite as sensible as photographing art not in moIf it is photography that has made tion.
U)
they work
active
by univer-
to
why not let it do the same for the Booths and Barretts Miss Pennell is obof modern days? sessed with a fine hatred of the "machine."
If the "talkies" ever
Nirvana
audience
for
art,
not in any challenge but in the state of into which they seduce their; in the deadening of all feeling
is
iniquity,
come
kill
it
will
be
still
more
fatal, for
she
But
in the
of all tendency to Trained by the photo* play, its devotees lose all sense, all apl preciation of dramatic art, just as the man brought up on cheap chromos is) spoilt for the Louvre, or the man accusal tomed to the gramophone for opera or
stifling
.
the
.
thought.
thing done
not
in
any inanimate
the
art
means the artist may use for his ends. As well declare that a tuft of camel's
on the end of a stick is not art. is a grimy palette, nor a hammer and chisel; neither is a set of architect's drawing instruments, though they can build a cathedral if an artist wields them. If Miss Pennell considers the poor little camera so insurmountable a barrier between an artist and the result he seeks, what unutterable contempt she must feel for the pipe-organ, for instance, that colossal example of an intricate mechanism standing ineluctably between the artist and his artistic production!
hair
Neither
hall. And dramatic! passes away (if only she had! said "if" instead of "when"!) will not go alone. Thought will fly with it. D.rama does not stop thinking it merely
concert
it
when
transfers thought
life.
from
So
might conclude we
In lighter forms thought dwindles. if a drug has yet been discov-3 ered more powerful as a sedative than a London Music Hall performance." Yet this is still flesh and blood and may occaj sionally produce a thought. But "the movies are worse than a sedative they are dope, pure dope, and the most deadly yet invented. Something to look at, nothing to think about stupefies, hypnotizes Staring at the screen the modern lotus eater drifts easily
"I doubt
...
. .
it
is
We
size
do, in large
phatically.
always afternoon Because the movies encourage this apathetic state, fast making it a national condition, they are more demoralizing than Bolshevism td
the
.
proletariat
.
they
"The cheaper movies are forgivable are no worse than the London penny gaff. Also the movieization of
is
are interested
witness
prices;
the.
gorgeous
theatres,
high
1
correct
no crime,
originally so
little
art there to be
debased. But in the great play or the great novel there is art, and its capture
by the movies
.
is
an unpardonable
sin.
menace
houses doors to the movies; first nights that are social events, great actors condescending to be present; polite conversation trcat-i ing movies equally with art, etc."
music,
opera
of the
It is all quite
movies
morals.
to
our
intellects,
not to our
The morals
The
very close to the uncomfortable truth. Almost any point along here would have been a good place to stop,
most of
it
Among the Magazines
t
17
ss
Miss Pennell goes on, and as she her logic weakens, until she actually its the following amazing words:
motion picture we now know to be dangerous in the theater would produce the
of
'Teachers advocate the adoption of the vies in schools that lessons may amuse
j
same no
results
in
a school, but
still
rational being
at liberty
we know who
pil's
mind.
ieved that
To
nell
becomes utterly
how
to
think.
But
and today we
took centuries
and chilen, whose intelligence has been already dermined by the movies out of school, to be further debauched by them in \
that ancient superstition,
lat
nd
throw
actor,
it
to the camera.
It
and
it
on the
films.
The
first nine words state an unquesned fact but the rest of the paraaph is unadulterated piffle. The ascripn of such a purpose to the teachers is, course, unspeakably silly, but it was equately prepared for by Miss Pennell's
It took centuries to develop the art of education and today we strive to turn it into play. The small minority, however desperately it may cling to art and thought, will have but a meagre chance
against the large majority hurrying along the shortest cut to that Earthly Paradise
where no alphabet need be mastered for no one will read, where art and thought will be remembered only as the sad follies
beginning, as an unmitigated curse, unanging and unchangeable, as-it-was-ine- beginning-is- now -and- ever -shall-be
of thing.
who
lived be-
upon mankind."
>rt
Announcement
he
March number
will contain
Some
I
Education
Mawr
is
lat is
Marion
analyze the shortcomings of some recent productions ut future values of the film for stories of epic character.
From Hollywood
Conducted by M. T. O.
ond thought the statement that the motion pictures of today are a vast improvement over those of ten, or
even
five
OST
years
ago.
We
realize,
of
we
are
First of all, he told me, he reads iM manuscript of the play to be produci and talks it over with the director, wh perhaps sketches roughly on paper hi ideas of the settings he wants. The Ai Director's business is then to redui
glad of it, but as a rule we don't bother about why. Of the many factors in the improvement of the "movies" a very big one is the Art Director. His is the task of providing
the
very
type.
important
-translate
an
i:
them
terms of feet and inches. For example the director wants a room of Spanisi
background
framework for the action, and unless he knows his business he can easily spoil the
picture.
the
He
pictorial
to
The Art Director makes 1 drawing of the room, a front an* enough to enabl side elevation, perhaps the director to decide whether it will sui Along with this draw his plans or not.
character.
pencil
to
see
that
the
The two
directors
to
of
all
an
artist,
draftsman, a sculptor, a carpenter, a mechanic, an electrician, a cameraman, and a multitude of other things. All of which simply means that he must know something of every art or craft that has to do
gether to decide just how much of tri room will be needed in the scenes. Anj* thing which will not show is eliminated for this is the point at which to detec and curtail unnecessary labor and ex Fewer changes than one migh pense. expect are made in sets after they an Mistakes cost money; hence th built. extremely careful planning on paper be
fore building
is
begun.
say this
much
Art
said Jack Okey of the big Brunton Studios. "He is responsible for fully a five hundred per cent improvement in the artistic standard of motion
Director,"
am
1
precious
the movies.
first
"Speed
the watchword,
and lasU
NeveB
some small
watercolo:
began
I
as our conversation
some measure to comprehend went on. had wanted to know about the Art
in
One was of a quaint Spanisi bungalow which had been built for thi express purpose of being burned down, j The plans, revised and finally approved
go into the hands of a mechanical drafts
man, who draws them to scale for th< builders, and brings detail work, such a;
decorations, to the correct size for theii reproduction in wood, plaster, or what
papers that lay on the table before him. "These are some of the sketches for Allen Holubar's new picture," he said.
"We'll go through them."
IS
ever material
is
to be used.
32)
(Concluded on page
School Department
Conducted by M. E. G.
exact science of education is made like any other An accumulation of the results of visual instruction, as it is being practiced by successful teachers,
science.
An
forms a valuable collection of data from which to draw conclusions and state principles.
VI
f
a teacher may shrink from venture into those realms of visual instruction which involve
a
he
to
is
is
to see.
will serve
projector
whether
for the
projection
An
from practice
opaque objects, the slide, or the film nd the necessity for a partly, or entirely, arkened room. He realizes the darkened urroundings serve to focus attention on
he illuminated screen, but at the
show
An
Elementary Eco-
nomic Geography
States.
is
Among
of
is
same
sources
States
that
the
United
the
aware that under cover f darkness, much inattention to the mater in hand, and covert attention to disractions, may hinder the achievement of
he
is
me
also
coal.
schedule will allow for that subject is three forty-five minute periods. On the first day the time was divided
into
laximum
results.
two
parts.
During the
class
first
twenty
Much
ailure
minutes,
general
discussion
of the screen lesson lies in the iewpoint of the teacher. A class is quick
brought out problems like these: 1. Why do we study coal in connection with this group of states,
when
2.
it
is
tributed?
he class hour, diverting, even if not timulating? Or does the teacher regard t as he does a text book, an object lesa means on, or a laboratory exercise gathering information which may be >f
Where
3.
4.
5.
Methods
problem?
It
6.
leed scarcely be said that the latter view>oint is the only one that deserves the
erm "educational."
7.
of coal mining. Conditions under which the miners work. Precautions taken for the safety of miners in the coal fields. What has to be done with coal
after
face,
it
The class which enters the projection oom keenly alive to the problem to be worked out, knowing that they are expected to look for something in particuIt might almost ar, is an attentive class. so few are the possi)e stated as a law
ble
is
to
for
ship-
ment?
The
exceptions
that to
it
visual impres19
so
lems. The second half of the period was occupied with desk map work. (Question
2,
in a sin
above.)
On
pre-
the iron
and partly ma tered, a class may carry on its own \i son the teacher merely directing the cB
cussion.
On
In a case of that kind, on the day pre vious to the stereopticon showing, eal child in the class is given a slide with 1 accompanying card of explanation. Hel
"The Story of Coal" (U. S. Bureau of Mines) was shown. The minute or two between reels was
occupied
in
encouraged to rely on what he sees I and in no case is he expectl to memorize from the card, but mere!
the picture
raising
questions
suggested
what tf
is
by the film, and jotting down notes which would apply to the solution of the problems to be discussed. The .alertness of the class and the eagerness for expression were sufficient evidence of their attention.
picture shows.
When
he
this slide
is
thro^l
fl
upon the
screen,
responsible
presenting the picture to the class, caj ing to their notice the important featurl
and the
When
he has
fil
having
dicated.
On
was ready
gathered
its
material
for
reciin-
ished his little report often of sevea minutes' duration other members of thj
tation on the
be as
Whenever
chance to ask question! of normal children fl express their ideas, combined with thl realization that the lesson is theirs 1 conduct, makes for a degree of attentiJ
class are given a
The eagerness
who
hesitates
t|
class
in
darkened projection
In cases where
room.
of
feature
(Miss
Ballinl
thl
CHARMING
of
course)
than
the
Jane of
None
the
of the
faithfully,
old
ful effect. It has moments of great dramatic intensity in the scenes of the fire which destroyed the manor house, Jane's wanderings, and finally her return to the blind Rochester. In the early scenes, the childish Jane is winsome and appealing and roguish, all in one. As played by Mabel Ballin, the part of Jane the governess is delicately and sympathetically done. Her Jane has a quaker-like simplicity and
mad screams
terrifying
s<
The
figure witl
In catching the spirit of the novel, thl presentation is on, the whole quhl flawless. Several smaller touches, hew ever, are slightly overdone, after the
film
manner
of the theatrical film, as for ill stance the hurried entrance of the insane
Film Catalogue
THE
all
Educational
Screen
is
interested
in
the
in
entire
field
of visual instruction,
the use of
It is
month
this
the purpose of the school department to print every a list of current releases in non-theatrical films. It does
for the benefit of the teacher who has not the time, nor perhaps the accessibility to exchanges, to gather this information
for himself.
In regard to the sources from which other visual materials be secured, the teaching profession needs little assistance. Publishing companies make maps, charts and picture sets easily available. The sources of slides are well known, or easily discoverable. The newer field of the motion picture, however, is relatively unorganized. There are scores of producing companies, and dozens of exchanges in the larger cities acting as distributors. It is for the purpose of furnishing a reference list to the teacher who wishes to use such materials, and a guide to the sources from which he may secure them, that this film catalogue is printed.
may
be made to list all classes of films scenics, nature study pictures, and scientific films, as well as those on literary and historical subjects. Somewhat extended reviews of theatrical productions particularly suitable for serious uses will be included occasionally in this department.
effort will
An
industrials,
Oman's brother, arrived in just the nick time to stop the ceremony in the quiet lurch. In the novel, a much less meloamatic preparation was given for that tervention. And later, upon Jane's reirn, it is to be wished that she had andered among the ruins without the
:
WINKLE
are
all
here
in
delightful
reality
the
shiftless
dog and gun, a friend to all the children of the village, and the ruin of his family; Gretchen, his scolding wife
village
One disturbing shortcoming of the im version could easily have been over, ~, , T >me The scene of Janes return is folwed quickly by a newspaper clipping
,
.
remarkable restoration of A too swift-moving imax sweeping away in an instant le two long years of Jane's devotion and
lling
of the
Chester's eyesight.
ilf-sacrifice.
convincing
Nick Vedder and his ale-house; and tht cronies against the delightful background of the Catskills with their " spots and twilight superstitions. h unt To these hills Rip takes refuge when becomes the of onJy side which bdongs tQ a hen . pecked husband The dwarf with his keg of ak whom Rip meets in his wande rings leads him through weird and beautiful rock f orms t o the sheltered amphitheatre where the game of nine-pins is going on. Thomas Jefferson's Rip could hardly
^ ^.^
^ ^^
be
21
surpassed.
Especially
fine
is
Rip's
22
awakening
gone,
his
twenty years
at
his
clog
gun crumbling
his
touch,
and his beloved village full of strangely costumed figures with unfamiliar faces, and children who run from him.
the life of Rome during the days of Nero, th gladiators, and the early Christian martyrs vividly portrayed. The spirit of SienkiewM
inl
The Brook
Of
all
the delightful
Dutch
figures,
two
introduced for the sake of a slightly more complicated plot than Irving's short sketch contained,
furnish a splendid bit of child acting. The most serious departure from the
original story
is
remarkable children
(400 feet) (George Kleine) t1 nyson's little poem" is made the subject of I nature film presenting a series of pictures wbJ
interpret the
mood
of the poet.
The Ride
Paul Revere (# reel) (Geo Kleine) Photographed in actual localities I the famous ride and titled with quotations irM Longfellow's poem.
of
Dame
NATURAL SCIENCE
The Beaver Prepares for Winter (Beseler El cational Film Company) Shows a number I
not take place during Rip's absence, but she is kept alive to be wedded again this time to a male tyrant who quite completely subdues her.
views of the beaver building his home. pared under the direction of Raymond L. mars.
Pm
D|
real life
cated,
to
The
contribute
all
the
ultimate happiness
of
concerned.
titles
hatching of the eg! the growth of the worm, its feeding on ml berry leaves, and the spinning of the cocal from which the worm finally emerges a motl
The
Worm
(Beseler
E|
somewhat modern in phraseology (adapted from the stage version rather than from Irving's
are
their
The
Wasps
original)
humor
phere
in the
is
but there are spots of genuine production, and the atmosso true as to be almost magic.
(Society for Visual Education) TM kinds are shown first, the solitary mud-daubB who builds her clay house and stocks each cj with paralyzed spiders for the nourishment 1 the baby wasp, then lays the egg and seals tl and second, the Polistes was cell entrance who have their affairs organized on a coM
munity
basis.
Briefer Mention
LITERARY AND HISTORICAL
The Courtship of Myles Standish 5 ter Cinema Producing Company)
tion
of
reels.
(Carto
(P) One of a series picturing Id Molluscs ing specimens from the lowest forms of on celled animals to the most intelligent maramJ In this reel, oysters, octopus, cuttlefish, an snail occupy the stage, figuratively speaking.!
picturiza-
the
follow
accurately
of
Ihe
well-known story.
(Kleine) story reproduced at Turin and near Vesuvius. "Antiquity reenacted," showing the idle, luxury-loving life
Burton Holi Rice Fields of Japan (F P L) Patient toilers in the "painted cal vas rice fields" of Japan and, incongruous I the combination may seem, a Japanese wrJ ling tournament, where the great weight att
strength of the participants prohibits a dispfl of the agility which we commonly associa
of the doomed city, and its final destruction. The North Carolina Pictorial History Produced
(U S Agric)
vil
Education and the State Historical Society, in an effort to supply an accurate and complete re-enactment of the State's important historical events. Photographed on Roanoke Island. It porof
by
the
State
Department
grounds and points of scenJ beauty in West Gallatin Canyon, Gallatin tional Forest, Montana.
Marvelous Manhattan
Burton Holmes (F
PB
Not
only
in
foreign
trays
to
three
of
:
State's history
Quo Vadis
torical
Admirable
literary
from an
his-
as
standpoint, since
(F p L)
Burton HolflJ
title
by
virtue
of
it
Briefer Mention
pueblos and its picturesque buildings by Spaniards and Mexicans. We see e city at the time of the annual Fiesta and would not be difficult to imagine ourselves a bit of foreign country, transplanted into e heart of New Mexico.
dian
ected
23
Canyon Burton Holmes canyon which has formed as mplete a barrier to migration as the most ipassible mountain range is now bridged by a
>ss
the
P L)
Grand
river
been spanned
in
inyon,
ist
1
making
it
cinematographically, the great and colorabyss of one of our most magnificent scenic
the
jnders.
emite,
')
Often
Valley of Enchantment
pictured, but only
(2
reels;
becoming more
it
Nice and Cannes Burton Holmes (F P L) Glimpses of the Mediterranean Riviera with its casinos, cafes, parks and gardens, and its throngs of fashionably dressed pleasure-seekers. Voices of the Sea Bruce Scenic (E F C) Interpreting by a series of marvelously beautiful views, the moods of the ocean, from the rushing straits of the north to quiet southern seas. Moods of passion and storm, and of quiet broken only by the swish of languid waves on the sand all are voices of the everchanging sea. Solomon's Temple Burton Holmes (F P L) Movable models of ancient Jerusalem serve to take us back through history even to the days preceding the building of the temple of Solomon, and we follow its evolution through the centuries until it is changed into -the present
onderful as
we come
to
know
better,
the
Mosque
of
Omar,
it
the holiest
Moslem
shrine in
here brought before us in natural lor. The redwoods, Bridal Veil Falls, Indian ive Rock, the Happy Isles, Vernal Falls, El ipitan, the Cathedral Spires, and other points interest in the Park lend themselves well to lor reproduction. Quotations from John Muir id John Burroughs very appropriately title
osemite
is
Palestine, as
is
today.
A
all
Burton Holmes
(FPL)
place of prayer and sorrow, revered above other places by the Jews as the nearest ap-
e pictures.
Burton Holmes. (F York, the voyage takes e through long days on tropic seas, with mpses of Havana harbor en route, to the jdicval fortress which guards the Gulf gate the Mexican republic the "City of the
Cruise to Vera Cruz
L)
Leaving
New
proach they can make to the ancient sanctuary of their forefathers, the Temple of Solomon. Here crowds of the Orthodox gather to recite the woes that have befallen their race. Paths of Glory Chester Outing (E F C) They lead but to the grave, even in motion pictures, for this reel showing first the crowded narrow by-ways of Peking, takes us soon to
the
city,
sacred
valley
lying
to
the
north
of
the
ue Cross."
id
where a marble-paved road, the "path of glory" leads to the tombs of the ancient Chinese emperors.
Tampico
Burton
Holmes.
(FPL)
'The
Dawson
here a wealth of oil gushes forth in seemingly exhaustible floods. strange bit of modern
:do
mosphere in the heart of old-time Mexico. and Segovia Burton Holmes. (F P L) The former, sometimes called "The Spanish Dme," and the latter, distinguished for its
eatest of all
Burton Holmes Boro-Bodor and the Bromo (F P L) The first a colossal carved pyramid on the island of Java in the Dutch East Indies. Its name means "Shrine of Many Buddhas," and the structure is covered with fantastic
Roman
The second, a great naBuddhftt carvings. wonder an active volcanic crater within a greater and practically extinct crater known
tural
to medieval times, Burton Holmes (F P L) Children low degree are tt'.e people of both high and ^covered at play and at work, awake and leep and sometimes on amusingly good terms
lish
back
as the
"Sand Sea."
th goats
and burros.
Burton Holmes (F P L) A jourRural Java ney to the rice fields of the "land of the lovely out-of-doors," a glimpse of the cultivation of the chinchona tree, and of the gathering of the fluffy kapok, show us the picturesque natives
at their characteristic occupations.
Great Stone Face (U S Agric) ist we forget that our Eastern States hold ots of beauty and romance, this reel serves bring before us some points of interest to reached by tramping through the Whits ountain National Forest, where lives the
er
the
In
of ,the
Mountain."
Burton Holmes (F P L) Batik Land Queer, quaint art workers who sketch on cotton cloth with melted wax the intricate patterns that are to be perpetuated by the rich blue and brown dyes of Java where the art of Batik originated.
;For further information on these or other films write firm named in parenthesis. If name is eviated, address will be found under "Exchanges" at end of Film Catalogue, otherwise, under jducers." Famous Players- Lasky Abbreviations used: E F C, Educational Film Corporation; S Mines, U S Bureau of Mines.) S Department of Agriculture; athe; U S Agric,
'
FPL,
24
Hides and Go Seek (E F C) Another of the Hudson's Bay Travel Series, showing trapping methods in the Far North, filmed in the Athabascan region of northern Canada. Typical views of a trading post, and "shots" of the Indian fur men bringing in pelts to exchange all this hundreds of miles from for supplies
Exchanges
(Write to your nearest exchange;
U.
S.
BUREAU OF EDUCATION
Qualified State Distributing Centers Agricultural College, Miss A. & M. ColUj Agricultural College, N. D...N. D. Agric. Colli
Ames. Iowa
Iowa
State
Collq
Giants (P) Monarchs of the forests of North Carolina are followed pictorially from forest down the river to portable sawmill. The scene changes to the Northwest, giving the cameraman an opportunity to photograph big trees in spectacular fashion from a height of 200 feet. Apples and Other Crops (U S Agric) The celery, latter including truck garden products cabbage, carrots, lettuce and beets.
Forest
Ann
Modern
Concrete Road Construction (U S Agric) How this king of building materials is used in the making of a modern highway and the film shows the machinery and processes in-
volved.
The Story
A detailed
(4 reels) (U S Mines) account of the production and manufacture of this most useful material. Operations are carried on at the Johns-Manville of Asbestos
film
Co. plant.
The Story
of Sulphur (US Mines) From the sinking of the well and the pumping of sulphur to the breaking up of 100,000 ton blocks preparatory to shipping.
MISCELLANEOUS
Deliverance
the
life
(Kleine)
story
of
reels.
filming
of
Helen Keller, showing her first as a child, then in young womanhood, and last as she is today. An absorbing account of her heroic struggle against overwhelming obstacles, not without its dramatic moments. Athletic Movements Analyzed (2 reels.) (P)
Calculated to appeal especially to those interested in physical training. By use of the ultrarapid camera, movements- are slowed down to Reel I analyzes muscle play Y normal speed. common in walking, running, jumping, shot-putting and wrestling. The second reel is devoted to more complex movements involved in playing baseball, pole-vaulting, hurdling and diving.
University of Michigi University of Georf Austin, Tex University of Tex Berkeley, Calif Univ. of Califon Bloomington, Ind Indiana Universi Boston. Mass State Dept. of Pub. Ins Boulder, Colo University of Colora Buffalo. N. Y Society of Nat. Sciea Burlington, Vt University of Vermo Charlottesville, Va University of Virgin Cleveland, O Normal Training Schc College Park, Md State College of Agr Columbia. Mo University of Missoi Univ. of South Caroli: Columbia. S. C University of Oregi Eugene, Ore Fayetteville, Arkansas. .. .University of Arkans University of Flori Gainesville, Fla University of Ioi Iowa City, la Univ. of Tenness Knoxville, Tenn Univ. of Kana Lawrence, Kan Univ. of Kentucl Lexington, Ky University of Nebras! Lincoln, Neb University of Wiscons Madison, Wis Univ. of Minneso Minneapolis, Minn Montana State Universi Missoula, Mont Morgantown, W. Va....West Virginia Universi State Normal Schc Natchitoches, La
Pa
State
Pittsburgh, Pa Providence, R. I
Community
Utah
Servi
Lake
City,
"Hats Off!"
A Story of the Flag (Society for Visual Education) A primary lesson in loyalty and patriotism. Incidents from history show the inspiration the Stars and Stripes have brought to the hearts of true Americans from 1776 to the present day.
Univ. of Neva Univ. of Ufj University of Arizo: University of Alabat Univ. of North Dako Univ. of South Dako
Atlanta, Ga.
Uncle Sam Insurance Agent (Bureau of War Risk Insurance, Treasury Dep't) Of particular
interest
to
five
million
service
men and
their
dependents, showing the opportunity, advantages and provisions of permanent U. S. Government Insurance.
Boston, Mass. Buffalo, N. Y. Chicago, 111. Cincinnati, Ohio. Cleveland, Ohio. Dallas, Texas. Denver, Colo.
Kansas City, Mo. Los Angeles, Calif. Louisville, Ky. Minneapolis, Minn. Milwaukee, Wis.
OUR
analyze with fearless sincerity the current films representative of present production. Theoretically we are concerned with an art, limitless in possibilities because it should be a composite of various time-tried arts. With the highest possibilities of these combined arts as a background against which to throw present production commercial, not artistic, in aim we wish to point out the good and bad in films, remembering that the photodrama public, like any public, is a composite of varying human capacities and understandings, demanding therefore legitimately a range of screen
PURPOSE:
To
production from Rinehart sentimentalism to Galsworthian realism. This department, therefore, addresses itself to those thinking individuals who are logical enough to be patient with the meagre materials at hand, and reasonable enough to recognize occasional Amid the discouragexcellence even though it be but relative. ingly huge and endless output of films maudlin with sentimentality and bad taste, the "Movies," this two-decade-old brat of man's creative ingenuity, occasionally emits something more promising than a lusty howl. On the part of those who catch this promise, this department calls for intelligent optimism and understanding
cooperation.
Free
Present Industry
OREVER
First, the
drama
quently enough to make them synonomous terms with her name. She is an
exquisite
mes, not itself in celluloid, but another ory embodying its spirit. Second, its nematographical presentation of the
>irit
r
Mimsey.
Her make-up
as
the
elderly lady
is
among
the
>lid
ghost
story,
but
nearly
remarkable demonstration of what achieve. This reaffirmed in Wallace Reid's make-up is as an old fanatic dreamer behind prison
a
touched out to a white :licacy convincing enough to make the earn garden as believable as the picred world of actuality. The spirit tone
figures,
bars.
dream
iychology presented. As for its cast, without exception the lpport is excellent, no characterization eak at any point unless in Mr. Dexter's
ither
is
Perhaps no casting of any well known caused more comment, unfavorably, than did the choice of Reid for the screen echo of the great Barrymore. As I watched Mr. Reid in the first scenes I
star has
realized
how
stupendous
barrier
(to
any appreciation of him here) was my well grounded impression of his former
specialization
self-conscious love
making from
arden
balcony window to his wife in the The two leading roles below. ust be considered at greater length. Miss Ferguson is a composite of those any adjectives applied to her work fre25
himself.
At any
used
the
the
he .ought
smile
as he
not
to
have
lift
twisted
and the
of
eye-
brows
came down
the staircase of
2G
the
manor.
It
savored
too
much
young man
But what-
film
drama
of
the
commonplj
trayed
in
the beginning
he lost as the
left
which might have been photographed any one of a thousand homes, where! there is a master of the family whi
favorite
film proceeded.
By
weapon
is
sarcasm, an easy-l
]
and even
the brief
moment he
other
was an-
man, a new and forceful actor. it was a happen-so or not, I can not say, but after Miss Ferguson's appearance in the story, Gogo rose to real heights. It would be difficult not to rise to the sincerity of Elsie Fergu-
Whether
has no attraction, a pee>| grandmother given to tantrums, and family "beast of burden" an uncoj
whom home
not,
film
should
village
(for
details.
"J
son
in
her
sure
in a
qualities
as
std
t
future sense but certainly Wallace Reid overcame the handicap he worked under. He was best when he held his face in a sterner repose; two of his closeups
We
suspect
it
n|
i
be because
it
furnishes an opportunity
common
in
schoolrod
gripped as did that unforgettable Chaplin close-up in "The Kid," mentioned in this department before. It was pain sha-
scenes a touch which could easily ha been spared, considering its frequen in former productions.
In the first few scenes, Lois Wilson' Lulu rather overdoes the part, but s becomes convincing with her pathe
little
dowed perfectly. There was a closing flaw, however, that came near to ruining the whole. The final embrace of Mimsey and Gogo,
as the spirit of the latter left the body,
clutch at
scliai
was lovely. "The foolish world will call you dead, but you have just begun to
live."
master calls upon her only to find tfl he came to ask her to cook for the schfl
festival.
Then
upward considerably before the fade-out was finished. That was a touch of the
maudlin a theme
spirit
Lulu's marriage to Ninian Deaconburlesque ceremony which the chan presence of a justice of the peace mak a civil ceremony in that state turns o
stuff that
has
made such
to
tragically,
but
not
before
Lulu,
uni)
almost
impossible
picture
forcefully.
Why
could
we
the
any
It
was
a fatal
of
On
in the
the whole
various possibilities this film illusto see "Forever." Also, this department wishes to congratulate Mr. Reid
trates
on some very significant promise if he will be wise enough to patiently watch himself through any similar efforts.
former position in her sister's househo without its touch of tragedy is not realistic and genuinely human it is. \ chance for a consistent finish but Li} is made to revolt in an ugly mood ai furnish a cheap touch calculated to a
whS
27
broken
china
with
domestic
Jor are
ich
is
two members of the cast we might have had a production that needed no saving by Jackie's wistful charm.
the other
latter,
lu
still
acceptable of th(
ungrammatically, and ties down to life with an equally colorand commonplace mate. Whereas the film, a rejuvenated Lulu turns
ears,
speaks
Yet because
o.
'i
In
for
iderella-like
into
winsome woman
charm,
is
of a
some twist to vitalize the story to give her a chance to be strong despite the fact that she is miscast in a role, which
is
intellectual
type
than
feels
the
re
keeper,
and one
too young and too delicate for her frank maturity. She manages, however, to get over, in the important
.
chance
in the future to
levels,
lift
mo-
somewhat higher
in-
Ma
is
amazingly
e to life.
BOY
Vhatever
stretch of the imagination story of a small boy wandering, unEllis Island to the tested, through
of
ments, the sweet sincerity of the impulsive Jacqueline. Mr. Ford is picturesque and Julia Hoyt convincing as a snob, eventually humbled. But in the end .one wonders what has happened to the Norma Talmadge of an older day. Is it poor vehicles or has she lost even the sex strength of her appeal?
ms
York, requires, "My Boy" Despite too its a picture to enjoy. an unconvincing grandidicap of ther (unconvincing in her friendliness her philanthropy) and the poor
New
well
known
gap
be-
play
betrays
the
hopeless
"Under the tween the two mediums. Lash" is not an adaptation of "The
Shulamite,"
as
announced,
but
rather
mentation
.nce
t)
of
a
the
old
sea
dog
(a
for
My
story suggested by that play. I remember the last act, presented to vaudeville
ise
Jackie
Coogan
"is
back."
The
The
sweet kid of the Chaplin picture h none of the awful and irritating histication of "Peck's Bad Boy" is immigrant orphan from Belgium, s
ural,
emotional
stood
in
depths
the
of
way
of
ere are
/e
Yet about them. be but the precocious touches md to occur in the work of a lad of age with the poise an inherent talent given him. Whatever roughness the ture as a production had, you can
an
may
Miss Swanson's merely pretty Shulamite. And yet Miss Swanson was hardly to be blamed. Simply, the emphasis in "Under the Lash" had been shifted; it was a different story and should have been introduced as such, with credit given for but Adaptation imthe general suggestion.
plies too close
inal
form.
3rd to overlook.
that with a
The
lesson,
however,
Mahlon Hamilton
sincere
more
careful selection of
even
though
moments,
28
uses
Miss nor type fitted to play the Boer wife. I thought she did excellently under those handiaggressively.
chin
is
too
Swanson
neither
the
size
cabinet.
More
caps.
Some day we
disturbing
will
learn
to
avoid the
forces
analogy
such
film
upon
us.
of
its
relation
the
original
story.
Adaptations are bound to become totally different tales in film form, with but the rare exception. Introduced, as most of them are, as faithful reproductions, they disappoint many who might otherwise have found appreciable enjoyment in them. "The Conquering Power," to quote Mr. Ingram, is a universal presentation of a story that is humanity's story in any century. As such it makes no pretense to adhere to a period adaptation, but is modernized completely. We thought that the close up was used in too sustained a fashion, though no film ever demonstrated more thoroughly how essential the close up is (the miser's death scenes) or how excellently it can be mastered by a countenance of beauty plus fine intelligence. Miss Terry proved that without danger of refutation from
the most anti-close up
tainly this
critic.
have saved it this handicap of materi all out of tone with American kno^ edge of such things. The film is met tioned here because of the force of La Chaney. His work combined with tl sure touch of Miss Joy (with Jot Bowers not far behind) proved the axial that a poor film carried by an adequal cast may be convincing; the conven is similarly true. No actor has evt
made
this
us
film.
the silent
criticized
it
4
i
was the
line
of the
film.
TWO MINUTES TO GO
It
is
gay misdemeanors
more
the
of
lives
Some
i
(
most
moments
of thousands
come
in the
college
tangles.
Charles
RIP
VAN WINKLE
in
(Review appears
School Department
FIRST LOVE
This film deserves mention here on' remark that Miss Constance Binney again the careful character player of h first films. She has not been doing vd acceptable work, largely due to poor vel
to
cles.
And
cer-
Rudolf Valentino has no equal for the role he plays. He can be haughty without offense, egotistical without detri-
ment
tion, the
convincing strength of a real and gallant man; above all he can use, frankly, a tremendous sex appeal without indelicacy or offense to the most fasbit of the
tidious.
All
these
matters,
half)
we
suspect,
are
(more than a
JANE EYRE
(Review appears
in
School Department.)
Briefer Mention
ie
29
ground that
een,
Theatre" of the an accurately directed ker story. Miss Ayres becomes niger with every film she makes. If ie of the dangers of growing populardo not "infect" her advance, we may
ideals for
"A
is
Little
but
it
wish
of
this
this
quality.
department could name more The charm and interest Ferguson and
see a beautiful
;
woman
justifying her-
of truth the portrayal of life in the play world, the evident talent of the man who set the scenes and the man who turned the crankcombine to
make something
tention.
well
at-
n her beauty.
plot
I
which was
thrillingly complicated
clearly sustained in a
Phillips
Lheim fashion, not because of Henry Walthal, still the artist though older
less certain of himself, and not ause of that distinctive purity marking Starke's photographic quality, but irely because of the fine characteriza[
of
two minor
Pierre
roles.
Emmet King
strong,
as
old
chevalier and
Joseph Rickson as
definite
loyal
I
were
Coming
charming. ng middle
They saved
class.
Lubitsch,
this
is
Carmen,
director
her
duBarry,
is
somehow
lost.
The
himself gives us a too-animated interpretation of the faithful hunchback, though what he does is done in a sustained and unified manner.
who
only driven the girl from her me, but had aged and killed her )ther with his will and discipline, and ::n allowed her to die calling for the Lighter who stood but on the other
e of the closed
is
stage settings of the commercial play, this film a series of lavish sets without (in the film
door,
is
unforgivable,
sense)
much
unity.
work
of a careful cast.
)resume the close was the proverbial giveness act but as a representation of and a picture to bring home to like hers the bitter error they make in such cipline, the picture lost its purpose pelessly. The sub story of the spoiled pper was emphasized more than the
j
may have
absurdity
irritating.
for the
lotus.
It
but
If
tin
who
a
left
the
me
th
Altogether
production
Deprived lent work on Mr. Barrymore's part. of the spoken word, however, his intensified pantomime is not always pleasant.
and brave begin\g that became lost in an unbalanced >t and an end defeating its main intent.
a brave purpose
The
Child's Theatrical
the
theatrical
film
Movie
is
BECAUSE
different
for
children
distinctly
department will hereafter include a section devoted to varying material of interest to and guidance for the parents who wish to protect their children from the many obvious dangers of a promiscuous viewing of films. Brief articles by authoritative students of child psychology, editorials based on the personal observations of teachers and parent correspondents, film digests of the current productions possible for the child audience, and special articles on special problems of the producing and distributing fields as related to films directly designed for juvenile consumption are some of the phases our subject matter will include. It is hoped, by the editor, that parents and teachers will read this section earnestly and, whether laymen or experts in their respective occupations, will promptly send to the editor any question, suggestion or mere observation they may care to make public for the forwarding of the general good.
PENROD
Enhanced by the personal presence of Wesley Barry himself this film of the American boy is drawing large and warm audiences. As a whole the film deserves
its
Kid" proved
attitudes
that
Jackie's
disagreea
of sophistication
were not
but somebody else's fault. The opposition may say that one exa pie does not warrant a general cone
sion.
popularity.
more
spoiled than
certain
first
Wesley Barry. What happened to Jackie Coogan in "Peck's Bad Boy" has happened to Wesley in several of his latest films. A disturbing air of what in street slang amounts to "smart aleckness" charcterized his work after the first films.
W
1
<
Yet
Some
able.
is
unavoidin
this
were
true,
then,
the
name
of all we hold as best for American children, keep Wesley Barry or any other out of films, not alone for his own
be with mental associations in his mental life pressed in some of the monologue he p sented to Chicago audiences personal Parts of it were exactly what such lad would present; but parts (and audience applauded them vigorous! made us sad, depressed, bringing the
to
1
action of
"What
itself,
is
the use?"
Penrod
as a story, represents
(
sake but for the sake of the thousands of children who would witness his films and carry away in their subconsciousness detrimental impressions.
But we insist that this development need not be the only possibility. Jackie Coogan's return, in "My Boy," to the sweet and adorable naturalness of "The
30
advanced twentieth century child of p< war days. We, as critics, realize that city child is not and must not be sweet, guileless youngster of the ru community or the urban kiddie of
1
years ago.
The
iitelligently
:;i
assert that the modern not the desirable achievement, this need not include that ugly knowagressiveness and man-of-the-world lifted eyeexpressed by uation and shrugged shoulders that vs
od
is
the
picture
quietly steady
in
the
grader will recognize those qualities of humanness in the hero that brings the little scrub
fourth
girl
Barry
in
his
later
ionship.
e must keep our juvenile actors unhed by the cheap sneers of modern sms and the overbearing type of selfdence that can, in the long run, only undesirable personalities of 2
1.
doll and many moments of companIn short, though not particularly valuable, A Prince There Was is still a feature that will have no undesirable effect on any child.
huge
MY BOY
This film department. kiddies miss
reviewed at length in the adult Don't let the it. Jackie is too gallant and cottrteous a laddie to pass unwitnessed.
is
children
of
this
film
has
will
several
desirable
full
get the
sig-
and
3Ugh not understanding all the connotations the humor of s read into such situations, two Lloyd comedies is active and wholeentirely within the child's comprehension.
,
The "preanachronism" humor. middle grades, though losing certain implications will enjoy that same humor in its concrete maniFor the youngest child there is the festations. healthy excitement of th struggle between a wicked queen and a jaunty American leading plumed knights astride motorcycles
safe,
This film
is
(No.
1)
'
From Hollywood
{Concluded from page 18)
has at his disposal are many, varied, ad huge. There is the lumberyard, for ij stance, with its million feet of lumbe
At this point the Art Director's job assumes an amazing complexity. He extends his range of activities to the entire
"lot."
is
There
is
There
is
tl
ri
He
studio,
real
motion picture and the planing mill, which is a manufacturing plant in itself. He
of
if
the sets.
He
he
paints
them
until
himself,
necessary.
is
From now
does
the picture
finished,
designing the smallest detail of carving in a stone facade to engineering an ocean storm in a concrete pool.
anything
from
produce anything from a Greek statl to a skilful imitation of a time-woJ wooden column. There is the buildin which houses row upon row of furnitur] ranging from a great carved and caiiopie bed that must have been designed for a less than a king, to the very latest c up-to-date breakfast-room furniture. "You don't manufacture all this he{ on the grounds?" I asked.
"Ninety-five per cent of
it,"
was
tM
answer.
had had any idea that I would go movies at the time I was studying," Mr. Okey remarked, "I certainly should have studied differently." Eleven years' experience as Art Director have taught him much, especially, he says, about how not to do things! The facilities which the Art Director
"If
1
into the
So when you consider the material wii which the Art Director has to work, pe^ haps that five hundred per cent improve ment is not to be so greatly wondered a1 At any rate, it furnishes fooj after all.
for
artistic
in
the future.
Newark, N.
Exchanges
New New New York
(Concluded from page 24) Haven, Conn. Pittsburgh, Pa. Orleans, La. St. Louis, Mo.
City.
Charlotte, N.
C.
J.
Chicago,
111.
Cincinnati, Ohio.
Cleveland, O.
Dallas, Texas.
Calif.
San Francisco,
Seattle,
Denver, Colo.
Omaha, Neb.
Philadelphia, Pa.
Wash.
Washington, D. C.
Indianapolis, Ind.
Lake
City,
UtahJ
Calif.
Boston, Mass. N. Y.
San Francisco,
Seattle,
Wash.
Washington, D. C.
Charlotte,
N.
111.
C.
Producers
Beseler Educational Film Company, 71 West 23rd St.,
Chicago,
New
Calif.
York, N. Y.
Lake
City, Utah.
San Francisco,
Seattle,
St.
New
York, N. Y.
Washington, D. C.
PATHE EXCHANGE,
Albany, N. Y.
Atlanta,
INC.
Ga.
Buffalo,
Boston, Mass. N. Y.
ol. I
MARCH,
1922
No.
Frederick
J.
Lane, Treasurer
Nelson
L.
Greene, Editor
Published every month except July and August Copyright March, 1922, by The Educational Screen, Inc.
$1.00 a year.
Back numbers, 25
cents
,pic Possibilities
of the Film
10
Marion
F. Lanphier
vmong
the Magazines
14
Conducted by N. L. G.
lie
News Chat
Conducted by N, L. G.
18
'rom Hollywood
Conducted by M. T. O.
>chool
21
Department
23
Conducted by M. E. G.
lieatrical
Film Critique
Conducted by M. F. L.
27
mnouncements
Published by
Inc.
Chicago, Illinois
produced exclusively by
those
whose scholarly training, experience and reputation qualify them to discuss educational matters.
[THE
EDUCATIONAL SCREEN
Editorial Section
FOR
Vol.
MARCH,
1922
No. 3
A
THIS
must stand
solutely personal
Statement
to
as our expression of sincerest thanks intended be abto the Principals and Superintendents who are respond-
back within ten days of mailing) has made it entirely impossible to acknowledge individually these valuable contributions,
(more than
30% come
final
The Questionnaire
We
ex-
pected to be able to tabulate the results as fast as received and present them in
The heavy
work
summaries, covering but one or two aspects of the data from a fraction of the documents which are accumulating so rapidly. We offer here some definite evidence as to
what
From
the
first
Superintendents
we
500 questionnaires returned by High School Principals and find these expressions of opinion as to the present and
Opinion
(1)
Expressed by
24 Schools
29 146 67
2
5
With present
(2)
Useless
(3)
(4)
Of some value
Of great
value
(5)
With improved facilities, will Be a needless expense Furnish mere amusement Be merely informational Be really educational
3
14
184
Stimulate
to
in
better
work
in
102 Schools
10)
Save time
edueation
87
(11)
(12)
same time
61
Be
since Printing
39
760
(
of
th<
The
number of
5, 6,
7]
These 500 schools are those replying out o: about 1,500 who received the Questionnaire in the same mailing. It is safe t< conclude that the schools sufficiently interested to reply will always show minimum of unfavorable and a maximum of favorable verdicts. The 1,000 schools not answering may doubtless be considered as register ing by their silence unfavorable verdicts in the vast majority of cases. A com plete return on the Questionnaire would unquestionably reverse these ratios. Aj the figures stand, there are 686 favorable replies to 74 unfavorable. The ratio If the 1,000 schools nd then, is about 9 to 1 in favor of visual instruction. heard from were all unfavorable, they could change the ratio to about 2 to 1 against visual instruction. Such a ratio would be entirely natural in the presen early stages of this very young movement.
should not be misinterpreted.
<
WE
An
are
Invitation
tions
now ready to offer our services to schools and social organizawhich are contemplating early purchase of equipment or rental
Readers
makes of machines, sources of films and slides, miscellaneous equipment, oi on any other question that needs an unbiased answer. The Educational Screen does not know all there is to be known abouj this vast field and this magazine is not at all peculiar in that respect but does know a good many things and they will be told for the asking. Oui answers will be based on personal knowledge, experience and investigation When we cannot give this sort of answer we shall say so frankly. Above all, our advice will be conscientious, as from one colleague I another for our primary purpose is to serve the best interests of the educational field (in the broadest signification of that term), and our own success depends absolutely on our doing it. Further, our advice will be impartial, we are friends equally with every producer of a worthy product; we owt
\\
Editorial
nothing to one that
It is,
is
and we have nothing to sell ourselves. add that it will not make a dollar's difference in the income of this magazine whether the individual inquirer buys one machine or another, rents one company's pictures or another's, follows the
not
to all
;
owed
we
advice
we
give or ignores
it
entirely.
We
receive
no "commissions," no
"subsidies,"
we
product, and in the great need for that product in the schools, churches, clubs
and community
centers.
it. Only so can we our aim to be the impartial medium between the schools and the producers, a medium that can be trusted by both sides. Only by close and cordial relations between these two economic elements (producer and consumer) can
We
realize
its
rich promise.
IN Georgia comes
From
of a paper to read before Women's Clubs; a Texas university student wants data for a thesis on the influence of the movies on public opinion an Iowa principal wants us to recommend sources for renting slides a West Virginia professor asks who produced certain important films now running in the theatres; an Indiana superintendent -requests our frank and
;
an
Illinois
principal writes,
"Our
school
is
in
the
market
for
moving picture projector, which will give satisfaction in auditorium with throw of 60 feet, and in an ordinary classroom where the throw is less than Can you recommend such a machine?"; a prominent bureau of visual 30. instruction in a western state asks advice on projectors and adds the following: "Our purpose in getting a report from an unprejudiced authority is
.
.
to aid us in selecting
make of
a machine
projector
to sell in this
territory.
It
is
important that
we have
which
We
want
in schools
agency for a semi-portable and a portable machine for use and churches." Does this suggest why we issue the above invitation? Does it suggest any use to be made of the invitation? If so, we shall be glad to hear from you and return a careful reply.
to get the
There are
Two
Some
of
of the
young
interests, in
tempo
of learning and]
the
spark of
mind
is
more or
for,
less a believer
is
upon
their
way
equally
magic;
more than intuitive skill and is under the check and control of scientific principles, yet the fact accomplished is always something of a
miracle.
With her as guide the child has come into the possession of a
tiny fragment of his heritage of the
Children shall without handicap. open their eyes and behold the true, the beautiful, and even the good. What they see shall be theirs to have and to hold fast in enduring memory and since "seeing is believing" they shall form convictions based upon clear, accurate and abiding impressions. So runs her dream as she momentarily falls in with the naively unscientific psychologizing
of
many
credulous
expectancy.
The
title
movement.
ical
thought,
imagination and lures her into the Will to Believe that mayhap these
dream fashioned
the
for
men
and machinery with their more objective perspective and with vision untrammeled by the
of science
stuff of
dense detail of the class-room closeup have found a way to translate the remoteness and abstractness of
The Danger
of
Unthinking
Enthusiasm
many
believes
that
concreteness
hereand-now. Perhaps they have discovered a method based upon a human appeal so elemental and
the
child's
rich in educa-
it be saved from the speciously easy psychology upon which its over-zealous
universal
that
the
teacher
may
cut
Such
its
fallac-
indi-
prog-
by putting arguments
into the
mouths
of its
is
them a demoralizawhole educational regime, but more disastrously, it will consign the whole movement to an early and irrevocable doom beclaims and see in
tion
of
the
Nor
will
a presentation
in
visual
cause
of
is
terms necessarily leave a sort of the form of visual residue in is seen may be imimagery. What
mediately converted into auditory or motor or visual images according to
the idiosyncrasy of the learner, and
the recall
which
capable
bound
to
follow eagerly
Popular fulfillment. of psychology has much circumstantial evidence to support its dictum that
is seen makes the most vivid impression and hence persists longer This is what the poet in memory. seems to mean when he says
may
be
in a
form which
what
not in and of itself guarantee the means of securing a more vivid or accurate impression. The psychol-
"I
What
gazed and gazed but little thought wealth to me the show had brought For oft, when on my couch I lie In vacant or in pensive mood, They flash upon the inward eye
children have
Which
If
is
ing" however
to for looking.
conscious could be
treasure trove, this
with the
would be painless education indeed and the motion picture would replace the teacher as surely as machinery replaced hand
Mechanical difficulties in producing films and financial limitations in securing them would be dissipated as the mist in the sunlight. Educational methods would be revolutionized and school architecture completely reconstructed.
labor.
which they have just "seen" show that something more is involved in vivid and accurate perception than merely opening the eyes to see. Indeed the whole trend of modern educational method is toward a rereading
of the
old
aphorism,
"No
impression without expression." It is now an accepted pedagogical com-monplace that an impression must
be carried out into some fulfillment in "expression" in order to become
part and parcel of the child's intellectual capital, but more recently
the emphasis has been on the other arc of the circle, namely, that in
There
uous
material
is,
psychological
presented
some
it.
"expression''
to
Such "expression"
of active ex-
contention
the
may
gist's
he
in
the nature
well-recognized
fact
that
the
shown in the psycholoexperiment of the perception of a complex figure made up of An atStraight and curved lines. tempt to draw the figure after looking at it for a moment proves how inadequately it has been perceived.
ploration as
< > 1 1 1
"movie" has the power of stamping vivid and all-too-minutely detailed images upon the minds of the young. Witness of this nefarious industry
is
the
silly
\-
drawing
ment
be
it
True
as this
may
main-
alternating
of of
it
we wish
to
it
become
clear, vivid
and accur-
ate.
The psychologist
made
believes that
namely, that vividness of impression and the consequent virility and permanence of the image de-
total or an unsynthesized congeries of parts. The "expression" which precedes the impression need not, however, take the form of such specific overt activity. The experiment is simply a neat demonstration of the peda-
pend upon the trend of interest of the perceiver. If one is looking for something he will pitch upon whatever
falls in
reason
why
seem to challenge the attention as if they contained their vividness and intensity within themselves, and are
gogical
principle
that
in
order to
to look
remembered
in
disastrously definite
know what
already exists
is
and what
find
pictured
it
;
seized
upon as
;
fuel to feed
or
Then
if
pictures
are
romantic tendencies
definiteness
detail
and
presented which fit in with this mental preparation or "set" the impressions will be vivid and accurate.
Pictures as Focal Points
In other words,
That
is,
temperamental "sets" arc already there and the pictures provide impressions which serve as focal points for attention which later in the form of images become the carrier of meanings or provide the basis for
action.
interest
ceiver.
Thus
home
They
images of the dancing daffodils because he found them with the poet's eye. This is not a vindithe
vivid
puts
latent
undesirable
human
traits
true
that
normal,
should be
suppressed.
The motion
to supply
not be
made
picture should be
made
an
environment
desirable
sterile of
stimuli to un-
conduct,
in the April issue)
(To be continued
The Educational Screen Takes Pleasure in Making Two Announcements Regarding its Activities in the Visual Field
FIRST,
field of visual
education.
J.
written by Joseph
by Columbia University in partial fulfillment of requirements for the degree of Doctor of Philosophy. As the first dissertation exclusively upon visual education to be accepted for the doctor's degree in a great university, this
work
is
which very little research of serious character and scholarly worth has been done. There has been a vast amount of random writing on the question, based on mere opinion or elementary experiment, but little has been established and reliable statistics are, so far, exceedThe conclusions arrived at by Mr. Weber by sound research ingly meager. methods will do much to differentiate fact from supposition in this new field. Brief abstracts of certain portions of the book will be printed in The Educational Screen in forthcoming numbers. The volume itself will appear on
highly significant contribution to a
field in
or before June
first,
1922.
SECOND,
this
a comprehensive Questionnaire on visual education, circulated by magazine on a scale never before attempted in the educational field. This document, after months of careful planning and revision by various educators in different parts of the country, has been brought to final form, copyrighted, and started into the mails in February last. For completeness of data called for, simplicity of arrangement, ease of answering, system for accurate Everv this document, so- far as we know, is unique. classification of results
Questionnaire
recipient
when
it
of
th**
and a
serial,
flexibility in filing
maximum
The enormous
make
it
matter of months before analysis and tabulation of this mass of information can be available for educators. Partial data, however, can be given in nearly
every issue of
The Educational
Screen.
Lanphier
of Chicago
is
The University
REMEMBER
I
with no
little
plea-
It
tdj
sure some of the keen comments upon the movies by one avowedly
life
Among
its best, have to and recast life as does the well-made play. Its motto not only is, !" but dught to be, "Good-bye Aristotle The drama, I fancy, will have to continue to be on speaking terms with him. The movie is another mat-
It
does not, at
artificialize
ter.
It
;
has
its
own
"But the movie drama has a more serious and varied future than
said,
ture
and producer, director, actor and author will have to pull together to
that (slapstick).
It is
important.
It
make
must chuck
it
ought to chuck
overboard.
the
The
commercially brilliant."*
for
Aristotelian unities
Sound though the judgment may be some far future in moving picture
present dangerous advice;
memory
of them has
art, it is at
unde-
Our
serious
it
drama has
them
rescued.
Unity of action has at least been kept, in most cases. Even unity of time has been stuck to; and,
out of court.
in rare cases of late, unity of place.
it
is
average
in discarding
do not refer
to adaptations of
specific publications
made of
necessity.
place alike
works
unity of action
sary to
it.
At
least, so
my
It is not.
but
am
In the many,
*"Movies"
Gerould, in
July, 1921.
10
many
by
of
action
is
the
strictest
dramatic
Katherine
Atlantic
Fullerton
for
The
Monthly
sense
11
shoot of
life
tained.
of
humans
lives
there will be
little
illustrated points
its
)f
four
episodes,
Mediaeval-
in these aver-
There is one exception, the spectacle film, an exception because it is apt to be of an epic quality. There Mrs. Gerould
is
and the Modern, the third named narrative was the most perfect from an
epic standpoint.
I
remember the
marching
ac-
curacy of
of
its sets,
entirely right.
its battle
hosts,
Yet even then one must hesitate before a sweeping assertion. There are
two kinds of spectacle films. First, that which takes place in one period of time second, that which covers two
;
or
more periods of
time.
I recall
The
But
I recall
two thousand years ago. Were anyone me for an example of what Mrs. .Gerould meant by "the processional value of the movies" and "the picaresque film," I would say witness the Babylon of Intolerance. That it was successful was due to a fine restraint and balanced sense of economy in the use of its mobs, its battle scenes, what
to ask
former held
"thrill of the
It
was a centralized
not attempt to
tie
(Were
all
these
matters
of
spectacle films
No
admit
happen
movie.)
it.
But there
is, if
As
to the
or two, one of
rent production
was hopelessly broken in the use of the four narratives. They were linked by
an idea symbolized.
Miss
Lillian Gish
in
justice to
we rocked
story.
As
I re-
Symbolism
nember
it
persistent
treas-
For, after all, Intolerance might have been unified by the simple method of
And
either
by
rearrangement.
Instead of presenting
on an installment
is
:i
Intolerance
in
its
Babyin
lonian
reels
be an indication of the
to
"its
great
ly-
ing Shore."
prologue, introducing
spaces, with
horsemen
;
riding,
men
and the
fol-
ing in
ambush
then the
first
narrative in
toto,
these
matters
by the other three, each finished and connected if necessary by leaders that re-emphasized the
in succession
first
lowed
But
let
Intolerance, in
general prologue.
An
epilogue of
its whole effect, be a warning against an utter disregard for the unity of time. This second type of spectacle
the
film
may
it
justly
present
periods
of
leaving in the
time, but
mind of the audience a coherent fourpart presentation of a great and fundamental idea manifesting
lives of
itself in
the
As
epic,
and
is
could overcome the jump from the hosts of Cyrus and his flaming night attack to the hanging of an innocent citizen and a governor's mad
race to get there in time with the par-
not in
its
numbers
of people,
its
two
Griffith
its
examples.
cution ruined
epic qualities,
don.
respect.
It
was a
not
glaring proof to
me
that
we can
ous
the
tale of
no decent reason. handicap of leaping across centuries, yet it lost its unity amid the three or four narratives of different groups of its characters, depending only on Theodora's presence in each to tie the
film
cradle.
ways of
together.
Very much
of
like
the
four-period
proposition
Intoler-
narration before
we make
!
a habit of
were presented on the installment plan. First two general leaders of an excellent nature
ance, these narratives
to reflect the epic perspective of beg-
medium be
visual,
the
ments of dramatic climax in which unity of time and action count tremendously, are the same.
then
Therefore, be-
fore
we
say
"Good-bye
Mr.
Aris-
18
site
action,
sired,
t
scattered
to
energy
not
concen
fonr threads.
ration,
-ative
Where
it
rated force.
made
somewhat
possible to
Thus,
sum up
this
whole matter
we
find
two
first,
was hopelessly confusing in the This came about bemuse the writer of Theodora disreige
;urrent picture.
its
not
make one
which
all
narrative the
main
more periods
In the second,
plot to
thrill
of distance and
nate.
He
dramatic
crowds
in each period.
element, suspense.
the
The
characters of
we have
subordinate
stories
should have
introduction,
to
reappear
later
on
hopelessly
others, in-
luminating leaders.
there
is
In
the
first,
if
we have no
in the action.
Therefore,
problem analogous to that of the second type. If, however, there are, as in Theodora two or more narratives, one
j
plot carry-
centering of a film
is
of periods of
in
for them.
In short,
And
last,
in reference to
both types,
Mobs, when
scenes reem-
mob
for an
that
reference to
overdose
of
the
very
element
of
tory,
Too,
will
make them
the
quality
at artistic
Among
ultimate THE form, and
the Magazines
L.
Conducted by N.
this
G.
is to supply in readable purpose of quite informally, a digest of the literature on the subject as it appears from month to month in various periodicals. The busy reader may find here as much as his time will allow him to cover; the curious or scholarly reader can use the department as a starting point for wider ranging, with marked economy of his time. Last month the department began with a single review. In this number we cover several of the most significant among recent articles, Once this is done, bringing our survey approximately up to date. "Among the Magazines" will concern itself wholly with the articles of month current in the case of magazines the preceding month or of the published far in advance and will adopt a form of presentation and easiest for reading make and readiest reference. arrangement which will
department
An
Industry,
Not
information
cesses
this
from
the
an Art
in the
made
possible
on the motion picture. It has roused a storm of violent protest and desperate defense on the part of the film interests, and has unquestionably exercised a wide influence on the opinion of the
thoughtful fraction of the public. It is the most convincing arraignment of the industry that has yet appeared for it is
THE
most notable
average person, but as for racial dissemination of the minority's culturewell, the "outlook is dim." The very conditions of modern life ard such as to keep the average person whal he is. His sensitivity to aural and visual
impressions is continually dulled by the crash and foar of cities, by lurid lettering
restraint, limits
it-
mainly to real weaknesses, and avoids the attempt at blanket damnation of the whole thing a proceeding usually fatal
on bill-board and electric signs. Hence newspaper headlines and advertisements, and the violent sensations of the movies are necessary to reach his numbed and jaded intelligence only
the blatancy of
to the intention.
fourteen years old to begin with. The motion picture industry "has bej hind it a vast deal of shrewd and adventurous
business
fluential
Starting with
tional
the verdict
of
the
Na-
Research Council that the average adult male in America possesses a "fourteen-year-old intelligence" Mr. Rascoe reminds us that this average person with his "sinister burden of prejudices, taboos, neuroses and superstitions" is really the "arbiter of our destinies in any vast group expression such as custom
directive
sonality
who
glimmer of aesthetic
interests or even o]
and law, manners and recreation." It is he alone who makes media of information self-supporting, newspapers and popular magazines, and hence he dictates the course that racial education must follow.
elementary taste." But America's penl chant for seizing upon any promise oj financial success insured the rise of the inl dustry to the dizzy height of "fifth in the world." The newspapers and Wall Street brought about the costly theatres, the massive studios, built Hollywood, anl
made
possible
the
ridiculous
salaries
The
ist
for
can subsidize
its
own media
of
14
As
15
Rascoe
is
equally unsparing.
It
is
the motion pictures as a distinct art form and "such a consummation will never be achieved by a collaboration of hack fictionists, illiterate continuity writers, vain-
one
scenario
has
been
prepared
that
in
in
his
significant
He
insists
the
pomade
addicts."
In
strong
our
fiction
difficulty
that
it
isn't
most most
backwash
doing the scenarios; and he ex:uses the few reputable writers that have iabbled with the low enterprise on the 3lea that they could not be expected to resist the easy money.
sion" are
achievements stand such foreign films as the German Caligari, The Golem, and various French and Italian productions which show evidence that their makers are grasping the problem of a new art.
As
The
anti-censor-
Two
sized,
argument
to
of "artistic 'freedom" he
one upon American writing. Movie prices for material so overtop that obtainable from the stage, from magazines
and from book publication, that "the majority of American writers are planning their work with a view to screen producThis tends to reduce our fiction on." to its lowest elements of continuous acion,
when
evil
movie industry:
prepared to
innocuous
clip
insipidity.
devoid of comment, observation, and hilosophic content," with disastrous ulimate effects on the cerebral processes
and the only effect upon the intelligence and art of the country would be one of
lasting benefit."
the readers. The second after effect is Because upon the habitual movie-goers. he movies are "preponderatingly sentimental, with constant recourse to the
oi
STRONG
his
and the
evi-
critic's
methods, the movie fans ire emotionally sapped night after night before unreal circumstances. This means that their capacity for reacting emotionThe tendency ally in real life is reduced. toward emotional insanity, a complete inability to feel any emotion which is not
readiest sure-fire
artificially
dent care not to over-state what he believes t'o be the truth, and because of
clear admission that he attacks the movies as they are and not the movies as It is the temporary elethey may be. ments that are wrong, not the fundamental and permanent ones.
stimulated."
as the movies are in the hands
As long
f
The
Educational
in the
expects to see,
sincere,
and ex-scene-shifters," Mr. Rascoe Joubts that first class artists can be
feurs
and
is
brought to touch them. Hence this "art" must be classed with the "art" of "canned teans and dental creams" or any other Practically no effort has merchandise. :een made in America toward developing
discussion
the
and "defense" must always Mr. Rascoe is merely one of the opening guns of an engagement which must last long and burn much powder.
"attack"
it.
await
j .
If.
Pictures?
Parker
December
of
there can be in foreign films any moil men as the De Milles an!
Griffith and others know." The WhispeJ ing Chorus and Broken Blossoms repr] sent the ne plus ultra in screen art far; present heads of the motion pictui
sj
the
Bookman
for
books,
of
the
in
industry are
inspiration
men
of
"vision,"
etc.
Sj
is
broken.
chi
"vii
purely and ineffectually defensive and Mr. Rascoe's position stands practically un-
Bt.FORE
it
its
publication
we wcr
btj
this article
changed. Enumerations of artists who have attaehed themselves to the mighty industry do not in the least prove that industry to be an art. By the same method, spiritualism can be proved a science by mentioning Sir Oliver Lodge, James, Hyslop and the rest; jazz tunes can be branded "musical art" because true musicians can be found who admit to a liking for them and occasionally amuse themselves by
pathetically disappointing. Fl
said in defense of the
more can be
movid
J
managed
to say.'
The Movies
By
In the
An
Arraignment
for
S. L.
M. Barlow
January
give space to vigo
Forum
composing bits of the stuff; prize fighting can be proved the sport of ladies and gentlemen by the attendance of a few of them
at the
show Mr. Rascoe unreliable, Sir Gilbert quotes two sentences from the first and last parts of the BookIn the effort to
criticism and reproach of tl motion picture. We should like change, for mere variety's sake, but of what is now published on the question-j we mean articles ably written and by write! of intellectual and critical qualification of an adverse nature. This will continue be so until defenders are found to matd these attackers in literary calibre and critid talent. We may have to wait long.
AGAIN ous
we must
man
article
as glaring evidence
It
of that
.
is
vigorous
an"
critic's
ur> reliability.
was an exceedand
Sir
but
it
is
mitigated by
much
col
Gilbert
structive suggestion.
Ecu
tin]
evidently
misunderstood
some
perfectly
comes
in
good English, for certainly the particular "excellence" Mr. Rascoe mentions could very well be achieved by the sort of "collaboration" he
with more
operation.
justify
tl
The
The
without
lime.
.
having
.
.
achieved
is
the
sul
c
names
later.
first
half
the epitome
America commerce,
applied
science,
vast organiza-
is
Funeral
Parlors.
the
spicuously absent
an
Gentlefolk
are
coj
inadvertence part)
these things
tions
their
high inspirais
The
upon
strong
that
Sir
Gilbert
when he
denies
due to the actors. The entire pcrforinarj is cheap, meaningless and silly ... it is| case of reductio ad absurdum." The material of the second half of tr picture is "more obvious and hence m<|
17
(A some-
his suggestions he
rash phrase, for no one now living knows "the scope of the movies"). "The
lubtle delineation of character
gerously superlative as
which
facial
is
left
or buffoonery, confined within four walls, can never be screened" but most of it is interesting, convictional,
one photographer
actress in
. .
.
liable
and the attention of turned to the only rethe motion pictures Dame
side,
is
:
and some of
it
may
prove prophetic.
"Ibsen, perfect on the stage, becomes, in movies, such an amorphous and dull
Nature.
md
thrilling,
The great ice jam is superb as when Eliza crossed, but the
more
significant in one
the
han
last
is
in the other.
is
Down
but
the
is
magnificent, gigantic,
it
you
art,
will,
it
art,
As
the cream pie farce. So long as the cinema deals with material which can better be handled on the stage, so long shall the cinema be without its own art. Unques-
or
ipotheosis of
Drury Lane."
is
The
bit.
writer
it
tionably artistic things have been done in the movies Broken Blossopis, The Kid,
:
and judge by ts heights rather than by those abysmal iepths sounded in the first part. The ice
jam, then
I
Tommy, where the most illusive of atmospheres have been caught in more than one
scene.
ice,
There
last
is
sentence.
falls.
)iily
Here
no
call for
great acting.
The
sus-
"establish"
they
can
essential element of
drama here
is
3ense,
:ataclysm of nature.
drama develop
relation
between people, in the labyrinth of the brain, not on a piece of ice. Duse, Bernhardt, Mrs. Fiske, have never essayed the part of Eliza to my knowledge, not only
.
.
Mr. Barlow's anxiety to provethat the movie of the future will work in different spheres from the movie of today inclines him to advocate complete abandonment of present lines of effort. This is inconceivable and, in view of "artistic successes" which he names himself, would be
"promise."
absurd.
.note
The
is
rest
its
because of
play
its
wholesome
optimism,
them by a natural phenomenon^ If there is no art in the acting and play, it must be in the photography. But "the very perils and haste of the scene do not permit the leisurely arrangement of lines, the grouping,
the
contrast,
the chiaroscuro,
the balance
work
wardly digest the foreign films, Caliyari and The Golem. They are the first films not perverted from a novel, not enlarged from a They possess purely movie scenarios play. and develop along lines of absolute cinema It dawned upon the European technique. producers that movies are a matter of black
of art.
tors in
The two
any
art, selection
and
rejection, are
lacking."
Leaving the big film prostrate in this Mr. Barlow proceeds to a more :onstructive line of argument. To strengthen
fashion,
and white. In Caligari the effects of perA spective and contrast are astounding. grotesque and horrible story unfolds amid grotesque and horrible surroundings. There The Bedlam in the complete unity. is can compare with alone Main" of "Duchess
18
could not resist cutting and tinkering, of course, but even so it stands as the one picture which conclusively proves that the movies some day may have an art
ican
lessees
es
now
it
many emotions
it.
as there are
masks ma^
for
of their own."
Mr. Barlow urges two "ways of escape." He emphasizes the unplumbed possibilities "Imagine a of the animated cartoon. Hiroshige, a Beardsley, or a Rackham drawmotion picture!"
ing a series of pictures to be vitalized by the Marionettes xare the sec-
"With cartoons and puppets, with the lei how original and linfl
spreads the realm of the movies of
!
tl
want of imaginatio and a real sense of what is true and what spurious, the producers in America hai
future
yet,
And
for
ond great possibility. Puppets can perform as no human being is able. The limitation
Reviews
of articles
Art."
numbe
has
taken
utiliz-
ate
department of education, as
editoi
to be the first
in chief.
toward
This
as
and laymen
awaitc
in edi
1
the advent of
some achievement
few years a rare collection of Americana in the form of thousands of photographs, originals and
lated during the past
which would
reproductions
notable
in
connection
with
the
fifty-volume
of
history
series,
worthy of the label "educational" ar commensurate with the possibilities of t! new medium. This great task has bet inaugurated and announced without tl
trumpets hithen such enterprises. Tf fact that a distinguished educational stitution is behind the undertaking ar that educators of high qualification a in charge, give sound reason to hoj
of
blare
"Chronicles
America," published by
commercial
The
attendant
upon
pictorial
i:
prompted num-
many quarters that made the basis for hisThe suggestion has been
of a series of 100 reels
that the
is
fit
heeded.
The production
on American History will proceed under eminent supervision. The "Chronicles of America Picture Corporation" has been
organized in New York for this express purpose. The president of the new corporation is George Parmly Day, founder
about to dawn. Such productions as these Chronicl promise to be will be an emphatic co: trast to the mostly futile and largely fa cical materials that the commercial pr< ducers have been taking from their bat shelves and ofTering to American educ
Yale University Press, with Dr. Max Farrand. professor of American History at Yale, and Dr. Frank E. Spaulding, head of the graduof
and
president
the
When the future historian describ the development of visual aids in mode:
tors.
prominently,
of the story.
we
id
THE
eld. It
to
him
have
$150,000
in
the
bank.
bsorbing
of
news
in
the theatrical
ewspapers
escription.
rhat
rages
as
to
will
come
of
it.
Nothing can be
;
nown
ment
ttle
comes an official stateand intentions even then can be known until said plans have
until there
They would hardly pay such a doctor's fee if they were not pretty confident of a cure, or what they suppose to be a cure. But the suspicion is justified that the movie magnates are going after the pimples on the patient rather than the
internal conditions that caused them.
of
plans
een
worked
out.
Possibly
they
can-
high
figure that
a.
ot be.
them
(
in
For the past year or so the movies ave been receiving a series of unmerciful both literary and financial, which )lts, ave been amply earned and were long
verdue.
ctresses
achievement; they may think it wiser to pour out money to defeat censorship legislation than to elevate the quality of their product to a point where
the public will cease to think of censorship; they may imagine that moving the
niovies
Box-office
records
shriveling;
leatres closing
bag
to
and
baggage
Island
from
will
this
Hollyis
permitted to twinkle ashed to a point where it is no longer to print the figures; production Vise
alaries of stars still
wood
Long
somehow
the
of
in
nd
studios closing right (even Famous Players, Metro, t.calart, and others reported as having but the doors of their celluloid mints); erious magazines printing violent critisms; censorship bills threatening pasreatly
curtailed;
left
soothe the ruffled nation. If sort of thing they want done, cal prestige and organizing Will Hays will be powerful
the politi-
genius
factors
doing
it.
But such measures are not a solution; they are actually added aggravation. It is mere postponement of the operation
clearly
called
for
age
in
numerous
states;
in
short,
the
by
this
first
serious
lighty industry, as a whole, shuddering efore the dark uncertainty of its im-
head down between its houlders, wondering if it will still be ere when the storm has passed. This is the situation to be gleaned from re movie magazines themselves, the rgans of glorification which are vital rgans in the body of the huge industry.
lediate
future,
attack suffered by the industry. Certain leaders of the industry know this we If he hope Will Hays knows it too.
does,
and
if
upon
their
own
diagnosis,
Otherwise
it
will be relatively
an insig-
nificant episode.
)ne
feels
nxiety,
inic.
/-m
iTOTION
tion "
is
Pictures
the
title
e6 Producof a course
And
now
comes
is
Will
Hays!
it
The
that
-*-
VI
n ow being given at
Columbia
/hole public
with curiosity as He will unquesionably try to do what he has been hired And here is the crucial point of d do. he whole matter do the men who hired
interested
is
that agog
the part of
University by Rowland Rogers, Ph. B., associated courses on PhotoJ. D., and
play
what Hays
will do.
Composition
are
offered
for
the
spring term. The entrance of the motion picture into the curriculum of Columbia is a logical
80
development,
in
finds natural
precedent
The course
history
famous course on Playwriting established and brought to a position of high importance by George P. Baker at Harvard University. Professor Baker's innovation evoked sceptical smiles in many quarters at the start. But these smiles have long since changed character before the succession of successful and
the
and development of motion pictures, and the classification of pictures according to their use: Enter-
tainment, educational and industrial. It establishes tentative standards for judging these types of pictures according to the degree of success with which they attain their objectives. It also includes a study of the following
topics:
important dramatists developed within those academic walls. There is no reason to doubt that the success of the experiment in the realm of the stage-play can at least be dupliIt may even be cated in the new field.
surpassed, for there is certainly far less standardized .knowledge of scenario principles today than of the principles of dramatic writing when Professor Baker began his remarkable work. The need
of such scholarly attention
is
and
their
The
functions
of
production,
greater.
with analysis of the duties and responsibilities of scenario writer, production manager, director, art director, camera man, and editor.
decade from now we# may have a new brood of scenariowrights and universitytrained directors who will help to usher
in
the
the
period
of
real
greatness
for
dramatic
for
medium which has hitherto and most part achieved mere "big-
factors of production, inof photography, as straight, "trick," natural color, and microscopic, the making of cartoons and technical drawings.
5.
The
cluding
types
ness."
It
is
the
We
reprint
guests
who
of
ous branches of production address the class and thus supplement the
Roger's course:
work
both
the
By
this
The course
practical. picture as
It
means, students come in contact with capable motion picture directors, laboratory experts, critics, editors and
producers. (For further details in regard to this course, address the Secretary of Columbia University, New York, N. Y.)
thought
It
and
communicating
ideas.
furnishes a background for understanding and judging motion pictures used for entertainment, for instruction, and in industry. The course gives a working knowledge of the principles which underlie production, of the psychology of visual appeal, and familiarity with the best practice in producing motion pictures, both on "location" and in the studio. Students will have experience with the functions of production by actually producing a short picture. In addition, pictures will be shown in the class room to illustrate the technique and artistry used in motion picture production.
"T
HE
rily
me
<
shows
signs
broadening
in the
range of
first.
sul
jects imported.
Serious
productions
should have been dul thankful for "Passion," "Deception "Caligari" and the rest, not only becaiu of the splendid evidence of these filn themselves that there is and will be a
"art of
have been
or
came
From Hollywood
given a most salutary jolt to our merican producers. Many of these comercial companies who have long conliered the "motion picture art" to conin turning the crank and st merely king in the money, are now bestirring emselves to do something better for movie's tomorrow than they have ie
lvc
21
the "thrillers" are now coming from foreign shores! Four solid pages crimson advertisement announce "The iistress of the World," a four-volume Paramount Pictures tremendous, rial time and >ectacular, stupendous, etc.
Even
':
nauseam. Then if you scan the ad you will note on each of the four pages a tiny "U F A Production" inserted with careful inconspicuousness. Doubtless a clause in the "rights" contract compelled this insertion or it would have been omitted entirely. As it is most of the great movie public, to whom the initials of the great German firm connote nothing anyway, will pay their money, take their thrill, and think Famous Players-Lasky have done another wonderful
closely
picture.
oney
onths
"The Mistress of the World" will probably have no influence upon the award
of the "artistic"
tion picture
to
fifty
t'o
make past
thousand
in the cast
eighteen
palm
to
European moit
achievements
achievement but
promises
Nights tame r"will make box office records which i-ver can be broken," etc., etc., etc., ad
:>w
insignificant
Arabian
worry somewhat the American filmbuilders whose ambition is to keep the "sensational" palm in this country.
From Hollywood
Conducted by M. T. O.
REMEMBER
|
in per-
vaudeville stage, an absurd skit which held up to ridicule the tricks of the
It
leatrical trade.
wound up
in a
grand
ig-waving finale which gave the chief laracter opportunity to observe sagely, There's many a bum show been saved
y
You trim after the fray. exult with the small citizen behind you though not so audibly when through the rifts in the battle' smoke you glimpse the
sartorial
Stars and Stripes, infallible sign that have met the enemy and he is ours!
we
the
American
flag."
picture producers call that thing all the old, familiar de>rt of ices for holding interest by the all-em-
The motion
duces,
tears,
is
And
it
that
would
racing
term "hokum," and as such it definite and important place in You know by heart the laughictures. You roducers in the average comedy. ok for them, and you must admit it hen they come, you laugh. You hold
do,
is
"sure-fire
stuff,"
the thing
Mds a
called
"hokum."
There are few pictures which do not depend largely on these devices for their
popularity.
ditions
the
in
tra-
of
our breath during the flitting progress f the melodrama, while the heroine races
nth
the
limited
little
mo-
train
to
snatch
from
if
the latter
may
be said
eath the
You
to have traditions.
'an heavily
'hile
on the arms of your ch.iir the hero fights six bandits single
But
style.
"sure-fire
stuff"
is
You
are tired of
it.
*9
been tired of it for some time, but the producers have just discovered what the trouble is. Watch yourself, and see how often your criticism of a picture is, "Oh,
it
comprehension of the literal-minded mi which supposedly supports thei In other words, the motion picture mu be aimed at the average man; other wi
it
was
all right,
but
it
is
out of
its
class.
thing."
And
notice your
own
surprised
If there were such a person as an ave age man, the theory would be workab! but it takes high and low to strike average, and what suits the one can nev
gratification
ferent.
when you
is
you,
what
of
it
is
letting producers
know
staying
It
want.
Progressive picture
talked are
'
men
to
whom
ha
had first to make up its mind about what it liked, and during that time the producers handed out whatever
business, for
fe
se<
t!
along are
seizing
they pleased.
The point upon which the future of motion pictures hinges is, as I see it,
the question of their "universal appeal." That, it strikes me, is one of the greatest bits of
opportunity to try the public with som And so we have had su ^ thing different.
fine,
earnest efforts as
of
"The
Fotar
Hors
men
"hokum"
in
Apocalypse," "Miss Lu Bett," "The Conquering Power," to mei tion only a few.
the
No one
One motion
of the
appeal alike to all classes, and yet that is the assumption upon which the picture makers have been proceeding for all these "Hokum," they reasoned, pleases years. everybody, and from the standpoint of box-office receipts, everybody must be
me
as
his
id
what he
pictures
exhibition.
He
now
is
fi
But the box-office has for some time been registering a falling off of paProducers have been surprised tronage. and deeply puzzled, and picture production has been of late in a state of conpleased.
designed to satisi certain demands, and advertised for wh they are. need a condition amor
definitely
We
siderable confusion.
Various writers, in attempts to clear up the situation, have insisted that the movies are a popular art not a fine art,
producers and exhibitors which will pe mit the person who wants fine, seric drama to be satisfied without being c fended by having "sex" stories hurled him; which will allow the seeker aft' light entertainment to see what he wan without first having to tax his brain wi a problem play. The stage does it; wl
not the pictures?
purely a democratic appeal. One writer puts the movies violently in their place with the implication that at best they are hardly fit for more than a twelve-year-old intelligence. The general conclusion seems to be that the motion pictures will be limited in their achievements, literary, artistic, and histrionic, to. just what comes within the
their
appeal
is
The problem
public, after
it
is
the
producer's.
Tl
has signified its approv or disapproval, can only sit back ai watch. But the fact that the produce realize that there is a problem, and a
striving to meet it, should do much temper the public impatience with wh it terms the shortcomings of the movie
'
School Department
Conducted by M. E. G.
An
is
made
like
any other
An
forms a valuable collection of data from which conclusions and state principles.
to
draw
Marionettes*
A
A N
Project in Visualization
Contributed by Agnes M. Campbell, Supervisor of Art, East View School, Shaker Heights, Cleveland, Ohio.
r-%
adaptation of Tony Sarg's marionette appealed to us at the outset merely as a unique mode entertainment. saw that such an itertainment might possess educational due, but the latter did not seem to us first to be the outstanding feature, either, it might be said, did we realize
age
in originality
and
intelligence.
We
older children, the mechanics of the stage would offer interesting problems
to
With
be
classes.
training
this
was
te
intricacies
little
details
be worked out. It was, however, irough the working out of these very Ltails that we found how much of eduitional value could be gained from a
roject of this kind.
impossible with us, so we purchased second-hand a discarded stage from a junior high school. The mechanics of
lighting and such matters
to
our first marionette low essentially as an art project, with le dramatic possibilities as a secondary
onsideration,
We
undertook
and
the
solving
of
the
The decoration of the back and side drops was worked out in our regular art periods, during two lessons a week for several weeks in all about ten hours' work. The scenery a woodland and the
queen's bedchamber
style.
It
was
made
in
poster
was concerned. The story of Snow White and the )warfs was chosen as simple enough for ur first attempt. The play is worked ut in the Sarg Book of Marionettes,
articular
class
was
could
get
hich contains many practical suggesons for the making of the puppets and ie decorations of the stage. Marionettes had been frequently used junior high schools, but no one in ur system had tried them with younger liildren. We proposed to undertake the roject with a class of fourth graders
Editor's
ted
stage) sitting cross-legged, busily pasting trees, birds, pebbly paths and dwarfs' houses on the beaver board back-drop.
At
a large table near by were the rest of the class, cutting out these same trees.
They were
any piece
of
work out
of
harmony
in line
or idea. Only the best found its way to the stage decorators. As a mode of visproject- teaching,
arionettes offer
Note.This article is offered as a splendid example of motivated an interesting medium through which various subjects may be
vital.
visualized, corre-
and made
'M
was
tures
of
their
own puppets
themselv
with
We
at
many
We
all
the chil-
our inability to make the puppets spond. Perhaps these little acting d<
dren learn the parts, choosing finally the ones best suited to speak for the marionThe class rehearsed both words ettes. and gestures after the usual fashion of putting on a play.
In the meantime, the teachers made the marionettes from cheap dolls, according suggestions from the Sarg book. to
are like fairies, who respond only those attuned to understand them.
of
If
action
Was
transferred;
short
per:
practice
before
the
mirror
resto!
Arms and legs were cut off and sewed back on again with half-inch tape joints. Bodies were cut in two, and a firm, soft
piece of cloth inserted, the idea being to
him.
Stage properties
rors,
rugs,
etc.
I
fr
doll houses, or
the children
make
their
manual training
They w
possible.
The
strings,
linen
thread,
40
inches long (the height of the stage) were sewed to the hands, knees, ears and back,
so
not elaborate, but fulfilled their miss admirably. As near as words will
scribe it, the stage resembled a la dry goods box, with top and one removed. On the outside of the bo: behind stage ran an elevated platfc on which the children stood, marionettes, suspended by the stris attached to the controls, were lowe
These strings capable of manipulation. were attached to a T-shaped piece of wood, the control, which, when manipugave the figures life-like actions. For instance, a single string attached to the back of the doll, when tightened, produced a graceful bow. Arms and leas were moved in a similar manner. The puppets were dressed for their parts by the teachers, from scraps of material brought by the children. With an older group, this sort of work could have been done by the children themselves.
lated,
to the stage floor. Each child held control in his right hand, and action the dolls was produced by manipulat
c;
the
same
the
time
speaking
Of
necessity
children
"ran
tt
own show."
and the
for
The
The
sometimes speaking for their dolls, sometimes with all attention concentrated on the best way to secure an appropriate gesture. There was not much we could tell them about the manipulation. Strange as it may seem, the marfloor level,
teacher to be anything but in In fact, we stood meekly way. ready to fetch and carry. Between a victrola music filled in the few mim} needed to change scenes.
ionettes possess
distinctive personalities.
gesture resulting from certain tensions of the strings of one puppet will not al-
The lights went off; two little st hands pulled the curtain, and a sg childish treble announced:
ten-
control of an-
The
children
School Department
in any full rehearsal or per(we gave six) did we have to jmpt the stage action by so much as
25
Mot once
hfcance
spent.
this
readily
see
how
may
offer a
means
of correlating
word.
The
relation to
mere grind of But we found to our astonishment it they were learning more in this way m our formal lessons could have and they ight them in twice the time
not a
:is.
Here was a thing which child life, and text book les-
geography, literature and even music and physical training. A song or dance introduced makes interesting variation, and marionettes can do both, in their own odd way. We undertook our play as an interesting side line, an unusual
mode
it
of en-
tertainment.
We
completed
it
with the
served as a
a
much
elab-
re
way
that
needed project.
experience,
in the
As
The project occupied month's time, in manual training, art sons and reading classes, and never
pealed to them.
we have planned
more
near future.
Film Catalogue
THE
all
Educational Screen
sorts of visual aids.
is
interested
in
the
in
entire
field
of visual instruction,
the use of
It
is
month
this
It does has not the time, nor perhaps the accessibility to exchanges, to gather this information
who
for himself.
may
London
oration)
)ngland,
In regard to the sources from which other visual materials be secured, the teaching profession needs little assistance.
brated Church of Notre Dame high above the town. Kilauea (Carter Cinema Producing Corporation) A Prizma natural color film, showing the famous volcano of Hawaii with its bubbling
(Carter
Cinema
Producing
Cor-
Paul's Cathedral,
Shanghai and Macao Burton Holmes (F P L) A. strong contrast here between. Shanghai, aid to be of all the Chinese cities the most arly like an American metropolis, and Macao, funded by the Portuguese, and the oldest liropean settlement in China. Glimpses are veh of Chinese family life and customs. Man Who Always Sat Down Bruce Scenic 12 F C) In spite of its title and the effort ) weave a story into it, this film is a truly ?markable series of views taken on an airlane trip over the Matterhorn and Mont
mass of red-hot lava. Burton Holmes (F Country Life in Bohemia P L) This noted region, now a part of the
various aspects. quaint Bohemian towns, and the smiling, hospitable peasants in their native costumes. The Crater of Mount Katmai (E F C) Photographed by the National Geographic Society's Katmai Expedition, said to be the only group
its
of white
of
men to penetrate this Alaskan "valley smokes" since the remarkable eruptions of Besides actual views of the Katmai 1912.
crater,
greatest in
illustrations
novel
Burton Holmes (F P L) Interestg panoramas of the largest port of southern ranee, and views of its picturesque streets, e Cathedral on the water front and the cele-
eruption.
An
the
of
the
most absorbing
subject.
The City
of Algiers
Burton Holmes (F
P L)
Calculated to correct any hazy ideas we may have as to this bustling French-African city,
26
Bpread picturesquely along the water front and back on the terraced hillsides. Its French Uuarttr stands in marked contrast with its A ah lection, where the descendants of the Corsairs live just as their forefathers did centuries ago. Japan (Carter Cinema Producing Corporation) A Prizma presentation of the land of sunshine and cherry blossoms, showing the life and customs of the Japanese, views of pagodas, and make it truly Japanese natural color to scenes of Fujiyama, the sacred mountain. Liberated Jerusalem Burton Holmes (F P L) Liberated by Allenby and his modern Crusaders the last chapter in the varied history of the Holy City. travel along the new military railway from Egypt, laid down by the British army, and in the city itself we see evidences of the former German Emperor's confident expectations of dominion. Nearby is the site (now a military cemetery) where the legions of the Emperor Titus were encamped in 70 A. D.
i
and the
placfl
show the cutting of the stone, and transportation to the finish* plant, and the shaping of a sandstone colurai Scenes of laying stone sidewalks and cuttj curbing are shown. To demonstrate the wel
hoisting
built in
ing qualities of sandstone, an old stone hoj 1849 is seen to be still in the best!
condition.
The
How
and
of
Why
the
of
Spuds
as
raising
potato
in
farming machinery
We
The
film-biography
the
life
of
Lincoln,
in
I
at
commendable accuracy
Mother,"
"M
"My
INDUSTRIAL
A Day
The
of
in the
Coal Fields
2 reels
(U S Mines)
story of a miner's daily experiences, views mining towns, the coal tipple, the weighing of coal and the loading of cars.
typical
White Pine
S Agric)
practice,
Lands
(U
of cut-over
lands with white pine, field planting and nursery and the raising of seedling trees.
Native State," "Down the River," "111 Slave Auction" and "Under the Stars" ea episode two reels in length. The Apache Trail (Carter Cinema Producl Corporation) follow the old trail of early Spanish explorers and are shown seen in natural color of the Roosevelt Dam. til ruins of the ancient cliff dwellings, and 1 present-day Apache Indians in their nati haunts.
"My
We
(Carter Cinema Producing Corporation) of the Hawaiian group furnishes the title for a film showing the pineapple industry of these tropical regions, from the time the seed is planted until the fruit is canned for market. In Prizma natural colors. The Oyster Industry (Carter Cinema Producing Corporation) No longer any reason for doubt in the child's mind as to where oysters come from. This reel shows them being raked up
Oahu
NATURAL SCIENCE
The Four Seasons
4 reels (Kineto Film C01 pany of America) Pictured in their effect ua animal life. Such well-known groups of aniraj as deer, bears, beavers and rabbits are shot in seasonal garb against the background 1 their changing environment through the enl year. Produced under the direction of Ra
This island
mond Ditmar,
logical Park.
curator of the
New York
Zc
from their beds on the shallow bottom of Chesapeake Bay, and being prepared for market. Their shells are shown to be useful for
many
sumer.
things.
and more
The Triplex Process of Making Steel at the South Works of the Illinois Steel Company 4 reels (U S Mines) The process is carried through
Birds of the Farallones (Carter Cinema Pro<H ing Corporation) An unusual type of fil: showing the wild birds of the Pacific. Tj|| are organized in well-regulated communi#j living among the wind-swept rocks of our wi ern coast. Birds of Prey (P)The flesh-eating birds 2
the
Bessemer converter and the open hearth, the pouring of the ingots and the shaping of steel rails and
stage
of
the
blast
furnace,
the
The p as "rowers" and "sailers." shows the claws of these birds as tH most formidable weapons, and portrays th methods of dealing with their victims. Sol of these pirates are shown to be beneficial farmers in ridding the fields of mice, bugs a
classified
ture
How
Brooklyn Bridge Is Made (International Church Film Company) By animated drawings the construction of Brooklyn Bridge is shown
insects.
filmed
the
The
largest
of
the
species
are
a'
vulture,
the
Andean Condor
P, Pathe;
Educational Filtaa Corporation; Famous Players-Las* of Agriculture; U S Mines, U S Bureau of Mines.) (For addresses of above firms readers are referred to preceding numbers of Educational S
Abbreviations used:
U S
Agric,
E F
C,
S Department
FPL,
OUR
analyze with fearless sincerity the current films representative of present production. Theoretically we are concerned with an art, limitless in possibilities because it should be a composite of various time-tried With the highest possibilities of these combined arts as a arts. background against which to throw present production commercial, not artistic, in aim we wish to point out the good and
PURPOSE:
To
bad
in
films,
is
public,
public,
human
capacities
standings, demanding therefore legitimately a range of screen production from Rinehart sentimentalism to Galsworthian realism. This department, therefore, addresses itself to those thinking individuals who are logical enough to be patient with the meagre materials at hand, and reasonable enough to recognize occasional excellence even though it be but relative. Amid the discouragingly huge and endless output of films maudlin with sentimentality and bad taste, the "Movies," this two-decade-old brat of man's creative ingenuity, occasionally emits something more promising than a lusty howl. On the part of those who catch this promise, this department calls for intelligent optimism and understanding
cooperation.
we have seen for months. Its use of the only material at hand, the ad cards of the store, ought to bring down the
bit
most
real
critical
house.
character
work
Polly's
in-
vasion of the Jones home in New York to assist in the production of a charity benefit is equally rib-tickling. Again the misfit idea introduces the action, though
this time it is not the fault of the gods but of Mrs. Jones herself; she was meant to be a "comfortable old fatty" and Mr.
makes
is
it
seem
a digression.
But
flaw
many
r.
Jones
style
was a "good old scout" but "his was cramped in a drawing room."
ingenious wit turns the benefit it got her
Polly's
pre.
The
to
story
of
Polly
Meecham,
giggle,
grimace,
the
glitter
and
be(as
man
is
to
Follies, but
way of the gods) born in Green, Connecticut where the and fun of her pranks wins her the thet of "a limb of the devil" from the
id
its
uncle,
is
at
once
true,
human and
chil-
many
after
given several opportunities for side-splitting mirth before either deed is accomplished. The close of the film with its sincere though delicately light-vein suggestion that Polly's genius was best used when she became Pierrot for her roly-poly
e
li
show
on for the
twins leaves the audience in the friendliest of spirits with an actual wholesome something rarely felt before the celluloid.
show"
in
town
is
the cleverest
27
88
THE LIGHT
THE CLEARING
This story, advertised widely, makes a promising contribution to the years films As a producdespite its obvious flaws. tion, technically, it is beautifully made. Its settings are simple and not numerous but they are accurate; the town's Main Street is a picturesque "New Englandish"
subtitles,
village
center,
the
senator's
office
office
the
typical
hodge-podge
of
descript
furnishing,
dusty
gate.
is
law
nonbooks
well
As
doubled barreled
It has two plots equally footage and story emphasis. One ought to have been subordinated. In this film either story could have been diminished in emphasis as the continuity
so
to
speak.
stressed in
impress us; we read several leaders ar confirming the impression; la there is the long scene at the breakfl table between father and son, loaded wf the implied suffering of the son, I sullen rebellion and a fierce hatred i his father. There are, too, the glowers looks of the townspeople and the su picion against the miser that he is some, sinister way connected with | mental condition of crazy Kate. In sh by long and unmistakable elaboration \ are made to hate this man. His turn life is brought about normally enoul: fear, when his deeds were fully compf hended, drove him to the only thing tlj might save him, repentance. But! came too suddenly to be convincing, j
The Light in the Clearing, symbol of that gleam of sudden knowledge of the right and big minded thing to do or say that comes in the crises of life, is the pivot on which the stories of the two young men, the miser and his outcast "wife," are turned. Therefore, either tale might be the more prominent. It would, however, seem more logical to give the miser and his conwriter chose. the
does
real
not
life.
make
particle
of
differef
come
swiftly*
Psychologically a persists stimulus has created a mind=J that must be changed, again, by a m< elaborate sequence of visual images w> help, perhaps, from a leader or two si'
version the centre of the stage, keeping the senator*r> secretary and his conscience
how human nature is capab pressure, of rapid renascefl under Otherwise the audience will make it evitable comment, "He'd never chal
gesting
like that!"
mq
tv
struggles subordinate.
At any
rate, well
of the episode,
tieth
destroyed.
The
ing
it
might
easily
its
the force of
moral.
century believes more in the real! of retribution and compensation th it does in the principle of forgivene The Light in the Clearing had a mess* for us but it is lost.
In addition to this grave error the
r
the
story?
is
The
the
effect
of
the
Vil-
"uplift" of a picture
thereby
lost.
do
come
to
see
cruelty
and
reformation comes swiftly to its fulfillment. Yet, in the visual representation of such a conversion, the movies fail nine times out of ten. The Light in the
Clearing
present's
ments of affection between the sena and his protege were sustained so tl one felt a certain amount of weak set mentalism blurring the strength of man's joy over the discovered courj of his young friend.
1
As
film,
whole,
a high of
cold,
cynical
miser,
embittered during long years by his attitudes. We have his own lean, stooped carriage and slit-eyed countenance to
wandering Kate was onfl 1 the finest in the months' films. George Hackathorn, as the bitter, low
39
committed
in a
minute
morbid
his life;
g-
self-pity against
the ugliness
shrinking first and then fightagainst the belated love of his conrted miser-father, George Hackathorn Film audiences have but splendid. tely seen him as the Little Minister.
contempt a man feels for mother" are but the twists and turns of an old plot. Yet the triteness is always saved by the sincerity of the actors, the excellence of the leaders and titles, and, a commendable piece of cutting and
splicing.
The only
that
part
of
the
film's
triteness
action of
doubt if there has ever been a untenance before the camera. with as and sensuous quality spiritual Iff]
r
FOOLISH WIVES
Another film talked about so much and so long before its actual arrival that the most cynical of reviewers might
easily be eager to see
it.
As
the
We
hear, too,
with an almost audible stirring of That is not a clear statee emotions. ent yet it expresses our reaction to one the most unusual faces in the history can not help moving pictures.
Stroheim's difficulty
The
We
fling that the movies of decades hence ight have these intelligent, super-sensihigher f] velopment. As it is we can only hope at Mr. Hackathorn will be given the st possible chances to fulfill himself.
features
to
narrative although certain scenes are sustained to the point of impatience on the
part of the reviewer. The titling is excellent, the leaders are throughout exclamatory, imagistic lines; the dialogue
use
in
their
The
sets
are
HE SONG OF LIFE
A
le
<
difficult
picture
to
analyse
fairly,
In part, surely,
press
is
right.
lly
suggestive
has been spared to curate and astonishingly beautiful reproduction of Monte Carlo and an Italian Villa high above the restless "waves, waves and waves." The cinematography
is
perfect.
in our lives are executed in hasty d hysterical rebellion against the percent irritations of the routine exist-
anges
tremendous comment on all that the The cast were well chosen. The elder Russian princess with her cold subtle cruelty, the devil-may-care younger
a
art can be.
ce.
e
Dreams
is
fighting
for
New
woman
with
her
fearless
moments
of
disgust, the
empty faced
village girl
en'ts
ties
That this story ncerned a young novelist and his wife but clothing the dream in more unique The struggle and its results rsonality.
analagous to those of the wife
to
her stunted kindly father, her shadow (by the close-up) decision to set on fire the tower, the vapid American
wife and her easygoing heavy husband, and last the morbid, degenerate, sex-mad
;re
who
and
romance sand and dirty dishes." nd that the woman ran from them to
d "trailed
the
desert
und,
instead,
pretty things she desired, yet never the baby she deserted
the
represented an achievement in coun t the matter of casts and acting. But, why any human being should care to see the picture we can not fathom. The stories of sex, though they be reeking, are a very clean matter beside this almost perverted sensualist, in his ugly
young
novelist
30
anything normal or subnormal, in female flesh. The continental But that is no view-point? Very well. excuse for putting into form for general consumption a narrative that belongs only in the laboratories of a psychopathic
sinister lust for
institution.
grasping at the one strai Theodora; the whole thing involved Toward the in one way or another. there was some good plotting, but tl last hope was ruined by mob scenes i
sake of lions, to justify the advar
the
the
Life
is
difficult
enough
to
sake of
mob
scenes
and
lions
ft
balanced fashion in these days of neurotic and over stimulated activity without sitting through some dozen or so reels of the nauseating, depressing abnormalities of the human animal running amuck. Somewhere this film has been do called an insult to American life. not think that, for the story, might hap-
keep
in
advertisement of a two years' makirl thousands in the cast, and the horror! hungry lions at the throats of the porl
lace!
The
the
mob
left
We
gaps
lions looked lean and aimlei: looked "mobbed," and in tl between, the classic-feature
Rita Jolivet
pen anywhere to any race; the foolish wife might be of any nationality. That she is made an American is due, probably, to the widely accepted tradition of
appearances.
negatij
titles,
com-
known
tricked
women
picture
relation
are
easily
because they
Indirectly the
Briefer Mention
JUST
If
have learned
is
to trust
men.
favorable
trust
and
leader,
and women.
viewed from the amusing aloofness of "The cold means nothing to fur-wrapp< up and me, but what about the poor just arou
the
To
acted.
recapitulate,
a marvel
But let his money and marked talent as a director and actor to something more healthy and less like the odors, that emanate from the famous Bubbly Creek of Chicago's
Stockyards.
than
a
actually of
is.
family,
a city's tenements,
prob^
out of the range of the average au ence's experience whether they be fur- wrap] The simple fundamentals of life, or not. adorned with the complexities and sophisticat of the more fortunate (?) classes, form A cast including Le* threads of the film. Sargent and Margaret Seddon is bound to mi
entirely
THEODORA
in
Just
it
age beautifully a story, weak in character, Around the Corner is much more than
tl
This film is discussed an article elsewhere Suffice it to say here that in this issue. the only acceptable phases- were the beginning leaders, which were beautifully
Inexcusable.
connection
with
however quickly the smug urbanite may br; In fact, were it stuffed w sentimental. sentimentalisms it would be heaven beside
morbid
Foolish
to
all
matchless,
Wives.
of us,
We
city
stick to her
we wor
brecL
worded
life
to
give
the
far
perspective
of
and
It
love,
kings,
tory.
down through
LOVE'S REDEMPTION
At last we again see Norma Talmadge V something of her old virility. She is in this of Jamaica a gentle orphan, determined to courageously and cleanly, with a ready hand The out those about her who need help. suggests a trite story. The suspicion is so what justified; yet any weakness the st
then became a stupid installment-plan presentation of three or four narratives, introducing the characters of each at the start instead of introducing them as the action called for them. One
cycles of
31
is
in
the
vehicle.
strength We are
jlad
r
that
ly
commendable spots
it
We
won't,
ice
ible,
on the island as
later
in
Dix in its cast was promising. But the Richard Dix of Dangerous Curves Ahead is not the man of this film. All the keen electric magnetism of the former is gone and it is not a matter of a difference in parts. Miss Chadwick as the hesitant, hard working probationer is very satisfactory. On the whole not a bad picture nor yet
a distinctive feature.
sekeeper,
the
role
of
res-
an English houseand last in the trying battle amidst the l, :gish snobbery and the dishonesty of the flish environment to which the young son ime welcome because of a sudden inheri:e from an uncle. The old sea-captain, aping but for a few feet in the first reel, is imfortable, likeable fellow and Harrison Ford the drunken, tired boy is stronger than some ht have predicted. Like Wallace Reid, Mr. d can be something more than merely good
of
of the
"younger son"
mention this of the Toonerville series beit illustrates a point. This series is popular as are all the film efforts of our favorite cartoons. Generally the humor is sincere and convincing. In this Fire Brigade a school room is presented for no other purpose than to furnish the opportunity for a series of titled jokes which such children would never give voice to. The sequence of the teacher's disconnected questions
We
look
at.
AVELIN'
distinct disappointment. Usually the phoraphy of the Hart films has an etched quality,
se
ce
the reality of the thing. The fire degenerates into slap-stick and poor slap-stick at that. There is plenty of material for the Toonerspoils
ville
series
sort.
and darks, of silhouettes, that the film worthy for that if for no other
of
light
GRAND LARCENY
experimentation, a picture that ends with asked directly by a long leader in The story, a rather new twist to the caps. eternal triangle, moves nicely under Mr. Elsteadiness and Miss Clair's fairly good liot's interpretation of a selfish wife. There is nothing radically wrong with the picture but we can not see why it was given the advance advertising
a question
it
An
.on.
i
This
film
lacks
all
these
things.
It
western matters and the between the saloon and the church )ss the way. The wicked villain does all he to keep it from completion. He hugs the ister's wife and, like Jean Valjean, robs the idful rich gambler to feed (spiritually when money has been used to build the church) poor. In and about is the bad man, arriving le with nothing but the protection of two is. He nearly abducts the minister's wife, rly gets himself hanged and then rescues minister from being hanged and takes himoff across the dreary prairies leaving even le Jocko behind. The monkey was charming
e conflict
i
sustained.
BACK PAY
Seena
story
to
strong
But
of
Hart
uloid
dashing
through
feet
upon
feet
the storm, the per:ent flash of what looked like lightning struck ML were two absurdities in the general conration. Please don't do it again, Mr. Hart!
his pet in
to find
Back Pay better than Miss Hurst's written form. The most cautious and wide procedure was followed The audience could in the spiritualistic touch. choose as to whether the girl actually saw her dead husband or whether his presence was a mental image of her insomnia.
liked
We
the
filming of
use,
bizarre tale but one that rings true despite at the end, of the "blood transfusion"
FRN 'EM
peculiar
its
UP BARNES
we
liked
it
and
of Johnny Hines comedy vagabond loyalty and Bliss poetical feeling. We have never liked pretentious and aggressive egotism of Mr. es' work but in this film he is commendable. you are interested in comedy that rises above
mixture
of
ideas
men
to be made Like many concerning Anita Stewart. of those actresses who betrayed unusual promise Miss Stewart has persistently failed us. In this film, she is the antithesis of disappointment.
stuff.
that
GARMENTS OF TRUTH
provided you have imagination to sustain its hypothesis of Gareth Hughes is like a "truth," is acceptable. A quality of radiance gets rain-cleared dawn. out of his eyes onto the celluloid that carries to the most careless observer an impulse of
The
picture,
may
delicate
enough
please you.
IE
l
GLORIOUS FOOL
film
i
Rinehart, story will receive the attention enthusiasts whether it deserves attenor not. The Glorious FooL with Richard
good.
The
Child's Theatrical
Movie
Because the theatrical film for children is a distinctly different problem from that for tlie auu] this department will hereafter include a section devoted to varying material of interest to ai guidance for the parents who wish to protect their children from the many obvious dangers of promiscuous viewing of films. It is hoped, by the editor, that parents and teachers will read this section earnestly and, wheth laymen or experts in their respective occupations, will promptly send to the editor any questio suggestion or mere observation they may care to make public for the forwarding of the general go*
these matters even more thoroughly t< gether with the fun of the Charity Ben
If tl fit the Jones family try to serve. fourth grader misses the sissified swagg-
faction in as
film.
The
grade children
putting on
the
villain
lesquing
innocent
movie.
maiden
vamp
wicked
They
gardener as Mark Antony, tl Too, he w grader will not. recognize Polly's cleverness in managir Mrs. Jones and later everybody in tt story. He will, further, appreciate tl
of
the
eighth
humor to be gotten from the burlesqued Caesar and Cleopatra. The higher grade youngsters will appreciate
the hints of
excellent
film
to
work
be
of the brother.
this
is
Of
tl
month's reviews
recommended
childrc
Timely
Comment and
And
be.
Question
is
not meant
is
HOW
OFTEN?
concern that we number of children the moving picture
child consumption.
That
as
it
shoui
ITnotice
is
with
grave
ca
the large
to be found in audience in the early or late evening. Very obviously, if they are to attend, children ought to go to the earliest pos^ sible unreeling of the program in order
themselves with the events ai problems of adult life. "Those probler surround the child in his home," is oft
cern
the contention of parents.
That
in
is
absui
worlds
to be at
taining
home and in bed at a health sushour. And even the hour of nine,
earliest possible time
is
plications
films,
adult
life,
represented
fii
never
in
in actual life
consciousness.
where
normal
then
it
for the
growing
late hours is the frequency with In which children attend the movies. our many, many conversations with children we have found that anywhere from
When we
than the
affairs
pretty
general
three to five of the seven evenings are spent at the movies. This means several
things. First, a loss of sleep; second, an overuse of the eyes and an overstimulation of the imagination via the visual image; last, it means that the child is seeing promiscuously any film that happens to be the feature of the program.
might be a safe gamble to alld the child in any movie audience, but far we are concerned mostly with t abnormal and intriguing problems in c
screen production.
right,
The
child has
lit
]
then,
in
should be taken care of in some otl way. The Children's Matinee is one so tion with which this department wil concerned in the April issue.
32
.
VfoL.
APRIL,
1922
No. 4
Lane, Treasurer
Nelson
L. Greene, Editor
Published every month except July and August Copyright April, 1922, by The Educational Screen, Inc.
$1.00 a year.
Back numbers, 25
cents
98
101
Some
Ma tilde
Are More Organizations Needed
?
Castro
107
/.
W. Shepherd
,
Among
the Magazines
108
Conducted by N. L. G.
From Hollywood
Conducted by M. T. O.
114
116
School Department
Conducted by M. E. G.
Theatrical
118
Film
Critique
123
Conducted by M. F. L.
Published by
Inc.
Chicago, Illinois
APRIL,
fairly
is
1922
No.
movement."
it is
IT term
tary
is
Tr
int
among
higher circles.
we
it
ing practice,
to use
it
we mean." Those of us who believl from repeated experience and demonstration in actual teacH quite like the phrase, "the visual movement," and shall continu
name
for a very significant phase of educational develop
as the logical
ment
is
make
it
move.
"moving" and implies concerted actio! Both suggestion and implication arjj
Movement is unmistakable adherents are multiplying daily yet wj need have no illusions about the total progress achieved to date. Only a frad
tion of the educational profession
The
road
visual
it
movement
is
is seriously interested, and a still power of initiative and decision in school not more than started possibly well started
it
smallel
policies
til
oi
on
must
travel before
its possibilities.
THE
( 1 )
primary
difficulties that
Most school
value to mall
appropriations for
(2)
adoption.
Hence, no funds available for the essential equipment. Hence, no chance for teachers to learn to use it effectively. (3) Hence, no market for worthwhile materials (slides and films). (4) Hence, no worthwhile producers can afford to supply them in quaa (5) tity. (Exception in the case of slides. Supply of excellent slide!
is
well
up
to the present
demand).
is
possible.
And many
school authorities
want
"final
proof
before appropriating
The last-named
problem since
final
is
It makes the sol$ upon the solution of the last a pretf proof cannot be given until the preceding obstacles have beJ
removed
It
The
cure
Editorial
ki
99
who have
not.
It
insisted
on getting
he
can be done.
rHE
this
Questionnaire being circulated to schools throughout the country by is rapidly furnishing interesting figures on this particular
point.
From hundreds
Of
he schools answering:
3%
have a regular appropriation for visual instruction, but it is sometimes as low as $30.00 a year. Further, another 6% of these schools expect an
appropriation for the coming year, and an additional
or less faint prospect of one.
an appropriation.
Since the
4% have a more Thus next year may see over 10% with High Schools here considered are about
V3 of all the High Schools in the given territory, the total percentage of schools with an appropriation for .1922-23 may be about 3%%.
!8%
and an addiThis means that about 38% of High Schools answering the Questionnaire will have stereopticons by
of these
tional
same
10%
For
all
it
indicates
122/,%.
14%
of the answering schools already own Motion Picture Projectors, and an additional 20% plan to purchase shortly. This means, that 34% will have projectors by the end of next year and, for all the High Schools
in the territory, a total of 111/3%.
Summary
for the visual
figures, therefore,
from which
now been
Only
movement.
but
3%%
12%%
may
well be
proud of which
is
their
achievement
numerous
difficulties
They hold
the procession,
is
MONEY
ments. The
nor their
laboratories and gymnasiums, their pianos and victrolas, without payment of the normal price for such things. It has taken at least a generation for these school appurtenances to pass from the category of "extrava-
The screen
educators.
is
The
new
ioo
facilities for
folly.
call
ANOTHER
rent in
reader writes:
"Please send
me
list
to sell 01
visual materials.
We
ducers."
We
We are, however, glad to assist any and all inquirers by suggestion 01 recommendation of sources for such material, as we have done for the reader
quoted above.
been at
least
th(
Ir
Academy for Visual Instruction was inIn November of the same year, The Society in Washington, D. C. Education was formed in Chicago. The next year saw the organi-
zation of the National Visual Education Association with headquarters al Washington, and The National Academy of Visual Instruction also began
operation in 1920.
At
least
still alive.
Instruction holds
18th, 19th
Yet
it
would seem
We
New
recently been formed ir York, under the presidency of Dr. E. R. Crandall of the Board of
Education.
Any
interests of the country has the sincere best wishes of this magazine.
always natural to hope for much from the latest comer in the great field. Much can be done. Relatively little has been done in proportion to the possibilities. We earnestly hope that The Visual Instruction Association of America
will
accomplish
ther
much and soon toward carrying the visual movement furbeyond the talking stage into the realm of action.
In this connection we would call attention to Professor Shepherd's article beginning on page 107. This article was received after the above editorial was written and just as we were about to go to press. Its timeliness seemed to justify last-minute
it
in this issue.
Some
ssor of
Bryn
the
Mawr
College,
in-
the
teacher
knows
moving
as
loud
For
if
psychology and pedagogy of rest and attention," yet has it a superior advantage in being to supply to a unique degree
e
level of this
thriller" appeals.
be
;tively.
motion attracts attention inIs this not an irresiscombination? But every pedaie knows that it is easy enough
The thriller has to made more and more thrilling; doses of "Oh" and "Ah" stimulation
must be constantly strengthened slapstick antics have to become wilder and wilder. No wonder stern souls accuse
;
of the senses.
Because
this
in the
is
motion-picture
petite there has
n of
1
its
tedium, else
complain that
are "dull?"
igogue to learn
resting pictures
tell
;
how
to construct
on the ground and prethat it genuine of any clude the development of is, There interest. intellectual
to its use in the school
will demoralize effort
at first
He
will
warn
course, no danger that this kind of film will be introduced into the school-
must not make frequent of a group of crude stimuli which commonly designed "instinctive" mse they evoke immediate rense from the individual due to These al or tendencies. "set"
that he
room.
lend
to this treatment,
and
if
the pictures really do succeed in holding the attention of the children the chances are that they have been constructed in accordance with the principles of true interest, briefly, that the
101
Concluded from
March number.
102
child
or problem which he
out through his
trying to carry
own
active search or
is
endeavor.
If
what
presented can
nervous anxiety
as a child remarked
and
will
prove
to be a legitimate
tional
tool.
next." center
To
the
Securing Genuine Attention The motion picture has undoubtedly a full quiver of assets when it comes to
of
Problem
If this
is
providing
the
external
or
objective
conditions of attention.
darkened
focal point to
is
sense-organ
directed
which and to
upon the
cl|
which other bodily conditions are adjusted for the most favorable reception of the stimulus, the
to concentration
detrimental to learnil
enhancement
fact that
is
due to the
is bad for memo! Impressions following each other very close sequence tend to weak
trained
preceding ones.
This effect may due in part at least to what the pj chologist terms retroactive inhibit] At any rate the presentation of
i:
mi
can digest will come to mean "in q eye and out of the other" as surely
may
it
The motion
and
pic-
call f
presents
movement
activity
Even when
is
understood
at
the
His attitude may be far from that of giving dynamic attention. He may be so concerned to let nothing escape his
eye as the procession
get in his way.
files
as to
what
interv;
by him that
lest
Or
Approach
There
ical
is
ness
may
The
10:
processes
are
case
in
as a continuous whole.
The
film can
It is
ctures
the production or
ly be gained
>n
e
it
achieved.
own
material
logically.
Indeed,
she
knows
that she
motion picture
may
make
fit
mind and
'is
and
dis-
next
ipointment
lie
in
This recogni-
tion
logical
is
The
in
effect of completeis
il-
the difference between the and the psychological approach one of the most important discov-
of
;ss
eries
of
modern educational
its
theory,
sory except
pics.
simple
In the
first
implications
will
the process.
Many
up
of the detailed
to these
and give
left
their
it
significance
difficult
are
out.
The
iften
is
to
form an ade-
me element
tdustrial
involved.
so-called
number of
educational
spontaneously.
or
of time consumed
steps
shown in their mental tests that when children are asked to tell "what the picture is
Psychologists
have
the
individual
rocess as a whole
hases
presented
are
attempt to interpret the story of the picture according to the level of mental
at-
tained.
detect
of the process.
tried shortly after seeing
are missing.
The writer
ilms
of
this
sort
to
retrace
the
meaning only to the mind bringing meaning to them. They are symbols which are carriers of meaning rather
than
self-luminous
expositors of
memory
of
it
meaning.
Nor can
104
to
meaning clear it is meaning which makes the picture clear. The wonderful plates and films which
make
tli
ground
to be
lay-figures
ground of thorough
to enable
scientific training
imagination.
An
The upshot
the
and that
in this
own motion
picture apparatus
velopment of "meaning."
Used
way
will
relaxation
effort
and
Not
With reference
situation
is
similar.
The
picture
is
not
pic-
The
boy who call book two or three afll noons a week. He would open 1 book to a certain page and laugh uj roariously. The librarian's curioa was aroused and looking over 1 shoulder at a picture of an infuriai bull pursuing a negro she was aba to ask him the cause of his laiightj when slamming the book shut
that of a small colored
for a certain
ture as seen
sensorial nucleus
chuckled
yet."
interpreted through an escort of past imagery which attends it. The picture is but the peg upon which to hang the
imagination.
It aids in
Perhaps the most obvious and pofj meaning ar import of the term visual educatiom that based upon the assumption th
lar interpretation of the
image which
of
the eye
fully
may
if
and
bring
to
it.
Dramatization
practice
in
observing
pictures,
tb
novels, stories,
in short, of
and events
in history,
any material ought, except under exceptional conditions, to follow study and the attempt to make the mind work through the material until This it has formed images of its own.
procedure will
prevent the
specific
tions
where
close
observation 1
needed.
If this
could not
fail to
children
pictures
from accepting
too
in
film
for
it
j
ct
power of observatia
other less
enticil
and other
as well
as could
which happen
to be used, but
105
The
power of observation in lend. One may be a keen and disrninating observer in one field and a
lig as the
own
lectures
to time
br observer in another.
tive,
To
be ef-
make
a thorough study of
d
je
in
and
expositor.
No
better
way
of
girl
who
:
led out
;r
t
way
ture could lend itself effectively to one of the most progressive methods of
who had
the "moti-
asked
d what
)lied
it's
:
is it all
"Oh,
don't
know
exactly, but
the hero
come
ture can
in the nick of
time
kill
the villain.
You can
tell
them
in
come dashing
all
another way the motion picmake its connection with children's lives more direct. There should be more pictures of what other chilstill
going
Particularly
would
Educational Motivation
Modern education
insists
on
first-
nd experience for the child. The )tion picture expands his experiences :ariously by taking him into places lere he cannot otherwise go and by owing him things which he is not The child cannot, howely to see.
er,
r
take
much
of this as a substitute
would appeal greatly to them and would not merely stimulate social interest but give them a standard toward which to work, for they are more influenced by results which children
themselves have achieved than by the
finished product of the adult or the
the handling
and exploring of
his
n experiences.
rticipation
The need
for direct
and contacts will always predominant. The motion or screen :ture can be used to meet something this demand by allowing children to
model of the
their
artist.
Pictures showing
own would
be especially attrac-
tive to them.
106
Development
Dramatic Sense
an aid
in the
o
rc-
dramatization of
lish
work
in history,
Eng-
tained."
Education
th th
The
first
highest score
fall
to the
motion pictui
returl
play by
the action
developed.
stringy
action.
The
and
dialogue
was being lost and dramatic perspective was completely lacking. Suddenly she had what proved to be an
interfere but the play
in a
would not be an argument for it Other emotiona aesthetic and social values or the senj of personal possession and control ovl
universal adoption.
facts achieved
morass of
detail
through individual
ei
fort
if
might be
is
lost.
On
and asked "How many of you attend the movies?" The answer was unanimous. "Very well, then,"
inspiration
picture
veloping
some
of
these
values, 1
its
scof
the teacher
is
low.
The motio
we
would you select, and how would you make them tell the
story
How many
without
the
use
of
many
The efTect was electrical. words?" They were able to focus the dramatic moments into what later they called "plastic pictures" and the result was gratifying to pupils and teacher. This device of selecting material which would make dramatic pictures such as a good screen picture would show led to marked facility in dramatization in this school. The children seemed to
get the "feel" for dramatic essentials
should not be used asj any other mode of teacl ing. When written or spoken word fail to make the meaning definite an the picture can supply this focus, whq materials are costly and rare and tlj
substitute for
picture
can
give
some
informatics
when
a largi
group can he more effectively reache by a picture, when aesthetic apprecis tion and social insight can be stimj lated by its help, then the picture tw comes a priceless resource. Lik
music,
tongue,
the
and often voluntarily used the test "How would that look on the screen ?"
or
it is
art,
or
another
aid
spoke
her
An Added Language
In the opinion of the writer
it is
teacher
the
may
use
to
un-
opening
thoroughfare
betwel
W. Shepherd
Oklahoma
avowed purposes
tive
University of
rHE
to
,
National
Academy
of
Visual
of broad
and construcorganization
of
service.
meet
at the University of
Kenand problem
The demand
for
new
seems to have arisen out cities where conditions are from those existing in the towns, villages and rural
larger
cities
the larger
The
^anization;
fact
it
Dn to give justification of
tre."
"raison
The challenge issued at Chicago month during the meeting of the t partment of Superintendence by those o would see a new organization in the
d,
independent of university extension agencies and may therefore have become somewhat impatient, because university extension problems relating to these smaller school units have had considerable attention at the meetare
ings of the
confirms
the
editorial
statement
Academy.
the
interest in
days of over-organization a a new organization should given careful consideration before beaccepted. It should be ascertained :h some certainty that no existing orlization can be made to function to
'n
nand
for
This alone, however, does not justify the call for a new organization. Rather is it evidence that the present organization should divide its interests along the lines of special fields and activities. This tendency has already been felt within the National Academy at its last meeting in Des Moines. A special session of exten-
and those interested in disproblems was called separate and apart from the regular meeting of
sion directors
tribution
We
believe,
move-
the
nt for a new organization is inopporle at this time and would tend to incase
the
confusion
is
rather than
in
bring
It
A permanent organization and this organization will hold its meeting again with the Academy at Lexington as a part of the larger orAcademy.
effected
was
The Nafield.
ganization.
nal
s
Academy
already
the
is
open to those
who
most active in the promotion of use of visual methods. It stands idged by its constitution to high ideals d lofty purposes. Its policies are still
those
e
represent the larger schools systems and are interested in special problems. But there is every reason at this time for
making and can be readily shaped reach worthy ends. The organization, erefore, should be given not only an
the
by
division.
It
seems probable,
portunity
but it ould also be given the definite support all interests until it becomes evident at the organization must fail in its
to
its
prove
merit
no secret that commercial represenhave been restless under the policy of the Academy which prohibits actatives
107
108
tive
But this is a wise policy. No publisher or book dealer ask or expects membership in the Department of Superintendence, the N. E. A., or any state teacher's
organization.
tion
the
larger
cities;
second,
towns,
schools;
villages
third,
and
the
rural
consoli*
university
extej
agencies;
No
professional
organiza-
can accept into active membership the man who has something to sell, no matter how meritorious his product or
zealous
isn't
research interest; those other educational age! fifth, such as the pulpit, platform, social fare activities and civic organization
fourth,
how
his
activities
may
it
be.
It
Fourth, the National Academy sla continue its policy of remaining enii
free
simply
done.
Nor can
be done
in
allowing
its
ton can do
uation.
First,
ever,
regular
meetings
of
the
discontinue the practice of ace ing any membership fees from comr cial organizations.
Fifth,
find
Academy should be
the
the
National
for
Academy
means
employing a
organization
of
secre
who
the
lems of the
work
of
the
any
other.
should be a
training,
man
become
Second, the National Academy should affiliated with the Department of Superintendence and the N. E. A., taking
interests,
marked executive
Sixth,
ability.
the
control
in
the
Acad
r
should be vested
practical
larger and
interests
in
failed to function
and technical
Third, the
pro-
Among
ultimate THE form, and
the Magazines
Conducted by N. L. G.
purpose of this department is to supply in readable quite informally, a digest of the literature on the subject as it appears from month to month in various periodicals. The busy reader may find here as much as his time will allow him to cover; the curious or scholarly reader can use the department as a starting point for wider ranging, with marked economy of his time.
provoked this by his suggestion "that education and religion be advanced by means of a greater use of the motion picture" on the whole quite a The editor safe and sensible remark. of School suggests a doubt that Mr.
Hays is an authority on theology pedagogy, and we are quite incline' agree with him, although Mr. Hay entitled to make such a remark wit being an "authority" in the subjects Further than this we ca tioned. agree with this extraordinary editor
J
There follows a purely quixotic 2: upon visual education, with the editc School setting up his own windmills
109
proceeds to ring changes upon the innoit into such absurdities as the following:
"making the
the
Forum
for
January
in
motion picture screen take the place of textbook and pulpit," "cutting education and religion by the movie pattern"; and finally, as a climax to his tirade against
the movie, he declares:
for education, however,
appeared
the
same
"As
a substitute
to see its
by S. L. M. Barlow (Reour March issue). It seemed, in advance, that the Forum was doing an inarticle
in
viewed
we
fail
tilt,
value."
The
idea
of
startles us also.
We
of
it.
editor of School must be sadly out touch with the situation. His editorial should have been printed about
of
ten
The
two sides. Mr. Barlow Mr. MacAlarney was to parry, and we readers were to have the
resentatives of the
to
thrust,
was
pleasure of
By
week following
fulminate
in
The
rapiers
flashed
merrily
enough
Mr.
Barlow's
Today,
why
such fashion?
tesque
feels
No
as
with somewhat the greater brilliance but the opponents did not touch each other. Both articles contained much
truth
but
they
concerned
different
as-
moved
too,
Then,
think
Mr. MacAlarney begins by flaying the "Ph.D. and stevedore" alike, for criticising what they do
flayers of the movies,
"The textbook must remain the chief means of instruction in the public
schools."
We
it
so,
supposed gument.
was
We
schools as well."
"If an education
He evolves elaborate not understand. reasons why the stevedore does not criticise the novel or spoken play (it is probably because he does not read the one nor attend the other), but at the picture show said stevedore "sees what he sees, and, because he does not like what he
sees,
worth having,
that
it."
it
is
worth
the
hard
work
our
fore-
rather
Of
so
course, but
little
why
It
is
smashing.
." no royal or easy road the use? Even a remote acquaintance with the thought of the day on this question would have saved something over a column of valuable
"There
but
what's
Mr. MacAlarney cuts the ground from under all would-be objectors at one blow by declaring the movies to be constitutionally just what serious critics have
space
too.)
in
School.
(It
is
large
page,
and what the country would think if he thought what this editor thinks he
thinks!
Hays of him
damned them for being! The film should not be taken seriously, the screen should not be thought to compete with book and play as an art of expression; for the film is a somewhat hard and flat medium and
"spoken
titles,
no matter how
all,
skillfully
only so
uttered words"
whatever that
1I)
The movies
sold
made
in
bulk,
by hippodrome methods, and in only one grade for all consumers. Triumphant enumeration of faults is certainly a novel method for the defense of a client.
Mr. MacAlarney speaks with evident and his broad experience in actual production of motion pictures gives weight to his words. Yet, because he is
sincerity
in
the movies reach this same stage in policj and performance they will remain a priml
itive thing,
with
all
companies what is "primitive." When Mr. McAlarney says that "da rectors must compress drama into a fiyl thousand foot maximum" he comes danJ gerously near amusing the thoughtful* reader. The pitiful fact is that it is toJ
often a case of inflation instead of com-j
the midst of
it
all,
crowding around him apparently blind him to larger considerations. His congested foreground blots out for him the landscape. Intimate knowledge of present
facts leads the writer into
palpablej
some
extraordi-
nary statements.
"If
it
were possible
produce assorted pictures for city, small town, highbrow, lowbrow, rural, etc., consumption, there would be far less hue and cry about the
financially possible
to
by
this
mean
statement tends tJ weaken confidence in Mr. MacAlarney's? grasp and vision. Pantomime is one 6% the high arts of the race, one of the most
a
Such
means
of development uni
meretricious movies."
The last part of the statement is profoundly true, but the implication in the first part is unfortunate. Selective production in the movies is not only possible,
it
palmiest days. Thanks to the close-up, artistic heights will bffl reached in pantomime which were impos-
dreamed of
in its
sible to the
mimes
of
Rome, great
limitations
as they of
theS
we have
it,
actors and
is
inevitable.
is
The tendency
in
who
can do
this in
direction
moviedom
ture will
become one
Its
Drama
,
By Gordon
Craig
FROM
this
demands
matters
dramatic.
After this
article
Mr;
and the ball-room floor. The early printers produced a book for the world in general, as far as the world was interested.
he
Modern publishers calculate to a nicety the particular fraction of the public they
and hence we have serious fiction, best-sellers, dime novels, and so on through a host of gradations in values and intentions. For centuries the stage has differentiated the elements of its public and catered to each accurately. Until
will serve,
he begins:
can all be summed nothing new; it is merely one more milestone as we go downhill as we are led downhill It appeals to the by the nose.
"What about
in a
it?
It
up
few
.
notes.
It is
...
.
vulgarity of
most
.
the idleness
of
all
...
.
6\
many
the
economy
ill
ignorant
world
...
...
.
the 'wisdom'
tyrannical
e.,
it
the pockets)
protects
of the
few.
. .
There-
asked for
in
its
Imagination
and and
fore
the
few
Still
it
.
and
is
Reverence
belief
listeners
and demanded
igainst the
[or
many,
.
pretends to he
the
people!!
the
The mind
is
en-
deemer
staved,
mind drugged,
.
the
.
best
.
.
The Theatre
in action
mind to glide downhill in comfort The Cinto go willingly down. ema is the most important ally of what
.
.
'Bolshevism' that exists today the loyal Yellow Press coming in .All that it touches a poor second.
we
call
.
it
smears.
...
in 1541,
It
is
not
the
original.
Exactly as
getic
when
most ener-
by showing the realities though the early producers were illiterates and t^ie actors spoke unbelievably bad French and English. But then the Theatre also became difficile. It ordered folk to come at such and such an hour, and no other It became expensive; it became snobbish. You had to It became too good. dress to go there.
for the audience
even
and the most vulgar organizers of conceived the idea in Paris of time the acting the 'Old Testament,' because they held that the people did not get enough
Realism in the performance of the High Mass, so today do the very descendants of these energetic and vulgar impressarios find themselves and their 'Realousted by more energetic and more vulgar organizers holding the same opinions as their predecessors held
istic'
It
became an "Art."
masses."
It
strove to "eleall
vate the
And
the time
it
theatre
in
1541.
of both
tability
The Cinema steals ahead Theatre and Church in its adapto the loaiest needs of man."
. . .
on
So he runs on in unwearying vilification and on, and down and down and when he gets to the bottom he stops He is quite with "Take it or leave it." emphatic and abrupt, is Mr. Craig. It is always worth while to read what Mr. Craig has to say on matters theatrical but equally, of course, one should never
fail
pandered to their idea of what elevation might be and wasn't. It tricked. And then came the Cinema! It asks for "no exercise of the imagination other than what may gush over or dribble out demands no sentimentality in belief at all except the 'believe your own Neither was eyes and our limericks.' " the Cinema difficile. You go at any hour you please, pay a low price, sit between a duke and a cowboy, evening dress is banned, and infinite variety is spread before your eyes the Impossible, in fact. "Threepennyworth of the Impossible was no mean argument." Mr. Craig detects signs that the Cinema, too, is becoming difficile, and when
it
does
its
day
will
be over.
He
finds indinice,
"two such
become part and parcel of his artistic soul. England was unkind to her child of genius. If England herself was hostile to his beloved stage, how should he view the onslaught of this new, impersonal and mightier enemy, the Cinema!
ordinary people as Mary Pickford and Charlie Chaplin." (Mr. Craig is not very But he hastens gracious toward them.) to reassure any who may be worried as
to
will
do without
its
movies.
of
"There will always be other inventions man timed to go off pat when we press
. . .
Amid
tion,
the button
ing the
rest.
And
l'l\!
in:
Educational Screen
withsee for
lower
out
to
it
us,
without so
jerks
will.
.
much
. .
effort,
so
many
and man
All
perfect
then,
ease
alas!
each
tume and the accuracy of historical fact These pictures will be as perfect tech nically as the cumulative knowledge o the motion picture industry can mak<
them.
ity.
new century
and then
.
reached,
The
lighting
will
be
the
best
there will,
I'm afraid, be no hope for it we will have to ascend or become dust. Take it or leave it." Thus Mr. Gordon Craig views "the Movies Life's last squirm." His ideas are an entertaining mixture of poetic analysis and grotesque absurdity.
History be overdone.
is
dramatic, but
is
There
be
"They
will
be historically accurate will accept nothing else. The schoolboy or university stu dent will not be interested in pictures
tures, they will
American audiences
historically correct
March
4th
THIS
we
are
free,
is
to have some serious pictures from cheap theatrical distortion. Regular commercial producers seem con-
genially incapable of presenting serious material without theatricalizing and sensationalizing the whole thing. They leave small bits of truth visible here and
there, but the whole mass is such lowgrade ore that it does not pay to work it. (Witness Universale recent "history"
series.) " 'The truth, the whole truth and nothing but the truth, so help me, Hadley,' is the motto of those back of the enterprise.
Neither must they be technically and dramatically perfect and historically That is why we have de inaccurate. voted two entire years before turning crank on a camera for the first reel. Oui No deresearch has been most careful. tail has been overlooked." Dr. George Parmly Day, president ol the newly-formed "Chronicles of America Corporation," says: "This series is designed to present the entire story of America, so that it may be read even by those whose time for books is very limited and who are not Each in the habit of reading history.
ocre.
of the
fifty
narratives
is
a topical unit
and
be read separately, but all are so related that they form one continuous
may
These narratives and complete history. are written by competent authors, and
in
them the
"The
scholarly
editors
will
inspect
made real and vivid." The preparatory work has been long
Not
one foot of film will be released until it has had the official sanction of Professors
sisted in
Two years have been studying the feasibility of the move, assembling material, and experimental scenarios have been made and submitted to an eminent committee of The result is the following scholars. programme for 100 reels 30 plays of three to five reels each arranged in six
and elaborate.
spent
in
"The historians will interfere in no way with the technical side of production. They will attend strictly to the historical
accuracy of
it
topical
his-
tory as follows:
I.
The Morning
America
in
all;
(Seven plays,
21 reels.
Co-
1:
Pioneers of England
daily,
in-
the
New World
and
the
The Winning
(Three
Shall
of
Independence
in
employing this medium of instruction owing to the unorganized condition of the non-theatrical field up to the present time. But this field has at least been scratched, and
as a result the seed has taken root.
plays,
nine
in
reels.
Englishmen
the
New
Revo-
"The galvanic power of the screen, its power to arouse and stimulate the faculties, whether rightly or wrongly used,
has never been disputed. It is now proposed to apply this power to American history, studied hitherto through the
Battlefields of the
following Washington.) The Young Republic (Two plays in six reels. The Constitution and the new Government, following Hamilton
medium
of the written
word
alone."
and Jefferson.)
V.
of
the
Motion
The Vision
of the
West
in
Picture
(Three plays, in 24 reels. The conquest of the continent from the Alleghanies to the Pacific Ocean. The Old West and the
by Terry Ramsaye
Photoplay for April
THE
the
New.)
i]
The Storm
of Secession
extermination
Lincoln.
Civil
of
slavery.
Abraham
the
Battlefields
War,
following
Stonewall
I
Jackson,
of
Lee
and
posed to be an awe-inspiring thought), the extravagant emphasis on the wonderful disclosures to be expected these lead one to expect the usual hifalutin stuff that makes the "literature" of moviedom. But the introductory flourish once
Grant.)
VI.
The Age
Power
The
the
may
be agree-
Considering
nificant
effort
that
practically
no
sig-
has been
made
so far to
inflow of immigrants and the development and utilization of mechanical power on a great scale; picturing invention and the mechanical revolution and the America of today.) rhe account is concluded with this iphatic and unquestionably sound
write the story of the motion picture's swift career, this series may be accepted
as
what it claims to be: "The first history of the Motion Picture ... a story Mr. Ramsaye of Men, not Things."
an
of
of the
It
is
gives
interesting
chronicle
the
ment
day.
pression
s
of
the
educational
possibili-
straightforward
of the screen.
narrative,
full
and
'The screen as a medium for education Its to be no longer on trial. It is wer and efficiency are admitted. fact, however, that while the non-thepears
ical
singularly free from the "Oh, how wonderful" tone so nearly universal and so completely monotonous, in the movie
magazines.
To
judge by the
first
in-
motion picture
is
gaining ground
From Hollywood
Conducted by M. T. O.
IFpicture
hose of us
who watch
the
silver
the
moving
have
"Perforating machines!"
on
screen
And
in
another
moment
could
r
thought at all about the processes which brought it there, we have in general, harbored a vague idea that the thing was done in the same way that finished snapshots are produced with a pocket camera. That is, the actual picture taking done, the films are left trustfully at he nearest drug store, where after a mysi
the
preparation
are
Perfect
the
film
depe
terious
interval,
upon
the
accuracy
with
which
miraculously finished
We
hear
much about
and
scenarios
actors,
authors,
directors
and camera
But of
men and
that
technical experts
all
necessary
"mysterious interval" between the actual "shooting" and the moment when the finished picture flashes on the screen before us, we hear almost nothing at all. Yet this period in the progress of the picture is perhaps more important than any
other, involving as
it
sprocket holes are cut; and the tiny sf pegs which stamp the holes are ex; duplicates of similar pegs in the camel and projectors, hand-made, and var>3 in measurement less than one-thousari< of an inch!
Listening to the explanation of complicated perfection, I was less i pressed by the information itself than the knowledge that my informant 4 himself impressed by the facts he sho ered upon me. A man trained in the a and mechanics of photography, v years of motion-picture experience j hind him, he had not yet reached j
stage where the wonders of his craft h become mere commonplaces. Stumbl|
fj
does, a
number
of
How much
of the films
of
care
and labor
is
re-
Thomas
to
H. Ince Studio.
square,
was conducted
set
marvelled,
j
one-story
building,
just
be-
Next came the developing room. Htl dreds of wooden racks stood in ordej
piles.
Others,
offices
of
the
wound with
film,
stfl
Up
in
submerged in long wooden vats frl which rose the acid odor of the develj
ing
fluid.
"Come
my
Here, too,
is
an exacting
tal
guide as he plunged ahead of me into a narrow, dark passage. I followed uncertainly, stumbling into an utterly black
space from whence arose a terrific clatter. As eye and ear slowly adjusted
the correct degree of density of each fij the matching in color or intensity of d
ferent sections of the
same
film,
all
And
tanks,
tinted
the
then the washing room loi and rack after rack of variotl film, immersed in running wad
114
From Hollywood
after that, the drying
pit
115
room, with
its
revolving
in
the
high
temperature
main-
he printing room was deserted for the except for a workman who was reHere I ring one of the machines. devised id more intricate mechanism
v
me all along the line motion picture production is not the hit-or-miss, happy-go-lucky business we have thought it, but a serious, highly complex industry, requiring specialists in every one of its many branches.
fact that
e,
We
ting
followed the
room where
strong,
sweet odor,
time accurately
per fraction of a
curiously familiar,
assailed us.
There
still
moment each
guide.
I
watched another
girl,
seated at
an-
of the
een pictures
in
every foot of
film.
other sort of machine, cut out the flawed bits and cement the ends of film together
so accurately, so delicately, that
In here," said
in
my
a darkened
cubby
hole,
found mywatching
tiny slice
when
1
the
light,
could
cut
hardly
discern
the
patches.
The
of the projector stopped; there came click and flash of an electric light.
it?"
I
demanded my
said
startled.
guide.
Formerly, cutting and splicing of film the results being inaccurate and often insecure. Now, with a splicing machine, a perfect patch is made
didn't,"
The
un-
in
moment,
the
machine
containing
at
dly.
the
machine
laughed
not
They hardly
nt.
ever do,"
even a small heating element which dries the cement a combination of ether and banana oil. (The strong, sweet odor ex-
plained!)
What was
it?" I asked.
nick
in
the film."
strip
light,
of celluloid, holding
until
against
rked
>.
it
The
she found the flaw, and with a slip of paper and a wire light winked out and the piccut
into the
Last of all we visited the polishing room, where the final scratches are eliminated, and the film washed in alcohol and polished by electrically driven buffers, before it is sent to the shipping department.
e flashed again
ken
le;
n'nd
on the baby screen. A sequence was a murmur came from the gloom me.
title
Yet all these activities represent merely one phase of motion picture production. They are almost entirely mechanical; but upon their efficient performance depends the success or failure of the dramatic and
artistic
What?"
demanded.
I
No
led to be
deter-
Fifteen minpassed twenty half an hour; but once did I detect a blemish, though least a dozen flips of paper were
achievements of the picture. A shade too much, one way or the other, in developing or printing, and the scenic beauty of a story is spoiled; a mistake in captions overlooked, and the thread of
the story
sibility is
is
and a
dramatic situation
the
ruined.
The responfor
)ped
to
the
film.
My
companions
opportunities
it
numerous;
laboratory
ghed at my chagrin, and said kindly t I had been too much interested in story to notice the rest. But I found the same thing iifferent explanation,
whisper
is
often
the
alone
that authors and artists and directors have labored in vain to secure.!
fects
HE
March meeting
School
of the
Newark
Education Club, was held at the Burnet School The on Thursday, March 23 at 4 p. m. meeting was given to viewing pictures produced by the Kineto Company of
Public
Visual
gress
of the
ma
Paris,
to teaching.
It will
be he Metie
America for instructional purposes. Two pictures of the Great American Author series were shown, John GreenIn leaf Whittier and Edgar Allan Poe. both pictures the homes, schools attended, and final resting place of each poet were shown. Whittier's great understanding of nature was brought out in the picturization of his "Barefoot Boy" and
from the 20th to the 23rd of / The assembly is to be know "Le Congres Cine-pedagogique" an discussions will be grouped under
general heads: L'Orientation professionnelle (1) L'Enseignement technique (2)
(3)
L'Education artistique
fostered
will
by the
condi
coming session
its
be
"Maud
life
Muller."
in
The sadness
was stressed
under
Paris.)
auspices.
(26
Quai de Bet!
"Annabel Lee."
D
be
OUGLAS FAIRBANKS
of
summons
is
A
the
for
T LAST!
:
One
of the thirty
in
growtl
liten
censorship for
itself
as
to
done in Massachusetts next fall rather than leave the matter to the State "I have no quarrel," he legislatures. continues, "with the many very estimable people who are working so earnest^ for censorship. Most of them are
with them in at least both want a clean and wholesome screen. But there is an honsincere.
I
movie-goers
narcotic to keep
And
am
beloved screens are not working, pending on the great industry for very sustenance, it is natural that magazines should give desperatelj their best to defend the source and
of their
tility
one respect:
We
method
for their
thetic.
nothing short of
of maintaining
they."
it.
am
entitled to
my
"by referendum
by their own ballots at the polls." He declares that the industry can be trusted to abide faithfully by the decision so made
for
it
seldom achieve a worth reading by persons with cap! But nov\ for independent thought. last, one of them has named with phasis and conviction the vital and c ous "first step" toward the regenerj of the movie world. In "An Open Letter to Mr. Will Hi
rublished
read:
lieve
in
They
Photoplay
for
April,
is
a far
Massachusetts
be an inter-
the
else,
time,
more than
anytl
esting
the idea.
need
for
1
as
117
First of
all,
you should
all
on producers to discharge
a
.
per-
THE
the
end
is
not yet.
St.
Louis has
for
inaugurated
another
use
the
make
is
them
vital.
menace
.
to the industry.
This
Furthermore,
those
you
should
eliminate
all
persons
who
are
Union Station Theatre. The thousands of hours spent by passengers in waiting for St. Louis' 280 daily trains
can
eager
tional
to
take
now
be whiled
away
before
of
the
publicity
by any motion
gets
into
screen,
for a
consideration
22 cents
picture
papers.
ture
scandal
which
in
the
for adults
and
The
short
Moreover,
there
every motion-pic-
programme
well
reel
contract
should be a clause
as
entertainment
will
films
and
new Goldwyn
subjects
predominate.
in
contracts,
providing
of
discharge
life reflects
for the immediate any actor whose private discredit on the company..."
We
Editor
As
as
it
the
is
Photoplay,
for
his
judgment
movie"
idea
extends,
If and courage in writing those words. the movie publications would seize all
we may expect
to see
upon this utterance, emphasize, amplify and spread it through every corner of they could really do somethe land
will
profess
to
serve
and build a
far
surer
"first
re-
demption
is
to accept
appointment
in the
as
incorporation of
tors
March
11,
known
as
new The
Paris his French version of "The Three Musketeers" in 47 reels. (If we had a week to spare we should like to view it.)
America, Inc.
The
is
M. Chevalier,
we
the
is
more conof
Fox, Selznick, Zukor, Laemmle, and Doubtless Mr. Hays considers that a lump of such potential power needs leavening, or possibly such steps are merely wise precautions to prevent
Loew.
the
presentation
famous
of
than
the
M. Diamant
shortly
on
At any
rate,
we
produce another
duction
easily
Dumas
40
novel,
"Twenty
this pro-
shall be glad
when
down
to
reels.
still
One
could
have Sun-
have all been taken and Mr. Hays can announce his programme and start his work of bettering the motion picture
business.
day
left
School Department
Conducted by M. E. G.
exact science of education is made like any other science. An accumulation of the results of visual instruction, as it is being practiced by successful teachers,
An
forms a valuable collection of data from which to draw conclusions and state principles.
Educational
Extension
THE
The
service
we
offer in
is
t'o
our Visual
films or
Education Section
tributing center
act as a dis-
which
will
insure
maximum showing
all
of
from which
our materials.
Our
service extends to
in
educational
as
we have been
securing are
chiefly industrial films, depicting particular processes or the methods followed along certain lines of manufacture or production of utilities; although a goodly sprinkling of geographical films (visits to large cities and points of interest) have been included and have been found as
well as churches, clubs, societies and other welfare or discussion groups which desire our
services.
institutions
the
State
No
is
made
from us. However, the organizashowing the films is asked to pay the expressage of the parcel from and to the
films
distributing center at the University.
popular,
industrial
ial
it
if
not more
subjects.
so,
than the
this
strictly
Ac-
Although
in
materthat
visual educa-
is is
not
a
educational
the
sense
visualization
excellent
of
some
particular
be
filled
in
text,
still
is
films
program.
tion
sent,
is a report blank which must and sent t'o us following the This report covers the condi-
of the material
material
thus
obtainable
is
remarkably
the
good
for the purposes in hand. In addition to films the Extension Division has on hand 1,700 slides depicting
industrial,
audience and other information of interest to ourselves or the centers from whicli we secure our films.
agricultural
mining, welfare, geographical subjects which are distributed over the State in
geological,
An
idea of
is
the extent
and
service
called
the
same manner
Wher-
from the figures we have for the academic year 1920-21 during which time we
served 31 institutions or organizations with more or less regularity, reaching on an average of 250 to 300 people at each showing of the films. This year, although, due to reorganization, the Visual Education Section did not begin to fund tion until November, we have alreadi reached upward of 4,000 people.
118
ever possible
so
we ask
to be supplied with
program
time to
will
we can
jects
wanted or have
adequate
supply
fit
substitutes
which
into the
audience.
School Department
As
i
119
ird-size
equipment we have a standPowers moving picture machine, portable DeVry moving picture maactual
a
chine,
portable stereopticon
projector
and fruitful of good results in satisfied patrons, who demonstrate their opinion of the value and good of showing our
projection materials by repeated
for
demands
tbout
,700
100 reels of
moving
slides,
picture film,
more
film
and
slides.
If indications
stereopticon
cases
with adequate
hipping
iluding rewinding
can be trusted, it will not be very long before the Visual Education Section will have expanded to such an extent that it will be the largest and most important
section of our General University Extension.
nent,
etc.
The
Film Reviews
ENTER, "chapter
sodes,
the
educational
play."
serial
the
Each
series
of
kind smile, lifting his cap slightly. "I thank God I have been permitted to
see you." that
each episode two reels in ength. The purpose of the entire project s to dramatize history, to put upon the (Teen some of the big adventures inciThe nt to exploration and conquest. irst series has been entitled "Winners of he West," and the second, "With Stan-
and
Livingstone answers, "I feel thankful I am here to welcome you." Yet, in this film series, in order to launch upon the beginning of this historical narrative
which
in
real of
life
was
re-
plete
with
situations
qualities,
we
ey in
Africa."
Produced by Universal.
have space for review of the 1st We doubt if our readers will care for reviews of the other
episode of one of them.
L7 episodes.
We
tenement fire which perils the life of the young American scientist who is to accompany Stanley, the same fire "covered" by a girl feature reporter on the New
York News
(a
girl
reporter a rarity in
WITH STANLEY
ipisode I
IN
AFRICA
young
The
All the
Jaws background
of the Jungle
somewhat
expedition of he young journalist Stanley through the leart of the Dark Continent in search of 3r. Livingstone, supposedly lost in the
real epic of history
the
it for her paper, her experiences with Arab slave traders in Zanzibar, who seize her and inform
is
ungle and given up by the world, which ad ceased to hope that he was still alive;
search which culminated in the village
l|
Ujiji
wo
i
she is rescued in order that she may appear in the further action of the story and so on, ad infinitum. Judging by this first episode, we are
quite disposed to believe that the
ise
Africa; a
promis
of
tood a white
man
fulfilled:
leeting dramatic in
simplicity.
his hat,
entist,
presume?"
"As Jack Cameron, an American sciwho makes the trip with Stanley, George Walsh is kept on his tiptoes
own
life
or that
120
I'm:
Educational Screen
re-
of
porter, played
the
their
experiences
History?
there
are
khaki.
It is
you search for them. But the child is far more apt to be impressed by the thrilling dangers and hairbreadth escapes through which the minor characters must make their way than with the sweep of the larger action. The emphasis is hopelessly wrong. Wanted A little more history and far less melodrama.
an unusual
It
film, fantastic
but nol
sensational.
young
imaginations in the most wholesome way. Children will follow it so eagerl) they will not notice the slight defects ir continuity, minor flaws in photographic effects such as a fairy a little bit too solic
for a
fairy.
The Shakespearean
to
quotaa
rather
and
lighl
English
teacher can easily help the children to ar appreciation that will but add value tc
the
film.
We
mention
use.
As
lish
a masterful rendering of an
classic,
it
Engfinest
An engaging
littl<
is
lead'
pictures
within
today.
schools
ing actors in
story
is
this
delightful
film.
The
should insist upon this film for their school showings. It is an ideal picture
for all non-theatrical uses.
wholesome and comfortable of such charming simplicity and natural ness one gets to feeling sory for home without a bear. There is no feeling o: the Zoological Garden about this film
so
This
here
little
bear
is
in
the
fields,
A
that
fanciful bit,
dreams
are
compounded made of
of the stuff
fairies
kitchen
and
own but
the whole
made very
real
as
a most convincing little actoi with a personality quite his own. Shovt this film to anybody, everybody, from to 60 years of age, and they will all b< glad they did not miss it.
j
Film Catalogue
THE
interested in the entire field of visual instruction the use of all sorts of visual aids. It is the purpose of the school department to print every month a li| of current releases in non-theatrical films. It does this for the benefit of th teacher who has not the time, nor perhaps the accessibility to exchanges, gather this information for himself. In regard to the sources from which other visual materials may be securec the teaching profession needs little assistance.
is
Educational Screen
in
A
in
lak<
any
Swil
zerland, studded with island jewels. The palacfe and villas on its shores are reflected in the serei
mirror
of
water,
across
which
little
steamif
make
their
way.
Film Catalogue
In
121
New Madrid
Burton Holmes (N
it
N-T) The
lina,
its
known
and
appears today, the parks, streets, buildings, shops, vehicles and people A city is not lacking in typically Spanish. beauty nor impressiveness which contains the Palace of the Spanish Kings, with the guard of the palace dressed in Napoleonic uniforms.
Spanish capital as
Petrified Forest
tured
(C C) In natural colors are picPainted Desert of Arizona and the Petrified Forest with its famous trees thousands
the
of years old.
Dawn
Egypt (E F C) Especially fitting just now that Egypt is somewhat in the The reel shows modern life in this limelight. country, as well as its famous relics of an older
to
Dusk
in
First Families of
Not
larly
filming
particu-
civilization.
Pueblo Indians of New Mexico and Arizona, living today much as they did in the days of Coronado.
the
rhe Bazaars
of Cairo Burton Holmes (N N-T) Scarcely a subject more remote from western customs than this district of the Egyptian city which is given over to bargaining humanity. The stalls of the street merchants are seen
(N N-T)
The
desert city of Algeria, situated on an oasis in the great Sahara and showing the cuslittle
against a background of the narrow alleys and crooked passageways of this ancient metropolis.
toms of the Arab population and the ever-present camel caravan, is calculated to present the atmosphere of northern Africa.
The Galata Bridge Burton Holmes (N N-T) Spanning the Golden Horn in Constantinople, from Stamboul, the native Turkish Quarter, to Galata, the Europeanized district of the city. Across the bridge pass representatives of the many nations which contribute to the population Ships from Italy, of this commercial port. Greece and Egypt bear witness to the trade which passes through the docks of Galata.
Bonnets of Auvergne (E F C) The quaintness of this southern province of France, as reflected in those of the coast the headgear of its women country affecting a different style from that worn by the country women of the inland hills. In addition there are many types of peasantry shown, and scenic views of this interesting
locality.
NATURAL SCIENCE
Bumble Bee (C C)
Gives an idea of the astonishing magnitude of the bee industry, and shows the community life and the habits of the insect. Our Four-Footed Helpers (Ruminants) (P) Of which the cow is the commonest example. By animated diagram are shown the mechanics of cud-chewing. The film also treats of the bison, the giraffe, the dromedary, the alpaca, llama and others, in addition to a large section devoted to
deer.
Present-Day Prague Burton Holmes (N N-T) Once the capital of the kingdom of Bohemia,
and now
been recognized as one of the most picturesque of Europe. Bridges across the Moldau, on which the city is located, views of its leading thoroughfares and glimpses of its characteristic types of
Craftsmen (P) The communty showing feeding habits, the attacks upon their enemies, and their defense of their homes and micro-cinematographic analysis of the structure of queens, males and workers. The story of hatching is told, and the "nurse" is shown caring for newly-born ants. Baby Songbirds at Mealtime (P) An entertaining as well as an instructive reel showing the feeding of the little nestlings by the solicitous parent Sparrows, linnets, canaries, warblers and birds. wrens are among those shown. Toads (Society for Visual Education) Picturing
Ants:
life
Nature's
of the ant,
the
life
history of the
common
or garden, variety
collection of views.
In
tree toad; and making apparent the harmlessness of the species in general, and its
and the
Old Granada Burton Holmes (N N-T)A good companion picture for "New Madrid," since this reel shows the city which was the Moorish capital until the African invaders were finally driven from vSpain by the Christian armies of Ferdinand and Isabella in 1492. The wonderful courts of the famous Alhambra come in for their share of
attention.
(U S Agric) Having to Dangerous Invaders do with the gypsy and brown-tail moths, their spread in New England, the damage they do to trees, and the fight which is being waged
to
Catalina
of
(C C)
(P) Particu-
Prizma
well
suited
to
High School
two sections
Santa Catalina Island, with beautiful under-water forms. and other fish are shown.
Beautiful
strange and
seals
Zoology.
The
reel is in
the
classes
in
first
Pelicans,
known
representative of the
The Crustaceans and his habits of living. second division deals with "the fish which builds a nest for hatching."
122
Tale of
Two
of
Cities 7 reels
(F)A
faithful v
1
Hoosier
Romance
reels
(University
the
humorous, genuine story of James Whitcomb Riley's poem. Subtitles are taken directly. Played by Colleen Moore as Patience Thompson and Thomas JefService)
forth
nema
Setting
Dickens' classic, as far as spirit and atmosphere are concerned, and a m too-faithful portrayal of the grewsome and h< able aspects of the story. The result is said
ualization
Farnum
be a film rich in instructional value. Willi? takes the part of Darney and Sydn Carton.
Spartacus
cient
reels
(Kleine)
of the
The
Rome and
gives
life
slave
Spartacus
the the social
opportunity
the
for
glimpses
of
imperial city,
of
gladiatorial times.
games, and
the
Little may the city child reali Better Milk (K) the processes through which milk has pass* nor the journey it has taken before it appe; This reel makes clear t on his doorstep.
INDUSTRIAL
Pilgrim's
Bunyan's Progress 4 reels (Kleine) dream, and the adventures of Christian through the Slough of Despond toward Peace and Happiness as
source of the city's milk supply, and pictui the precautions taken to insure its cleanline
and purity.
Electricity 4 reels
Bunyan saw them in the vision which prompted him to write his masterpiece.
Bird
The Blue
(F
P L)
An
adaptation
of
(C C) An exposition of tl complicated subject, showing how electru power is generated and controlled, and how is made to serve our daily needs in power, ligl
Maeterlinck's classic, understandingly done and Two child actors take artistically worthwhile. Directed by Maurice Tourthe leading roles.
neur.
(Vitagraph) This most Black Beauty 7 reels appealing story of Ann Sewell's lends itself admirably to screen presentation.
ing, and telegraphy. Mining At the Calumet and Hecla 2 reels (U Mines) A non-technical treatment of the ject, showing the processes through which t ore passes mining, milling, and smelting un the moulded copper ingots are ready for sh
ment.
Notice
When
a
company
For addresses
The Educational
Screen.
Within 60 days, a complete directory of the principal exchanges distributii non-theatrical films will be printed and mailed to each subscriber, without charg
for
will
permanent reference.
Whenever changes or additions are needed, new shee be mailed to replace those obsolete and the directory will be kept reliable ar
up-to-date.
KEY TO ABBREVIATIONS
N
P
Pathe Exchange, Inc., (Exchanges)
35
C C
E F C
.
Carter Cinema Producing Corporation, 220 West 42nd St., New York City.
NT
FPL
New York
City.
National Non-Theatrical Motion Pictures, 232 West 38th St., New York City.
V E
West 45th
St.,
New York
City.
F
Fox Film Corporation, (Exchanges) 10th Ave. at 55th St., New York Gen Elec General Electric Company,
City.
H
K
Schenectady, N. Y.
S Agric U. S. Bureau of Agriculture, Motion Picture Laboratory, Washington, D. C. IT S Mines U. S. Bureau of Mines, Experiment
Pittsburgh, Pa.
IT
Sta.,
Hodkinson Selected Pictures, (Exchanges) 527 Fifth Ave., New York City.
Kineto Film Company of America, 71 West 23rd St., New York City.
U C
o
As long
an
as
UR PURPOSE:
To
the
experimental
endless
stage
there
as
to
will
arise
many
had nothing to do with any emphasis; rather with the general problem of getting Dickens into screen form. A preponderance of "leaders was the first suspicion we had of the film, a suspicion to be taken seriously when we
but
that
shift in
book
lent
preeminently
valuable
excel-
remember
titles,
is
that pantomime,
unbroken by
are
description
two
the
ideal
for
many who
modes
writer
Barrie
the
with pantomime?
The question
At the special showing, two reviewers found themselves side by side. One protested at this "deluge of titles."
"But how screen Dickens
in
And
of
all
any other
Dickens library, to choose Our Mutual Friend with its packed characterization, its multiplicity of minute details, its
way?"
many
the
essential
characters,
would seem
Whatever
a
faithfully
"But it makes the crowd read him. Do you know that in Minneapolis a perfectly huge run on the book took place after this film had been shown?" The first personage was undismayed; went off on a tangent. "That makes for
If
to
read
same
stuff
,".
the
an amazing amount of 'side action." Second, this film proves he advisability of keeping one narrative it the lead with any others subordinated.
be rich
in
trailed
indefinitely.
When
hief
that
story which
in
may
carry the
the issue.
emphasis
the beginning
becomes
ubordinate to what has been a sub-plot, he two may change places, thereby mainaining a unity.
The immediate
rebuttal
remarked the imperturb"At least, we see two fields for the movie the artistic movie for the theatre, and an educational Dickens film
"Possibly,"
able one.
)f
o this assertion might be the muted cry too many subtitles and leaders. There
read!"
where
mch
itling.
shift
It did
might
not
in
require
too
much
Friend.
Our Mutual
titling
larming amount of
an and leaders,
indeed,
Here the dialogue closed because it was impossible for even reviewers to converse and review in the same breath and glance.
The conversation
123
is
124
cause it re-emphasizes the old quarrel aboul transferring literature to the screen and because it happened to sound what was practically the only flaw of Our MuBut for this slight overtual Friend, amount of titling at the beginning the
continuity
Evan Rostrui
Jean Nethersoh
Alfred
Mille
"Ma"
Boffin
"Ta"
Silas
Boffin
Mr. Venus
Charles Wilken:
Wegg
"Pa" Wilfer
Charles
was
beautifully
it
written.
To
might be well
its
chief emphasis.
began with the story of John Rokesmith, his peculiar behavior at the identification of the body found in the His application for room and' river. board at the Wilfer's, followed by old Boffin's rise and his consequent employment of Rokesmith as a secretary, brings
in easily, in relationship to Boffin,
We
Miss Reese was exquisite in the pois< and delicacy of her interpretation of th< spoiled pet of a large family. Mr. Wal ton portrayed the lonely and often-hum bled Rokesmith with a dignity of botl mien and manner that made his bizarn story convincing. The lawyers were dis
tinguished,
fine-grained
fellows
witl
those
Mr. Venus and This sequence culminates, Silas Wegg. motivated largely by Boffin's growing irritability, in the marriage of Rokesmith From now on their and Bella Wilfer. story, as a main plot, is finished and they
delightful
old
rogues,
are
subordinated
to
Lizzie
Hexam's
In fact, these formerly main characters do not appear again until the end
story.
when they The meeting of Rokesmith and Lawyer Lightwood leads to the former's arrest. The
of the
Lizzie
Hexam
thread
mean-
ness
erly
is
emphasized,
and
balanced
film.
narrative.
The
same
ex-
every evidence of being finished actors Miss Casper's features, thickened by th< camera, made her a bit coarse in ap pearance not the type one would ex pect Mr. Lightwood to love. Evan Ros trup, as the tough river pirate, was perfect, balanced, undemonstrative ruf fian. He played his hard role of swag ger and brutality quietly, forcefully, witl no hint of the cheap burlesque many pic "Pa ture men read into such a part. Wilfer looked a bit aggressive for th< timid gentleman he portrayed, but hi acting overcame the handicap. Nowher but in England could a Silas Wegg an< Messrs Mr. Venus have been found. Wilkens and Cross gave us Dickens' cari cature on the screen as surely as did th< author on the pages of his novel. In good many years of film study, this casl without any exception, stands as the mos impressively intelligent array of polishei actors ever assembled for a screen pro
This picture, produced by the Swedish Biograph, presents an English cast of the high measure typical of the English stage itself.
travagant
Bella Wilfer
duction.
too,
They last word about the sets. were faithfully Dickensesque, but th photography was sometimes below th'
best
One
Hexam
Katherine Reese Peter Walton Albert Fenton Elvin Milton Peter Anderson
Katherine Casper
of
the
old
kind,
the
set
fully
il
lumined with little attempt at light am shade effects. The foggy river at the be ginning was absurdly clear.
If
you
is
not to
b<
Gaffer
Hexam's Daughter
screened,
we remark
that
you are de
125
Certainly,
if
a novel of Dick-
crammed with
>n,
detail
can be filmed d has been filmed, with its careful N of the horror one gets from ;es ens' vivid pen, we suggest a reconation
of
closeups,
we
the
question.
Above
all.
his picture.
storm
was
ludicrous.
PRODIGAL JUDGE
ward Jose has given us
hints of the quality of
d.
:
The soaped
its
(or
was
a
it
picture
gashes to portray
Our Mutual
with
its
and wife
This
fire
ble
prolongation
scene),
ean implications and the fine charwork in Maclyn Arbuckle's Judge im Price, ought to be listed as ig the year's best films. That it ran Chicago theatre for two days only mning evidence against the moving re public. Had they refused to see un and sorrow of old Judge Slocum
his
about to part, was an insult to even the fourth grade intelligence of the moviegoing public. If there were one commendable thing to be said, we should like to say it to reaffirm our faith in Mme. Nazimova and her promising foreword to the effect that if she succeeded in her first independent production to please but a few she would
feel satisfied for the effort involved.
The
effort
tions.
was evident
in
muscular contor-
crony,
who had
the
the
soul
of
yr
within
body
of a scarecrow
what awry as to features, they ought not to have been left unci by the charm of the glorious lit oy, trudging hand in hand with the old men. Shining throughout these
y
Coming several years after Elsie Ferguson's portrayal we did not dream of the bizarre failure of Nazimova's Nora.
SMILIN'
THROUGH
hail this film as
We
hailed
cannot
it.
others have
admirable assets was the clear, ?ht beauty of Jean Paige. Miss does not frequent the screen but she does appear her audience may assured of sincerity and intelligence r role. Someone has said that Olga
>va
is not as convincing as that of Forever, though it is very similar. The tale closes with the
Its spirit-world
theme
same
idea of Forever.
will call
"The foolish world you dead but you have just be-
looked, in a royal
court scene,
lough she belonged there. Miss is every inch the daughter of an Southern family, descended from the |tit and fearless cavaliers of England.
gun to live." Two lovers are united with words from one to the effect "And many They would are afraid of death not be if they could know what was in store for them at the end of the road." As in Forever the photography is not the
.
first independent with the promise of her mod'd yet satisfactory Camille in mind, xpected much. A cruel disappointis, perhaps, not too vivid a manner
jction,
but touched out to a unlike Forever the theme fails to move one. This is due to the clumsiness with which it is introduced via the spirit conversations in the
transparent
lighter
sort,
tone.
Yet,
old
attic.
nich
to
we
But whatever is to be said against the theme of the spirit world, there is little doubt about the excellence of the char-
126
acters the
the
in
is
world of
the
reality.
Norma
Talmadge,
niece,
old
Norma Talmadge
you forgive
certainly
it
its
Harrison Ford keeps apace. But the most noticeable, fine bit about the film is the work of Wyndham Standing as the gallant Carteret, in his youth
come
back.
alizing;
is,
The
and
is
later
in
his
lonely embittered
age.
no
the
epic
in
sp(
g<
production.
One
gathered,
B.
Francis.
is
for
worth everything for these two If you can forgive the work. weakness of its spirit world implications, Smilin' Through will prove an enjoyable
film
actors'
Theodora's
picture.
Each time
comes the success of The Que Sheba. This film has its faults; tl surdly sustained Tower of David for example. But on the whole th gripped the most prejudiced of n
ers.
The
story
accuracy has been attacked because Solomon had no beard. Fortunat beard was not the salt of Fritz Li powerful King Solomon. Then
those
the
is
actors
in
our
In
midst
a
who
medium
is
not
it
for
movement of flexible, sensuou needed, can we not afford to dis with the beard? Film producers
a peculiar aptitude for slashing th
all
daughter of the tired, overstimulated, young-set of a metropolis to fall in love with the sea-swept freshness of a fisher youth. There are throughout
like a
very
manner
of important accuracies
many bits of character work deserving praise. The maid of the kitchen and her dramatic entry on Sunday morning garbed in her idea of an ultra modern costume; the glum grocery boy; the two old salts of the fishing
the picture
bling
If
men
epic
will
boat;
the
young
sister
these
are
real
Mr. Barthelmess, himself, was charming, though one wondered at his ease at times. Yet even grace may be the natural birthright of a rough fisherman. It was rather an air throughout
characters.
made
it
seem a
bit
too
weight of the Queen of Sheb have more pictures of a like ity. Betty Blythe played, with rich tional connotations, her role of a w who was queen in nature as well as She was an entirely fit compleme Mr. Lieber's strong Solomon. Littl Moore acted as he has never acte fore. We do not hesitate to say th;
success of a spectacle film in this
aggressively
is
preachment.
One
thing
certain.
Much
cast
of
tle titling
127
we
she
call
the bet-
effort
of
Cecil
de Mille's
ter
things
and,
of
in
life,
but
was never
of
masquerade.
To
sol-
vulgar
give
the
crisis,
her
If
life,
ome
r,
American
"Oh, Lord!
.
you
play
stranded
the girl the
role of
an
oil
him back
.
don't let
to
tli,
\l
him hate me
the game."
I've
tried
th
k
e
whom
narrative
is
in love.
thing in
a rush of
and
ineffective in
Moran
is
of the
Lady
Letty.
its
its
All
Built
in
all
this
picture
acceptable.
on an improbable story for "nineeighths" of humanity, it is still a possible story in these days of post-war fevers and sudden oil findings.
ought to. It is saved by wistful beauty of Dorothy Dalton as the sincerity of Conrade Nagel as Mildred Harris American soldier.
COME ON OVER
The
Colleen
that
is
radiant
Gareth Hughes and Moore present a love story hard to forget. The pure
the
Irish
demure
Erin
poetry
of old
of the titles, the accuracy of the sets, the excellence of the supporting cast, and the rich atmos-
fcn
would reef There are other jiches to help Miss Dalton and Mr. gel. There is that brief, fine bit of act on the part of the Siamese Prince aen he thanks the American for saving life. There is nothing to be said in i a situation and so the prince indiiss
cheap
serial.
phere of Irish warmth and humor throughout its reels, make Come on Over a truly great picture. It would seem that more than these few remarks ought, then, to be forthcoming, but further criticism would be repetition only. It stands as a simple tale of Ireland and an Irish family of New York, the charm of which is safely measured by
the subtitling.
with his long steady glance,, the gesture his outstretched of nds, the slight turning of the head, here is the smouldering love of Roderiez, concentrated in the tense eyes of leodore Kosloff; in his swift, angry
tes
Ipless
That they
failed
was
of the vehicle.
is
this
frvements,
thy expressed
g
of his
lips.
There
the accuracy
it
doubtwhether or not any foreigner ever pietrated as far into a Siamese temple witnessing the living sacrifice implies, hroughout, there is, too, the story of a
is
1
R. S. V. P.
Unless Charles Ray' happens upon better than this, his wide spread popularity dwindle to nothing.
hicles
vewill
THE BARNSTORMERS
After the above short and cryptic suggestion, might do well to say something kind, if for nothing more than to keep an artistic sense of
it
in
whom
fttchouli
balance.
It
is
poetry was
Poll
duction
that
makes
was thoughtless,
rough-hewn
theatre changed
its
r.'s
program after two days running for very good How any star could allow a picture to reasons. exist that burlesqued all his past (and possibly
his future) as this does, is another of the several unanswerable questions we have propounded this month.
of
action.
I
If
DO
you
like
PEACOCK ALLEY
This film
is
difficult
one
to
review.
It
has
ele-
many commendable points; many undesirable Miss Murray was unconvincing in ments.
comedy, plotting up with the t machine gun assault, you'll like "I in which Harold Lloyd's meaningful empty and wan shoulder shrug smack at you with
ity
of a
the
beginning largely through the absurdly provincial idea of Paris night life rather than through any She immediately became tin lack on her part. finished actress she is, as the film got under way. At times her sincerity hurt as high moments on It was more, too, the legitimate stage hurt. than the amazing beauty of her close-ups for they
could
It is the most r funniest significance. moving force Harold Lloyd has made. "I I
EXITTHE VAMP
The naturalness of Miss Clayton as wif< mother and "fighting mate" is the deligh simplest bit we have seen for some time, supporting cast supplied charmingly ade
interpretations
of
have
stirred
as
did
the
this
sincerely
written
\
The idea behind the story, the courage of a fine woman, was dimmed to mediocrity by the Thus Peacock Alley can be classed as trite plot.
neither a good nor a bad film but an uncomfortable
cheap effects of the triangle tion or the outraged and raging wife wi back her man! A clear, clean, winningly j bit of the ridiculous situations we mortal
of the
None
mixture of both.
ourselves into.
the smooth, silken George Arliss be good. The slightly sardonic grin, the subtle flexing of the eyebrows, the firm confidence of this actor prove again what the screen can do with trained people behind its efforts.
film
with
bound
to
The
good
story
is,
of course, a
humorous friendly
pic-
ture of a
home amid
sense
behind its activities. The situation of the "old imposter" gives the opportunity for many a clever play of words. They
are
particularly delightful with the half closed eyes of Mr. Arliss behind their humor. One of the films not to be missed by the family.
common
Ramsaye
will give us
best write-up of the subject to date The writer has evidently gather
wealth
of
material,
has
selected
HIS
with
and distributes his emphasis to make interest and readableness rather thai
completeness. Edison in 1888
that there
is
He
though
We
are not
much
date
and
first
re:
the
the
Many
briefly,
others
espec
the silver goblet, or later as the quaking hero, "killer" of two famous bandits, Raymond HatVirginia Valli, his ton is delightfully funny. support, is always poised, charming and thor-
oughly lovely.
Miss Valli
will
be a great star; she has little she is the perfect support for a part that requires natural grace of mien and movement, a rare quality in the average sub-lead.
and throw
it
upon the
screen.
quiet unaggressive film, having as its chief fact its only attraction, the tenderness
could wish for more detail in parts of the story, and a bit less in ot but Mr. Ramsaye's "history" pror to be the best thing of its kind sc
One
ol.
MAY,
1922
No.
Frederick
J.
Lane, Treasurer
Nelson
L. Greene, Editor
Published every month except July and August Copyright May, 1922, by The Educational Screen, Inc.
$1.00 a year.
Back numbers, 25
cents
130
131
"he
Loan Service
Lantern Slides
Carlos E.
135
Cummings
141
Vmong
the Magazines
Conducted by N. L. G.
"rom Hollywood
Conducted by M. T. O.
145
School Department
Conducted by M. E. G.
149
154
Conducted by M. F. L.
Published by
Inc.
Chicago,
Illinois
MAY,
1922
No.
Announcements
IN
the polic
of withholding the
names
The
verdict
is in,
and
it is
unmis
Therefore
in the
June issue we
ing the names of those who are behind and Editorial Board.
AS
J.
previously announced,
The Educational
from time
The
first title
Weber
one of the
first authoritativi
The importance o
Mr. Weber's work has already been widely recognized by scholars and the pub lication of his results in book form is a significant event.
The book
bound
will
in cloth,
and
Price
THE
June issue of
this
magazine
will
show an
five
or two
new
features, such as a
new department
matter of par
ticular interest.
Among
also,
"The Unspeakable Photoplay," by Harrisoi manager and producer of New York City a study of the educational matinee for children by Marion F. Lanphie:
the articles will be
theatrical
130
\
Editorial
131
isual field
by
J.
W. Shepherd
in the
A
ions
vill
and
social organiza-
throughout the country will begin in the June number. This department be in charge of Mrs. Florence Butler Blanchard, formerly Chairman of
Women's
Clubs.
The
increased
pace in the June issue will also allow of some extension and rearrangement of
he present departments.
the June
IN
number we
by
this
shall
magazine
to
full data on on visual education, which is being every State in the Union. Returns are so
is
leavy and
Drocess.
come
necessarily a slow
AHE
An
National
Academy
at
The
and energy
results.
The
Academy should
The
were themselves interesting. Among them were Alfred W. Abrams, chief of the Bureau of Visual Instruction, University of the State of New York, the staunch supporter of the lantern slide as an effective His influence was felt throughout the visual aid in educational procedure. the delegates were ready to adopt closed, convention meeting. By the time the in the development of the Abrams the high standards of quality used by Mr.
representatives
New York
State.
Another interesting character was Dudley Grant Hays, Assistant Superintendent of the Chicago Public Schools,
who was
132
room.
Academy
at thij
Wm. M.
Geography
in the
linked
up
and the
class
room.
One
Mr
ter
will
have charge of a
thousand dollars research project in visual education next year, to be conducted in the Toledo and Cleveland schools.
Among
in the
activities
Prof.
J.
W.
of the University of
Oklahoma
F.
W.
;
Utah and
from Ken-
were Paul Favour and Ira Eastman Kodak Company I. L. Nixon, of Bausch and Lomb Homer V. Winn, of the De Vry Corporation; Leo Dwyer, representing the Nicholas Power Company and George Kleine of the Kleine interests. A numP. Gillette of, the
;
Among
definite
The adoption
Committee by Mr. Cummings of the Buffalo Society of Natural Sciences within the next few weeks.
2.
to attempt to
The adoption of a resolution instructing the officers of the Academy work out with the larger motion picture producers a definite plan
and entertainment
films to the non-|
Editorial
3.
133
rogram
which
universities
and research
The encouragement
esponsibility for
community, eliminating and to the morals of the comSchools and churches were also urged to form cooperative organizamotion picture entertainment
menace
to the industry
ions in their respective states through which, with the aid of their university
as
The Academy
went on record
}f
favoring the general adoption of non-inflammable film stock. The members the Academy seemed unanimous in their opposition to the adoption of a
narrow width non-inflammable film for school use, which would prohibit the use of standard width film in the schools.
6.
ment of Superintendence, in order to secure a larger attendance of those most bring directly concerned and interested in the movement, and in order better to
the
movement
7.
purely professional character by refusing in any way allow to change requirements for active membership which would commercial representatives a voice in determining the policies of the Academy.
same time, business representatives, especially those who had the good status of the grace and judgment to accept and respect the professional memAcademy's the by received cordially Academy, were perhaps never more
At
the
bership.
of this field. As the loyal support of all those interested in the development year is a supthis needs one of the representatives stated, "What the Academy of the committee executive port from the field so active and insistent that the determined program consistently escape from carrying out the
on the This record of accomplishment is an evidence of a serious purpose to far lead will constructively, part of the organization, which, if followed deserves that accomplishment reaching and definite results. It is a program of
Lexington meeting."
definite
The
work
of the
Academy
is
launched.
It stands as the
one or-
134
and with nothing to sell and no selfish interestl program accomplished, there will no doubt bi presented at the next meeting of the Academy a much larger and more varied program of activities. Whether or not the rising hopes of the members and friends of the Academy will be realized, depends in a large measure on the activities of the new administration and the support given them by the mem]
service to the cause of education
to advance.
With
this year's
bership.
The
affairs of the
Illinois.
Mrs.
Clare
of- Education,
University of Missouri.
Treasurer, C.
Museum.
Executive Committee
F. W. Reynolds, Extension Director, University of Utah. W. H. Dudley, Chief Bureau of Visual Instruction, University
consin.
of Wis-
W. M.
Geography
Carlos
Museum and
Professor of
School of Education.
the
E.
New
York.
J. W. Shepherd, Associate Professor of Education and Director of the Department of Visual Education, University of Oklahoma.
New
Jersey.
The
who would
displace the
Academy
by putting a new organization backed by commercial influences into the field has been answered and the answer has the ring of sincerity. It was a case of
those
who came
and work.
J.
W. Shepherd,
University of Oklahoma.
Loan
Carlos E. Cummings
AS
lides,
far as
we know, with
Buffalo
the ex-
explain
vice,
the
Society
of
ence.
first
museum
a city of
more than
a half
basing
loan
to
moving
Other
collections
have
specific
been
de-
established
meet the
mands
izations,,
but
on the fingers of one hand. Under the State Law, standard film must be projected from a booth by an operator licensed by the Mayor. As all our
material
is
who
wishes
make
slides.
made
The department deals exclusively in slides. The writer has been associated
with moving picture projection for a
eliminated.
The ordinances
of
the
is
a licensed op-
Such
entitled
Fire Underwriters.
tion, I
In this connecI
am
my
my
own
has
one of the big insurance companies moving picture film "throws out
a vapor that can be ignited by a
lighting his pipe in the
feet
was discontinued after a year's trial. I do not in any way wish to discourage
or deprecate properly selected educational film
man
open
air, fifty
shown
to properly selected
away from the film." In the next place, while much is being done along
the line of suitable films for educational purposes, there
is
still
much
to
my
is
be done.
cational
Some
films"
To
are
far
from being
make
clear
my
position, let
me
briefly
educational.
Convention at Lexing-
135
]36
expert to operate.
The
recent devel-
is
definitely
made
home
the honey
on its hind legs," was recently viewed by the writer, this picture having been released as an
to the hive in pouches
il
To make
cern
known
all
producer of educational
Fre-
(400)
watt projecting
titles
misplaced, and
and these have been freel) loaned to borrowers of slides who ar< not fortunate enough to possess machines of their own. There are man)
types of these portable projectors or
the market,
all
of
therri
satis factor)
We have
may
is
confined
in
never-the-less
make
the state-
be
inter-
ment
that in
my
first class
properly
selected
made
there
in
Buffalo,
we have
work than
film
the
average
today,
was no reason why we should go out of town for our equipment. The writer admits that the idea
of loaning a lantern, to be operated
moving
with
its
picture
available
individuals,
appeared at
first
and control. Another innovation of the Department may be worthy of a few words.
shown us
A
for
is
of very
little
the
service.
its
in
some of us have probably empty tanks and blown out fuses, the projection of a slide on the screen was a very
of which
rather painful recollections of
serious
of one of these
As
this
matter,
the
equipment being
to charge
A
he Society,
therefore,
137
has assumed
Our most
caused by
curiosity
ter
individuals
whose
is
borrowed and returned over the counand the shipping of slides by the Department or the borrower is absolutely prohibited. Slides in sets must
be returned in numerical order.
the hall
No
what
inside of
it
nd invariably the parts are re-asembled in the wrong position, which lecessitates some one in the Departnent taking time to re-assemble the
where
slides are
shown but a
is
collection
may
be taken at a church
where such
collection
customary
when
shown.
all
The
bor-
ystem.
lot
is
always discovered until the next >orrower is back with the lantern and
eports that
it
breakage
will be per-
We
it
The Department
out
is
operating with-
an obviate
.
this difficulty
by inserting
any deposit by the borrower. While this may seem rather generous,
is
ciples.
ng Department are brief and simple. Vt the start we loaned material to any
idult
who
this
ng business
strict
made it somewhat
ment has not as yet failed to receive back any material loaned. In the second place, a deposit system would necessitate the handling and accounting of a large sum of money which
could only be taken care of by a responsible person
entire time to this duty.
now we
of
ire
confining our
loans to
members
he
Society or any
adult
by a
is
he Society.
No
child
permitted to
is,
there-
member
of the Society.
All material
loaned for a period of three (3) lays, Sundays and holidays not ins
own
deposits
are
concerned. discovered
Where
they
the
:luded,
after
which
penalty
of
breakages
are
are
:wenty-five
slides
cents
($.25)
per set of
and one dollar ($1.00) for the antern for each extra day is collected.
lecture
charged and always cheerfully paid for by the borrower, but our breakage
including cover glass, does not
to one-tenth of one per cent.
amount
roughly
with
the
slides
be
First, priv-
Slides
must be
Many
138
home lanterns and slides weekly for showing in their homes. During the winter they have Sunday afternoon lectures, for example, to
taking
encourage
al
A
is
invite
the
provided.
New
As
the
Eac
phonograph and the player piano occupy a legitimate place in making the home attractive and bringing to the rising generation the talent and skill
of the great artists of music, so
going out
is
secured by
card which
is
On
this
card
is
number and
may
mate place by the fireside, bringing home the faraway scenes of the world and the wonders of science. Second, There is a large deorganizations. mand from clubs and societies whose
entertainment
date borrowed, dal due and date returned, above an agree ment to suffer all penalties under ou rules. These cards are then filed, a<
title,
cording to the
day,
this
title
of the sets,
Mot
a
tr.
Wedne<
being
the
date
Monday's
sets are
when As
committees
are
often
brought
the corresponds
file,
card
is
checke
many
cases
interested in
some
particular branch
and filled out with the return dat whereupon it is placed in an alph betic "set returned" file. At the end c
the
some of
month
it is
a simple matter to g
file
our pictures,
attractive
is
through
this
and
prepare
cards
tr
monthly report.
the times loaned
set,
The
indical
manner. Third, Schools and Teachers. This is a class so familiar to you all that it requires no explanation here. The Scout Masters
find our material very useful in their
and the number of times each si has been used during the month
entered in a total column.
As soon
work.
Fourth,
Churches.
Several
thousand
on
card
then
filed
permanent]
Th
makes
it
possible
for
the
Gounte
subjects
for
purely
devo-
tional meetings,
many
of the churches
borrowing weekly
slides
on
travel,
Clerk to immediately produce for ar borrower his cards indicating whic sets he has already had, in case it ma
A
of interest to
ict.
139
him
to ascertain this
The
who have material for sale. Our system presents one great advantage.
It
Board of Directors cover the numof borrowers, the number of slides id the number of lanterns circulated uring each month. Each lantern is umbered and has lying in the comartment in the storage shelf a good zed card marked with the number of
le
[ir
a nega-
breakage the
slide could be
replaced
and the set kept intact. While not in any way criticizing or deprecating
this system,
it is
le
lantern.
As
certain
disadvantages.
it is
many
and
in-
le
name
is
of the borrower
placed on
stances
tives
le
when
the
classi-
intern
;
fying
or
forty
thousand
checked
a glance
This enables us to
tell
We
are
individual
discovered
any
specific
Our
circulation
totals
since
)llows
Slides terns 297 1920.. 1,598 104,385 716 1921. .6,252 399,272 1922. .4,484 270,926 1,482
Sets
)ec.,
lay,
fay,
become worn out or damaged to a point where it is no longer useful, such slides as remain are removed from circulation, placed in storage boxes and when such have accumuslides
lated, a
new
lecture
is
arranged with
may
be avail-
Our borrowers
and there
is
represent every
class
is
naturally the
to
nost
important
feature
be
con-
idered.
)ur
We
expect to incorporate in
titles
entire
topics
catalogued,
more than
Fall
The
Society
room
nd has available
ives
in private
hands a
Most
ng
slides.
Most of our
purchased.
slides,
It
is
never-
of them form as
slides
heless, are
known
The
are
hat
we
tides
jf
to
correspond
140
with the
number
in the
catalog
and each slide having the same number on the thumb label. Where they are arranged in definite sets they are kept in a carrying case which is used for no other set. Each set is carefully placed in order and a diagonal line
painted in gold paint across the ends
of the slides
borrow
tion.
It
slides
educational
work
carried on by othe
itself
:
making
it
possible to
tell
set is in order,
any mis-
When
not in a permanent
slides
carrying
case,
the
are taken
in a
when
called
for.
We
makes a very considerafr use of our facilities and many of tl speakers employed by the Society wh appear at our Tuesday Evening Con munity Lectures, which are carried c
at a half score of centers in the cit
anyone wishing slides on a definite date, and, endeavor to hold such reservations but do not
guarantee them.
tl
ment.
At
for
We
is
one in
In order to bring this innovation before the public it was assumed that it would be necessary to carry out a campaign of publicity, and such plan was contemplated. It was found,
manner another, in its relation to tl Society, and in this connection, tl head of the Department is bold enou to make the statement that such
department properly equipped
of the best
is
01
city
demand
for a
any
problem rapidly became not one of creating this demand but of meeting it.
<
Every borrower became an advertiser of the Society and the only specific advertising plan which was carried out was the insertion into each set, as
loaned, of a slide stating that the slides
tl
there primarily
Among
PHE
*-
the Magazines
Conducted by N. L. G.
ultimate purpose of this department is to supply in readable form, and quite informally, a digest of the literature on the subject as it appears from month to month in various periodicals. The busy reader may find here as much as his time will allow him to cover; the curious or scholarly reader can use the department as a starting point for wider ranging, with marked economy of his time.
jecting 1,000 feet, which is 20 minutes. therefore feel quite certain that if the
We
by Harvey
n
B.
Lemon
y"""V F the various methods at presI 1 ent most effective in Physics teaching, the most important re probably in the following order: (1) aboratory work, (2) class-room recitaon and problem-solving, (3) demonration lectures."
motion picture film is placed in the hands of competent, informed teachers, preceded by some comment and followed by questions and discussion, the numerical grades above might have appeared in
inverted
tests,
order.
As
result
of
these
the
is
present
After explaining why the third method not been greatly used in recent ars at the University of Chicago, Dr. emon declares that proper motion picires can do much to supply this demonas
ration feature. test of the idea has een made, with two groups of 75 stunts each.
means of undergraduate instruction." Dr. Lemon is careful to specify that the film is used only for the one type of science instruction, the demonstration lecture, and adds: "It is inconceivable that films can ever take the place of laboratory or classroom work."
The first group was shown one thouind feet of film on "Electrostatics," and stened to a demonstration lecture on
Magnetism."
emonstration
|cs,"
lecture on "Electrostaand viewed a 1,000-foot film on Magnetism." Both films and lectures
this article for the sake quoting a single paragraph from this eminent man of letters regarding the much maligned motion pic-
WE
Mr.
CITE
of
ture.
Dvered exactly the same material. The 150 students were then given a omprehensive examination, the papers ere marked by four different individuals idependently, and the marks averaged. he average grade attained after the
plays
Walpole laments the dearth of and personalities on the English stage today as compared with twenty
ago,
years
when
Ellen
Terry,
Tree,
emonstration lecture was 72 per cent; 67 per cent. "The spoken lecture was allowed one our for presentation. The film was ntirely unsupported by any comment nd occupied the normal time for profter the film,
Hare, Alexander, Maude and the rest ruled the boards; when dramatic offerings included such masterpieces as The Second Mrs. Tanqueray, The Liars, Gay Lord Quex, Arms and the Man; and such staging as Tree gave to Herod and Ulysses and The Darling of the Gods, or Alexander to Paolo and Francesca.
Wyndham,
141
142
He
this
change
rentals
the
cinema,
enormous
theatre
much anything may be needed or much the people want it, it takes a
. .
.
h<3
loi
general.
WB time to get them to accept it. do you know it took about a half a doa
years to introduce the electric light?
follows:
"As
to the cinema, I
cuts short the life of doubtful theatrical productions, and by doubtful I mean productions that have no very strong reason,
artistic,
took eight years to get them to take t| typewriter seriously. It took years wl the telephone it is that way with evel
thing!
commercial or sensuous, for their might have lived once upon a time because then there was no
alternative attraction; but the art of the
in the
way
Ushers
cinema
to
best."
is,
am
powerful group.
interested
have to
damage
Yc
01
Edison
can
make an
An
in
Interview
Photoplay for
May
MR. EDISON
tion
tered the
than he spoke ten years ago, when he utpompous absurdity that films were to replace textbooks. In the present interview the wizard no. longer at-
hundred per cent effective. You can mal the picture and try it keep trying it the dog until it works a hundred p' cent. You can show it to the same a dience time and again and locate exact the places that they do not all und^ stand, and then make those over urn they all do get it."
<
"Close-up'
Charlie Chaplin
by Thomas Burke
in the
The
article
is
quite worthless
The
interviewer said:
just
work
"There are some of us who think that one day the theatre and the amusement field will be the small end of the pictures
as in the art of printing the pubis
A
day,
CHARMING
lication of fiction
that
keeps
the
busy."
by one who does not greatly ca for the movies or the movie world general. One cannot read Mr. Burkt words without feeling a deepened I spect and affection for the art and pe sonality of the famous little Englishm
"Oh, the educational picture? That's a whole ocean of possibility but not yet about ten years from now, maybe. You see it does not matter how
. .
. .
who as
mense
nations.
contribution
to
the
gaiety
143
March
the
fk
FTER
tion
warning against
consists
of
too
r\
[r.
*
is
motion pictures,
Hays dwells on
use.
isual
rs'
movies on a more than self-supporting Only good films are shown, always of the town's own choosing, and the programme is run through twice at 6:30 and 8:30 p. m., with an occasional matinee of films for children. Because the enterprise was not for profit, low rental rates were often posThe cost of the two performsible.
ly
basis.
The purpose
train
ids
le
to avoid the
danger of "hitching
impressions to the >ad of symbolic representations found Educators are prone textbooks. assume too rich a background of preious impressions and fail to furnish the Dundant amount of impressionating marials so necessary before they have the
child's
of
An average $55.00. attendance of 240 yielded average gate The net remaining receipts of $70.00.
tween $45.00 and
devoted first to paying off the original investment of $1,500.00 furnished by puband start the at citizens lic-spirited
is
chil-
Mr. Hays insists upon the high value the stereograph and lantern slide, oints out briefly effective methods of se, and shows that the motion picture nould constitute but a fractional part
f
thereafter will be used to improve still further the quality of the entertainment. There are thousands of villages in the
country perfectly able to do the same Most of them probably will do thing.
.
it
sooner or
later.
of the
Motion
concludes with sound arument in favor of a "central office" to This makes irve a system of schools. [I only for greater efficiency but for
The
article
astly
greater
economy
of
operation.
distribut-
esting and
ting,
ig
i
demonstration, assembling,
repairing,
cataloguing,
THE
Aug-
ust, 1894,
everything
can be done far better one single center than through sepa-
ite
management
in
each school.
Such
prompted by the Edison Kinetoscope, started to devise a method for projecting the motion picture upon a screen.
Edison was content to leave the motion
picture in peep-hole form for the astounding reason that he did not think screen Hence, it projection was worth while!
icilities
within reach of all teachers and tpils in the system "yields the greatest rvice at the least expense."
Community Movies
by Helen M. Scarth
in the Outlook for Ik
was
left to
important
December
7th
Many worked
problem,
point
of
all
departure.
in
Latham
in
New
of a small New England town population 1,021, ten miles from earest city, four miles from nearest novie" in establishing its own week-
^-%
London, Lumiere in Paris, York, Paul Jenkins and Armat in Washington, were working without knowledge of each
other's activities.
The
144
first honors to Latham on the grounds that he achieved the first public showing of motion pictures on April 21st, 1895 and on the next day the New York Sun printed some statements by Edison on the matter that were the first guns in a bitter legal battle that was Latham and his to last for 13 years. sons also produced the first film to run on Broadway, the Griffo-Barnett prizefight, a four-minute feature that had its premiere on May 20th, 1895.
tory ascribes
Weet, Superintendent of Ci
Schools, Rochester, N. Y.
Howard
Ida Lee
of Hamiltaj
EVIDENCE
that Will
sceptical
critics
beginning
to
appeal
intentioJ
of hi
many
have inclined to believe He seems to have a sane notion that thi movies need something more than defea of censorship, for instance. When he can
celed
the
projected
release
of
Fatfr
There
is
much
relatively
unimpor-
and many significant which a Mr. serious reader would like to find. Ramsaye seems less concerned with getdetails omitted in the chronicle
Arbuckle films incidentally a colossal ex ample of poor judgment on the part of th powers that be in motion pictures Mi Hays certainly stepped on important an On sensitive toes in the movie world.
than with
make
a drinl
News Notes
one act tends to encourag suspicion that Will Hays realizes there 4 something fundamentally wrong with th
this
movies
something
far
more
vital
tha
c
A
A.,
is
VISUAL
presented
education program to be
at
Boston
in
connection
This rebuke to
tt
1
arrogance of the picture men in trying release Fatty films on the heels of tri
notorious
step
trial
Normal
School, Terre
looks very
much
like a
fir!
i
Haute, Ind.,
who
tion Association.
Committee on Visual Education for the present year is composed of the following members
E. A.
Ira
The N.
In this connection
to quote a
it
may
be appropria
few appreciative words abo^ Will Hays, written by Meredith Nicholsc in a recent motion picture magazine
B.
Bush,
Superintendent
of
City
Elizabeth
Breckinridge,
Louisville,
Louisville
NorCity
mal School,
Ky.
of
"Hays has aways puzzled the prophe and baffled the mind-readers. It has be said that he was going into the picture bm
ness to use the screen for political prof
ganda.
Or
that he
was
to
become mere
pi
Board of Education,
Charlotte
Crosse, Wis.
New York
1426
City.
St.,
Or
etc.
that
money was
the compelllJ
is
Kohn,
State
La
motive,
This, of course,
all
shfc
From Hollywood
Conducted by M. T. 0.
IS
known
listed
on
title,
sub-title,
leader,
caption;
but
sheet"
people in a hurry usually include the lot It is, simply, the exthe term "title."
Plain
titles
on black cards some eighteen by twentyfour inches, and filmed, the proper footage
anatory printed matter that accompanies near e picture, the thing that someone hisses 3U invariably reads aloud, indignant
>
being three feet to every five words. Illustrated titles entail more work. Either the
title
card
itself
is
is
of course, were never meant to read aloud, ample proof of which dwells the fact that they usually disappear from
tography
resorted
little
The absurd
embellish one
comedy company's
are
le
screen long before the oral readers have The rest of us may nished with them.
painted directly on the printed cards. Simple little line drawings they are, and effecThey look tive in producing laughter.
the
title.
Some
of us regard
it
as a
assured
be
me
that
it
is
lecessary evil; others of us are more tolAt any rate it invites discussion, rant.
illustrate a title in
such a
in
way
of
that
it
will
nd the
ages
invitation
is
furiously
among
which he pointed out at random several from the "Her favorite author," "Ten title-sheet:
really
funny,
proof
title should be used lavishly, heightens suspense, clarifies situations, jridges gaps in continuity, and eliminates
it
When
the
titles
ixpensive and elaborate action. Some insist hat the title should be abolished entirely, of the is it breaks the smooth continuity
>icture,
transforms
it
from a
pictorial rec-
nated illustrations, and is after all merely admission that for the moment, the flie inrt of the motion picture has become adequate to express the idea. Others assert that
with gray chalks, or a photograph softened so as not to detract from the lettering. This is "shot" for the proper number of to the feet, then the film is rolled back
point which has been carefully the title lettered on a plain and marked, of black card, is exposed on the same strip men camera what being film, the result The term is somecall "double exposure." more times a misnomer, however, for the
starting
the
title
can accomplish
all
that
its
it,
for
most enthusiastic advocate claims exhibit it will not, at the same time,
elaborate
pictures
may
require
three
or
enemies discern. magazine article defended the least title warmly, deeming it at the very an excuse for the American public to exneglected accomplishment of ercise the
recent
nette.
of color Titles sometimes carry a touch in a vigperhaps or letter, initial in the This requires in addition to the
reading
The
titles
in
their
which other processes, that of tinting, printed. done by hand after the film is
is
146
After
the
titles
them are made and inserted nal print, and given their
wishes to convey, but he never uses thet for the purpose of delivering lectures, an
review.
Then
it,
"Th
man
titles
cut to
match
see in
length an
and
those
of
we
connected
plot,
the theatre
are
made.
titles
So, whether
we approve
or not,
most of them were brief, as "His brother, "His wife," "The infuriated father."
we
making
of pictures.
titles.
And
might be well for us to remember in passing, that most of the work is done by people whose names never appear on the
it
Ince makes much of hi Each one is superimposed upon shadowy background picture that suggest
faintly
Thomas H.
bridges
a mental gap
carries
ove
screen.
In
my
dios, I
attitudes
various
persons
engaged
the
in
producing
pictures,
concerning
title.
To
the
the
man
that
has
its
will be abolished.
As
in
to
it places upo Often the background of a titl is itself a moving picture. In one sea stor the action showed the two principal char acters shipwrecked. A spoken title, flashe just as the water overwhlemed them, car ried the idea vividly, showing the ver words blotted out by a great, swirlin; wave. That one suggested others of a lik
or the construction
the action.
number used
nature,
with the
result
that
The com-
the
finishei
hundred and
producers
fifty titles,
though individual
may vary
number.
Charlie Chaplin considers that primarily
the
title is
and camera men for the title departmenl and supervising their work himself.
Charles
as necessary to the
moving
pic-
Ray
believes
in
the
title.
Hi
ture as the
It
program
of
is
in
minds
the
so
and
to
biv
speak.
A
word
of
action on the
screen,
itself,
is
perhaps aimless
explained, justiis
or ambiguous in
fied
by a
title,
explained by the expression and the gesture. speech which should be accom-
works on the theory that the picture mus not bore its audience (upon which scon he must be classed with the magnificent minority). If to show the entire actio! leading up to a given incident causes th< story to drag, whole sequences can be cu out, and merely indicated by a title. Then, too, in a very long story it comes as
<
distinct relief.
panied by snarling laughter may lose its effect without it. Just so a film scene, no matter how finely acted, may miss its mark
without the
Chaplin's
token,
title to
Not so long ago Charles Ray tried th( experiment of making a picture withoui
titles.
It
was
give
James
Whitcomb
Riley's
it
point.
titles
are
short
and
the
by that
idea
frequently witty.
He makes them
over
poem, "The Ole Swimmin' Hole," and was widely remarked as a novelty. It was largely episodic, and in the absence of a
connected story, the lack of
titles
long
enough
to
carry
he
was not
From Hollywood
eenly
ture
tion
Dr
felt.
Still,
147
innova-
some
job of
films
extent.
titling
the entire
than to the popularity of the poem So, though he may some day the star.
titles,
that
are
one
the the
naturally an expert.
that
And many
pulled
he
have
been
from
The
is
will
never
too,
may do
the titling, as
be entirely done
away
with.
Mr. Ray,
title,
eans
toward
the
illustrated
as
Comedy
the
titles,
say those
a
who know,
are
one.
Whatever the method, the titles finally do get written, and it may take seven days or seven months. That depends on the type of picture, and its length, and on the
psychological
Laughter is mental tears are emotional: you will yourself to laugh if a thing is funny, but if it is sad or pathetic, your emotional response comes without any effort of will, and usually in spite of it. So comedy in any form is much harder to
'put over" than a serious idea.
producer.
Production Notes
The
true
PROMISING
plans of a
the industry
number
comedian
genius
as
is
just
as
much an
painter
rare.
inspired
when
facilities
the
great
as
or
musician,
and
hence
of
quite
Consequently
of
the
much
the
so-called
comedy
screen is really very dreary stuff that needs the condiment of exceedingly clever
titles
plans to
make
Christian," which
to
make
it
at
all
palatable.
Observed
from
title
purely
mechanical
standpoint, the
takes on
much more
its
ford will
the
Storm
disposed to assign
in
it.
It
makes
or
first
appearance
the
continuity
"script,"
will
having finished "The Prisoner of Zenda," make "Black Orchids," which was
where
tinuity
it
is
writer
deems
the
it
necessary
as
one of his own early efforts. Norma Talmadge hopes to make a new and spec-
developed
by
director.
Then,
after
down
"The Garden of Allah," and Nazimova has already given us her interpretations of "Camille," "The Doll's House," and "Salome," all of which had
tacular version of
and inserted
appeared
in pictures before.
whole
editorial
VITAGRAPH
to
includes
vise
Together they
the
titles,
eliminating,
rewriting,
Pulitzer Booth Tarkington's Prize novel, "The Magnificent Ambersons." This deserves more at the hands
of the "movies" than Tarkington has re-
ceived of
late.
148
REVIVAL of Dickens is forecast by the excellent version of "Our Mutual Friend" now on the screens, and the announcement that Jackie Coogan is
who
directed
keteers."
THE new
in full
to
make
"Oliver Twist."
B.
Douglas Fairbanks picture J It has no title as ye not even a working title, but it deal
swing.
CECIL
DeMILLE
is
now
at
work
on Alice Duer Miller's story, "Manslaughter," promising a brilliant cast headed by Thomas Meighan.
with the period of the Crusades, with Mi Fairbanks in the role of Robin Hood.
"A mixture of fact and fairytale," Ml Fairbanks said of the story fact as to th
actual
historical
events
the
of
the Crusadej
o
WILLIAM
his
DeMILLE
will
follow
fairytale
as
to
legendary history
"lot,"
Booth Tarkington's "Clarence." This is something for real motion picture lovers to look forward to with pleasure.
im pressive with castle walls, and gorgeou with tents and banner-hung stands, an< peopled with the romantic figures of tht
glimpse of the
period,
Robin Hood.
forecasts
truly
remarkable
"B
men who
achievement
duction at the Lasky studio, combines an
interesting trio
in pictures.
Vicente
Blasco Ibanez,
of the Apocalyse,"
"Robinson Crusoe," the new Universa promises something highly wort! while, as judged by the first two episodes which I saw in preview last week.
serial,
News Notes
(Concluded from page
rot.
Hi)
the
it is
the
best
Republican
party
had
evei
a contemptible slander.
known. "Hays
has
gone
into
motion
is.
pictures
which he
He
it.
is
on
the
folks!
island
if
But
him;
to
do
He
of
sees
all
greatest
and organize them and put them to work. Hays likes hard jobs. Whatever he organizes is organized. During the war he made the Indiana State Council of Defense known all over the country for the scope
mediums for increasing the enlightenment and promoting the happiness of millions. Hays believes the enormous possibilities of
the screen to entertain, instruct and inspire have been only partially realized, and that in the task of developing and advancing the newest of the great arts lies an opportunity worthy of his best endeavors."
and effectiveness of
its
work.
In 1920 he
School Department
Conducted by M. E. G.
An
is
made
like
any other
An
forms a valuable collection of data from which to draw conclusions and state principles.
Pictures
lived under other circumdifferent surroundings.
in
re-
ance with
stances,
life
the
and
boundaries of China, or
Island, the
or
Rhode
tracing of
he course of the
>r
the emphasis in geography teaching has passed from the geography of places, and the study of
today,
Fortunately,
ianean
The
discovery for us in the subect was such as might be experienced in uccessfully wrestling with Kamchatka, md finally assigning it to its proper cornly thrill of
ler of
'lace
purely physical features, to a human geography a study of people against a background of their environment, carrying on
the industries which conditions of climate, soil and natural resources permit them to carry on; getting their living as
the world.
We
were
in
an era of
geography.
md
:al
Somewhat later, the emphasis changed it became the fad to study the physicharacteristics of mountains, plateaus
valleys.
uncompromising geographical factors decree that they shall. We become observers of the lives of other peoples, we watch them master their environment, we see them till their fields, work their mines,
build
for
their
cities
md
>f
in
favorable situations
else
was consid-
such primary importance as the mderstanding of the physical features of :ontinents and oceans. Though our common school experience nay have fallen within either of the previous epochs, which of us cannot remem:red of
>er his thrill of
manufacture and commerce, extend their roads through the valleys and over mountain passes to carry on trade with
their neighbors.
in
We
see
them
as actors
life becomes not a matter of chance, but a response to definite facts of environment.
human
)erhaps in
>ook of
)le,
some chance encounter with a travel, that there were other peo-
No other means can so readily bring to our minds the conditions of life in other
lands as can the picture.
other customs,
lis
own!
New
people,
Through
that
little
while projected
vith strange
modes
of dress;
new
lands,
ascinating lands, romantic lands he had lever known before! Perhaps it was the
lomad herdsman
:he
with them in their work and their play, entering vicariously for a time into their
experiences.
n the olive groves of southern Spain, or fisherman on the China. Sea, who ishered us into this new world of discovery, who revealed the charm of acquaint149
To illustrate the ability of the child to construct, with the aid of picture-study, a
definite
visual
idea
of
an
environment
150
which
him
from
Seventh Grade test papers may be of inAfter a study of the countries of Middle Europe, the following question was asked:
Suppose you were traveling down Danube River through Austria and Hungary. What would you see in each country, and what cities would you pass? Several replies are here given, in whole or in part, but no changes have been made
the
in
many beautiful scenes see passing through Austria. All about you, one could see level plateaus and some hills and small mountains. In the distance the Austrian Alps could be seen with their snowcapped peaks. You would also pass through Vienna, the capital of the country. Here there are many beauwould
while
tiful
buildings. Going a bit farther yo'* would begin to see broad fertile plains, covered with crops. This is the plain of Hungary. Farther down
streets
and
down
the
Danube
As you
Austria,
tains,
travel
down
the
Danube
in
you would see farming. The most important city you would pass in
ley
It is beautifully is Vienna. situated on the Danube just below the Austrian Gate. It is noted for its public buildings and parks. It was for a long time the music and art center of the world. As we travel on down the Danube, we come to the Hungarian Gate, and now what a different scene meets our eyes! Instead of mountains, we come to a
the river, on both sides, you could see two large cities. Wondering what they were, you would ask a native. He would tell you they were the cities of Buda and Pest, called Budapest on the map. This is the capital and river port of the country.
Austria
While passing through Austria, one could see many beautiful mouM tain scenes. Then passing through,
the Hungarian Gate, selves in the plains
we
find
our-
of Hungary. Coming to Budapest, we see that we are in the midst of a great wheat-
broad
Just
fertile
plain.
below
the
Hungarian
Gate
we come to the cities of Buda and Pest. They are usually known as one
city,
Budapest.
It is
tant city in Hungary. It is also the capital and a great river port.
. .
into
see crops of barley and rye, oats and different cereals. Then after flowing east the river turns south. then come to Hungary, where we see native Hungarian women selling vegetables at the river cities. also see men and boys bringing hay to the market in carts drawn by oxen. Then we come to Budapest which is a beautiful city, in two parts, Buda and Pest. They are connected by bridges. Budapest is the capital of Hungary, and is like Vienna, for its location on the same river, and Budapest is at the Hun-
lowlands where
we
dotted here
and
slightly
wooded
in places.
We
We
Just below the city (Vienna) there is a pass that is called the Austrian Gate. It is so-called because two mountains come down to the water's edge close together forming a narrow
The railroad lines that connect Berlin with the Italian and Balkan peninsula run through Vienna.
pass.
From
ditions
the
a new understanding of the con surrounding different peoples o world, and governing their lives
Vienna
is
at
the
Going down the Danube River through Austria and Hungary, you
new respec other customs, besides ou own something which is the beginniiu of a world viewpoint.
there
comes
quite naturally a
for other
life,
Film Catalogue
rHE and
r
Educational Screen is interested in the entire field of visual instruction, believes heartily in the use of all sorts of visual aids. It is the purpose of the school department to print every month a list It does this for the benefit of the current releases in non-theatrical films. acher who has not the time, nor perhaps the accessibility to exchanges, to tther this information for himself.
HE ADVENTURES OF ROBINSON
CRUSOE
Just as
>
have been
atory.
photographed
in
conserv-
(Universal)
we were about to conclude that good could come out of the "chapter ay" judging by the two historical
previously released Universal reproduction and demistrates to our entire satisfaction that an
rials
Much of the conviction which the production carries is due to the fine quality of the acting which Harry Myers puts into his role of Crusoe. At the outset he
is
nins
itself in this
can be something mere thriller. If the remaining els measure up to the definite achievent of the first two episodes, this proisode
presentation
sides a
the somewhat dapper "swashbuckling" seventeenth century youth, with a romantic fondness for the sea, who after returning from his first wanderings to
find his old
heart
is nothing short of a remarkable ning of Defoe's classic. The Adventures of Robinson Crusoe is ry wisely limited to twenty-four reels, ereby avoiding much of the deplorable adding of the previous thirty-six reel
-ction
her,
sets
out
outcast,
of goatskin,
nbjects
tauld
r
distortion
which
in this case
making his garment and constructing from the same material his crude bag and sunshade.
inevitably
spell
disaster.
Even
ith
this
>rs"
do bring
)efoe
the
Spaniards marooned near Crusoe's and the introduction of the white irl, the descendant of the Spaniards. It doubtful, however, if even these digresions could spoil the fine sweep of the
ten
iland,
The acting has its great moments. There are pitched battles, as real as those on any pirate ship, when Crusoe defies the mutiny of the crew, and tears the black flag from the mast. There is the
kneeling Crusoe, offering his prayer of
gratitude on the shore of his lonely island,
with his makeshift raft beached on the And there is the sands behind him.
strange figure making his oddly contrived
ction.
This production had a scenario careillly constructed with an eye to dramatic alues, a direction which makes every cene count, and sets which add rather
lan
detract.
calendar
off the
the cross in which he notches days and months, fearful that he And finally, his lose track even of time.
The
interiors of Crusoe's
discovery of the
sand.
human
footprint in the
English
ired,
home
leave
nothing to be de-
Myers has caught the spirit and made it live as vitally on the screen as
dand itself are splendidly done. Even nthusiasm must admit one exception, owever. Crusoe's surroundings on his rst night of terror on the island might
in
who
its
spell.
May
151
promise of the
two.
152
Catching
Canton Burton Holmes (N N-T) Calculated to open the eyes of any westerner who imagines that this metropolis of China is still resting in sleepy mediaevalism. Here he may see the most beautiful of Chinese cities
Up
in
Les Miserables 8 reels (F) Victor Hugo's er. on the screen, with William Farnum in the rd of Jean Valjean.
reels Triart
(H) Based
<
bustling
with new progressiveness, replacing her Old Wall with a boulevard, building skyscrapers, and adopting motor cars.
Memories of Old Malacca Burton Holmes (N N-T) There is always a trace of adventure in memories of old sea stories of the Straits of Malacca and its pirate-haunted harbors. This
Burne-Jones' painting of Tennyson's Beggi Maid. The "plot" of the reel is furnished by mythical story of the circumstances surroundii the painting of the famous picture, weaving
romance around
its
central
characters.
Mai
tl
Astor, a singularly beautiful embodiment of character, takes the part of the Maid.
us to Malacca of the present day, mixture of Chinese, Arabs and native peoples, driving their queer carts drawn by strange beasts of burden, or carrying on their characteristic water sports. Silver Linings Bruce Scenic (E F C) A short reel devoted to a study of clouds in numerous forms, and reaching its climax in a terrific storm on a mountain peak. Instructive, as well
reel
takes
its
with
2 reels Triart (H)Another the series which portrays imaginary stories co:
with famous paintings. In this cas Rembrandt's work furnished the subject, ar the story is based on the inspiration which young Long Island painter, Roland West, r ceives from the old artist's work. Mary Ast<
Especially valuable
it is
as beautiful.
The Roof
of
America
(Pr.)
make
trip
related to
of
tl
over
the
Continental Divide in northern Montana, showing the varied topography of the region with its
utterances
the
chi
at
deep gorges, glacial lakes and jagged peaks from which the waters on one side flow to the Pacific, and on the other, southeast to the Gulf of Mexico. Through the Nation's Parks (E F C) Yosemite, Yellowstone and Glacier National Park are represented, each offering its best known places
of interest to lure the traveler.
Clemenceau,
Orlando
2 reels (Gen. Elec.) The dr matic achievement of American ingenuity an perseverence in linking the waters of two oceai is here pictured along with views of the variol
Missions of California (E
or
C)
Showing a
ruins,
score
The^attle
of Jutland
(E F C)
more
of
these
which were built and are now the monuments testifying to the work done by the Spanish Monks among the
Indians of our Southwest.
lar interest.
much-filmed subject, bt
LITERARY
Julius
for
and
HISTORICAL
Caesar 6 reels (Kleine) The struggle world mastery is the background for this somewhat complicated following of Caesar's career until he becomes Dictator of Rome. The conspiracy against him, and the riots which accompany his overthrow are shown in spectacular scenes. The picture is not a filming of Shakespeare's drama, but a life story of this
seen in this reel from the air. It is said to t the only aerial picture ever made of this natun
wonder.
Everlasting Fire (C C) Views of the volcano ( Kilauea, "a lava desert surrounding a pit of fire; including near views of the crater with its pen' up lava bursting through the crevices.
Deer
Hunting
of
in
the
Adirondacks
(Pr)
famous
historical character.
one
"natural color" views < this lake and mountain country, in compan with two hunters who successfully pursue th nimble buck. Bruges, the Venice of the North (E F C)TH
series
beautiful
scenic
Camp
reels
(Kleine)
its
canals
is
it
The
intensely
human
tlement of the Far West and the orphan girl brought up by the miners, told as only Bret
Venice. Its canal craft are as picturesque, not as beautiful, as those of the city on th
Adriatic.
Film Catalogue
A
153
Trip Through Filmland 2 reels (Eastman Kodak Company) Attractive views of Kodak Park are shown, where amid pleasant surroundings, the thousands of workers yearly turn out unbelievable miles of film. The process of manufacture is clearly and interestingly shown, from the raw cotton and bars of silver the two
ingredients of the celluloid strip to the boxes of negative and positive stock ready for the camera and the developing room.
chief
NATURAL SCIENCE
The Reindeer (N N-T)The draught animal
tatoes
taters
(U S Agric)
The early
meat and
rom southern New Jersey in this picture. Beginning with the crops of the Norfolk disrict, the film shows several unique practices of larvesting and marketing, among which are
the potatoes down the river to the hipping wharves and co-operative loading on teamships and railroad cars bound for northrn markets. In contrast are shown the methThe )ds of handling the New Jersey crop. )roper preparation of the soil is touched upon.
loating
and summer until winter when they are shed, and the many uses to which these animals are put by the people of northern climes.
How
(N N-T) Various shown, each choosing the particular materials he wishes, and selecting the specific location he prefers. The results are
Birds Build Their Nests
of birds
sorts
are
America's New Fruit Crop (U. S Agric) aking advantage of conditions in the arid \merican Southwest which are almost identical
tes
with
those of the
The
its
film tells
peculiar de-
among rocks, in bushes, among branches, and, in the case of the woodpecker, in the hole of a dead tree. An unusual type of film, especially valuable for elementary nature study classes. Life of the Humble Bean (N N-T)A vivid subject, showing how the seed, acted upon by sun, air, rain and soil, produces roots, sprouts and feelers. The stalk sends out leaves which are seen to have a specific function.
nests in grass,
tree
Notice
When
s 3
company
The Educational
Within 30 days, a complete directory of the principal exchanges distributing n-theatrical films will be printed and mailed to each subscriber, without charge, permanent reference. Whenever changes or additions are needed, new sheets il be mailed to replace those obsolete and the directory will be kept reliable and
tO-date.
arter
KEY TO ABBREVIATIONS K
Kl
Cinema Producing Corporation, 220 West 42nd St., New York City.
Kineto Film Company of America, 71 West 23rd St., New York City.
PC
ducational Films Corporation, (Exchanges) 729 7th Avenue, New York City.
*
N N-T
P
amous Players-Lasky Corp. (Exchanges) 485 Fifth Ave., New York City.
ox Film Corporation, (Exchanges) 10th Ave. at 55th St., New York City. Elec
eneral Electric
National Non-Theatrical Motion Pictures, 232 West 38th St., New York City.
New York
City.
Pr
Prizma, Inc. 71 West 23rd
St.
Company,
New York
City.
Schenectady, N. Y.
U
City.
New York
(Metro)
tto
was
characterized
The
Four
restraint
Miss
Terry's
wo
Horsemen
of the Apocalypse,
this pic-
unlimited in
its
extravagant enthusiof
Turn
to the
asm.
thousand instances,
picture
a
famous
stage
play
proves
better
Miss Terry
her beauty.
tion.
is,
in addition, beautii
is
medium
medium.
verse
for
its
entirely apart fr
It
We
have asserted
marks of Ingram dir work of Lydia Knc always but particularly in Turn to
The
agous
tinctly
dramatic
different
mediums
elements,
fields.
were,
'
despite their
common
dis-
The
many
many who maudlinize the part of gentle mother. The ex-comedy c\ who shadowed the alternately
grieved and jubilant
nier
Sam proved
fi
stai
were either utterly new stories or abominably bad rehashes. Now, we have our assertion further emphasized by the amazing fact of an obvious improvement, via the silver sheet, over
the stage play, faithfully scenarioized.
worked for
Distinctly
sents a
Turn
to
the Right p
new
The pantomime
of the
"What do
you suppose I roughed him for?" scene is by far more effective than
the dialogue of the play.
not a discovery.
stage
only,
Evidently, thoi
material
it
is
more usually
medium.
t'
ups of Gilly
zation
may
proved
in the picture
SCHOOL DAYS
ers)
(Warner Bro
of
those
words,
realities
A
film
to
we
advisa
J!
155
of
whenever Wesley apared on the screen. The story was bit drawn out* yet any such handip was overcome by some genuinely nny situations and titles. But any igh was immediately hushed in the
pressed
ce of this
:itude,
terrible
the
spirit
of
philosophy,
perhaps
Christ
him-
one wishes to carry the implication meaning, is overdrawn in all his action. The man's face is a marvelous countenance, sensitive, gaunt in its sufferto literal
disagreeably look-at-me
exploitation of
all
this
that
ould
tural.
have
remained
sweet
and
)Ogan
ncentration.
liool
become impertinent rudeWesley Barry has never imessed us as a typical American boy.
portance,
sses.
t
symbolism of a Christ You may, personally, believe that the man, Christ, was a fanatic, but that interpretation has no place in this film. The Stranger t ypifies the widearmed love for humanity in its ridiculous but tragic quarrels down through the ages, that became the heart and essence of the brotherhood teachings of John and his
to characterize the
spirit in this picture'.
master.
linizes
Any
stiffness
of
that
gesture
maud-
he has been
of
his
the effects
of
symbolization
That the dience enjoyed him immensely only oves the tremendous danger of what work represents and the aching
n
productions.
>
any strained expression made fanatic something that should have had depth and steadiness. There was a saccharine sadness about the Stranger when he answered
Julio's
Father,
"I
knew them
all."
The
ficulty of correcting
it.
landscape of
hills
gripping picture,
Stranger.
mentalism about the man who played the Too, when the Stranger explained the meaning of the Beast and his Four Horsemen, there was an element of
the overdrawn in his gestures and expression.
and
disadvantages.
One
is
fully
The
fault
was
lost,
here,
however,
Ad-
lce
enthusiastic
applause
because of the presence of the actor, Rodoph Valentino. At this point, too, the conception of something
m
y
and the
we
concrete
fact
that
conservative
was amateurish.
stern
>duction,
as to be faced.
r
So much for the one fault of the film. it was it can be overlooked in the light of all the tremendous power of the whole production. In the first place,
Great though
this director
j,rhe picture
is,
finest
American
ever
produced,
it
is,
ces this
succeeded in giving us a thoroughly continental atmosphere, an oldworld reality, a perspective of ages. For example: The first two leaders with their accompanying footage of vast Argentine
156
lost in the dim outlines of distant mountain ranges; the thrill of cattle by
plains,
Alan
roles
Hale,
as
the
German German
son-in-li
son-in-1;
the
ten-thousand
head,
grazing
in
peace
their eyes,
far below the summit from which owner watched, shading his narrowed
to better pierce the distances.
Madariaga,
the
had changed a
ters.
the Centaur,
crowded
World, and grew from "savage poverty" to a king of lands and cattle, had something of the rough simof the virgin
New
nounces
at last
ture.
determination
his
to
return
sons n
Germany where
now grown
Knut Hamsun's "Growth of the But where the latter had rough simplicity only, combined with the cold, perplicity of
The
Soil."
feet in its
Much
sonal
stupidites
libertine
of
the
all
Nordic,
this
old
world
had
its
the fierceness of
own
Desnoyers consents to the combined pie; ing of his wife, son and daughter, and
turns to his "fatherland."
gigantic individuality.
The
its
Thus we
tea hero of
find Julio
Desnoyers the
close
tar
the
Paris,
his
a
favorite pupil
crowded, shifting in smoke of sensuous desire; the Parisian cafe, with its Freudian touch; that immeasurable moment of the singing
resort
wife
of
Laurier,
friend
in
of
and
the
turbulence
father's.
There
of
is
no point
it
recount
Suffice
to say that
love
scenes
Julio
and Marguerite
delicate
in
of
France's battle
magnificently
straint.
sensuous,
The American
actor could ne
men
the greatest of
American productions.
detail,
To
analyze
in
closer
however,
cast.
Pomeroy
in
that
utterly
impossible
An
him,
disgusting.
Not
the
Centaur,
"It
will
is
your country
for
it."
He was
my
father's.
fight
never mean, never disgusting; even in his senility he remained the fierce, ruthless,
clean cut libertine.
"Women
Marguerite returns to the husband had left for her dream of young love. I is blind, Julio." .... "Life is not what
thought
it.
we cannot do
with-
Had
it
i
]
out them
until
And
so he taught
we might have
now,
my
marked
In like man-
forever."
The
ner he has taught his grandson, Julio Desnoyers, the abandoned life of the red-
Madame
that
that
blooded
libertine.
In
supreme
Laurier's
mom
wife
grow up
when
cries
Madame
Desnoyers.
The Centaur
hated
longs to him, and his lips creep, tende hungrily from Marguerite's lips down
157
carried him, wholemeeting in No-Mar.'s Land, with Capt. von Hartrott, his German
that
fering;
peace
to
heartedly,
the
the
silver-sheet
realizes
acting
cousin.
\i.
a sort the American man can never atIt takes a finesse of old world tradiand Latin inheritance to make such
1
By
that has
have
made
Desnoyers,
played
by Joseph
in his
was a
delicate,
little
steel-engraved
tleman of France, a
castle
absurd
Players).
a picture yet dotted with
on the Marne. His part in the ti-invaded Villa Blanche was a discrimi-
Not much of
bits
from querulous Stuart Holmes dity to broken terror. red convincingly his role of Capt. von nephew f Desnoyers. Those rtrott, les of war and plunder at the hands of betrayed, more than any Itur's hosts
ing,
careful
transition
acting and some swift amid much of slow progress. Perhaps the most unique element in this production is the new Gloria Swanson we
excellent
plot
action
see.
In
much
is
the smooth,
ur single
Rex
In-
m.
ily
They
which we are accustomed. But occasionally in the New York home, and particularly at the hacienda in Mexico, Miss Swanson becomes a boyishly eager creature, flinging her head and clasping
svelte figure to
erican
tally
her
hands
it
in
quick gestures
of
delight.
the
ih
would be granted that this is a studied part, but no matter, it was weh
Probably
presented.
troops
cheer
finest,
and
help
their
Stuart
role
Holmes
a
plays his
dis-
hers,"
lt
was the
proudest appraisedetails
here are
re-
husband willing to sacrifice his wife's dignity and love in playing her like a chess queen against her
agreeable
of
erstwhile lover to obtain
million dollar
oil
sa'id
to this film.
details
There
in-
gentleman's
concession.
Mr. Wayne
Particularly
final
about the
dual characters.
ut those
powerful monuments
his
its
struggle
in
pment of
effort to
d's
is
Madame
Laurier's
story
the
old
love;
culmination
swift
embrace
regret.
side/ that
moment
of flight
when
shame and
fallible
aware suddenly of the battle-scarred it of her lover, sending her back into room to stay. We have had no time comment on the new Julio of the ches. To his father he said, "I am :ent very content." Here again Valen-
grace
stood
honest
stead
here.
She
is
not an
actress;
merely a
her
woman
gorgeous
who
wears
convincingly
in
and moves with eas> poise through whatever situation the conShe makes the tinuity man plans for her. trite bandit raid possible and real with the same qualities. Not a good picture, but
clothes
158
interesting
spots.
few
excellent
me
drama.
(First
Na-
WHERE
The
fully
IS
MY WANDERS
(Equity).
BOY TONIGHT
is
As
the vehicle ot
remark
ht
We
announcement, "a
awarded the gentleman who managed Strongheart. It must have been a most difficult task to array the gamut of the "wolf-dog's" emotions. "You are as quick as a flash I'll call you that, Flash," said the master when Flash was
brains ought to be
dred heart throbs," to the right, "hot the griddle." Griddle cakes and he
throbs!
"Life, then," quoth the reviewe
"is
companion,
figures of the
like a waffle." The mix pressman plus those of irreverent reviewer in no way sound
but a puppy.
The
title
sugge
1
at
The
the
picture
full
of
the
charm
of
the
possibilities
to
the
suspicious.
and wa-wahing
constant
presence
call
of
pointed
sil-
mating
of the lobo.
Even
those
unnatural mortals v/ho dislike dogs must be won over by the beauty, the courage,
the fierce loyalty of Flash.
on all occasions from all ej two matters indicative of h thoroughly any suspicions were justifi There is something distressing in this c<
are
but
Cluttered
about
his
story
are
many
stant maudlinizing of ideas that should kept free from cheap expression.
humans, necessary
to
a certain extent to
CARDIGAN
Corp.).
(American
Releasi
dent in the picture. Just as the tale is clumsily started with a long preamble of
titles
This
film
of
American Romance
is
so
Flash's
But,
as
the
film
starring
man-brained dog, The Silent Call is all that can be expecte'd. It is to be hoped that
this
is
some of the rather trying sic Yet i the rate of action is made up
Na-
ton
defeat at
Many
ness
of
making a picture with little or nothing as an incentive to good work. Such is this lame tale of the political world. There is nothing particularly bad
about the
film.
It
is
Men, are effectually subordinated as background for the romance of Cardig Wm. Collier, Jr., and Betty Carper
carry their thrilling love tale with
fo
and
cult
restraint.
picture
There
is
tionate.
tion
in
respect.
To
audiences th
must be a certain amount of honest et in viewing the action on histor ground. Johnson Hall, as they are told
tion
V
159
foreword,
still
stands
Pitt
in
Johnstown,
Pittsburg,
(Fam-
Y.
Likewise Fort
of
to review Wallace Reid, back on the screen. Prejudiced by the feeling that "Wallie, too, had succumbed to
difficult
task,
at
his
old
tricks
the
However, the
film
was convincing
inevitable prize-fight picture," and disturbed by the memory of that new and surprisingly able Wallace Reid of Forever, the gay, grinning chap who made us laugh at the expense of his snobThe story bish family, was a bit hard to accept. Lois Wilson is enhas punch and some humor.
tirely
capable.
She always
fight
is.
Of
this
all
the
is
stars
pictures,
one
the
Among many
lascivious
authentic character-
tions,
lile,
(Uni-
DUt the
American
III.
rebellion against
this
fight
serial
expects
is,
in
rman George
serials,
There
of
THE CRADLE
the
alarming
at
growth
(Famous
Players).
met
every turn.
person
must admit,
her
favorite
role
of
late,
the
ich the
beneath the irritations of a home in wife must do all the many tasks
averse to prize-fighting, it is, for many, a clean and enjoyable sport, with no more attendant cruelty than can be found in many sports of The objecthe day in this and other countries. tion, practically certain to stand, is the deplorable
may be
presence of young children in film audiences. Adults will leave or sleep through The Leather
Pushers
if
the material
it
is
undesirable.
bit
But the
niggling
ld,
young physician."
of
easily
The hus-
at
the hands
Charles Meredith,
a steady com-
)ears
too
has been added to this growing like for a sport that has many questionable aspects. This matter waived, however, The Leather Pushers, we must admit, is
child will "eat
alive."
One more
d idle "Lola."
There
is
a better serial than any we have seen. saying very little, however.
That
is
he lacks, in this part at least, the ength necessary to save the young phy-
(Famous
ian hen,
from
the
epithet
"Stupid
ass."
by the law's decree, little Dora ives to spend the allotted six months h her father, Mr. Meredith is cold, newhat negligible in important scenes, t, the lack on his side may be passed >n casually when one remembers the
j
Bebe Daniels romps through, her harem-scarem Spanish-Yankee daughter of an American The Spanish partner, who becomes rum-runner. Service the dogging villain; the American Secret the "mouthy" sea captain hero (Pat O'Mally)
;
partner and his motley crew; the Massachusetts who received the cargo these furnish an array
cerity
ite
and her
telling
It
is
warmth wins
is
de-
approbation.
es
Dr. McGrail, as he
it
portrayed by
The finest bit, in a presentable characters. averagely good otherwise, was the char"Little acterization of the Spanish grandmother. Despite Grandmother" ruled the roost, surely! vilobstacles and the entanglements of the pirate for the final lain, hero and heroine come up
of
film but
redith;
1
is
Daniels clinch.
if
melodrama,
160
PAY DAY
If
you
in
like
see
Mr.
back
that
rather
cheap
last
slapstick,
is
natural
displeases
us,
quite
from anything it might achieve as slapstick, because, like The Idle Class, it is a sickening come-down from the immortal Kid film.
A
dim
distressingly bad
is
film
in
its
telling,
BOBBED HAIR
In this picture
specifically
(Paramount)
is essentially
continuity
I (
Wanda Hawley
and
scenes,
beautifully mysterious in
the
what people mean when they exclaim, "Adorable, delicious, too darling for words!" Miss Hawley is all these things but that is slim redemption for the absurd vehicle with its ridiculous implied propaganda against bobbed hair and girls who would be different. Its legitimate burlesque of the poseur type of cheap Bohemianism leaves the wrong impression on audiences. Romance and poetry are too easily laughed at in these days of unproportionate values. In this film the laugh is We hope that in the future incorrectly centered. Miss Hawley will have something worth her propensities for being adorable.
effects,
MUTTS
This
(Celebrated Players).
primarily
all
is
the point, thereby serving only to confuse Florence Reed is, of cou audience further. the saving note of the production. She is alw quiet, forceful, magnetic. The story, too, wa The gla itself full of powerful possibilities. of a Parisian gambling house, the always teresting argument of whether blood will will not tell, the bitter mistakes of the Corsi the high courage of a woman at bay, all tl things should have made a great picture, the introduction of the argument and the re ence to the Empress Faustine was too and what followed too broken in arrangem The last reel was much better in this resf
]
All
for
in all
this
film
is
another example of
it
picture,
children
is
and
(as
the
well
deathless "kid" in
humans,
a cast of dogs.
and a
forceful
screen actress.
Big "Brownie"
as
star
the general
manager
only cabaret in dogtown. You see his clients of varying types from the cooing couple in the seclusion of a private booth to the giddily and badly behaved pest, a The latter ragged and deliciously funny poodle. is eventually thrown out although the proprietor must do it several times before the somewhat unsteady gentleman remains out. "They do k better than human beings," was a remark heard
performer)
of the
Tom
from three intelligent spectators. The remark was correct. The amount of emotional expression managed by those canines was immense! Even the ostracised citizens, a row of perky, mad, thoroughly scratchy pussies, were
several
times
There
is
quality
of
projection
talented
in
this
matter of
We
as
HER
Players).
OWN
MONEY
(Famous
In this film Miss Clayton proves that the portrayal of the modern woman with the average problems of everyday can make an effective?
JUNE,
1922
No. 6
Frederick
J.
Lane, Treasurer
Nelson
L. Greene, Editor
Published every month except July and August Copyright June, 1922, by The Educational Screen, Inc.
$1.00 a year.
Back numbers, 25
cents
162
.
163
le
Unspeakable Photo-Play
Harrison Grey Fiske
172
ie
176
ovies
181
E.
MacAfee
183
Experiment
The
Child's Matinee
Marion F. Lanphier
:hool
Department
Conducted by M. E. G.
187
'om Hollywood
Conducted by M. T. O.
iscellaneous Notes
193
197
Conducted by N. L. G.
tieatrical
Film Critique
Conducted by M. F. L.
Published by
199
Inc.
46 East 50th
St.
Harper Ave.
Chicago
161
New York
Personnel of
Joseph
J.
Weber
J.
University of Kansas
Frederick
Chicago
Lane, Treasurer
Frank
R.
Greene
Greene & O'Coni
of Palister,
New York
Greene
Nelson
L. Chicago
William
R.
Duffey
University of Texas
STAFF
Nelson
Florence Butler Blanch ard Marie E. Goodenough Geneva Holmes Huston Marion F. Lanphier Marguerite Orndorff
L.
Greene, Editor-in-Chief
George Hill
Eastern Representative
Arthur
Harry
F.
Nicholson
C.
Williams
Western Representative
W.
Shepherd, Chairman
J.
University of Oklahoma
A.
W. Abrams
New York
State Department of Education
E.
Mac Afee
University of Oklahoma
Richard Burton
University of Minnesota
William A. McCall
Columbia University
Carlos E. Cummings
Buffalo Society of Sciences
Rowland Rogers
Columbia University
Frank N. Freeman
The University
J.
David Snedden
Columbia University
of Chicago
Paul Goode
The University
of Chicago
A. V. Storm
University of Minnesota
V. A. C.
Henmon
University of Wisconsin
Inc.
CHICAGO
162
NEW YORK
BE EDUCATIONAL SCREEN
I
Editorial Section
i
pL
JUNE,
1922
No. 6
Announcements
number the Educational Screen has passed the halfmonths have way mark toward its first birthday. These six a magazine is such for place the that gratifyingly shown most eater than was realized at the start. We believed that the visual movement in American education was
ITH
this
efficiently
all its
own
a magazine writ-
qualified by educational experience n produced and controlled by those that could put the truth first magazine a speak on educational matters of commercial interest and independent is because it
,
id
profits
second,
to prove something believe that this sort of magazine, seeking service to readers finest the afford will [ther than to sell something, contributors and readers, more and More mtributors and advertisers. thing. Ivertisers are believing the same
fluence.
We
rHE Screen,
first
volume
Inc.,
of
series
of publications
by the Educational
It is enpertaining to the visual field, is now ready. Seventh in Aids of Some Visual titled "Comparative Effectiveness Associate Weber, It is a thesis written by Joseph J. frade Instruction." Kansas, for the doctor s degree rofessor of Education at the University of This is one of the very first important contnbut Columbia University. ons to the literature of visual education. in this issue.) (Full notice of the book appears elsewhere publishing rights to the the over taken also has This organization Literatures," previously published at rreene "Historical Charts of the (English, American, German, linceton N J. Four charts of this series past ten years and are Tench) have appeared at intervals during the series will appear next Rely known in every state in the union. The
all
in revised
and uniform
edition.
IN
and May we are glad accordance with our announcements in January names of those behind the page) to print for the first time (see opposite be made to this list in to additions There will be a few this enterprise. been received. have acceptances he September issue, when the remaining
163
164
It is a pleasure to announce further that this personnel is not co: posed of "postage-stamp" acceptances. Every member is active in the pi duction of this magazine as contributor, as executive, or as advisor a
director in
some
definite capacity.
The
T.
of the
Oklahoma, will bear the major shz formulation of policies and determination of conten Each issue will contain one or more special editorials and formal artic signed by the contributing member.
W. Shepherd
work
in
The different members of the Board will give special attention some particular phase of the subject. The vital matter of research a
experiment will be mainly in the hands of Professor Shepherd and eminent colleagues in the science of education. Dr. Abrams and I Cummings will be largely concerned with the field of the lantern slic Professors Burton and Stuart, with the theatrical screen, its influence a possibilities Dr. MacAfee, with visual activities in church and communit Professor Storm, with agricultural education and so on. The Editor Advisory Board as a whole, however, will combine to keep the policy the magazine specific and unified, yet at the same time broad enough cover the various important phases of the wide field.
1 ;
"Novelty"
NOVELTY
of
is
in the
developme
to
civilization.
The human
race
is
delicately
susceptible
tue
The "new" and the "strange" possess instant attraction even v for the human mind (and the mind of the educator is no exceptior
harm but
;
The
a
serious
it draws the individual in where changed horizons stimulate tl the seeker upon new lines that lead to dazzlii
At
when
fall
while Isaac
on.
were a novelty; fin when one chanced Tremendous results have follow*
in
the
way
of sin
whether
been strewn with novelties followers can always be found for either kind.
owe an immeasu The path of education h; some valuable, some vicious and ardei
Editorial
165
The good or evil consequences of the pursuit of novelty may affect individual only and hence be a relatively unimportant matter in the If an orphan-bachelor seeks to conquer an Alp, and irch of time.
ps
jrefore, is
and disrupt the finances of an empire. The significance of a novelty, measured by the value of its results and by the number of
results.
tividuals affected
educational novelty
idea
can
influence.
Uber
Ailes,"
The kindergarten is an example. Again, the novel idea embodied in a national education, was able to bring
>rld as
i
In less than a quarter of a century the motion picture has swept the nothing ever did before in like space of time. It has captivated feeble fancy of unthinking millions and fascinated the imagination of
strong.
Within
nal
novelty.
it has grown swiftly into a formidable educaNumerous educators have already given it unqualified
a decade
lcome as the long awaited and all but all-powerful tool of their proBut they have done so without knowing the facts, for no one ows them yet. Great values for education are wrapped up in that strip celluloid there can be no doubt about it but what they are we have 11 to learn. So far we have been dreaming, not studying.
sion.
It
It is /e
its
course.
It
should
thing,
rious scholars,
who
new
determining
start
iding educators
and
this
magazine
"\
UT
"^
s
what of the stereopticon and slide? It follows from what has been said above that much of our space must be given to the motion
the value of the slide picture. That is the great unsettled question long since been proved. The advent of the film, with its inevitable peal of novelty, has served in large measure to stimulate new interest the slide, and that is one of the best services to education performed the film so far. Not a few educators have already tried the new and (We shall have the ne back with renewed confidence to the old. easure of printing the experiences of such men, in forthcoming numbers.
'
166
film will be invaluable where mo\ an essential quality of the subject under study, but only the The inland child can gain a clear concept of ocean waves from a film, ai probably *no one ever visualized the opening process of a flower until t motion picture showed it. The actual details of movement in runril animals, the muscle action of athletes such things were never really se before the film came.
educational values
the slide.
The
ment
is
On the other hand, although movement is a law of life and of t world of nature, it is often incidental and of minor importance compar Movement attrac to the complexity of detail in the moving object. but distracts. A child may live beside a railroad track and watch t trains go by for years, without 'knowing a locomotive. What we ha learned about the world has come largely by eliminating the incesss movement and keeping the details still while we study them. One m feel much in watching a waving forest, but one will learn more abc that forest in a botanical laboratory a bit of water in a test-tube or und a microscope yields more knowledge than the restless ocean or the tumbli: brook; the attainments of astronomy were limited indeed until photograpl and the driving clock came to stop the stars.
;
The
known.
It
In the projection of a picture for many eyes to behold at on the slide offers the supreme values yet determined. The slide, as well the picture, has long passed the proving stage. This magazine urg
therefore, the
will
steadily emphasize
immediate adoption of the stereopticon in all schools its fundamental and permanent importance
ai
f
to the motion picture for strictly educational use, it is distind proving stage. As fast as its real values are ascertained we sh; urge its adoption likewise. We have no doubt that scholarly research* now well under way, will rapidly establish the motion picture's greatne as a visual aid, determining at the same time its limits of effectives In all probability the slide and the film will be found to be mutually exel sive. They will not infringe upon each other and each will be made do the thing it can do better. The realm of the slide promises to rema always the larger of the two (for purely educational service), but, proper combination, teachers can need nothing more for any education
in the
As
N. L. G.
Editorial
167
| A
|
HE
schools, churches
in
distributors
are
an
In practically every
ield?
The question
number
now
being
field
a large
of states.
field
to the query,
namely
he non-theatrical
ights
much
to
wage war
as to secure
and recognition.
is already under way. Oklahoma schools and were organized in the fall of 1920 under the name, The Oklahoma isual Education Association, working thru the. office of The Department of Visual Education of the University of Oklahoma as a clearing house. On April >th, 1922, the Utah Non-theatrical field was organized under the name of the Plans are on foot in a number of other Jtah Visual Instruction Association.
:hurches
tates to
The movement is crossing state lines. In the spring of 1922 the Uniersities of Oklahoma and Arkansas adopted a tentative cooperative agreement
if
y which the schools and churches of these states were to secure the benefit wholesale arrangements with film concerns made by these universities.
At
Academy
of Visual Instruction
Oklaoma, Arkansas, Texas, Louisiana and Mississippi, and within the last few days call has been issued to thirteen universities of the middle west for a conference
tentative understanding
the' representatives of
and entertainment
executive com-
Lexington meeting
with the
home
offices
immediate attention.
Why
National
Academy
?
rganizations
J.
W. Shepherd.
168
The
WHAT
method
of instruction?
Unlesi
this basis is quite definitely determined we are almost certain t( miss in a large measure the benefits to be derived from the us<
of visual aids.
Much is being said these days about interest. To run over our curren pedagogical writings one would be inclined at first to conclude that inter As a matter of fact interes est is a newly discovered factor in education. is as old as the race and the satisfying of interest has always been a lead
ing stimulus to effort.
Modern conditions doubtless give freer play to individual initiative but voluntary effort has always followed the direction of real interest.
Again, there
purposeful
be
satisfied
is
rathe:
than immediate results will seek to secure true visualizations and will no with what amounts to
forms of expression became common and acquired ability t< make sound judgments. By the time they learned to read language readib they had through experience gained familiarity with many types of thing and through memory and imagination under the stimulus of languagi expression were able to visualize unseen combinations. Such menta
Undoubtedly before
pictorial
ability
still
remains..
The
and may express accurately the funda namely, form, size, position, color and motior
it All judgment
Every picture
;
picture
it
is
alone
is
adequate.
field of
The
the fact
is
to things physical.
education.
Editorial
169
But even as a means of expressing physical facts, pictures should not e used too exclusively merely to give information. Learning the process study in the long run is more important than the accumulation of a rj :nowledge of facts. One who would acquire a close acquaintance with hings must be observant. Hence the primary purpose of the visual nethod is to give real experience in observation to the end that there nay be growth in ability to observe with accuracy. Associated with this ct there should be a recognition of the relative values of features observed. Vhat to pass over in reading a picture is as important as what to seize This rule is quite as much to be observed here as in reading ipon. mguage expression. Training is necessary in both cases.
what one has gotten from observing a picture is the express clearly, accurately and vividly what is being seen. For he teacher to talk about a subject while pictures are thrown upon the creen may so divide attention as to defeat the ends of each form of Pictures should be so used as to challenge attention to the xpression.
final test of
The
bility to
articular features the teacher believes to be significant for the topic under
onsideration.
Telling
is
if
not teaching.
the teacher
What
picture
expresses can
knows how
to induce observation,
hose being taught must take an active part in the study as it progresses, is very little place in the classroom for illustrated lectures. As bservations are made, judgments should be secured from those being lught, and in time generalization be sought thus the higher mental
here
;
rocesses,
)undation of perception. The higher mental processes are involved in le primary one, but sight, the visual sense, is concerned only with
bservation.
A.
W.
Abrams,
The Questionnaire
r HE
s
f
following data on visual equipment in high schools of half a dozen states are afforded by the questionnaire being circulated throughout the country by the Educational Screen. The process
tabulation is slow and must necessarily lag far behind the mailing, hese results appear from the first 5,000 questionnaires that went into the lails during February and March last.
Unquestionably a certain number of the schools not replying to the equipment or are planning to purchase. A full port, therefore, would only increase the percentages given and therefore rengthen the evidence as to the progress of the visual movement.
lestionnaire already have
ito
j^o. of
Schqols
1.
Answering
Addressed
120
2. 3.
4.
Having stereopticon only 126 Having motion-picture projector only... 41 Having stereopticon and planning to purchase motion-picture projector also.
107
6.7%
.4%
2.2%
.1%
1.7% 1.8%
5.
to
pur7
6.
to purchase
85
to purchase
5.4%
5.8%
7.
only
to purchase
92
137
8.
8.6%
44.9%
55.1%
2.8%
14.3%
o' \7.5^/o
,
Total schools reporting activity 715 Total schools reporting no equipment 877 and no plans to purchase
Total schools replying to questionnaire
1,592
100.
31.8%
63.5%
234
5,000
4.7%
100.
Totals
Summarizing
5,000.
we
find as follows
2,
Schools planning to purchase stereopticons (items 5, 6, 7) total 184 or 3.7% of the 5,000. Hence 537 schools will soon have stereopticons, o 10.8% of the 5,000 schools.
1,
3,
5)
total 168, p
3.4%
of the 5,000.
4, 6,
8) total 330, o
10/
6.6% of the
5,000.
will
Editorial
m
per cent in this issue in the vain
A Word
W TE
J\i
'
or
Two More
fifty
hand for June. Further, the regular departments "Among the Magazines" and "The News Chat" have
temporarily omitted.
In spite of these heroic measures, however,
we have
the
mber.
it
We
had hoped also to use a page or two for some of the things
have been said about the Educational Screen by editors, educators, and
nmercial leaders.
>
OR a
new
subscribers as desire
it,
we can
date sub-
from the first number, making possible a complete file of The Educational Screen at no extra charge. Articles so far printed are: Musings on the Movies By Donald Clive Stuart, of Princeton University. Teaching by the Cinema in France
scriptions
By L, Rebillon, of the Staff of L'Ecole et La Vie. Some Psychological and Pedagogical Aspects of Visual Education By Matilde Castro, of Bryn Mazvr College.
Epic Possibilities of the Film By Marion F. Lanphier, of the University of Chicago. A Loan Service in Lantern Slides By Carlos E. Cummings, of the Buffalo Society of Natural Sciences.
^ PECIAL
theatrical
attention
is
invited
The
the
article
his
condemnation
of the
theatrical
een particularly significant. In the fall we plan to present the same question from quite another An article by Donald Clive Stuart, Professor of Dramatic Literagle.
te
at
Princeton University,
will
discuss
greater
possibilities
of
the
to the
Fiske,
A
se,
the contents for September will be "Limitations of the Motion Picture," by Professor Richard Burton of the University of Minnesota, -** widely known as a lecturer and essayist, and author of important works
the drama.
MONG
Also, Professor C. H.
mous textbooks
Ward, magazine writer and author of on the need of knowing the facts in the "Don't Think."
New York
City
price"
theatres
lost
THE
is
reasons
that
justify
con-
"popular
th<
The
pictures
satisfied
pervasive,
pernicious,
and
in
the
same
taste,
aggregate
represents
an incalculable
of choice
and cost
As
an
article of frequent
consumption by
is
drama
of
about as
nourishing as
diet
dog-biscuit
and other extern? they carried an assumption of som thing better. But they represent the same treatment, the same sort appeal, the same inherent spuriov.
in casts, settings
j
would be for a hod-carrier. There flourished twenty years ago what were known as the "popular
price" theatres.
circuit
ness.
augmented by a
recoiled
would ha
entertai
disgust
from
They
all
stretched in a
through
the country.
They formed
large clientele
a distinct
The
is
fact that
many
photo-plays a
They had a
composed
camera compels
sile
For-
made by
the managers of
human
utterance.
That
in
itsc
circuit
authors
who
is
The
titles
nature
entertainment
offered
sufficiently indicated
by the
word.
lows,
And
so rank
distortion
f(
substitute
presentation
"No Wedding Bells for Her," "Did She Go or Was She Led Astray?", "No Mother to Guide Her,"
Cloak Model,"
tl
is
unsatisfactor
gratifies
and "Her First False Step." They made no pretence of being anything
except what they were
frequently
tl
concocted
When
more
intellige
for
who
on a vacation.
172
173
The
taste
of
the
average motion
picture patrons
may
be childish, but
it
Nothing seen have We vandalism. his :apes other Ibsen and Goethe, akespeare,
ce of the picture-hound.
eat
represents
maturity
when compared
directors
and "actors."
in
Men
the
they
excel
chiefly
juggling
"hokum" of
their trade.
The author
his
who
for
product
form, retaining
destroyed,
ds;
iir
significance
mass
to
physical
able the
telligible.
"action"
substituted
by the time it has passed through the hands of the scenario writer, the continuity man, the director and the "actors." Unless he is a hardened character, when he
practically unrecognizable
camera
to record
something
original
sees
it
The
result is revolting to
from
his
fam-
rsons
>rk
familiar
with
the
and
friends.
And
and misleading
to others.
The
play
:ture
man knows
There
is
no impossible
They
is
are moti-
easy
money
the
impelling
force
of
the
photo-play
matters.
industry;
uninter-
nothing
the
else
An
that
it
cannot be translated
the cheap
e
le
animated pictures.
that
demand
of the exhibitors.
Conbit
lowed, varied
of
now and
then by a
or
mechanical
ingenuity,
an oc-
We
may
expect "Back to
the
Prominent picture "actors" who have had experience in what the movie
people
photography,
whereby the
condescendingly
designate
as
arvel can be
the spoken drama (just as though there were any other sort of drama!) tell us that their work is uninteresting
that screen characterization offers
an hour and-a-half.
no
174
opportunity
rival
for
her
husband]
ment
is
and the
pleas-
who dow
antest thing
is
They
find very
man
nor beast, never misses his aid circumvents his crowd of enemiei
rescues and re-rescues the lovely ad
work of
the
real
theatre.
With
the
has never
known
the satisfaction of
different.
wealthy heroine from the effete Eaj and eventually weds her; the gooi looking but weak young man who f afl
victim to the lures of the great forges a check or embezzles the boss]
genuine acting,
it is
He
re-
citj
He
money, but
angel,
is
form of expression, and considers his own little personal vogue as conclusive evidence that he is an artist.
serious
rehabilitated
morally, ad
and
devotion
!
through
started
her
love
He
photographs well
he has mastered
game; he
on the road to affluence, whrq washed and happy. We all knoi these and a lot more of the sarq kind. And we know, too, the maudli heart interest, considered an elemei! of such value that it is laid on thicj
with
trowel;
the
vacuous, preti
no
subtlety,
of expression.
When
work
finished until
tomorrow.
Generally speaking, the plays that
are written for the screen
show no
is an abilil on demand and wh( if necessary, can register a hundre feet of briny globules for a close-tl at nine o'clock in the morning. Thej are merely samples from the bag c
"star,"
whose great
asset
They
tricks.
same puppets appearing in the same stories, ad nauseam. A few examples typify the lot. The son of the rich manufacturer who loves the poor but honest employee, and who is coveted (for his money) by the beautiful,
the
sophisticated society girl with the de-
dramaf
power,
terest
these
beauty,
gripping
are
Now
am
then
to
seefflj
posS
bi
bilities
might
be
so
utilized,
signing mother
rights
who
these
indications
are
exceptioi$|
set
a five-reel
duel
down
175
sars
Lis
f
studios
have
suspended
operations
sum
total
worthy achievement
pitifully
f
meagre.
Among
the scores
three or
have been resorted to; hundreds of actors and others have been thrown
out of employment; exhibitors continue to report a shrinkage in patronage.
directors not
more than
)ur have
otable.
come
And
of films
that possess
snuine value and significance about a ozen cover the list, and of these the
were made in Germany and There have been many prealy. vious efforts on which fabulous ims have been spent, both here and
lost
One
that
the screen
"spoken drama."
Nevertheless, the motion picture has
its
place
in
the scheme of
modern
life.
But
it
will
at cascade ceaselessly
lines
actual potentialities
its
and within
measit
rous studios.
the limits of
legitimate province.
its
In certain directions
ureless.
value
is
photo-play
is
losing
its
popular
As an
educational factor
possibilities.
its
avor.
We
hear that on
is
all sides.
novie public
laint,
getting bored.
The Com-
has tremendous
We
can-
not overestimate
unique ability to
not only deep but loud, proeeds from the manufacturers and exibitors.
Receipts
have
fallen
off
larmingly.
.pal
That
reasons
called
why
in to
ieen
current events in graphic form with speed and facility, and therein possesses a field for wider enterprise than Like the has yet been displayed.
Financiers and
bankers have
town
issly
conducted, whose earlier run of ortune was due more to good luck
newspaper, too,
directly
to
it
can be utilized
public
it
in-
mould
It
opinion,
power
great re-
sponsibility.
een sharply
Resultantly
patriotic
service
aiding
in
the
many
The Teaching
W. Shepherd
Oklahoma
University of
WHAT
is
the
teaching
effi-
The
series
writer
began,
therefore,
in
of experiments
the
Un
<j
measured by the results obtained by the teacher in the This is a legitimate class room? question and perhaps one of the first and most fundamental issues met when we begin to talk about the
film as
fall
4
i
him to be the basal fact or facts connection with the education* film. If we could once get such
definite
measure
educational film.
When
the super-
intendent
power then other problem would follow in more or less log But should it be detei ical order. mined that the film had little teach
ing
room
will reach
In a
manner, the careful superintendent wants to be assured that there will be definite results obtained in the class room before he
is
class of fifty-fou
mo-
money. And, after all, this has been the big issue with all of us. We have raised the question in our own minds and frequently have settled it "can the film
erable
of
sums
b;
teach?"
ness?
If
If so,
who
took
the
we
could
show
results of
measured
teaching power and that it can be then a hundred other questions arise at once concerning
so that in
absent or his
ab
methods, administration, production, and other problems. If on the other hand, negative results are obtained,
the
also
results
of the othe
two would
equality of
be eliminated, thu
a!
many
of these issues
would
176
The
film
177
film,
pre-
ige" teacher
was given no
inkling of
:ed
-
and
Jvithout
ional films
One
of
and the third group by a perior" teacher. These groups e selected by lot. t was expected that the so-called -erage" teacher would give someig like an average teaching permance and would, therefore, repret the work being done in school ms over the country. For this pose a young woman was selected o had just completed a teacher ining course and had been graded the best in the class. She had had
:her,
)
teacher
was
fully
to the
day on which he met his class. He was also given four military maps for use during the teaching period. These
he circulated
his class.
no such advantage.
Several days previous to the day on
to
meet their
examination
was given
year in
the
university,
ter
seeing her
work with
average.
a class
re
5
that her
than
some group
shifting of students
to
from one
another resulted.
On
the
[perior"
day set the class met and was divided by the conductor of the experiment
into
sor
was
ining department
le
reputation as
high-powered,
tilt-getting teacher.
Few
teachers
They were then sent to difrooms in charge of an auditor where they met their teacher; in one
possible.
ferent
to
ply
material.
the beginning
cv.id
closing
:erence
ps
books
covering
military
of the
film.
The
At
and made notes on the teachers' work. the end of the teaching period
(twenty-six minutes) the auditor an-
ds of these teachers.
The
"aver-
178
nounced that the pupils should then go to another building (where there
orchards,
etc.,
and
m.
\4
was a
tables)
urements.
and
would be
he
this
avoided as
much
as possible.
des
asked to name
could
of the plants
The
third
group of questions
recognize on his
way
to
building.
in
order
break
or
disturb
the
"How
blank
far
hill?
is
it
from blank
hill
]
room and
takj
This device
proved very
effective.
When
tables
by the captain of heavy artillery fro the top of one hill to top of the othet The examination lasted an hour and half and was as complete and searc
ing as one could dare give a group
maintaining
their
group
This was done in order to keep any suggestions that might pass from pupil to pupil, even unconrelationship.
youngsters at one
sitting.
The
from going outside the group. The film-taught pupil would therefore get no suggestions even unconsciously or by accident from those taught by either of the teachers and vice versa.
sciously,
The examination
consisted of three
express
himself
in
The weighing of t and the grading of t papers were then checked indepeii ently by graduate students in t School of Education in order to elin nate any discrepancy due to prejudi or enthusiasm on the part of the e
then graded.
questions
perimentor.
repeat
language.
He was
asked to put
down
on paper the things he had been taught by drawing them. Here the attempt was to reach the motor responses. In the second group of questions a military map was placed in the hands of the pupil and the questions sought an interpretation of the map on the basis of the things he had been f aught. Here he must locate streams, roads,
were changed. In the second expe ment, two reels were used dealing w:
three
subjects:
"The
Telephone
"MarS," and "The Birth of the Eartj The "superior" teacher in this expe
teach
t
Department of
Stieni
179
was again
training
films
from
the
teacher
lad
and was the young woman who ranked second in the class from
standpoint
of
somewhat
same
relative place,
and value.
he
From
peculiar
vho had also had several years' ex)erience previous to this year in the
If
the
film
miversity.
The comparison
superior"
teacher
that
mean
the
elimination
of
the
teacher?
No
hopes
this to
be true.
The
personal
also tabulated
>elow.
The
with scholarship
ilso given.
and various
results
tests
is
But the facts are that we have very few superior teachers in the school room and the facts seem to be that by the proper use of film and perditions.
aids,
we
could secure
were
se-
ared, the experiment has been repeated twice in Oklahoma under vary-
with
practically
the
On
What
it
interpretation
and methods
insti-
In the
of presentation.
In the larger
may have
as
There
better
film
charge.
high
much
sitting
what
The teaching efficiency of a film then would very probably depend on two factors first the character of the ma:
length of time?
The most
it
potential
factor in conis
terial to
it
that
second, the skill with which the film was planned and produced. Mediocre
promises to weed out mediocrity by the fact that it gives the genius an opportunity to be duplicated in the print
180
of a film
lO tH (M
many
times and
t(D
tO
H
I
isi
OXOrt
pa;
X)
to oo
<m
OS to (0 tO t CO to
I
Q0io(.ui
OS co 00 <M OS CO tH CO
of his
place
CO
OO
D r-l OS CO tA
tunity.
He
reaches
the
that
u
0 OS <M tH (M
I
the
mediocre
teacher^
abilities
art:
reaches.
His
>
a>
not
duplicated
over
and
<U
OOtDH O CO
H00H OS QO
TfH
05 as to T)< 1C
very limited.
He
stands
a great
CO l> os co
CO*
sea of
mediocrity, blessed
to
by the
<tt
OS
g-g
H
73
but
unknown
the world.
en
8.8
M CO
00 CO
*
<U
*5J
0ON ^ ^ 00
Pd
i> to OS CO CO
oo
fi
rM
Other suggestions in great profusion arise as possibilities suggested by the results tabulated above, but as yet
they
are
only
suggested
5o **
on
possibilities.
many
factors
mh bo
1*M
<U 1)
0.2.2 2
.s vie <^
qj
UUUUU
O
o o o o o
uP
o
09 BJ
->
W &>^
r 3
b
en rt
_,
.
r-ri
>
E.
MacAfee
of
Oklahoma
enemy,
his
j'in
devilish purposes.
That
is
not a ques-
t'l
>olitics.
io
'im."
That,
in
own
phil-
words,
expresses
the
which or deny in
tion
it
will be in
order to affirm
this connection.
But nothintelligent
ing
is
more apparent
to
The gentry
of which he
is
lot establish
:hurch
leaders,
and conscientious folks today than is no necessary connection between the movie and the evil one. Churchly resistance to the movie must yield, must compromise, must
that there
recognize
tion
that
unconditional
opposi-
means
)roper modifications,
and refinements
Those
who
the
way
of
fundaments of efficient comnunity building. If you cannot win, :Io not fight. And, by all that is sane
of
the
picture
powder,
liciously
anybody
ill,
ma-
is
well as holy,
do not
fight
if
you do
wishes them
but because
they are
doomed by
cent laws of
is
human
This
very incarnation of the devil, and perlaps some still entertain that belief. Having arrived at that conviction, of
They ought
is
to fight,
their conviction
sound.
That
is
and church people to learn. Sermons which attack the movie as such are not only an impiety but a kind of insanity. The only possible treatment worthy
of religion or of intelligence
is
what the
piece
devil
is
one
the
pious
may expend
compromise or shadow of weakness. But this conviction is not sound. The movie is not the modern
without
incarnation
Satan's
the
which seeks to find the way by which the movie may be utilized for wholesome and holy ends.
This
in
is
of
Satan.
Certain
of
movie industry, and may be bent upon its employment for certain
comit
182
Churches,
in
these
smaller
active
from
reels.
the
of
i
most
blundering
and
messy
handling
and by such a course can permanently and securely guide the deof
the
art.
At
least a
They observe
soul.
its cai
velopment
Cooperating
sense
the popular
lies
The
open
othei
the
fully educational
in the
alternative
wide
befon
movie can be normally developed from the start and permanently preserved in only wholesome forms. Churches which learn this lesson have the option of institutionalizing the motion picture under either their
the reels
any and
all
can enter
int<
mechanical efficiency.
successfully
the
No
church
call
and
permanently
resist-
own immediate
or
communhas tha
to
with
motion pictures,
strict
community
who
as-
fundamental
enable
it
human
sympathies
sume
to enter
Churches genin
of
complete success,
largely
is
the
former
In-
want their children fed on intellectual and spiritual slop. The normal child
reacts against that kind of stuff.
Any*,
1
alternative,
chanical art
sipid,
too
much
its
community, and
it
upon any
behind
which
is
community, and churches frustrate the very purposes of their existence by indulging in them.
is
it
forj
which
appreciates
Motion picture
art
significance in
an art. Only those who train for and artfully apply themselves to it
maintains
vision
of
the
perennially
pious inten-
art embodies.
An ExperimentThe
Marion
F.
Child's Matinee
Lanphier
of Chicago
The University
FN
L
every
is
field
of
human
in
activity
fifteen
years
of
age.
in
The
late
physical
there
shifting
emphasis
In
hygiene involved
hours has
upon
medium
as power-
drama have
"child's
movie,"
the
of
been but
thinking
the
lately
"discovered" to even
matinee as
Certain the-
parents.
Therefore,
when
many
articles, editorial
res
and sporman-
:rsistence,
experimented
with
in
the
agers
culminated
in
an
experiment
iturday
Morning Matinee
addi-
customary afternoon proaugmented, usually, by a serial imber and, of late, by some educato the
the reactions of as
first
many child-
am,
audiences, the
step in laboratory
)nal
film'
or a
like
dramatization of a
method of correction was taken. In a conference with Peter A. Mortenson, Superintendent of Schools in
mous
ut,
story
until
Balaban
&
Chicago, Balaban
Tivoli
&
ries of
)t
Theatre
(seating
4,500)
grams.
sanction,
With
the
Superintendent's
been no sys-
In a
in-
manner a rather
but
comfortably
"polyglot,"
extensive
distributed were through the local public and parochial schools. Teachers, principals and officials of Balaban & Katz were stationed throughout the house to ascertain the results of each film shown.
tickets
initial
that
the
moving
to feel
made
made
crudity of
much
of our slapstick-
juvenile
little
response to
each subject a
perplexing.
able to
rial
responses."
id
be he
five
or
184
out the
careful
First,
of the experiment,
fluences,
there
are
certain
laws
though
it
it
was
in
execution.
that
child
nature
functioning.
Children
c
must be granted
heartiness
the
make
togetht
false
of
is
response.
with
Second,
dividual
mob psychology
reaction
never as
sweep
as
in
in-
tions.
Mob
psychology elements
reaction
ai
before
it,
a
of
many
first
repressed
of
the
pfl
whom
the
time,
adolescent
there
is
organism.
And,
sure!
Tivoli's
"bauble-ism."
of
children
chil
Third,
groups
nature,
of the differena
went with differing attitudes modified by the remarks of their teachers beforehand, so that
that
initial
within
that
we can
not be sure
entirely
fallacious,
a valuable gauge.
responses
were
With
these general
warnings
(
spontaneous.
That
element
almost
would,
mind, then,
we
however,
ately
disappear
is,
immedi-
and
Fourth,
we
Balaban & Katz peculiarly interestin Dominant, was the preference for an mals over man and his work. Eve
domesticated animals
"dogs to be
after
e:
were composed of localized groups of children, which fact, in a city of the size of Chicago, means utgroups
terly
small boys"wild-li:
"Dumb
background,
physical
ties.
environment,
fish, reptiles,
health,
to
man and
his
Elephan
would have been necessary to present the same program to each group, and even then there would
fallacious
draw much a] plause or interest but a brown bej being captured and drawn with ropi to the camp of Indian guides was i
piling
One
series,
any
is
almost impossible,
to:
eating,
crawling, snapping an
duction
to
napping."
make
classification probable.
thz
To
An ExperimentThe
i
Child's Matinee
beautiful
fitted
185
animal when
it
came
into conflict
inattention,
though
it
was
th
man.
and eminently
tainment."
ungsters applauded
ide
when
the animal
headway
difficult
with
his
In a film of
New York
lere
Zoological
Gardens,
particular
reel,
certainly one of
titles
dummy,
sympathy of the children was obmsly with the Zebras. This runs le to the game and fighting instinct
the child, having in
irness
it
a primitive
creature
for
the
dumb
were of the quality of the main title, "From Dawn to Dusk." They were rich in a connotation of color and mysticism, vague perspectives of ages and the infinity of men and silences.
In
truth
the
it
film
was
unfitted
for
what
children;
sailed
several "fathoms"
Ltter
of child movies
hard to
child,
say.
above the heads of a good many adults in an audience of which the writer
this reel
It
development of the
Bill,
decase.
ld entirely
/;
on the individual
was a member some weeks later. But, was peculiar in these respects.
might have been as
easily fitted for
it would have young audience the
and
from
its
ited
several
teachers,
"to
the
fast
evolving "sci-
Whether
is
a question,
There must be maintained a sharp between the visual education and the visual entertainment of
distinction
the
screen.
Most
"glorified"
geog-
namely
that spe-
der
competent
guidance
of
as
it is
But
To enumerate
ildren
the
dislikes
of
first
the
Mr. Lewis mentioned >rified geography lesson showing the Tamids, the Sphinx and the ancient
ins
"a
"From Dawn
to
Dusk
in
Egypt" happened
to be a film
This
film, en-
led
is
"From Dawn
to
Dusk
in
Egypt,"
finally
will
received "with
yawns and
186
ond and more important conclusion. Mr. Lewis further states, in the matter
of the children's dislikes, that Whittier's "Barefoot Boy" lost out when shown with photos of the modern radio
Probably
all
childre
j
however remote from the centres civilization, who have any access periodicals, know the radio and woii welcome the films thereof, but to a
sert that the rural child
and
airplanes.
"Science"
won
handily,
(and that
children
wj
the
implication
if
all
we
ovj
who yawned
the
mad
Whittier)
pleasures
tion.
would
is
dislike
familij
marvels.
ilar rural
Swimming
the
rustic
experiment
the:
ciated, but
appliances were
& Kat
e:
They
are to be
commended with
That latter conclusion stated with its sweeping confidence is not a safe
assertion.
It
what
degree of accuracy.
dicaps,
essential in the
films
future production of
meant
they
are
taught
sumption.
Very naturally a
city audi-
much more
ma
ters of life
With
the pages of
every newspaper and magazine bristling with radio development, the child
who
must be a distinction b< tween the child film and the adult r< lease; that the film which fitted
that there
i
development
received
tr
The child who has an instrument in his home is going to watch with all the
eagerness
of
the
heartiest response.
What
they furth<
in tt
expert
and
critic.
report
was
just as
film
the key to
tti
secrets
of
the
future
child-movi
til
com-
when
posed.
horses
quadrupeds
School Department
Conducted by M. E. G.
HE
"Since
servation,
we
is
to im-
power of ob-
promote skill and induce the reasoning mind, a well-balanced educational program may well include a knowledge of:
1.
xperiment
it
2.
tion,
author says,
know? No.
There are
these.
answer to the quesMovies Teach?" the "Do you know? No. Do I Can we find out? Perhaps. few spots, however, where
in
is
3.
4. 5.
Humanistic or
classical studies.
Later
we
which the
contrib-
may
our ignorance
less dense.
Let's. search
"Now where
education
is
are
we?
if
If the object of
skill
"This paper frankly confines itself to a discussion of 'Can the Movies Teach?' and not the broad one, 'Can the Movies Inform?' So motion pictures are considered as an adjunct to the class room and not as a source of general information and entertainment in the assembly hall of either theatre or school. "Again, as about 92% of our school population is in the elementary schools, and about 7% in secondary schools, the
success
knowledge,
line of character,
and
President
part of
all
Eliot's
statement,
by exact
through
taste,
the
hearing,
smell
and
touch,'
certainly
we
eliminate
all of
by using
visual aids,
most or
and touch.
"What
is
or
failure
of
visual
instruction
must be decided primarily in the elementary and secondary schools. I omit consideration
of
on 456 young
stu-
such
training
in
higher
Normal School.
education."
He
clusively visual
minded or
visual
minded
in
(b)
(c)
(d)
the
reasoning
other senses. "If such figures may be relied upon, and if such a ratio applies to all men and women, and they may (I do not say they do) we may safely conclude that from 10% to 40% of all people do not
* (Editor's Note The paper, of which this article is a summary, was read by Dr. Rowland Rogers, of Columbia University, before the Society of Motion Picture Engineers, May 3rd, 1922.)
187
188
respond primarily to visual means and that visual'aids are not the best tools with which to reach them. We then consider visual instruction in the remaining field
to
the
artistic
which
of
all
to
90%
people."
In answer to the question, "What do Movies contribute as a visual aid?" the author concludes that the element of action,
is
Other points
to
favor
are
their
ability
make minds
meet upon a common ground of understanding, their low per capita cost in reaching large numbers of people, and the speed with which they impart ideas. "The movies overcome time, size and
space.
events.
Why not link up the teaching of English or History or Psychology with the fundamental instinctive appeals? "Although 34 American cities are using motion pictures for class room or assembly hall instruction, nearly all their subentertainment jects were produced as movies. These were planned originally They have for circulation in theatres. been recast, retitled, re-edited for school
appeal.
distribution. Such material is certainly not more than 50% efficient. There are probably not more than a dozen groups
(if that many) which have been designed primarily for instruction. "Another difficulty in using movies suc-
of pictures
They reproduce
we
hope, a faithful record of past action and They unfold the mysteries of faraway places and customs. They uncover to all eyes the marvels of the minute world revealed by the microscope. They
is
instructional
or
do not pedagogic
make known
mo-
Following
Professor
Barrett
Wendell's
author
asserts
that
since
movies
are
merely
form of pictures, to express ideas, they too must have clearness, force and elegance. "In other words, both movies and words have three fundamental appeals:
tools, in the
An appeal to the intellect, rea(1) son or judgment (clearness). An appeal to the emotions, in(2) stincts or the feelings (force).
(3)
Nor do teachers generally understand the medium and technique of the movies. As time passes, this gap will be bridged. Then we may expect instructional pictures which have high artistic and pictorial value, which are motivated by appeals to the instincts, reason or emotions. The author reviews the various developments in the motion picture art which, benefit the educational film as well as the entertainment movie. The animated drawing, slow-motion photography, microphotography, and the linking of the camera with the telescope have immensely broadened the scope of the edu-
An
which responds
tiful
(elegance).
"The well-balanced educational program may include a knowledge of language, mathematics, fine arts, science and the humanities. There is no sound reason
be designed to appeal
now there are movies dozens of fields, from Natural Science, Geography and History, to Philosophy, the Useful and Fine Arts and Sociology. The present-day limitations and disadvantages of motion pictures are seen to be a lack of natural color in instructional pictures, the fact that movies are in two dimensions only, that they do not reproduce sound, that they necessarily lack
cational film, until
in
School Department
iny appeal to the senses of taste, smell
r
189
in
pro-
light, no movies can be shown of what akes place in darkness. "The main disadvantage with the movie
proper method
tests
use determined.
Research and
er se
for instruction,
seems to be the
apidity with
which
it
The
can be conducted to ascertain the determinable facts." Dr. Rogers then gives
results of
be so iitting that it fails to make a convincing nental impression. Again, the rapid shift rom scene to scene may pile up an incoerent series of impressions which quickly ade away. This difficulty of course can e overcome to some extent by change in
diting
may
some
significant tests
made by
as
various
follows:
investigators,
and
continues
They
either
make
a genuine
con-
and
is
in
the
method
of use.
For
a scene can be repeated as necessary to cause the right nental impressions. The fact that movies nay be used as tools to present sensaional, coarse or unworthy ideas is no real
nstruction,
ften as
they do not.
upon observation
sively, we do not know how valuable the movies are as a tool for visual instruc-
itself.
The
tion."
ontrol of the subject matter of motion ictures rests with the same source which
ontrols the printed or spoken
still
test,
"Based upon data already secured by and upon the first-hand information
word and
of
many
photography." The author raises the question: "What roofs through tests do motion pictures ffer of their value?" The following data ire offered in answer: "The primary need of the movie for nstruction today is a test of its utility.
search and tests should be made to determine the exact value and best methods of
using movies for instruction. "There is no danger that movies will replace the teacher, because they are
in
the in-
Film Catalogue
The first films in each group printed in the larger type have been reviewed by the editor of the School Department personally. This typographic arrangement will be our regular practice hereafter and, ultimately, we shall list in this department only films so viewed.
known poems,
in this
case"Thanatopsis"
task,
Street."
A much
tive poet,
more
difficult
no doubt,
to screen
Bryant
like
the others
of the
series,
more objec-
affords
a brief illustrated
Doet's life,
ation
nterpret lines
from several of
his well-
In this
the imagination
is
in
some
J 90
places
For example,
a piece of fairyland
the
under
lovely trees
Yosemite
bending
weight
"Amid the sound of steps that beat The murmuring walk like autumn
the strict and
all
little
quiet
streams, a
uncompromising
literalness
parently stopping to gaze at the beau of the scene, and reflecting the snow-co
ered trees.
shapes and sizes of feet, clad in all sorts of high- and low-heeled footgear, is somewhat of a shock. In the purely scenic views, of which the reel contains several as illustrations of
the poet's lines, the photography
satisfying.
is
A
ing
least of its
charms
is
breeze.
When
the air
the
more
drops from some of the branches ti: avalanches of white thinning to gossam texture as they fall. The reel is one the Sunset-Burrud polychromes.
As
reel
and the
significant
it, the has definite value; as an aid to an interpretation of Bryant's lines, and an
associated
with
CHINA (Pr.) A "natural, color" tn elogue showing scenes on China's r with their clumsy hand-propell ers,
craft,
appreciation
of
his
is
poetry,
the
value
glimpses
the
of
her
is
crowded
doubtful.
There
too
much
of a literal,
streets,
downright spade-is-a-spade picturization, and far too little artistic, imaginative interpretation of the poet's thought.
flowers
idea
Fairy Foreland Burton Holmes (N N-T) The is suggested by "The Brook" of Tennyson,
lines are illustrated
very base
the
old
and
growing
to
China's
people at th
whose
from
of the reel,
its
Some of the atmosphere China during the days of t monarchy is conveyed by the views the Summer Palace and its surroundi
street shops.
shadowy moss-grown haunts, deep in some wood, and taking the observer along in its happy journey "down to the brimming river."
Mexico
and Architectural (E F C) from the prehistoric age in which an unknown people built vast pyramids in the Mexican valleys, are to be seen along with the monuments of the Aztecs which are today the only remnants of the architecture of
Relics,
gardens, the summer court of the forrr royal family. Not the least beautiful
China's famous wonders
people.
is
Historical
dating
the
Temj
by
r
Modern
architecture
is
rep-
An
Indian Village in Mexico (E F C) This reel shows a town as primitive as were the Indian
in the days of the Spanish conquests 400 years ago the nearest approximation today to the conditions of that bygone
settlements
common
In the close-ups of particular types Chinese people, the photographer perhaps been unfortunate in his choi Opium-smoking small boys are hare an entertaining sight, even for the tl atre, and certainly not the best exam] for a school audience.
r.
The
reel
is
time.
New
Chii
begun in 1900. United States Marir march through the final scenes cal<
frame of mind.
garments.
To
every observer,
it
presents!)
School Department
cenic record of an automobile trip taken
191
y two
'ortland,
girls
from
San
little
Francisco
to
much
of the
of the country
hrough which it passes. There are brief and good ones of San Franflimps.es isco and the Bay, the McLeod River, Shasta, salmon leaping, and scenes fit. howing the city of Portland. A storm
Among
such tropical
tor's
fish as the
own
peculiar
mode
swimming,
its
The
itled,
reel is
unfortunate
in
being poorly
film,
novel in
little
making
pre-
ography.
(Pr.) A
re-
tense at scientific analysis, but simply presenting these oddities of the ocean in an entertaining manner.
(Pr.) A
suggesting,
sports,
from canoeing,
fishing,
skating,
mrf-bathing
and motoring, to tobogganing, motor- and sail-boating, aqua)lanning and riding sea and air in a
It
means
glass,
made
after the
hydroplane.'
play,
and
is
calculated to
thoroughly
a
refreshing
de-
serving
place
on
any
entertainment
Several scenes showing workers fashioning these models in various stages of construction, are followed by a display, of the models themselves, many times
program.
Modern Aspects
N-T).Contrasting
Japan Burton Holmes (N the "Yesterday" with the "Today" in the progressive little empire of the The scenic journey starts at YokoMikado. hama, the port of the capital city, with its modern docks, from which the traveler goes by
of
electric
For instance, the size of the original. there is the perfect representation of the female malaria mosquito, enlarged
4,000 times
its
natural size.
also
The models
of deep sea
life.
include
some forms
railway
itself.
eighteen
miles
to
Tokio,
of
the
its
capital
One
all
sees
many views
principal
newly widened, the new government buildings and the new department
streets,
Radiolarians are shown, and a model of two square inches of sea bottom, showing in remarkable detail the myriad forms of life on so small an
area.
stores,
said
to
rival
in
completeness those of
cities.
modern bridge
Roy W.
of Natural History.
(Ditmar)
Here we may
see the
the
flamingo,
It includes
peacock, heron,
descendants of the aboriginal Americans, living their primitive life full of gay color, among the remains of ancient Spanish occupancy. We also visit Albuquerque, the metropolis of New Mexico, at the time when. the Mexican population is celebrating the famous
fiesta,
and
ostrich.
some
beautiful
scenes in close view, showing the way the bird "lifts" himself gracefully from the ground. Several scenes show ostrich chicks, and the plucking of the
flight
"Los Matachinas."
feathers
birds.
From Hollywood
Conducted by M. T. O.
AN
there
April
morning,
blue
sky,
An
are
as
sun perfect setting for a And I was bound for pageant. Douglas Fairbanks' studio, where pageantry held sway.* Long before I reached the place, I caught tantalizing glimpses of battlemented towers, bulking high in the air, and even as I stepped into the office,
warm
came running.
Band!
a
"Band!
cue.
The bugles
livelier
yotfi
And play
off.
march."
Ht
was
His voice
the sharp, clear call of bugles. The open window framed a mass of vibrating color, and my ears caught the
came
what do you want? Listen!' "That king marchei rose: A waving of arms from the re
him."
place.
The
leader
came back
to
hii
busy
hum
of crowds.
Presently
my
feet,
I was out in the open, and, eyes too busy to watch my careless I
went stumbling
into
medieval
flutter
England!
of
"Play 'em the 'Dead March' " came tin suggestion; but the laugh was cut shor by a shrill whistle, as the drawbridg* dropped, and once more the brilliant cav
alcade issued forth.
The chatter of many voices, the many flags, the flash of gaudy
pavill-
armor, the soft thud of horses' hoofs on turf, and over it all, Suddenly, the frowning castle walls. silence, except for the whirring of cameras. The drawbridge dropped slowly, and almost before it touched ground, it was filled with marching figures pages, who angled sharply to the left, drawing
ions, the glitter of
Meanwhile, from the lists at the right sounded the stamp of horses' feet. * /
white horse caparisoned in swirling sil ver velvet stood waiting, while a maile< knight galloped up and down on a darl mount swathed in black. Presently cam
the white horse a sturdy knight ii chain mail and cloth of silver. The Ear of Huntingdon, said some but other,
to
up
his
in single file to
blow
a blast
on
their
called
bugles.
then the King, followed by and on horseback. Down the slope they marched, a royal crowded procession down the past stands to the steps of a great throne, the King bowing in gracious acknowledgement of the plaudits of the crowd. Richard, the Lion-hearted! From a high platform, director and
knights
afoot
And
helper
lish;
his
own
third
time,
and
A
sun-
row
light
tail.
of
big
reflectors
caught the
King's procession poure< from under the barred portcullis. But at last it was over, and there cami The King sat on hi: a stir and change. throne, and the silver knight watche( from below. "Now, ladies," the director addressee
fourth,
the
and threw the stands into full deA band blared noisily somewhere,
a
the crowds at
"
some
he
length.
until
harassed-looking
silenced
it.
man
with
megaphone
Directions from the platform; and the procession filed back into the castle, the
192
"when th King says Huntingdon is to be his sec ond in command, you cheer." Again there was that expectant hush broken this time by the roar of a moto:
and,"
concluded,
From Hollywood
omewhere, as the gay lance pennons luttered suddenly on an artificial breeze. The King sprang up and strode half
vay down the steps of the throne. "Come up!" he shouted to the
night
silver
193
a dog.
You take off that hood, and The mailed arm shot upward in a wide
murmur
of the crowd.
clicking of cameras,
who
An imperious gesknight to the King's evel, where Richard enfolded him in a uge embrace.
"Up!
Up
here!"
the
stands
don
is is
ure brought
a mass of moving color Huntingon the steps again and the King
;
speaking:
"
to
be
my
second
in
command!"
this
"Huntingdon!
The
best of
them
all!"
Vith a great laugh the King clapped him n the shoulder and turned to the wait-
time
ng crowd.
'Listen,
all
of
you!
Huntingdon
is
o be my second in command!" Cheers. Waving of scarfs. Laughter. "Now, go," the King continued, pointng across the field, "ride to the Queen
f
The cheers swell and Frantic signals from to stem the flood of sound.
repeats
Richard
forgotten
vaguely.
He
seems to
to
have
say.
was about
briefly at the
seething stand.
Love and
Beauty,
steps,
and
get
your
"Ride," howls
Richard's voice
rrown!"
He pushed
the unwilling
Hunt-
Queen
of
Love and
A running to and fro of asand helpers. Calls for "Charlie," md "Dick," and "Mitch." Conferences between camera men and directors. Richard employed himself in hitching A
pause.
sistants lp
Beauty and get your crown!" The camera men, wise in the ways of crowds, have stopped their grinding some time since, and stand waiting. The director's
attitude
efforts
expresses
of
all
patience.
The
united
the
assistant
Hunt-
his
royal robe to a
more convenient
the
down
carpeted
)n a
ingdon grins cheerfully and resignedly over his shoulder at somebody he knows. Renewed conferences, and further rehearsal.
Guy of Gisborne he of the o him. )lack horse paced his charger up and down and practiced handling a broadMen-at-arms laid down their sword.
"All
right!"
comes
at
length from a
megaphone.
shields
and
off
lances
for
hot.
pulled
their
moment, or was
brilliant
The crowd This time all goes well. cheers at the proper times, the band stops playing promptly at the signal, Richard's voice booms unhindered over the field, and a string orchestra hidden somewhere, completes the mood of the scene. "Oh," exclaims a woman in delight, "they are playing "Robin Hood!" From above drifts down the drone of an airplane motor, as a birdman skims close to the castle towers, and circles I am not sure, perilously over the field. but I think I see a hand turning the crank of a moving picture camera. Almost everyone is watching him, and
"Oh, here's the falcon!" said someone. It came, perched on a man's finger brownish bird, hooded with a curious little leather cap, topped with a tuft of
Drange feathers.
his
in this country,"
came
eager voice.
194
groups of people are shifting uneasily. But he goes, and we can turn our attention again to earthly things, namely,
lunch!
Now I find a chance to talk briefly with the director of publicity, who tells
me what
the picture
is
to be.
It is the
how Richard
the Lion-hearted organized his Crusade and joined forces with Philip II of France in the Holy Land, taking with him his favorite, the Earl of Huntingdon; of how Prince John and Guy of Gisbourne plotted to bring about Richard's death abroad, and to place John on the throne of England; of how Huntingdon learned of the plot through Maid Marian, and, keeping from the King the true reason, begged to return to England of how Richard refused him; of how Huntingdon deserted and started home
to
fight
Richard
the steps.
the
Lion-hearted,
teetering
on
Three materialize suqk denly with cups of water, after which re-j freshment Richard is himself again, doffs his crown and wig, and flowing moustache,
and placidly abdicates for the day. But Huntingdon, about to receive his crown from the Queen of Love and
Beauty, is in crown, it seems,
so
the
difficulties
is
again.
The
for
Richard;
of
how
he was
into
wounded,
prison; of
captured,
and
thrust
how he
to England,
robbing the rich to feed the poor, fighting Prince John at every turn, and winning back Richard's throne
the
legends,
ceremony is somewhat delayed. comes right in the end. The Queen of Love and Beauty, gorgeous in gold brocades and green and
But
it all
for
A
bit
a last
royal purple, stands out against the velvet hangings and cushioned throne, and places a wreath of gold leaves on the hero's head.
The
here
is
last
"What you
ginning.
see
close-up
caught,
scene has been shot, the last the last "still" photo-
We expect to be five months making the picture." Mid afternoon. Richard and Huntingdon are again the central figures against a moving background of color. It is a
great those
living
graphed.
Knights
pages,
and
ladies,
men-at-j
tapestry.
intervals
And
the
between
picture
short
when
nobles and serfs all mingle in the sunshine. A man with a megaphone is speaking to them. I catch only fragments of what he is saying, but enough to understand that they are dismissed for the day, and are to be mad*.
arms
and
moves, and the splendor of the Middle Ages lives briefly, there are long ones
of
up and on the
lot at ten-thirty
preparation,
repairing,
readjustment,
eight
field to the
want a hammer and a tack," says Huntingdon in one of the pauses, and waits long enough to have a small defect in his sword belt mended. The sun grows hotter and brighter,
"I
But the day is not over for the rest. There are still conferences, more confer-* ence-,, and routine work that will keep many of them busy till late at night. I have watched the work of one day,* and this is to go on for five months
From Hollywood
rer
195
two days' demands alike, never torrow's problems the same as today's, every day bringing the same lavish
thing as well as
this
it
is
directed
"The Tale
ago.
Two
Cities"
some years
may
be done.
I
REX
Ingram plans
"Toilers
of
to film Victor
Huthe
go's
the
Sea"
on
Ml
y
er
that
in
the
coast of Maine.
EDUCATIONAL
duced
in
ed
it."
Los
Angeles
by
Cinal
Production Notes
picture already finished, on Films. Civics, presents the subject interestingly with children as the principal actors.
One
THE
TWO-REEL
Thomas
pictures
on
scientific
The poem is studio in Culver City. the producin closely to ng adhered in the hands of Miss I which is
elf,
Productions. story part form, but so arranged that the be used to is film the may be omitted if the only and colleges, or schools
by
Three pictures
d somewhat
i^X LIVER
Twist," the
picture,
is
new
Jackie
\J
Coogan
finished
and
It
extraction have been made, showing the electrical by air the from of free nitrogen photography processes, the history of Egyptian times to the present, and
and
titled.
when
m
m
These are but a few of the great put, to which the screen can be
was young and they standardizing toward have done excessive and reckless However, it. failing by caused competition, losses
the industry
little
d on which not only its prosperity I its title to esteem as an institution But before that can be rest.
it
may
have their
through
will
effect
salutary lesson.
Tected
esent manufacturers to learn someIn the mass they are not caliing.
llated
-e
have
and
better class of
men men
will
enlightened
to
justify
much hope;
they
know how
and worthily
and who
will develop
it
jnoramuses.
Many
of them
started
Miscellaneous Notes
forced exclusion from this issue of the department, "Among the Magazines," prevents us from giving more than the merest mention of the following recent articles, some of which
THE
Romantic History
ture
of the
(third installment),
saye in Photoplay for June, is the be chapter so far. It treats the epochal yl
in
Gilbert Seldes
an exceedingly
France.
Art,
by
upon the screen. Visual Instruction in Louisiana, by] O. Pettiss in Southern School Work 1 March, shows that Louisiana is one I the forward-looking states in taking
fully
i
May,
is
the
new methods.
medium
a
of the stage.
Fact and Fable in Visual Education is sane and scholarly discussion by Frank
N. Freeman in The Moving Picture Age for April. It is a sound warning against
Motion Picture Morals Attacked at in Current Opinion for Api is a digest of recent editorial and plj form utterances for and against the ni tion picture industry and its people. We All Have a Secret Love of Advt. ture and Romance, by Allison Gray the American Magazine for May, is spla
Defended,
I
didly
calculated
the
maudlin
quantity.
enthusiasm
over
an
unknown
with
The
Write for the Screen, in the Writer's Digest for April, is merely naive repetition of the same old absurd patter that has come down unchanged from the early days of ignorance in the motion picture industry. For instance: "The ideal screen story would appeal to the college professor and the ditch-digger equally; to the society woman and the servant girl." Jeanie Macpherson, of Cecil B. DeMille-scenario-fame, wrote the article. The Washingtons in the Movies is the title of half a column in The Literary Digest for April 29th. Apropos of the British film, The Cradle of the Washingtons, a writer in the London Times calls for
"constructive film treatment of some of the byways of history, where plenty of
When You
article is
achievement to date. In large part t! an interview with Gilbert Grq venor who has been the editor and gut
THE
gram
1.
Visual Education Section of tl National Education Association h just announced the following ptf
its
for
session at Boston
on Mo:
Rationalizing
S.
Through
Visualizin
j
By
3.
H.
Layton,
Superintendent
The
in
and romance is to be found by the imaginative and scholarly producer." Oh, for the day of the "imaginative and scholarly producer!"
color, action,
tion
the
Public
Schools.
Educ By W. V
Educatioi
196
Miscellaneous Notes
C H. Garwood,
Associate Superintend-
197
Besides having taken all the courses ofColumbia University in this field, Miss Thornburgh has had much experience in scenario writing and film editing, both with the Department of Agriculture at Washington and in the commercial
fered at
field.
All
'th.)
papers
to
be
fifteen
minutes
in
Some
slides and films may be shown at end of the regular program.) he present officers of the Visual Edu-
lon
'resident,
na State
Normal
Muncie, Ind.
H. Beveridge, SuperJ. ndent of Schools, Omaha, Neb. ecretary, Charles F. Pye, Secretary ua State Teachers' Association, Des
ice-President,
ines,
An extensive course of lectures is planned, covering many phases of the subject, together with round table discussions of when, where, and how motion pictures should be used. Numerous educational films will be examined, studied and criticized. "This is an age of specialization and, as the motion picture is the latest arrival in the Visual Instruction family, it is to receive practically the taking the attention of those entire course."
in Visual Instruction" offered at the University of * Kansas for the present summer session, meeting daily, under the charge of Professor Joseph J. Weber of the de-
ii
A f\
COURSE
Iowa.
is
AHE
-
partment of Education.
states that "the central
The prospectus
aim
a recent publication by Visual Instruction Division of the liversity of the State of New York. achers seriously interested in visual thods should write to Albany for a
America"
is
in visual inthe common-sense adaptation of visual aids to the purposes of the school." The course is outlined as follows:
struction
should
be
Fhis bulletin is far more than a mere alogue of the South American slides New York State's great collection. It a manual of procedure for slide-inteacher uction invaluable the to lether experienced in visual aids or not. le first ten pages constitute an introction to visual method which is exceed?ly suggestive, based as it is on years research by the Visual Instruction Diion under the direction of A. W. >rams, Chief of the Division. The thirty d pages remaining give selections of
The Psychology
(a)
primary
perception,
and imagery,
(c)
comprehension,
etc.,
retention,
(d) standards for evaluating visual aids, (e) the word-picture balance,
(f)
emotional
effects,
II
grouped under numerous topics, th discussion under each, constituting outline of study with some teaching ints of particular pictures and illustraies,
ti
ns of procedure."
number of New York State iooIs equipping themselves with stereticons so as to take advantage of this luable service is steadily growing.
rhe
University of Tennessee, at rHE summer session, will offer a course
its
and where
booking,
purchasing,
(b) renting,
(d) circulating visual aids.
198
IV General and
(a) general
Methods
methods, and
the reason that they require animatij for a more ready understanding by m
laity.
various in the school subjects. Picture Projection Technique (a) learning to operate projec(b)
tors,
methods
Tov
this
motion
Scientific
picture
tl
The work
will
demonstrations by experts, classroom discussions, individual and committee projects, and exhibits of various materials.
THE
to
American films, in collaborate with the Coronet Films Corporation 1 Providence, R. I. The films, which wi appear once a month, will be releasJ through the Educational Film Exchang* and will be shown in the better-class th Such su| ters throughout the country. jects as can be treated to the best advaf tage in motion picture form will be tala from our columns and transplanted J the screen. The complete details will b covered in these columns; the thing itss will be featured on the screen, under tfc
Scientific
American
title."
who
are
looking
for
"Many Scientific American stories can well be retold in "motion picture form, for
Such motion pictures in the field c science sponsored by such authority aflj produced as expertly as they undoubted! will mark another step forwaj will be toward the attainment of educational film worthy of the name.
An ExperimentThe
his healthy interests
and
all
children
ously swift
is
r(
When we remember
life
member
mo\
its
emotional ex-
somewhat de\
of
its
childhood,
we wonder
that the
astating
fiends
heart
throb.
The
blue-la"\
serial as
long
seri-
has.
and the censor idiots are all tha the names imply, but they have real
ized, in their sad lack of intelligence
Its
we
it
be-
what the fair-minded common sens person has been somewhat casual
recognizing,
i:
come more
means.
methods and
that
the great
mediur
o
is
was
may make
It
a revelation to
mar
the pre-adolescent.
to b
and
feel
their
curit
hoped that the efforts of Balaban I Katz are a small beginning of a tre
For heart
mendous
project.
Conducted by M. F. L.
closing issue of the Educational Screen for the school year 1921-22 this department has arranged a five-part presentation, designed to be of use to both the general reading public and to those interested in the school film problem. (1) New reriews of current films. (2) The "fifteen best" of he films reviewed in the first five numbers of this magazine, listed in the order of their excellence as editor. The "ten worst" of films previously reviewed, selected on a basis of some udged by the (3) eal and serious fault or faults detrimental to moving picture development. (4) Catalogue of all emaining films reviewed in first five numbers, with very brief comment on each. (5) Selected list of This list has been chosen with great care, he above films suitable for school and community use. itelligent censorship, appreciation of the child's needs and wishes, and regard for the educator's iewpoint have determined the choice in each case.
this
Current Reviews
Hereafter THE THEATRICAL FILM CRITIQUE will follow the policy adopted in the June issue of adding a comment as to the possible use of the reviewed picture for the school, church or community program.
PARAMOUNT RE-RELEASES
mous
The
Players)
best
(Fa-
to the casual
layman
in literature.
Inci-
dentally,
seven
productions
released
could have
tory
scenes.
made convincing
the labora-
hrough Paramount for the past year are ffered in a weekly program. Several theares and theatrical circuits are now showing he series. This department will comment very briefly on the choice rather than the nerit of each production, for some of them
were very naturally faulty in matters that readjusted generally since been lave hroughout picture making.
We
to
have
learned
that
in
the
this
meandering
film is apt
method of continuity
mar
a picture with as
many good
points
But such names as Florence Vidor, Helen Jerome Eddy, Tully Marshall and Theodore Roberts
as this production had.
make
it
not be poor.
(Not a school
film.)
On With the
Mae Murray
not have
films
Dance.
in
quite negis
when
made
has
picture.
less
In
later
considered.
{Adaptable
to
community
she
been
"censorable."
program.)
Dr. Jekyll
From
(Undesirable for
nature,
Stevenson's allegory of the human's dual and the danger of giving in to the
lower nature for experimentation and the temporary sowing of wild oats, made a
tremendous vehicle for the genius of John Barrymore. Old though the production may be (and even a year in the swift
evolution of picture
Behold
My
Wife!
mechanism
is
seri-
ously
long), Dr. Jekyll and Mr. Hyde stands as an almost flawless presentation
Mable Julienne Scott, as the Indian wife thrust into the midst of English culture, have rarely seen so imwas perfect.
We
of a great
story,
known
199
200
touch.
sitating
(Tm
audience, but
THE ORDEAL
An
Nagel.
Man,
(A
film
In no
(Famous Players). absurd story which wastes the beau! of Agnes Ayres and the skill of Conra]
(Good for no use other than an
in
different theatre run.)
child
consumption.)
(Famou
firl
The
(Famous Playin
its
Miss Ayers was not only beautiful, bu and believable. Mr. Holt did his usua steady best, but he had an ugly part 1
In fact, the tale was obsolete 1
Fortunately,
its
portray.
as
Advertised
screen's
having
cast
the
vulgarity.
"two greatest lovers" (Rodolph Valentino and Gloria Swanson), the picture fell flatly on the eye! The gentleman in
question evidently loses some of his strength
taste
of this century
is
made
man.)
Walter Hiers
a born comedian.
and subtlety when not playing to Alice Terry's genius, or perhaps it was due to non-Ingram direction. There were great moments, due more to the story itself, for it has a commendable thought of fine loyalty behind it, and to the excellent work of Alec Francis and Mr. Bolder. The story moved indifferently and the "two greatest lovers" were graceful. More cannot be said. (Community and church uses, providing
committee censorship functions
first.)
(Fa
west
tale is
very ac
it
boyish star.
sting of
delightfull;
a nice tom
boy and,
later,
wept because she realized she was only and quite alone! (Not adaptable fo
a community program.)
REPORTED MISSING
An
(Selznick).
(Fa
new
fields
th|
Stephen Leacock's on the screen. That it failed miserably was due to a lack of sensing that wonderfully delicate line between
the sublime
make
or
good melodrams
falls
safely in th
to
th
and the
due
largely
and the funny. The "Nearer My God to Thee" scene became serious enough to conflict
very careful restraint and, at the same timi delicate roguery of Betty Compson, th
magnificent character
it
work of
the capabl
should have maintained; the race of speedboat and aeroplane became too convincingly
melodramatic to allow the farce of the speeding row boat to be effective. The big negro's predilection for chinamen, on the other hand, and his terrible treatment of them in the free-for-all did keep the line
(The nature of
able
the
material
makes
thi
201
road sense,
spent his
life in
defying his
xperience, that
k
makes
it
a worthy Him.)
better self so that his friend's last remark, "His soul has passed mine by," could be
Of
lade,
was an achievement. Milton Sills is always reliable, although we have seen him do much better than in this film. Claire
reality,
we wish
to
comment on
two.
First,
My
by
tied only
its
Miss Rich overacted; her mother grief was vulgar. The operation was amusing.
But, despite
all
ence
ers
series of the
fenic
e
most beautiful and gripping we have ever watched. In beauty of huge sky spaces swept with
effects
genius.
tain
{Certainly not for school use. Cerchurch communities might accept its lesson of redemption rather than punish-
the
moving glory of
ment.)
on a mountain top and watching surrounding peaks becoming isolated islands lost in the swift approach
effect of standing
(Gold-
last, in
streams
cliffs,
A tale of buried treasure carried by the animated Richard Dix and the cunningly petite Wanda Hawley. The Chinese background was well chosen, particularly the kindly fat and grinning Captain Chang.
The transition from the novelist's room when he finds his returned script to the
opening of
it
Second, in
all
find
resented
story
of
the
fishermen
was no
better way.
who
ing
leave and "the children stand watchthem out of the town." The fury of
its
creep-
ing surf over its "moaning bar," the courage of fisherwomen going back to their shacks "to wait," the gathering of these things have white-capped frenzy
(Goldwyn).
enough
to rec-
by slow motion
in itself,
ommend
humor
is
this film.
In addition
;
much
of the
delightful
and there that require frank acceptance of a device, but that ought not hinder the
applause.
NE CLEAR CALL
A
r
(First National).
{An
althall
lear
and Henry ought to achieve something. One Call is one of the few serious screen
attempted.
is
room
amas
rained
Too, younger children than education. would lose much of the humor, although they would enjoy the roping stunts.)
It
succeeds
of
his
partially,
enry Walthall
bat alone
(First
in
Nathe
emotionalist
makes the film an event. At no oment did Mr. Walthall make his somehat difficult part anything but what a "eat actor would make it. To present a
good
story.
church
possibilities.)
202
1.
its
relation
tl
completely
modern
a]
(Metro) (Reviewed in May number) Director Rex Ingram executed a careful and distinctive screening of a story of epic quality; the touch of an individualist dominated the atmosphere of continental subtlety and culture. In like manner every member
of the cast played with the earnest artist's
cautious regard for effects.
2.
men
love.
7.
love
gold
FOOTLIGHTS
(Famous Players) The charm and interest
(Feb.j
of the story,
thj
artistry of
Elsie Ferguson
and Marc
Md
j]
FOREVER
The
first
ttt
man who
maudlinized
innovation.
depths.
subject
world.
was an
and the man who turned the crank com bine to make something well worth atten
tion.
8.
Elsie
greater picture.
as
its
production as beautiful
closing
call
us
live."
title, "The foolish world will dead but we have just begun to (Omitting the absurd mistake of
The
acter
direction of
Edward
JMaclyn
sketching of
Arbuckle,
an<
memorably
fin
Warren)
;
(Apr.)
:
picture.
"a
1.
B.
In Lighter Vein
a good
A
spirit
American
Of mark
gains
and wit, portrayed by a thoroughl Meyer) Harry Yankee-American, one about whom we cannot say too much.
2.
that in film
TOL'ABLE DAVID
(First National) (Jan.) But for the very isolated error in pro-
terpretation
nan.
deathless
alike
d'Artag
well af
scii
may
maximum
in
artistic
expression.
his greatest
COME ON OVER
Colleen
THE
A
CONQUERING
in
POWER
(Feb.)
us an altogether enjoyable characterizatio of Irish love. Irish, too, are the other men Irish, too, are the title bers of the cast.
limpid
in
their
beauty.
Productions
111
203
are
rare
occurrences
in
the
present
Horsemen of
the
Id!
The
sis
best
since
Griffith's
for
all
who
C.
humor
Unclassified
(Jan.)
Tower of David scenes, this story Solomon (Fritz Lieber) and the Queen of Sheba (Betty Blythe) grips in an appeal
of the of
essentially
LITTLE
LORD FAUNTLEROY
Group
epic
in
emotional scope.
little
Men-
(United Artists)
tion should be
3.
made of
Pat Moore.
We
ary
FOOLISH WIVES
(Universal)
cause of
(Mar.)
Foolish
di-
any
rious, but in
no
in
cause of
carefully
irtunity to
|
demonstrate
the
how
in
two,
first,
gallant
Lord
.untleroy
and
second,
the
wistful,
one of the best in motion picture history. But, in our minds, it could not be listed without this reservation, its
vely
"Dearest".
material
was
;
unfit
We
'untleroy
do not hesitate to say that Little Lord in company with The Four
sumption
ords.
it
belonged
psychopathic rec-
DREAM STREET
(D.
W.
Griffith)
Ray
to
Mawkish
in its
over-symbolism.
present.
7.
EXPERIENCE
imace.
(Paramount)
THE BARNSTORMERS
(First National)
first
THEODORA
An
reen.
(Goldwyn)
possibilities
(Mar.)
of
the
America's second largest city had to change the announced program after the public had suffered for two days.
8.
ostitutes
(May)
A DOLL'S HOUSE
(United Artists)
her respect.
ries
An
(Apr.)
gives us a
Mme. Nazimova
No
to.
plot
where
plot
was
intended.
Rather dismal
slapstick.
Not aggressively but rather indifferently or. A clumsy vehicle for the talents of jrothy Dalton and Rodolph Valentino. R. S. V. P. (First National) (Apr.)
204
Good Films
1.
9.
FOOL'S PARADISE
(Famous Players)
Toll
(Apr.)
was thoughtless and rough hewn but she was never vulgar." Miss Dalton plays the squaregame girl of an oil town. Against the smouldering Kosloff and the gentle Conrad Nagel, this kaleidoscope of Siamese sets and tense moments makes
an odd
2.
Fell (Famous Players) Zona Gale's novel was effectually and as fafl fully filmed as was essential for all purposes cl The cheap effects of broken china anfl cerned.
happy ending (apparently the unbreakable lawB the movie!) detracted from the strength of I
adaptation.
10.
MY BOY
(First National)
Fel
PEACOCK ALLEY
(Apr.) (Metro) Doubtful as a "good" picture because of certain
Yet, to place the efficient acting in a second rate listing would be
Not flawless but significant because Jackie Cl '" gan became again the natural youngster of
Kid."
11.
staring faults.
CAMILLE
Jan. (Metro) modernized Camille, perhaps distressingly*
of Miss
unfair.
3.
Murray
A
to
some.
in
"back"
(Apr.)
as
12.
and truth at the hands An unusual screen of "the silken Mr. Arliss." story, novel in situation yet free from improbabilities and utterly human at every point.
delightful bit of satire
4.
among
Yet, because Mme. Nazimova see a sincere portrayal, the picture rani the better productions of the year.
and
T>(M
Feb. (Rolin-Pathe) Two Lloyd comedies that seem to point to best possibilities of screen comedy.
13.
THE SHEIK
(Famous Players)
(Jan.)
Feb.
frank sex-appeal tale made still more potent by the efficiency of its perfect direction, its magnificent landscape effects and the alive ardor of see no reason, howits leading characters. ever, why the tale in film form should not be praised as a beautiful production.
A
14.
beautiful
story
in
its
courage;
also,
impifl
ively played.
We
(Famous Players)
this
it
Listed in
fight
pictures,
all
the
May mat
5.
15.
MUTTS
(Celebrated
Players)
in
i
.May
George
film.
Hackathorn.
comedy
16.
A
17.
well
directed film
swift action
doming
A
part,
bit
of
disconcerting realism
unmaudlinized,
by Mary
Carr.
pictorially
mal-
Too
first
National) up with
CARDIGAN
glance,
a place in
humans Group A.
to
Its
(American Releasing Corporation) (May) An accurate historical romance of America, entertaining and educational at one stroke.
8.
dire scenic value and the unusual talents of the difl tion as betrayed in the effective presentation of
listing advisable.
JANE EYRE
(Ballin-Hodkinson)
(Feb.)
oughly
swiftly
moving climax a
version
of
thor-
(Paramount) commonplace story of a wife who vamped" the vamp with none of the cheap
eff|
screen
Charlotte
expected
in
such a situation.
THE WALL
(Apr.)
11.
n unusual tale backed up with the versatile mond Hatton and the calm Virginia Valli.
A comedy
LOVE'S REDEMPTION
(First National)
ritics
(Mar.)
ng
his
oi'
disagreed so widely about this film that a "fair" will seem, to some, unwise. Yet,
(May)
An
13.
A new
phase
of Gloria
Swanson.
n Ford demonstrate that he could do straight acter sketching, but also. Norma Talmadge did
e of the
THE CRADLE
(Famous Players)
(May)
for
A
adults
passingly
cnly.
evil.
fair
vehicle
Fair Films
SMILIN'
ti
An
interesting
the
THROUGH
divorce
14.
(First National) (Apr.) which Norma Talmadge plays as she did in first days of triumph. The film falls into secgroup because of the clumsy management of spirit world footage.
snappy film, its Daniels role that of a haremscarem Spanish-American girl. Clean melodrama.
15.
(Feb.)
excellent
calibre
the
One
16.
sees
A somewhat
(Mar.)
Shulamite."
17.
unsatisfactory
"The
picture
ft
with a message lost through a too and sentimental right-about of the villain
evil
ACE OF HEARTS
(Feb.)
Leatrice Joy
ibolizing the
forces
of the
story.
and
powerful
:ertingly
picture,
TWO MINUTES TO GO
(First
National)
(Feb.)
Fair enter-
amiss.
JUST
A
19.
football tale
tainment.
(Famous Players)
n account of the possible peace and in the commonplaces of life.
RIP
VAN WINKLE
(Feb.)
but
picturization
(Hodkinson)
PENROD
(First National)
A
(Feb.)
20.
delightful
live?
Winkle
n which Wesley Barry has lost most of his disitin.e aggressiveness. He is less of a "smart k" than usual.
PAY DAY
(May)
BACK PAY
(Famous Players)
(Mar.)
(Feb.)
bit
smoothly
bination.
amusing
of
the
Swanson-Reid
strong story of post war matters. A convincing touch of spiritual influence or mental sugges-
tion; take
your choice.
(Mar.)
(Apr.)
22.
old
of
Thomas Meighan.
The
choice of leading
Not a
23.
was unfortunate.
heart film.
(Mar.)
The
24.
GARMENTS OF TRUTH
(Metro)
(Mar.)
(Feb.)
tale.
reliable
ects.
north
woods
Beautiful
scenic
Far-fetched? compensate.
But
there
is
Gareth
Hughes
to
206
25.
(May)
Not
(Feb
this group,
A
26.
fight
FIRST LOVE
(Famous Players)
(Feb.)
Reliable in a simple manner.
others
Negri's
characterizations.
Entertaining.
27.
WHY
A
GIRLS LEAVE
HOME
(Feb.)
(Warner Bros.)
realistic
final
A
Ethel
28.
by the
6.
forgive touch.
TRAVELIN' ON
(Famous Players)
(Mar*)
possi
(May)
is
Tom
29.
Moore's grin
(First
always convincing.
A
7.
trite
bilities
in
SCHOOL DAYS
A
(May)
strength, containing good
A melodrama
much
work by Norma Talmadge but spoiled by presence of the pompous Charles Richman.
the
(Ma* (Warner Brothers) sad display of a perverted conception of wha Wesley Barry is everything tha humorous. is ugly aggression and self-pride can make him. 1
8.
BOBBED HAIR
(Famous Players)
i.
A
9.
cheap
is
Hawley
(Majj Mis
2.
(Mar,
it
"gets smart
National)
(Feb.)
for
A
3.
and
10.
far fetched!
lame and
trite vehicle
Norma Talmadge.
GRAND LARCENY
i
ryn McDonald.
(Goldwyn) (Mar. Rather an ineffective production although it not as direct an influence for poor taste as ] might be.
We
Those marked
we consider
*Among Those
Cardigan
Present
(Feb.)
(Apr*
(JanJ
(Feb.)
(May)
(Apr.)
(Jan.)
(May
I
*Come On Over
Connecticut Yankee in the Court
of
Feb.
(Mar.
(Apr.
From *I Do
(May)
(Feb.)
(Feb.)
Jane Eyre
(Apr*
(Feb.
(Feb.)
(Jan.)
(Apr
(Jarr.
(
Lord Fauntleroy
*The
Little Minister
(Jan.)
On
to
(Feb.)
Turn
to the Right
Mar (May
(Feb
(May)
(Feb.)
*Two Minutes
Go
*My Boy
(Ma >
,.
SEPTEMBER,
1922
No.
Frederick
J.
Lane, Treasurer
Published every month except July and August Copyright September, 1922, by The Educational Screen, Inc.
$1.00 a year.
Back numbers, 25
cents
208
209
editorial
Movie
Richard Burton
214
217
C.
Don't Think
H. Ward
Among
the Magazines
219
Conducted by N. L. G.
224
School Department
Conducted by M. E. G.
227 234
From Hollywood
Conducted by M. T. O.
Theatrical
Film Critique
Conducted by M. F. L.
238
Published by
Inc.
46 East 50th
St.
New York
Personnel of
Joseph
J.
Weber
J.
University of Texas
Frederick
Chicago
Lane, Treasurer
Frank
R.
Greene
& O'Connel
of Palister, Greene
New York
Greene
Nelson
L. Chicago
William
R.
Duffey
University of Texas
STAFF
Nelson
Florence Butler Blanchard
L.
Greene, Editor-in-Chief
George Hill
Eastern Representative
Arthur
Harry
F.
Nicholson
W.
Shepherd, Chairman
J.
University of Oklahoma
A.
W. Abrams
New York
State Department of Education
E.
Mac Afee
University of Oklahoma
Richard Burton
University of Minnesota
William A. McCali.
Columbia University
Carlos E. Cummings
Buffalo Society of Natural Sciences
Rowland Rogers
Columbia University
Frank N. Freeman
The University
J.
David Snedden
Columbia University
of Chicago
Paul Goode
The University
of Chicago
A. V. Storm
University of Minnesota
V. A. C.
Henmon
University of Wisconsin
Inc.
CHICAGO
208
NEW YORK
jrHE
A)L, I
EDUCATIONAL SCREEN
Editorial Section
September, 1922
has come again
No. 7
SEPTEMBER
a
ion
the
month
moIt
is
machine for
its
momentous time, this, when a nation hands over to a half milteachers and executives the chief responsibility for the training of its
in fitness
'oung minds.
naximum
lal
Certainly this half million should represent the absolute and capacity for teaching to be found among the whole
nmdred and ten millions. Whether this be the case or not, the intellectdevelopment of the nation's youth during the present school year for he best or for something less than the best lies mainly in the hands of hese teachers. It is they who must guide the great machine and furnish
its
workings.
In the complex,
handing on the intellectual heritage of the world to the coming generation and of training that generation to react upon and mplify that heritage, the teacher is inevitably the supreme factor.
fundamentally a human process, this mighty transfer of inangible property from adult to adolescent mind, and must be achieved >rimarily through human agency. Yet this human process enlists all other >rocesses and aids. The innumerable aids developed through centuries )f educational advance the books and buildings, the museum and laboratory, the gymnasium and playground -are all but devices to extend and
For
it
is
nagnify the power of the teacher. Far from supplanting the teacher, the multiplication of these devices merely intensifies the need for great teach
who can bring forth ever finer results from the finer facilities. The first quarter of the twentieth century promises to be marked in educational history as the time when educators more or less suddenly
2rs
iwoke
ers
to the
broad
Hundreds
of teach-
personal experience, the trememdous educational jvalue of the screen. Tens of thousands of teachers need to know it. They will. The fact is spreading fast in educational ranks. Stereopticon slides by thousands will have done a mighty work in American classrooms by
Films by the dozen for these are the baby days of educaBut no have done their smaller part equally well. school need wait for the films the slides are here.
next June.
tional
films
will
209
210
sees only one cause for regret in the pre! namely, that many American schools will deliberately choo^ to postpone action "till next year." But we see far greater cause for sat
ent situation
isfaction in the
fall
hundreds of schools that are making a definite start It seems beyond any reasonable doubt that
thi
tin
more new
in
equipment
fill
one doubts the "educational" possibilities of the theatrica him see "Nanook of the North," distributed by Pathe. would include in this invitation children and parents anywhere soutl: of the Arctic Circle, teachers of Geography or any other subject, advance^ students in Anthropology or any other department, professors and emi nent scholars in any field who retain a shred of interest in the varying con Am ditions and problems of human life as the old globe can show it. we will venture the statement that, whatever that person's previous knowl edge of the subject, the picture will mightily enrich his conception of wha it means to be an Esquimaux an Esquimaux man, woman, child or dog Lest we seem unduly laudatory we will quote from a source whicl is emphatically not tainted with the pedagogical viewpoint. Sherwood in a recent number of Life, says: "In this remarkable film, the motioi picture fulfills its highest office as an educational, dramatic and artisti medium." It seems that "Nanook of the North" was produced by a certain fu company on Hudson's Bay and some persons there be who solemnly sus pect that company of some publicity motive behind the production. get a real smile out of that. We wish that a thousand other commercia companies would follow the example of Revillon Freres immediately. Mori power to such motives
IF
ANY
screen, let
Editorial
211
|T\
EN HUR
picture;
it
is
JT^
*<
[touched in
It will certainly be a big be a great one. Unfortunately the announcement is the characteristic phrases of motion-pictures, and hence is
may
"There
sion
the English
;
etc., etc.
"the
[broad sweep"
"world-wide appeal,"
etc.
leen paid for the screen rights, "a director of international fame" will conduct the rest of the highly expensive performance.
The
Ipce in Palestine, Italy and California. In Palestine, "entire temporary lities" will be built in order to reproduce "the ancient and civic architect("ancient and civic" sugural features of Palestine in the time of Christ" ;esting subtly, and probably quite unconsciously, that the civic features vill be modern). "An army of experts" absorbed in searching through old historical documents" will bring forth "data to be used in building cenes and making costumes" (sic!). About the only thing omitted from his crashing publicity matter is the estimated tons of strip-tickets needed vhen they begin to "stand 'em up" in the lobbies and out on the sidewalks. Yet in spite of all this, as we said in the beginning, Ben Hur may be great picture. Already great pictures do occur, from time to time. When uch become the rule instead of the exception, the raucous blasts of the reliminary trumpets can be omitted and the product be allowed to sell tself, as is the case with the other arts.
t(5*
&$
c<5*
THERE question
is
no doubt about
it,
Hays than
before.
To
the in-
which gives any serious thought at all to the matter, :his growing agitation means merely that something really is rotten in Denmark and that something should be done about it right soon. To the motion picture industry censorship means merely the loss of nuch revenue. But instead of basing their opposition upon this perfectly ralid argument, they keep up a child-like chorus about the right of "free speech" and hence become ridiculous. Freedom of speech is indeed a priceless thing and the republics of :he modern world will never let it go nor will they let it be degraded. But [t is a lofty privilege accorded to every man qualified for utterance. f a drunken sailor, for example, cuts loose in a public assembly of men, women and children, he will be promptly silenced or ejected without massing special laws for the treatment of his case and with the entire
telligent public
!12
An
obnoxious
film,
however,
is
a very dj
all
problem
it
is
uttered by too
its
many
speakers,
who
are
qui
To
claimant to the right of free speech, "the producer," would be a slow pri
The
full effect of
tl
speaker could be collected and silenced. Hence, censorship agitation!] The agitation may have begun among chronic reformers with an if grained talent for opposition to all things, or among semi-intellectui moralists who start many things and finish few as has been claime< But it spread rapidly among more serious thinkers, as convincing evident accumulated. More and more ministers, teachers, social workers, civi
eminent public men and women, have concluded that somethirt and unusual must be done. Many cities have adopted systemati regulation. Several important states have instituted censorship law! The question has reached the floor of the United States Senate, and pre posals for Federal Censorship have been formulated. The movement hi; attained impressive dimensions and the end seems to be not yet. Small wonder that Moviedom thought it time to summon a doctor, art no more sane and hopeful selection could have been made than the dynami Will Hays.
leaders,
drastic
He must take off his hat and set dowi bag; he must address a few pleasant remarks to those intereste: in the outcome of the case; then, entering the sick room, he must put tW patient in an agreeable frame of mind by a deft word or two; finally, tlj careful examination, the diagnosis, and last of all the prescription. Just how much of this program has been completed thus far, we d not know. Certainly the hat and bag have been set down. At Chautauqu before the Women's Clubs, at Boston before the educators, and almos constantly in the daily press throughout the country, many pleasant re marks have been made. Dr. Hays has entered the sick-room he h# been to Hollywood. His preliminary words to the patient have bee deftly chosen to superinduce a willing attitude of mind. The examinatio is unquestionably under way but the body of the patient is extensive ari it will require much time to go over it all. How far off the diagnosi may be, we do not know and we cannot expect to hear the prescriptio till that point is reached. To be sure, thousands of people in the countr could have given Dr. Hays a complete and confident diagnosis when h started from Washington. But the diagnoses do not agree, and certain!
usual medical procedure.
his
NOW
Editorial
doctor
ial
213
fees
is
entitled to
make
his
reputation
own
conclusions in
own.
to believe that Mr. Hays is sincere, that he means to do something bigger than earn a salary, and we intend to believe it \\/ unless forcibly prevented. We hope he has larger ideas of what lust be done for the pictures than the movie magnates who hired him ould conceive. Very probably he was hired to "fix" the censorship and he tariff. He will undoubtedly do his best to "fix" them, but perhaps a very different way than his employers were expecting. They will
TT TE
WANT
ave no legitimate complaint in such an event, for he will merely have given lem more than they knew how to ask. So far Mr. Hays has done much talking on the platform and through he press with it all he has managed to say very little and his numerous If he is to say nothing ritics incline to judge him on this utterance. critics with his the that effort is futile. But we are nore, we must agree villing to wait much longer, until his examination of this extremely comand we incline to think that his plex problem permits him to say more emarks will be highly significant. Two brief quotations seem to give the gist of all that Mr. Hays has "Pictures must be cured at their aid so far: to the public he says Both remarks ource" to the producers he says "We are partners." The |tre perfectly obvious and true, and equally transparent in purpose. first is a shot of morphine for the censorship agitation, the second a jovial [)at-on-the-back for the men he will have to handle later. Taken together, :heir present significance is practically zero and will remain zero until Vlr. Hays adds something to each. We gladly agree that the pictures must be "cured at the source" but Films have been, and Are want to know how he plans to cure the source. ire, as good as the men behind the production. We gladly agree with the idea that Mr. Hays and the producers should be "partners," but we want to know when he is going to ask a lumber of them for their resignations. One gets only ink from an ink-bottle for drinking purposes one uses
;
are makng the pictures there will be no more talk of censorship. There are some men of this stamp already in the field but they are in the pathetic ninority. To these, and to others like them, all America will be glad to extend the sacred right of "free speech." We hope that Will Hays can
1
carafe.
When men
of quality
io
much
to hasten that
WAS
tious endeavor to do
all
things on tfl
inc\fl
table;
with
that
untold
in
dramatic
the
representation.
Why
was
so
all.
As one
limitations,
when
whfl
the response
hearty,
limitless
opportunities
apparently
it
would not have dared to tread, and the world of art, literature and history, putting on the screen many
rifled
And what
a play or
for
such
to a
carried
reproduction.
This brings
first
me
generation,
statement of the
limitation of the
ard works!
It
is
movie, as
I see
it.
By
its
very nature,
is
this
form of
narrative,
"Peer Gynt" as a
because what
is
entertainment
suited to
tell
pictorial
makes
in that
lost
mode
of presentation; pictuM
sentiment, domesticity,
history.
melodrama and
psychology
it
The
subtle
of
esque Norwegian scenery is all right enough, but there is more than that
this
modern
fiction or playwriting
should
great
work
of art.
We
are
all
leave alone.
Many
masterpieces come
its
handling; "Les
Island."
too,
in
"Treasure
impressive,
added the
irritating
can be
quite
for
Barrie's
ton."
Ye gods
violates
A
214
tempo
is
frequently
my
215
not being
their talents
less
on the problem.
Doubt-
owed
ene.
ited
to dwell sufficiently
upon the
from
this
may
movement
art,
of
grow better for this reason and Heaven knows such first aid was needed! The gains hitherto have been
all
action
is
a question of
is
irn
reform
so
needed here.
and a There is
in
on the
ten an
ire
dramaturgy has
guished.
film
in
truth
sadly
lan-
much
material to be
shown
To
tell
a story through a
makes a
difficult
new demand,
The
ays
th
in
the present
we do not get in picture form so much as talk The play pictorial assistance.
is
after a year
plot
res.
about
all
there,
sans pic-
nal
11
and a half in California, studying the movie, he felt he had much yet to learn and recognized the difficulty of this so different form of dramatic expression. It is comforting
to hear a real
thus, and have been
to
it
drama"
(or, as the
man know
of letters speak
that his
services
ag puts
itil
ill
enlisted.
language
until every
eliminated.
that
But the theory seems to have been after big money had been ex-
ire
it
out.
art,
If
tw
pended on the pictorial, anybody could shape up the yarn for popular consumption. The stories have suffered; so has the public. Now the managers
are having their share in the suffering
as well, in the
For another point, the movie has ien fearfully handicapped so far by
ie
form of empty
seats.
This
leads
me
to
another
thing
le
technique
of
this
peculiar
new
sil-
3rm of story
er,
telling.
Muddier,
stupider construction
was never
ten.
Tyros and Cheap- Johns have later, under goad of the financial slump, have
begun
to secure
artists
judgment has held back which in of the motion picture. development the at has been asaimed The audience that baby primitive so be sumed to
food has been the main fare given
If ever
it.
my
an
art talked
of
iducing them by handsome pay to *arn this other technique and put
plane
with
that
of
the
South
Sea
216
Islander.
have
no
acquaintance
We
and
of something a littli morons (a modest clain to make for the Americans who atten< the movie) will appreciate and il
ence,
made up
better than
democratic
life whicl
No
men an
is
women by maudlin
dubious
acceptance,
sentimentality o
humans
And
it is
believe,
wl
ou
thi
much
tures
of anybody.
occasionally
The
foreign pic
for
imported
Note
of applause.
benefit often
put us to shame in
I
matter of truth-telling.
think that full as
incline t
is
much harm
don
at a picture play.
suspect a definite
movie assemblage of act superinduced by the darkness, the lack of noise, and often by the temperature.
fraction of the
sleep
by
of
restful
for the
sake of an allege*
''pleasant
tion of vice.
impossible to tak
Movie
stories also
need to be largely
lifi
reconstructed, so that
elect to tell
when once
they
they
volves
tragic
The
to
Of
always
is,
art
it is
for the
most part
and don't want the grim and the dark. My reply would be, "All right, give them comedy." But in the name of
fearfully uninteresting.
It is
no argu-
ment against this form of people'! amusement that films are shown no*
fit
common
sense,
stop this
is
nauseating
for children.
Of
course not;
tha'
an insult to the mind of anyone outside an insane asylum. Make your comedy true, and
you do give tragedy, make that true No self-respecting art can do otherwise, and in my opinion it would be found that a so-called general audiif
also.
would be true of any adult art. The thing to do is to have the home function and keep the little ones awaj from a place where they do not belong! Today the movie is a cleane and more innocent entertainment thar
(Concluded on page 226)
Don't Think
C.
H.
Ward
DR. graduating
Jniversity
this
OSLER
once
class
gave
of medical
at least
students at Johns
priceless
If
Hopkins
counsel
Don't think."
lone
ession,
he
had
never
any other service to his prohe would have deserved Of :nighthood for that advice. :ourse he was a good deal of a hinker himself, and of course his [ictum is no more a whole truth han his remark about chloroformng after middle age. But his meanng, unmistakable to
the facts."
the audience,
in
the
"Don't supEorld Dse that mere thinking will imobserve and build -ove mankind
today
;
namely,
go-
ing
to
help
us to
remember the
27 the Associ-
command.
of
On May
sum
Upon
facts."
is
"Don't think"
in
specially useful
you did not say, and "thought it was all right'' to do the wrong
thing.
and
is
excellently adapted
to certain things."
jects?
To what
How?
older people are even more than the young to "think" that a novelty is necessarily wrong and that the old familiar way is
likely
We
Our prayers are offered that Dr. Freeman may have an eye single to
the facts and may on no account be guilty of any mere thinking.
We be divinely right. in interested have always been around goes thinking that the sun the earth, that malaria is caused by
bound
to
how
facts
are
wildly
different
damp
in
air,
that social
ills
originate
little
some
failure to pass a
law.
from what any imagination could have conceived explosions of gasoline can be harnessed in a rhythm;
:
217
218
bankers in alliance cannot prevent war; Latin may not be essential to culture; Charles Chaplin is melancholy; movies can be esthetic. For
gathers
will be
artificial
observations,
my
part
am
here
logical
we
and must
workers.
What
consti-
laboratory may be worth nothing to us mere laborers with youth. For we have had too much and too painful experience with tests under experimental conditions, with statistics and tabulations that prove everything to a detached investigator, but that are vacuous to
deduces from unnatural data, h merely "thinking," in th Oslerian sense, and his findings wi. shortly be trundled to the ash-heat I suppose that is a somewhai peculiar idea. I can imagine that | Dr. Freeman read this sketch h would smile indulgently and won der why teachers are so narrow. 1 he asked why I dared to be so reck less in print, I should relate to hit what a noted psychiatrist once tol< me. He said, speaking deliberate^ and temperately: "In my profes sional life I have had to read a grea many articles by the psychologica
investigators.
My
of
estimate
these
is
tha
g<
99 out of 100
astray.
men
an artisan. The shores of educational psychology are strewn with wrecks of full-sailed deductions that were equipped with a poor
Because they havj not established a primary control they do not themselves, as a pre
liminary to experiment, understanc
the
How?
compass
grading
the
for
example
;
scales
for
material
compositions
non-trans-
dealing."
by method of homonyms; uselessness of grammar; "teaching in the large." Each was championed by a mighty name; each was heralded as a great new truth and each was
fer of training; teaching spelling
;
The
school
subtle,
elusive
who
is
a dismal error.
The
results of Dr.
fall
room experience
only by those
salaries as
it
is
controllec
on
who have
long earned
made
mere teachers.
Only
toe
only in laboratories or special test classes. A large part of his investigations must be elsewhere, must be
know how unreliable prejudiced, and weak any one of uj may be how unfit to generalize and
well
do
Among
The Cinema Novel
by Gilbert Seldes
in
the Magazines
The most noteworthy production to date Donogoo-Tonka by Jules Romains. This
Conducted by N. L. G.
is
"T-^HIS
p
is
form as it manifests itself in French writers, taking their sugestion from the scenario seem to be
ranee.
"^
author "has pushed the method of the cinema a long and significant step forward, and, while using everything it can give, he has produced a first class work of
fiction."
In plot
gent"
than
the details
chieving distinctly
new
effects
in
fiction.
"Romains
The results
Inany
>rove
>f
may prove
in
to
be
merely so
they
more
literary hybrids
or
may
has passed beyond the professional technique of the moving picture without once
fruitful
exceeding
its
natural limitations."
of
The
scenario as a
to
in
The
the
perts."
titles
nethod of
tself.
>etter pictures
but
offerings
our
so-called
"title
ex-
For instance in the waiting room where Lamendin sits with the other would"Absurdity, given off by so
The
lent
adaptability of
many
to
brains,
distin-
from the
start,
becomes palpable.
disengages
itself
little
One
begins
seems
to
make
for
"brevity,
hardness,
and
little
by
clarity, brilliance"
quite
which American authors acknowledge and blame on the movies. Mr. Seldes suggests that "if they would take
"sloppiness"
the
in the
much manner of Dr. Caligari. "M. Romains has also a complete underThe
settings for this scene are very
standing of projection.
preface, against the
He
protests, in a
trouble
of
studying the
pictures
in-
monotonous speeding-
stead of trying to
.
we might have
certainly
tures."
of
up of pictures and urges that this one be in the rhythm of ordinary espelife, with a shading toward slow, cially in the scenes where the only events which pass before us are the thoughts of (Required reading for Mr. the characters. Griffith and Mr. DeMille for one year is in
taken and shown
those words.)
La Perle Fievreuse
in the
Donogoo-Tonka we enter
into the
minds
complete
is
cut-
succumbs
to the
madness of the
idea.
And
backs, visions
and close-ups
all
numbered
and marked.
219
M. Romains
220
various
projected
be
shown
becomes The Trouhadec, Father of his Country. The utility ef geography is one of the prescribed
subjects for
public lectures.
erated rhythm.
accomplished
fancy, because
this
it
sort of
to."
"roman
Lamenfriend
Dushman
"B
the
in
title
of
an
the
is
Scientific
article by American
flj
for
din,
who
is
also the
name
of another
mitting suicide
side,"
to
produced at the research laboratories of the General Electric Co. By the use of excellent animated diascientific opinions re-
of
Professor
of
Institute
who
guar-
made
strikingly clear.
re-
a violent
of
life.
Lamendin goes
to
the
consulting
is
room and,
the
to
given
in
him
a
rapher.
the
Prof.
geog
produced on the printed page, the author presents a few stills and apologizes for their failure to give any adequate idea of
the effectiveness of the film.
is
election
Geographic Institute if he hadn't, many years before, placed on a map of South America the wholly imaginary town of Donogoo-Tonka, in the gold-mining area. Lamendin now proposes to float a company, start an expedition, and insure the professor's election by actually creating
the
place.
is
The
article
tion
latest theories
and the elecand the marvelous interrelations in-, volved. Some or the reasons on which
of the molecule, the atom,
tron,
In the second reel Donogoo-Tonka in the third we have adventurers in the world preparing to rush the gold
launched;
parts of
all
fields,
whilt
pic-
Lamendin
tarries at
ad-
the
heart of
to
the
go for-
are.
place Donogoo-Tonka.
second
group
of
adventurers
comes.
They are disappointed in the look of the place. But they are interested to hear that gold is being found, and while Lamendin at last sets sail, the Donogoo-Tonka Central Bar and the London &
Donogoo-Tonka's
it
SCRIBNER'S
most
Splendid
the
later.
Hotel
of
are
going
earlier
up;
ar-
interesting
is
obviously
to
intention
the
rivals
mulct the
And then, of course, gold really is found in the river bed and the price of all provisions goes up fifty per cent.
Regrettably, en voyage, Lamendin tills his pioneers that Donogoo does not exist. On his the Professor,
museums under
the
title
"Masterpieces of
from and as he turns in despair he reads the announce ment by Agence Meyer-Kohn, of the next caravan to the gold fields of Donogoo-Tonka. He arrives; he takes possession; he founds an empire, in which the religion of Scientific Error is estab-
demanding immediate
results;
Taxidermy has made amazing strides the past forty years until American
lished.
Trouhadec,
still
living,
is
deified:
he
museums are far ahead of the rest of the world. Once it was merely a problem of "stuffing"; now there are taxidermists "who do not like being called anything less than 'sculptors'." The idea of scien-
221
museum groups
of
mammals
in their
life
in
its
haunts.
Aside from
it
was born in 1878; the first roup was mounted in the next year and
fctural setting
is
prob-
museum
Ikhibited
at
pn
>i
of scientists in 1880.
was
group
orang-utans and was called "A Fight the Tree-Tops." So well done was |iis first effort, that forty years later, in
|j
groups even half-way appreciate the many-sided skill, the labor, and the expense involved in the production of the
elaborate accessories that are necessary
to bring the haunts of wild animals to the
lie
National Museum,
of
it
still
afforded a
of the
museum
The
hall
Ihrill
|ien
satisfaction" to
first
some
the visitor."
article is profusely illustrated.
who had
Slaratoga.
I
By
was
es-
and development became ex(emely rapid. Dr. Hornaday gives an iithusiastic and generous account of the
tablished,
THE
ment
of
SCIENTIFIC
two inventions
AMERICAN
(for July)
lutionize
new
and
field,
the
the greatest
deof the
Scenery"
to
bntributions
Inportant
the
progress,
now brought
com-
Liled descriptions of
many
which
more
been
groups
far.
have
chieved so
The truth and reality of le effect is well shown by the remark f a Sioux Indian Chief to some of his
as he
photographic negative to the extraordinary dimensions of 15x20 feet, still keeping the definition absolutely sharp and clear. This immediately renders any
viewed the famous Bison American Museum of Natual History in New York: "I know that hey do walk around in there at night, or there are their tracks, in the mud by he water-hole and on the trail." We are glad to quote Dr. Hornaday's
f'iends,
[roup at the
background desired if it is in existence anywhere in the world available for use in any studio. It would seem that the new method will vastly reduce the expen-
money
hitherto neces-
sary in building
sets.
museums:
In "Aluminum Films," by the Berlin Correspondent, we read that the transparent cellulose film will in the future have
to
of group exhibits thoroughly conceded by all persons, nd their value in educating the public
entirely
count
with
serious,
and possibly
rient.
f
ribbed
re
wild nature within daily reach of the and confined millions of city
After twelve years of work, a German inventor has perfected a method for rolling aluminum thin enough to be flexible and yet with a surface suitable for taking
Iwellers
who
permanent.
utterly
trifl-
and holding permanently the emulsion. Obviously such a film has enormous advantages in durability and is perfectly
It
is
impossible to appreefforts
iate
vild
too
highly
these
loors
travel all
>ver the
manner
of wild
Even the items of non-inflammable. weight and bulk are reduced, for the film takes a picture on each side. Operators will no longer need to rewind; the pictures on the two sides lying in reversed
222
directions,
ever
such
the
as
the
ship
disappearing rather
backwards,
when
low and
for
horizon
seem
obvioj
tage of the
new
film,
trivial. These are somewhat atonl by others the soldiers shooting at moving train and the ball dropped frcl a tower on the earth as viewed by 1 observer stationed entirely out of contp
writer
neglects
to
balance against
this
the per cent of loss inevitable in projecting by reflection. Much depends upon efficiency of the reflecting surface of the
The article closes with two deliciol samples of the German caption write* efforts to enhance the film's appeal j America by English (?) titles made b
him for us: "The removed train of Prof. Einstef By light and time measuring it is demoj strated on this train, which is passing
viaduct, that equally to the measures
<
new film, for if stronger light source will be needed to get equal illumination of
the
screen,
the
commercial introduction
film will be very difficult.
of the
aluminum
VAGUE
pearing
for
REPORTS
in
have
been
space
ap-
also
the
measures of time
in
j
printing motion pictures on opaque paper film, which has been perfected by Czecho-Slovakian inventors. This is of particular interest in connection with the new film mentioned in the note above, but the same problem of loss of light by
reflection
is
system moved nearly as do not correspondent in the measures taken out When the viewer has
will
quickly as ligh
the least whic
of this system*
grasped clear)
r
probably
in the
be
quite
ready to agr
is
trying
involved.
When
this
diffi-
mean
"As
lions
ligible
following
title:
culty
is
met,
may
well have a large place in future developments; the extreme cheapness of the
our
it
readers,
once
will
undei
paper film may usher in the day of private ownership of films in schools, churches, clubs, and homes, while the
stand that
an idea of
it."
Long
that
film,
live
safe to sa
th
aluminum film may serve the theatrical circuits where long and hard usage would
be the primary condition to be met.
he will
much
longer than
relatively.
(for August) contains a page of discussion of the recent film made in Germany to explain, or exploit, Einstein's
THE
SCIENTIFIC
AMERICAN
(for July and August two more supposed contribt tions to the literature of the movies $ two articles by Patricia Collinge.
ANITY FAIR
affords
v;
The
far
first is
Theory
of
Relativity.
Several
photo-
Ingenues."
vincing,
The
graphic reproductions of are shown. The writer film possesses elements may have real value as the textual discussion
theory.
also far
Left to himself the reader might hav found traces of ingenuity and enjoyed tfll discovery. With the desired quality head lined in this fashion, the writer had t
223
to live
up
to the
title,
and one
feels
of the
arts"
recall
he effort is too obvious to be ingenious. The second article is "Adapted for the Screen." A rather flat attempt to be i:lever in presenting a lot of well-known
|
trust
you
the
outstanding
"Oh!"
replied
Henshaw.
is
more
Imd perfectly stale facts as to the vicissitudes of a classic passing through the lands of present-day "movie experts."
In this case
it
wisdom
in
is
supposed
ind
Juliet
on
its
the voluminous reports of the Will Hays reform committee. It is the basic truth upon which all estimates of the silent
screen.
article
on one
is
Famous
June
that
LIFE'S
"The
familiar to
regular
Silent
department
entitled
Drama"
is
doubtless
editor of
is
our readers but it is a pleasure o refer again to the sane and readable :riticisms of current films that appear ^here every week over the signature of Robert E. Sherwood. This sort of intelligent evaluation of movie products is exeedingly rare in the country, for the ndustry greatly prefers press-agenting :o criticism and pays accordingly. Mr. Sherwood occasionally finds space o touch upon other aspects of the field
than the films themselves. His ideas upon Will Hays and his job, for example, are
where
it
so
if
hearty cooperation
sug-
gested for
Commencement
authors
time:
the
stories
What
of
foreign
suggested
"Male
and
financial
failure
of these pic-
Mr. Hays is always "outlining plans" and appointing committees. Apropos of this the following quotation is submitted from Harry Leon Wilson's excellent novel, Merton of the Movies:
rather definite.
movie director is talking) we twenty million people a day pictures that make any demand on the human intelligence. But couldn't we sell something better to one million or a few thousand?"
(a
:an't
"Sentimental
Account
Paradise,"
for
of
these:
"Fool's
"I
"Where Is My Wandering Boy Tonight?" "Dream Street," "Over the Hill." Who invented "Hokum?" How much money would he have made from the film producers if
he had sold his invention on a royalty basis?
suppose
ever
sell
to
wood
as to
is
(a film magnate) dropped his end into the dregs of. his coffee. "We night," he said, "if we were endowed. As it is, :o make pictures we must make money. To make noney we must sell to the mob. And the mob
:igarette
The Governor
using
puzzled," as are so many others, why the movie people insist upon hokum as the foundation for their
publicity
as
well
as
for
their
pictures.
to
mental bloom at the age of fifteen. ft won't buy pictures the average child can't get." "Of course the art is in its infancy," remarked Henshaw.
full
.
eaches
which
seems
to
why
so
much energy
"Ours
is
the Peter
Pan
of the arts,"
announced
he Governor.
THE
ton,
PRESS
reports seem to
show Washingplace
is
But
ball
the
bend
in
the shaf
whose name
holds
large
reversed.
among
no less a pioneer still. He is at present engaged on two tasks of high significance for the development of pictures, a method for sending motion pictures by radio and a speed camera which works at unheardof speeds.
"This camera is for scientific purposes. Just at very high-powered microscope is necessary fa some exacting laboratory work, so the ultra-rapid
camera, with a prospect of attaining 200,000 pic tures a minute, will have its place in scientifii
search."
AERIAL PHOTOGRAPHY
of
is
be
it
The achievement
the
first
is
more
coming
steadily
or less remote, although Mr. Jenkins declares he knows how it is to be done. About a year will be needed, for the
parts needed
in his
a great variety of
oi
for
the apparatus
are
not
engineer for city planning purposes., being made easier and more effective
commercially available and must be made shop by hand. The camera, however, has been realized and is already producing remarkable refor the U. S. Army. sults We quote
"The main
principle of the
camera
prismatic ring, a
new
optical
by the camera and aeroplane. A special instrument has been developed which works at a height of three miles where the flight is steadier and is focused accurately through the bottom of the machine. This camera brings down a hundred fee( of film which gives absolutely trustworthy data on the area covered. Under a strong glass even the number of autos parked in a given square can be accurately counted. This sort of work promises to
become
ably
lead
to
the
production
of
stronger,
stirrer
blades.
ultra-rapid camera analyzes the speed motion of a shell as though it were moving at a snail's pace. To the eye the shell, traveling at perhaps 2,500 feet a second, seems to crash into the target almost instantaneously after The high speed camera shows it creepit is fired. ing with a rotary motion down to the armor plate, wriggling its way into the steel and sending bits
"The newest
high
government service in this line. French hydrographer has secured remarkable results with the air camera in mapping the harbor of Brest. It was discovered during the war that objects far below the surface of the water were visible from a height and many submarines were located in this fashion. Now features of river bottoms appear to a
club shaft is shown by the camera bend forward as it strikes the ball. That the stick did this was suspected by some players, but there was no way of proving the point. The camera shows that as the club is brought down to the ball the force of the drive bends the shaft forward. The head of the club lags behind from
"The
golf
to
actually
depth of forty or fifty feet, yielding a vasl deal of information instantly which would have required long labor by the old sounding methods. The U. S. Geological Survey is making extensive use of the same method ir
charting the Atlantic Coast. Maps of the vicinity of Cape Charles, Virginia, have
'424
225
who have
already writ-
used.
Besides
years
in
best part of
twenty
lerged rocks,
etc.
Perhaps the most novel recent use for photography is that practiced by a (.rge western lumber company for countsrial
Previously the
mass
of
Europe, visiting and living in many ancient towns and familiarizing myself with Gothic architecture and the customs of primitive peoples, and with the culture of artists and writers of old. And we feel even cocky about it, and are tempted to promise settings and imaginative scenes unlike anything heretofore attempted.
of
is one would suffer from a dry-as-dust or a melodramatic rendering. Some mythical renaissance, some inner awakening must lift screen drama out of the rut into which
lousands of floating logs has been not An nly tedious but very inaccurate. arial photograph now gives a truer count
1
"The
the
it
"Such
classic
for
taking the heat out of the light in inema projection. This makes possible
>r
theatres
much
university's
activity,
and
le
photography of minute living creawhich are ordinarily killed by the itense light needed in microscopic work, uch a process would prove invaluable scientists in their study of insects and erms as related to agricultural problems
ires
)
is
the prodigious
UflVERSAL'S
three
serials,
"With
nd
human
diseases.
Stanley in Africa," "In the Days of Buffalo Bill" and "Robinson Crusoe," will be seen and more or less absorbed by millions who never read or
FAUST
in
ere.
f
is
announced
screen
for
the screen,
as
it
authorized
edition,
even heard of the 3-inch volume, "In Darkest Africa," who never learned the
history of the great
tive
company under
the supervision
West from
never
Defoe's
read
get
authorita-
the artist, Ferdinand Pinney Earle, has een actively at work upon it for the past
sources,
who
or
have
truth
largely
forgotten
these
masterpiece.
the
Something great done with Faust some day, of ourse, and who knows but this is the ay? Mr. Earle himself is quite certain f it. In Camera! for July 22nd, he shows is enthusiasm and conviction in the fol>wing ebullient but unmistakable terms:
:x
months or more.
be
Whether
millions
ill
and
fiction,
or merely the sensational aspects of them, will depend on what the picture-makers
choose to show.
the
The important
is
fact
is
given on
of
"Exhilerating possibilities unfold themselves to le screen pioneer eager to explore this battleIt has taken nearly a eld of the human soul. undred years for critics and scholars to underf
and the undying story values of this greatest all messages to mankind.
and It is informal education at a rate on a scale undreamed of before the moTo wish it were bettion picture came.
ter,
its
en-
to
regret
its
existence,
to
wait for
It is
illustrating
the
of
various
filed
phases
of
the
passing are
have been
selected,
and
catalogued,
many thousands
be here always, and here now, it formal education must sooner or later
will
are preparing the first really sychronized core, from Berlioz, Boito, Gounod, Listz, Wag-
"We
screen take into account the fact that the hangs. it wherever educates
226
AS
"Why
can't
the
scenario writer
do
4
tl
tl
play,
He
has
now
playwright gives to the stage. And ttj until he does, will we have motion pictun possessing subtlety, individuality and grai
passions.
Goldwyn's editorial staff. Some recent remarks of Mr. Kenyon's are worth quoting in full:
speare, an Ibsen or an
It
"The screen has never had a ShakeAugustus Thomas. never will have until conditions are machanged. be a
"The time
will be
will
stori
terially
And
until
it
motion
picture
just the
"The photoplay has its own technique, same as the stage play. Yet we
purchased only in continuity foil just as plays are purchased in dramat form. "There have recently been encouragir signs of reform. Producers have be sending authors to studios to study ar
the craft cf making photoplay This is a step forward in the developma of motion pictures, which will reach the
learn
have not developed any great photoplaywrights. This is not explained by the tender age of the art of screen writing. They have been content to buy stories in novel and play form and then turn them over to a "continuity" writer for adaptation. This
'
full
stature
when
sort
the
photo-play-wrigl
comes
into his
this
own."
of
practice becon* merely approved of significant dramat
When
adopted
writers
of
that the story must be filtered through several minds before it reaches the public. The continuity writer must needs take certain liberties with it. Then comes the director, who must also weave his interpretation into another man's story. "Such a thing could never happen to a stage play by a recognized dramatist. Why? Because the playwright understands technique and writes his story in the most effective way.
means
instead
capable
will
fin
be on the way to win un versal respect. Mr. Kenyon has alreal set the example more than once, notably "The Invisible Power," which he wrot last year directly for the screen and
and
photo-play form.
As an
to be
art,
how-
named
at present.
Education througl
much
changed and
in the
Th
it
striven for.
But
ises.
I I
am
no pessimist,
prem-
university,
to
say
nothing
of
home,
ha;
Mr. Hays
person,
own
grasp
it,
I feel sure.
But meanwhile
realiz<
symbol of using men of sense, influence and taste, to direct, regulate and control what potentially is beyond doubt the most enormous source of popular education to be
but as
a
we must
plainly of
what
is
wrong, and
it
fant art
is
as bad for
as
is
unfaii
abuse.
School Department
Conducted by M. E. G.
THE
levice
to
well
term "journey geography" understood throughout the elementary grades usually means a
time,
it
hand.
connect the study of the home rnvironment of the child with the other egions of the world, as a means of introlucing
practical
in
the
him
to the
type-studies of various
which supply his wants, md leading him to a larger view of the vorld beyond his own horizon. In the case of the experiment herein
essential industries
Lescribed,
"journey geography"
xtremely backward group which had allowed to reach the seventh grade
a
to keep up grade in the study >f European geography, until, in the nidst of a chapter on France, it was deluded that progress was impossible withmt a more thorough grounding in fundanentals. Their lack of geographical
ssentials.
They
struggled
mowledge was
n
seriously retarding
also.
them
other
subjects
ocample,
>y the
they
could
was
settled
problem. Ocean steamship routes had to be looked up; possible ports in France considered, and a decision reached as to the best landing place in America. The situation offered a splendid opportunity to contrast present means of ocean transportation with those of former times. Nor was the time on shipboard to be occupied solely with games and amusements. Certain definite hours each day during the voyage (the time during which their regular geography class met) were to be given to study en route. They must discover from whatever means at hand something about the larger features of the continent they were on their way to visit. A map was made, the travel book was started which was to contain an account of the journey, and the route to be followed in America planned. It was decided to land in New York an opportunity for a study of the life of a large city, and an attack upon the problem of why such a metropolis had grown
Massachusetts Colony, nor what )art belonged to Virginia, nor whether Pennsylvania was a state or a city. In English they wrote poorly, as much from
i
up
which called for a knowledge of New York's environment, its rivers, bays, harbor, etc.
ice in
vote
as
the
visit
simply
to
since
by a
that
city,
the
class
their
geography
to take the class once more over same ground, which w ould lack any semblance of freshness for them. But the essentials of American geography must somehow be acquired. They therefore magined themselves a group of French children, coming to America for the first
:he
T
which they had heard. The travel account of Boston dealt with it largely from the historical angle. From Boston, it was a logical step to the St. Lawrence and its cities, so closely bound up with yet another period of
227
328
American
St.
cruise
down
all
the to
travelers
varied features,
of
Capes,
Down
naturally
was
were allowed to make their own choice as which one should be visited. Puget Sound, the Pacific NorthweJ and its industries formed a splendid background for a trip down the coast to San Francisco, and a study of the Sacramentc Valley, later followed by a visit to Southto
Washington, D. C. a logical place at which to inquire about the meaning of government, and discover the places where the business of the variat
made
its
conditions not to be
where
else
on the continent.
ous branches was carried on. Before cruising into the Gulf, a stop
making
was made
in
Cuba, with
its
characteristic
fields luring one to methods of growing and preparing for market these large items in world commerce. New Orleans was visited, and a speaking acquaintance made with the Father of Waters, which proved an admirable example of river systems
their way southward to Panama one even suggested not going through the Canal to the Pacific. By commor consent it was understood the route was
No
lie that way. The history of that greai achievement mingled in interest with the mechanical workings of the canal ont boy even asking permission to try his hand at constructing with paper blocks I
to
generally.
show
the
dif-
On
fields
the
way up
the
river,
the
cotton
were a fascinating
fluffy
sight,
and the
A
in
its
cruise
the
soft
in
masses
of
fiber
strong
enough
of a great nation.
wind
direc-
came
the corn
and wheat
type of industry; and finally, on the shore of the westernmost of the Great Lakes, the iron ore regions, giving to the country its most useful
characteristic
and the reasons foi change from desert conditions tc those of temperate zone rainfall as the traveller passed from trade to west-wine
the
belt.
metal.
The
its
The
Straits
of
Magellan passed,
aflc
preparation for man's varied uses made one of the most enthusiastic chapters of the travel book.
founc
the
w est
r
carried
the travelers through the cattle and sheep regions, with all the colorful appeal of
Coffee was discovered in Brazil and rubber in the Amazor Valley a chance for the study of anothei
New West which forms such a recent chapter in our history, and on to the gold fields of the Rockies, and Yellowstone National Park. In this case, as in all others, the children after investigating the various possibilities among the parks
the
and weighing
their
several
attractions,
In all, about eighteen weeks were givet over to the trip. So long a description of the grounc covered is necessary to any mention o\ the methods used. They varied, of course from day to day, according to the particular subject in hand. Always then
School Department
as industrious picture-gathering, for the
229
avel
ated,
stories
must be
plentifully
illus-
ing a
in
ated
le
making.
clippers.
and
came
Map games
in.
were very naturally led to a careful worth-while magazines with in hich they might otherwise have reained unacquainted, and the reading of mple accounts of travel was encourren
int
?ed.
of the chilinvention for the most part. Sometimes one of the class was elected
dren's
own
him
"vis-
leme or "story" was worked out in class, ere, as in all other phases of the project,
ie
some commodity studied. He was allowed to play until he missed when his place was taken by someone else. At other times the game was reversed. The
tion with
children
suggested
terested them,
one
at
the
is
board
asked
the
question,
"What
here," or,
"Name
this feature,"
mnded whole. Then the class wrote the cry, which was submitted in first draft ir Here was an opportucorrections.
ty
The sand
cases.
table
was
useful
in
many
for a
.rtment.
ceive
any account,
must
first
pass
Slides
Massachusetts Bay became a subject for modelling in connection with the study of Boston, and one of the finest pieces of work done during the project was a "model" of the Panama Canal with its locks and cuts and different levels accurately portrayed.
It is not to be inferred that in the enthusiasm for visualization no textbook work was required. Quite the contrary was
the
eated,
the
subjects
as the
and
in
some
no
cases
such
other
means was
valuable.
true.
Motion pictures played a large part, or instance, the class "saw" New York ty via the camera; they had a trip rough portions of Puget Sound and the ty of Tacoma by the same, means, and e journey through the Panama Canal as taken on the modern "magic carpet"
the
was
With the problem defined, the pupil sent to his text or to references selected, for all the information he could
gather.
The result of the experiment was surprising even to a staunch advocate of the visual idea. The novelty, not only of the
project, but of the method of approach, replaced apathy toward a subject little understood, with an enthusiasm not previously apparent. There can be no doubt
strip of celluloid.
Maps
ot
were made,
and desk outline maps and added to, continually, only was a map of the United States
a frontispiece to the travel book,
filled in
both wall
:pt as
i
which were
features of those
)rtions of the
|
country visited from time time, but maps of smaller regions such New England were a necessary means
the learning of place relationships in
region.
the eighteen weeks resulted in a firmer groundwork in simple essentials, making it possible for the pupils to go on with the work of their grade with some
that
chance of success. A high score was made in final examination questions like these: "Where have we seen an island?
Coast
features
could
be
230
formation about which they could write wit a far greater facility. Most of all, hov
their country became for thej something alive no longer remote, 1 distinct and uncertain, but tangible, def nite and fixed a place where millions people live, and upon the resources 1 which all of us depend for our existent
ever,
<
subjects.
The
of store of in-
films which the editor The of the School Department has personally seen. Any inquiry relative to the specific classroom value of particular reels will receive careful attention. Address communications to Editor, School Department.
"Ten days and nights with sleepless eye watched that wretched man;
to write
life
of Oliver
Wen-
The
reel
closed
with illustrated
line
Holmes
is
University.
In
pictorial
biography,
we are shown Holmes' birthplace a site now occupied by one of the buildings of
Harvard several views of Cambridge where Holmes grew to manhood in the quiet environment of a university town, and where later he became a lecturer and professor at Harvard, and one of the University's most famous men of letters. The views of Harvard are satisfying in photography, and succeed in conveying to us some of the atmosphere which formed the background of Holmes' life and work. One of his humorous poems, "The Height of the Ridiculous," is put into action for a major portion of the reel.
from his poem dedicated to the Hudsc^ which affords an opportunity for sorn (with th characteristic and beautiful
possible
exception of a present-day e> scenes of tin river, as well as of a tropical stream, th Rhine, and the Avon, with all of wh
cursion boat in close-up)
the
Hudson
is
contrasted.
In theme and in treatment of subjej matter, there is no attempt to make pk tures tell more than they can. It ougfc
to result for the pupil in a definite idea 4 the spirit of Holmes, and the surrounf ings of his life.
ries
M
sir
The
is
seen
fin-
ishing his
to deliver
in
poem and
it
to the printer.
The
fit
servant,
re-
genius of American literature* His early history is briefly told, accoBi panied by splendid views of the Univei sity of Virginia and West Point Militar
Colonial
trappings,
acts
out the
maining
lines of the
poem
in a
of glee,
Academy, as well as of the little cottaj in Fordham, New York, to which he too his girl-wife. After her death, it was her Poe wrote "Annabel Lee," to which th
School Department
^mainder
of
little
231
the
reel
is
devoted.
harming
arts of
"I
boy and girl enact the the boy-lover and his maid:
an interpretation of Nature as anyone could wish. The reel ends with some remarkably fine views of the sea. An inspiring film-
was a child and she was a child In this kingdom by the sea."
beautiful
its
poem
the
this
program.
Some
cean
2ries,
photography
of
in
various
moods makes
The Bashful
utor,
Hodkinson
ne of the
most
This
is
one
of
the
upon
for pure pictorial beauty. It is disnguished as well by the remarkable actlg of the boy. The emotion on the child ice, as he grieves over his loss at the
some
which now hangs in the Metropolitan Museum of Art in New York City.
is
as real a thing
in
many
a long search
that
the
painter,
at
Dutch
to call
landscape "Springtime,"
The
artistic
and
nbject cannot
fail
to
make
it
welcome
is
demand.
John
>n
ix
Greenleaf
of
luthor Series
One
of our poets
known
"Barefoot Boy" and "Maud Muller," hich have been selected to furnish the
s
walk across the fields by her extremely bashful suitor. They are a picturesque pair, and the painter becomes so much interested that he changes the composition of his picture so as to center In the film, the story of it around them. the girl, her suitor, and his less bashful rival is followed through to its ultimate happy outcome. The narrative becomes the background for much that is pure
uction
oet's
to
Haverhill,
the
house of the
birth,
here he
worked
splendid scenes of the Barefoot oy and his dog, following a lovely brook n its course, carry the atmosphere of le poem successfully, but with the eatment of "Maud Muller," much more )uld be desired. Glaring faults of acting nd direction make Maud Muller more of department store model than a farmer laid. The part of the judge is poorly, Regrettable Imost humorously, cast. listakes an otherwise satisfactory in
ome
some of the in photography most artistic that it has been the reviewer's good fortune to see. Not without a very definite educational value are the picturesque Dutch scenes,
loveliness
and the insight the picture gives into the lives of the quaint Dutch characters, the lace-makers at their work, and the younger villagers
at play.
The birthday
party alone is charming, wholesome entertainment. The. cast is splendid through-out, and the acting is made more interesting still by the remarkable work of the
little
girl
Valuable from so
a
many
angles,
it
offers
abject.
wholesome story, beautifully unfolded, and admirably fitted for school presentation.
nown
lustrated
some
Country (Distrib-
The
result
is
as beautiful
Here we uted by the American Legion) have Edward Everett Hale "adapted" to
232
the purposes of the American Legion and so thoroughly adapted that no acknowledgment, even to the extent of mentioning Hale's name, was thought
lesson.
it
as
is;
mora] pointed
out.
necessary.
The dramatic
given,
in this
story of Philip
version,
Nolan
is
with a
(time,
III,
prologue and
an epilogue added
Nolan
(P)
Valley Put
all
of
Enchantment
pi
other excellent
a slacker, looks on
unmoved
as the sol-
tures of
diers of the Great War go marching by, and speaks scornfully of the high purpose which sends them overseas. His father, seeking to convince him of the mistake in his attitude, tells him the story
of his ancestor, the first Philip Nolan.
trite device,
more
ing,
as the screen
and you
Their
of
Muir,
lifts
titling, taken from the lin Burroughs and other writei the subject above the mere inform
needed.
the narrative form, no effort
indication that the action
is
to the inspiring. Valuable f geography study, the reels might al serve as basis for Nature Study, for Hi tory (as it deals with the development our National Parks) or as a program pi
tional
we
are seeing
son's
are
Especially valuable for school class the maps at the first of each rei
location
finally
parks,
of
many
of
o
tl
Yosemite.
in
All
we
consider
part
of
the
film
scenes are
shown
natural color.
V\
which actually tells the story of "The Man Without a Country," it is not without its fine points. Arnold Daly, as Philip
Nolan, does a sincere piece of characterization.
Burr
is
room
at the trial of
are introduced to the region of Yosemi by glimpses of the redwoods, the "b trees" of Mariposa Grove, the "Fall< Monarch," and the "Grizzly Giant," contemporary of Noah. Yosemite Valley is first seen from I: spiration Point, and among the mar
beautiful scenes that follow, are pictur
news
of his
is
gripping.
Merced
River,
Vern
ar
A
ties
There are points of production technique which could have saved this effort many
of
its
Mirror Lake, Nevada the twin falls of the Yosemite gorgeous than any other.
Falls,
itself,
mo:
There
to give
is
enough
of tourist
life
sho\*
the picture
titling is
in
an impression that our Parks a: places set aside to be enjoyed, and enoug unusual views of the Park to make tl reels something besides a mere repetitic
of others.
in
the
There form of
is
also
enough
variet
various
characterist
matic incidents of American history could not have been screened as it was told in
Hale's classic
and
monotony
of scenic views.
left to
drive
home
its
School Department
233
tates is
ful
when
long sleep.
Each season is introduced by beautiful scenic views of forest and stream, field
and
valley, with their changing plant life. Rain, lightning and scurrying cloud mark the change from spring to summer;
Heart of Mexico (E F C) Quite naturally found in and around its capital, Mexico City, situated high on the plateau, and distinguished by the grandeur of its surroundings. Holiday crowds are always to be found in a pleasureloving Spanish country, and a typical small boy Spanish or othercircus proves that children wise are the same the world over,
Autumn
lurid
sky,
hinted
brings bare branches against a and Winter's approach is by the "strange covering" which
ordeaux to Lourdes Burton Holmes (N N-T) From the celebrated French port, through the city of Pau, which was the birthplace of King Henry IV and is today a fashionable resort, to Lourdes, famous as a place of miracles, is
the route of this travel picture,
little swimmers find on their pond. Winter's blizzard is sniffed by the polar bear and all life is bound by ice and snow.
the
alma de Majorca Burton Holmes (N N-T) The capital of Majorca, one of the Balearic Islands, in the Mediterranean off the coast of The film journey is made from the Spain. Spanish city of Barcelona, and after the capital city is visited, the film affords scenes of country life on the island, and shows the people raising olives and making wine.
notable
among them
his
the scenes
of
proud antlers in the early spring, the young fawns born shortly afterward, and the growing of a new set of antlers on the parent buck which shall make him again the proud
the
buck shedding
NATURAL SCIENCE
The Four Seasons (K)
[odkinson
Distributor,
warrior of another winter; the beavers preparing their winter home, and felling
trees
Some
drama
toward the water, and the woodchuck sound asleep under the snow, apparently lifeless until brought to the
of
the
most
to
artistic
nd
beautiful
photography
of
be
seen
nywhere
in educational pictures is
found
Nature in her seaonal changes, to which all her wild folk espond in particular ways. Here we foldw some of them especially the buckleer, and groundhog and the jackrabbit hrough the four seasons, and actually
this great
drama, animal life and animal intelligence beautifully presented in picture form. Invaluable as a program picture, or as a classroom subject for Nature Study classes. There is material in it for a detailed study of many animal
is
warmth Here
of a
fire.
subjects.
National Bird Refuges (U. S. Dept. Agric.)
to
ee
them
as they live.
Remarkable views,
Dr.
Bird
on
the
Gulf of
Mexico
with
lovers
may go
New
Zoological Society,
make
us better
may
the low islands off the Louisiana coast, and see the nesting places of many of the
interesting species af birds found in that locality, among them the pelican, the laughing gulls, Flocks of black skimmers, terns and herons. The National these birds are seen in flight. Refuges are maintained by the Biological Survey which prohibits disturbing the birds or
vhen in the Spring all life Iress, through summer when everything
s
at its height,
their eggs.
From Hollywood
Conducted by M. T. O.
the first motion picture producer took his cue from David Belasco and the other realists of the theater, and used sure-enough water in his pumps, and real houses instead of painted ones for his settings, he probably didn't realize how big a thing he had started. The eager public, rejoicing at
WHEN
for
beautiful
not!
difficult task,
which did not quiver touch of a hand, or a tree which remained firmly rooted even when some burly actor leaned against it, applauded generously, and demanded more of the
sight of a stone wall
at the
With this enormous supply went well with the movies, an incidentally California was exploited sea ically to an extent that could never ha? been possible in any other way. Then, perhaps, producers or directoi grew careless or lazy. If a location wj
storehouse.
all
hand,
far
in
away or
effect,
difficult
of access, they
just substitute
sai
thj
"We
will
other
this
location
for
that
one.
Of
cours
same.
Then
all
the
picture
producers,
vastly elated at having discovered something brand new, proceeded to enlarge the
idea, and improve upon it, each striving to outdo the other, until presently they had developed in their public a passion for
one has been used before, but w can shoot it from a different angle, an they'll never recognize it." That worke for a time, and still does to some extefl But we are movie-wise these days, and takes a wide-awake location director an
a clever camera
It
man
to fool us.
is
astounding.
At
first it
was
was
so
new, and the country was so big. If a director had time enough and money enough at his disposal, he could obtain practically any kind of natural setting that his
heart desired or his story called for. But in those days, you must remember, the requirements weren't so very exacting. The
was necessary, of course, as desirabl locations were used up, for the studios t develop a definite and efficient organizatio
to take care of
production.
Most
picture.
is
An
important part of th
motion-picture
simple
:
tastes
of
the
public
were
department
we didn't dream of such pictures "The Three Musketeers," or "Orphans of the Storm," or "Monte Cristo." But as
as
and man
notations a
we began
we came
If
to
see
the
possibilities
of
the
how
of filming,
of pictures in which
rental,
the!
were no longer
with make-believes.
a chair against a
for
must be one that could actually be sat upon, and not one painted on the back drop. And we began to make sarcastic remarks when things didn't appear quite real enough to our now critical eyes. So it was up to the producers to maintain the standards they had set.
wall, a chair there
and any other ne* Thus, on short notice, th essary details. location department can inform a directo whose story is being prepared, where to fin
have been used,
he needs when he i ready for them. The location director muS) perforce, be a mine of information concern
the exterior scenes
ing
the
scenic
qualifications
of
the
sttt
rounding country, and frequent journeys exploration and inspection are a part o
his routine.
They searched
the
surrounding country
234
From Hollywood
Bit
is
235
it
has be-
ftme the
H>r
rather
comparatively
ing
pictures
do so more frequently were it not for the meager facilities for makabroad.
Climatic
conditions
Lon-
But the passion for realism persists, and now pictures which involve well liown events and places are filmed almost litirely on the actual scenes. In most
Hiere."
Ises
jjenes.
it
is
cheaper
than
sets
to
"fake"
the
Iffhe
Monte Carlo
for the
famous
Foolish Wives" were built on the Califorla coast near Monterey, at enormous cost
lid
ils.
American companies are making more pictures abroad. For example, a new version of "The Christian" has been filmed in England and on the Isle of Man; "Ben Hur" which is to reach the screen at last, will be made in Italy and Palestine. "Three Live Ghosts" was made in London, and "The
with
infinite
in Italy.
The
be
a well-nigh
But were the picit would probably l)st less to take a company abroad and lake the scenes on the real location.
fcrfect
reproduction.
stages
because
in
Ire to
done over,
and because the set can be constructed with due regard to the exact needs of the action.
story
now
in
production
centering
round the Kentucky Derby, was partly Imed in Louisville during the racing sea|>n
Economy
plays
its
always-important part
last
spring.
Stories located in
Cuba,
likely
[anada,
j>
or Alaska are
much more
show
can
replicas
of
and construction is always limited to just what will actually be caught by the camera. But within these limits, the sets are solid, and remarkably well made. Material is in many cases much finer than would be used in ordinary homes or buildings. Steel and concrete play an
in the building of sets,
jon
in
pnceived notions of certain places, and as And it often result failing to convince.
for that reason if for no other, be producer prefers to make his picture jt home. There is a story circulating about he studios just now, concerning a well jnown director who took his company to Virginia on location, and finding that that
Among
"Doctor's
jappens
itate
jvrired
liere.
failed to live
up
to his expectations,
to the studio:
"No
picture
Virginia scenery
at Big Bear." Whereupon the company journeyed back, nd Big Bear, California, added another to :s long list of professional appearances on
Will
shoot
he screen.
Orders," is one representing a and stairway in a rich man's home. Dull, dark wood work, tall, fluted columns, polished floor and stairs, stained glass window and carved stone fireplace gave the place a medieval air, lightened by panels on the walls, done by hand in the Maxfield Parrish manner. And with all its beauty, it was built for wear, for the wooden panels responded to sundry inquisitive rappings with good, solid, thumping echoes, and the stone fireplace was to all feeling and appearance, stone. Yet in all likelihood the
hall
set will not
Within the last season or two, England nd several of the European countries iave actually appeared occasionally as backrounds for stories, and no doubt would
time
saw
all
appear in the picture, for at the I was told that a change it,
in
would
230
Almost an entire dwelling was built on one of the Ince stages for a comedy-drama, including a living room, bedroom, dining room, butler's pantry and kitchen. The
kitchen was one to
ing housekeeper
that
is
a large estimate.
Bi
me
it!
picture,
see
So
it
But
in spite of the
all
enamel, and blue-and-white linoleum. was furnished with linen and silver, real water ran from the faucets, and the range was connected with gas. "For in comedy," said the art director who was showing me the sets and demoning
It
day may come when the "studio " will J merely the laboratory where the story j prepared and the films are put through the chemical processes, while the actual shoo ing is done entirely "on location."
Marshall Meilan has
subject
this
to say
on
t$
strating
the
completeness
of
everything,
"they
never
know what
set
they're
going to
Pick-
and particularly a
stoi
need, so
we have everything
for
ready."
Mary
with which the averag American theatregoer is familiar, the pre ducer is treating with fundamentals th;
life
every-day
room
certain persons
mansion, and as
and into the room, I was, as far as my own impressions were concerned, in a real house. great Chinese rug, dull blue and tan,
rector himself.
"Take for
It
is
weave and deeply luxurious, lay before me. Broad stairs rose at the right, with ivory spindles and dark, gleaming rail. The walls were panelled and painted with landscapes in shadowy grey; and the tops of the door columns and the medallions of the candelabra were bands of little Wedgewood figures in cream and
of
beautiful
blue,
difficult matter for persons in an audience who are bank ployees to discern whether or not
not a very
th
"In
my
its
latest
production,
for
instanci
much
with
fully
modern
giant
banl
heavy furnishings,
its
vau
'rt
doors,
etc.
To
would be an
impossibility.
To
produce' them correctly on the studio stag would cost an unnecessary fortune.
a simple matter t get the correct background for a motio
it
erating plant
of
fruit
it,
in
delicately
colored
glass,
above
"It
in
is
a crystal
It
chandelier
picture.
last touch.
was a
pity,"
restful room.
seems a
it,
discussing
"that so
is
Those borders, lovely as they may not even show in the picture.
time.
into the rooms which are to be photc graphed and hooked up to arc and 'flooc lights, the generator is started, and we ar ready to 'shoot' The entire proceeding handled on the order of the portable carpe
i
We
never can
tell
until
we
cleaning plants we see outside of building; thus eliminating the necessity of buildin;
"And
"think
it.
yet,"
how many
"This practice
ular
as
is
If this
room were
it
home, thousand
among motion
an
th
far as
my
From Hollywood
ly
837
of
it
artificial
is
sets,
excepting
in
cases
here
MARY
Robertson.
PICKFORD
is
refilming "Tess
of the
made for the first time ten years ago. The new production is directed by John S.
mo-
Production Notes
A FTER
the usual picture
fall
summer
lull,
the
-\
tion
offerings
will be
promised for
more than welThere are a number of exceptional )me. ictures already finished, and more are 3W in production, for release during the
:lease
in the
"Under Dean; and Eric von Stroheim has begun work on a new production for the same company.
finished
UNIVERSAL
Two
has
Flags,"
with
Priscilla
inter.
AT
ton
Tully
is
"^
ROM
the
Paramount
studios
come
"Blood and Sand," starring Rodolph alentino, and directed by Fred Niblo Manslaughter," directed by Cecil B. De"Nice People," directed by William lille )eMille, and the new version of "To Have id to Hold," directed by George Fitz;
Tentmaker," with Guy Bates Post; Norma Talmadge is making Robert Hichens' "The Voice from the Minaret"; Constance Talmadge is engaged on "East Is West"; Jackie Coogan has finished "Oliver Twist"; and Nazimova has finished a bizarre but
interesting
production
of
Oscar
Wilde's
laurice.
"Salome."
i\Y 7 HEN
yty
Knighthood
GOLDWYN
of
will
offer
its
production
in
"The
Christian,"
filmed
Eng-
rHE
western
exof
its
cellent
of
"The
Count
"Passions of the Sea," now being filmed in Tahiti, directed by R. A. Walsh, "Broken Chains," directed by Allen Holubar, and
and the spectacular Nero," made in Rome. "If Winter Comes" being produced in England by the same ompany, under direction of Harry Milpremiere,
;
"Gimme."
is
try EG
'O
MY HEART"
to be played
irde,
with Percy
Marmont
as
Mark
Sabre.
J AROLD
~
j[
LLOYD'S
is
comedy-drama,
interesting
"Grandma's Boy,"
a
as
omewhat of
omedian.
departure
for
this
young
on the screen by Laurette Taylor, who created the part on the stage. The story was made by Lasky several years ago, but never released because of legal diffiThis production will be directed by culties.
King Vidor.
in
Robin
j<
I
by
Hood"
is
the
title
finally
selected
Maurice Tourneur,
fall,
is
scheduled for
release this
as
is
specific
an's "Minnie."
is not protected by view of the fact that ormer producers, wishing to take advan-
and
DW. GRIFFITH
#
is
working
at pres-
Grange," and
the
said to be contemplating
show
old
and
inferior
versions of the
filming of
H. G. Wells' "Outline of
new one
appears.
The
artistic
been eager
to represent the best in its particular field of education, present the theatrical film in an accurate and sincere manner. Throughout the six issues this department has presented frank and unbiased opinions of current films from to
fin
th
of worth a film held, either f direction, acting power, cinematography, and last of all, ethical standard, the departmental editor sougt With the same degree of serious intention, the undesirable was made obvious. to make it clear.
and technical
Whatever
the coming school year the same policy will dominate the reviews, with the promised dira statement added to each review to guide the school man in his use of any film. There is, howe^B an added appeal to our readers. The department is very anxious to invite correspondence regard to discussion of any one film, or any phase of the theatrical film in general. All such lettj will be answered personally by the department editor. It is only as such contact can be made with department's readers that the best results can be attained.
FOR
THE STORM
It
is
(Universal-Jewel)
true
that
GRANDMA'S BOY
is
(Associated
Ex
entirely
The Storm
hibitors, distributed
through Pathe)
film,
A warm
Lloyd's
picture.
first
and delightful
Hare*
melodrama and a plot which leaves a girl snowed in for the winter months with two men, the great silent mountain fellow and the man of the cities. Yet whatever of triteness the accusation suggests, it is completely lost in two remarkable
features.
First,
lad
there
is,
omitting
little
the
the most fastidious and critica mind. We can only hope that Mr. LlcH will maintain the high place he has sc for himself and not degenerate hit
please
futile
action
slapstick
his
as
did
Charles
Chaplii
fo
after
immortal
Kid.
(Excellent
sincere
sketch.
and
easy
its
character
in the
One
with
feels utterly at
home
WOMAN OF NO
(Select)
IMPORTANCE
cabin
occupants.
else, is the
Second, and
above everything
tremendous
Built on the gripping play of Oscal Wilde, this story loses none of its fore
this department remarked that Miss Valli would never be an actress though she was a beautiful and reliable support. The editor is aware that the prophecy has
transcribed into the medium of the screer Under the exquisite beauty and firmnes of Fay Compton, the story of a womai
of
no importance
the
in
been hugely belied! Miss Valli has her same poise and grace and the sweet sincerity of glance that proves attractive to
those eager for the beautiful in womanhood. But she has in The Storm much more. A piquant part she plays with the force and restraint of great acting,
man
screen
with
promising
acting.
Virginia Valli!
Moore
and commuity
kaleidoscopic reeling of events fun and otherwise. Just what it is all abou one wonders, and yet one manages 9 have a fairly intriguing if not a jolly tinr
out of
it.
238
239
)NNY
the
:
(First National)
of
(Famous
tale
led to look so
much
alike as to enable
poolroom boy to return to the home the rich youth in order that the lat's blind mother might never mourn the
of
[s
her son,
is
interpreted
as
only
There has never been a picture of more genuine virtue than this amusing tale of a bachelor daddy required to get a family of live and squirming youngsters across The dominating Mr. continent. the
youngsters
It is true that
Margaret Seddon, Patterson Dial and uline Garon, Mr. Barthelmess had an tpiring and efficient support. Yet, even we think we cannot commend too
ich
Ln.
among
exceptional
school,
productions.
(Distinctly
community
and
young
use.)
church use.)
(United
K
[This
|
BEAUTIFUL LIAR
(First
Naof
tional)
This comes, as do
with
hsuring an actress
fain
would
praise.
her pictures of late, Katharine MacLnald has lost all the quality that once ide her not only good to look at, but ilightful to feel with the many emotions and steady eyes r powerful gestures
!
tremendous possibilities. It is usually a The old gamble as to the outcome. French play has been excellently adapted
the to the screen. The sets are beautiful, action fascinating at points, the individual work of Monte Blue and the Gish girls
excellent.
fith
But the
film
shows the
first
Grif-
luld
shadow.
The
Beautiful
Liar
is
weaknesses.
In the
place, the
tacock style. It falls 1 are glad to remark that Miss Maconald was not posed in as many stilted productions. other in as bse-ups Recommended for no use whatsoever.)
flat absurdly
so.
Gish qualities are "out-Gished"; Miss Lilher emolian is never allowed to register look of wan the without completed, tion
first
made
her
in life
But
JUR
LEADING CITIZEN
(Famous
Players-Lasky)
suspense
With
t
the reliable Mr. Meighan and the arming Lois Wilson, no picture could
guilthe shots of the slowly manipulated resthe to rode Danton hero lotine as the
[alize,
remark, we are beginning to In but a true one nevertheless. Idition to this advantage, there is the
il.
trite
of Lucien Littleon a high-minded Yet the action ambles through iirrative. jid about its climaxes most disturbingly, he post-war story was sufficient; the shots could well have been |*e-war
xellent character
work
Such faults are the cheap and now cue. despicable errors of the crude beginnings (For high school and of the photodrama.
commuity
use.)
bid.
The
film
is
built
(Famous
nitted.
lie
They delayed or confused, as case might be, the gist of the tale.
this James Kirkwood's presence saves adaptation bad utterly an being from film (For community of a much loved play.
use.)
240
DOMESTIC RELATIONS
tional)
Na-
HURRICANE'S GAL
(First
National
Miss MacDonald is more sincere in this been in any production of the last two years. Mr. Whitlock and William P. Carleton furnish good support, although their work is reduced by the presence of an ineffective villain.
film than she has
In this dashing film of the reddest! red melodrama, Dorothy Phillips cor vinces her audiences of terror, drea
suspense, reckless joy and ''stranger tha fiction" episodes, with ease. The brut?
Borg, played by Wallace Beery, offset her animated and thrilling characteristic:
If
(Some
possibilities
you
like
melodrama you
will
acclaii
th
this
film.
(Famous Play-
THE
A
$5
BABY
(Metro)
The psychology
certainty.
pictured with
far-fetched but a sweet and wholij some film with the Jewish Quarter afl
an
uncanny
Mayme
Kelso
Vernon Steele has never played with more restraint. The dark Dr. Kasimir was either a poor actor or poorly directed by Mr. Powell, particularly in his scenes with the grotesque Zasu Pitts. With an
array,
background for its story. Viola Dan and her supporting cast make possible picture that in other hands might hav become ridiculous at almost any poin (For school, church aad community use.
however,
of
these
satisfactory
greater success.
itself
It is difficult to
Miss Daniels.
seen
in
Both
stars arc of
wont
to b
the
trappings
sophisticate
final
impression
of
unconnected
civilization.
facts.
clean action.
m unity
(Equity
the
use.)
high-minded
acting
story,
including
P.
effective
of
William
Carleton
and the indifferent talent of Clara Kimball Young. The plot is not new, but
the loyalty of
love tangles.
its
figures
is
reassuring in
selfish
Ml
homes and
Dalton an opportunity to register at he She moves quietly through tb melodramatic role of the exile. (Fo some community use; not school use.) I
(Metro)
FASCINATION
An
bad and distressingly cheap film merely because it has Rodolph Valentino in its cast. Such dishonesty is in a class with
the retitling of old films, presented as
inexcusable broil of wine, womJ and song, to show off the svelte Misi
new
productions.
(Of no
use.)
Murray. No one but Mae Murray coul< have kept an audience from leaving th< theatre. We hope that talented younf women can find better vehicles than this (For theatrical use only.)
241
ME DUST
FLOWER
(Goldwyn)
(First
Na-
tie of the most delightful films reled. Helene Chadwick and James are a promising pair, but they are pletely overshadowed in our estimaby the presence of Claude Gillingler, giving us one of the dearest butler fl-acterizations any theatrical venture produced. In his kindly guidance of I little Dust Flower, plunged by a Ing man's whim into all the wealth of I dreams, Gillingwater spreads an acI warmth and an audible chuckling In the silent celluloid. (For school community use.) *
ny
many
ping in calibre. There are a good many sound laughs herein. (Possible for community, but not school use.)
(Goldwyn)
Probably the worst hodge podge among all the month's pictures. Betty Compson is always good to look at, but in the setting of this film her beauty seemed a travesty on art. (For no use.)
Don't Think
(Concluded from page 218)
facts.
Our
congenital impulse
is
to
need of a man to inogate us and make the symium. I am not saying that a ly of teachers can pass judgment
ely there
is
How
rare
is
the
am
in
y saying that
|sses
we and
ultimate
our actual
facts
are
the
iagogy, that
we and
If
the pupils,
pure eagerness for information, an For once in intellectual curiosity. my life I am going to try to be curious about the facts that can be discovered in reports on the successful use of the film in schools.
real-life conditions,
At present
erable
tion
is
confess to a considfor
be examined.
'estigate
ts.
anybody can
he
will
antipathy,
our
generaof
us
truly,
find
most
the
in
need
of a kind
If
he
investigates
in
trans-
stimulus
mted specimens
ins
which
ironical
that
is,
conscientiousness
pictures seem
moving
ill-adapted to give.
But
that
I recall
an
fre-
expression
has
We
r
wonderful
race
of
nkers,
ns to facts.
ss
Whether
to
we
rely
disspirit
quently escaped the barriers of my teeth when I am belaboring a class suppose I "I heedlessness: for
you."
League
on
;
of Nations or
otographs,
actively
we seem
feelings,
in-
especially
ought to put it on the screen for That may be more than sarcasm. Perhaps I could be more efficient if I really did put it on the
screen.
*42
For Teachers
and Superintendents
Supervisors
Principals
Comparative Effectiveness
of
Weber
Ph. D.
requirements
Price $1.50
POSTAGE PREPAID
- -
Special price
to
Avenue CHICAGO
NEW YORK
bL.
OCTOBER,
1922
No. 8
Lane, Treasurer
Published every month except July and August The Educational Screen, Inc.
$1.00 a year.
Back numbers, 25
cents
247
'
249
252
Edgar
,ar-gate
J.
Banks
E.
McAfee
253
isible
MusicThe
Birth of a
New
Art
George Vail
257
262
Conducted by N. L. G.
fews Notes
School
Department
Conducted by M. E. G.
263
rom Hollywood
Conducted by M. T. 0.
irheatrical
268 272
Conducted by M. F. L.
Film Critique
Published by
Inc.
46 East 50th
St.
New York
Personnel of
Joseph
J.
Weber
J.
University of Texas
Frederick
Chicago
Lane, Treasurer
Frank
R.
Greene
& O'Cofl
of Palister, Greene
New York
Greene
Nelson
L. Chicago
William R. Duffey
Marquette University
STAFF
Nelson
Florence Butler Blanch ard
L. Greene, Editor-in-Chief
George Hill
Eastern Representative
Arthur
Harry
F.
Nicholson
W.
Shepherd, Chairman
J.
University of Oklahoma
A.
W. Abrams
New York
State Department of Education
E.
McAfee
University of Oklahoma
Richard Burton
University of Minnesota
William A. McCali.
Columbia University
Carlos E. Cummings
Buffalo Society of Natural Sciences
Rowland Rogers
Columbia University
Frank N. Freeman
The University
J.
David Snedden
Columbia University
of Chicago
Paul Goode
The University
of Chicago
A. V. Storm
University of Minnesota
V. A. C.
Henmon
University of Wisconsin
Inc.
CHICAGO
246
NEW YORK
'HE
L.
I
EDUCATIONAL SCREEN
Editorial Section
October, 1922
No. 8
schools
picture projectors
H
|j-
usually
for
entertainment rather
which have decided to install "visual purchase a motion picture projector not a
and served by a motion picture
Conclusion the
(The above statements hold for the many thousand schools already this magazine. Approxilevered by the Questionnaire being circulated by as a whole.) mately the same facts are probably true for the country but we This conclusion is interesting to some it may be startling uneasy an have to seem schools Some link it is just about as it should be.
"instructional entermscience about the matter and are moved to call it or can be instrucis sees eye the jinment." Since practically everything attempt at justifeeble a Such ional the expression is rather a truism. declare frankly schools Other cation is both unimpressive and needless.
fiat
1
co-ordinated with school even this film, when obtainable, is so little of the whole course hodge-podge fork that one risks making a pedagogical justification for a complete We find this quite satisfactory and If study.
wholesome entertainment; that it their projectors are used for clean, keep them going, and hopeless to get enough real educational film to
Lt
installed
pri-
The conventional other life; and legitimate part in school life as in any a has entertainment or wholesome to offset localities as an ,chool movies can serve in many as for the well as parents theatrical exhibition, for
The
vith
Enough suitable film is available for arguments fully justify the move
is
plainly this-finances
w.ll
The "shows,"
MS
pay
pay for a stereopticon. Then real vis . The teachers can learn to use slides teaching can begin some hope of their learning to g< is there accomplished, once this is film, which is far more difficult 1 a from results genuine educational teacher will often wish the thin the then Even handle scientifically. to slides if he is a real teachi revert frequently will he would stay still, and
and
finally
in that school.
projectors running entertainment film on appropril occasions, and with stereopticons training the teachers in visual instrtfi tion, the stage will be set for the entrance of the true educational film
With school
immediately,
or as
much
so
possible.
it
to be educational in
be healthily entertaining, pleasantly informational, an It is an excellent first ste slightly instructive, speaking in averages. can be induced to hel school the and easily taken, for lay friends of in the class stereopticons for request toward a movie projector when the considere often be to too done room would leave them cold. It has been this issue.) of difficult any longer. (See note on page 260
the word.
Let
it
Once
will
the projector
is
installed
and running,
it
will
who
be ready, and
we
and
slide
INWeber
the
November
by Professor Joseph
c
(
Investigations conducted
light
by him during the past year at the University on the question of the relative contribution
The
For, if it is a mere fad, it is too costly to be allowed to grow any further; if it is a thing of value, American education
it.
Banks
rHE
pne
industry
lines.
along
is
Educational
fact
This
which
And
pong
Kch
very crude, and drawn from the imagination. In their churches they attend lectures on the Bible and illustrated with Bible subjects, stereopticon slides, and to the illustrated Bible and the stereopticon
tominent.
en in
do
is
The motion
picture
many of the public schools ecause of sectarian interests, and et no one is opposed to religious
baching.
lible
i
man
The one
solution
is
the
from which sectarianism excluded, a film equally acceptble to Protestant, Roman Ca.thfilm
lic
many
in
of the
mo-
tion
pictures
shown
sordid
the
cheap
theatres
things.
They
the
corrupt our
youth,
and
kill
may
Therefore it is argued that all motion pictures should be excluded from the church
taste for better things.
Many
le
serious
students
of
the
Old Testament are to be reroduced in motion pictures and irown upon the screen. To them
seems that the sacred scriptures
lould be spared such a fate, and
lat
Could not the same be said of music, literature and art? Jazz destroys the taste for the music which refines and elevates; it is the music with which most of our youth are fed, and yet all music is not excluded from the church and The cheap novel dethe school. stroys the taste for the reading of
amount
of
other
literature.
things worth while, for real literature; trash is crowding from the
shelves of most public libraries the
who
object
upon the
il-
books which are instructive and elevating; and because of this should all books be prohibited?
249
250
newsreal
paper destroys and that is the very page most eagerly devoured by our youth, and yet, should all art be forbidden? Because there is corrupting music and literature and art, we do not
the
taste
for
who have been combing the world for material are now turning to it, and the pulpit or the press
ducers
it.
The question
Bible
the
is
"Shall
the
be filmed 1
so
but
"How
can
Bible best be
reverently,
filmed,
faithfully,
condemn
art.
all
music,
literature
and
We
sent
did kind.
best,
the people
demand
be
the
pro-
will
If vided. they demand a low grade picture, the average producer and exhibitor will give them what they demand. If we are to have
clean,
inspiring
pictures
to get
on
the
is
way
them
develop a taste for them, and that can best be done in the school and the church.
stay.
its
to
in
word, may inspire men to greater and better things? How, through the screen, can we bring the Bible back to the people? Several organizations have been formed to film the Bible. Some have had as their sole purpose the selling of stock. Others have been crushed by the enormous expense of such a gigantic undertaking. Still others have reproduced spectacular films to which have been attached the name of some Bible character, but with almost nothing Biblical in it. There is one company which has survived, and is far on the way towards success. I refer to Sacred Films Incorporated of Burbank, California.
My
that
interest
of
in
this
company
is
no prophet to see that within a brief time every church and school will be provided with the projecting lantern and the screen, as a part of the necessary equipment. Soon
every Sunday School will teach lessons on the screen, and then
shall
its
an archaeologist who has long been digging among the buried Bible cities of the Orient, and
who was
to the houses
and
costumes
and
we
other details in olden times. The reverence and the faithfulness with
see
recreated
the
old
Bible
is
which have inspired and elevated mankind for thousands of years. It is bound to come, and none can stop it.
stories
The
The
Pro-
purpose of the organization is to bring the Bible back to the great masses of the people. It has no other purpose. It has no stock for
251
It is in
no way sectarian
the
hundred more
will
follow.
They
comof
ictures already
le
waders of the
verse
for
nd Jewish Churches
ectarian,
nation
America,
way
their
the
men
to
of
the
organ-
the telling of the history of the Hebrew people, or of the revelation of God to man, is omitted. When the
entire series
is
prefer
withhold
of
completed
we may
a
;
clergyman
the
national
is
eputation
vice-president
some
the
pictures
myself,
upon the screen all the great characters of the Old Testament* how they dressed, in what sort of houses they lived, what were their occupations, how they traded and Noah, Abrafought and played. Solomon, ham, Joseph, Moses, David are made to live again, and
see
nly living
ually
ac-
been engaged
nd exploring
Bible
in
old
excavating Babylonia,
first of
every detail of the life of their age and land is reproduced with all
possible accuracy.
the
de-
Every man
the staff
college trained.
The
The answer
is
very simple.
For
and actresses are emare not ployed, but their names fiven to the public; none may reest
of actors
Abraham
in
In
the
producgreatest
is faith-
ion
of the
pictures
the
story
are has
letails correct.
The
ully
told,
following
closely
the
Biblical
God
is
have been excavated. Among their ruins have been found the temples, and the statues which adorned them, the vases used in the temple service, and inscriptures upon clay and stone telling of the manner of There have been found worship.
the private
There
as
is
only
houses with
all
their
he
all
who
everence
ave
it
sacred
book would
told.
people
Twelve
Iready
who lived in them. There have been found the statues of the
people,
been
produced,
preparation,
sixteen
showing
their
features,
thers are in
and
how
thev dressed
their
hair
and
mm
beards, and
There then the treasures buried with the dead. There were the public baths, public the market places, the the walls, even the city squares, toys oi the children. For making
the picture of the early
were
homes with
all
their
visit
furnishing)
this city,
Could Abraham
in
all
its
details,
constructed for the portrayal of hi life history upon the screen, h would feel by no means a strange there. Such are the pictures whicl are being produced by Sacr
Films.
canal
which
ran
E.
McAfee
Oklahoma
farmer, on his dirt road, miles fron
University of
THE
cial
race
is
on between the
Which
effec-
town, can use the radio in a silen fellowship with the multitude
force?
more
sta
organ of culture than the eye? Of course that latter question is ridiculous. The Apostle Paul, some time ago, ruled it out of court. Are not both members of the one
tive
That
is,
he can
listen to
is
wha
th<
But he
radio
still
Will the
leave
hirr
body? Shall the ear say to the eye, I have no need of thee? Or shall
the eye
There
is,
we
make
itself similarly
ridic-
ulous?
theless.
But the
race,
this
rivalry
in beneficence, is interesting,
never-
way and
screen.
has
felt
the appeal of
the
fine
vastly and marvelously relieving the isolation of many a frontier, and bringing culis
The
radio
a temporary
listen
Trans
al
may,
indeed,
become
learn to
who
most as prevalent as
the lone farmer
receivers, ancj
tail-
have always heretofore been more or less destitute. But it will be interesting to discover whether it will
not tend to create a new kind of isolation. To be sure, the lone
may
back.
Thus
bonds
be vastly widened
social
Visible Music
253
kce may
placeable,
force.
It
He
is
;fore
ete.
culture will be
com-
It is
i
no disparagement
to the ear
it
promise that he will vastly stretch the screen, and enlarge the theatre,
as well as the auditorium, to take
in
all
call attention to
see.
irre-
the vast
community
of
cul-
ture-seekers.
Visible Music:
The Birth of a
By George Vail
and sculpture, the
New
artist,
Art'
in order to atre-
tain self-expression,
must delineate or
flat
sn.
:
ed in the glorious era of space-composiOnly through the creation of depth, three-dimensional illusion, were the
made
Are we about to behold the iwn of another emancipation of line and from the eternally static to the >lor eely flowing, from the perpetually frozen the infinitely mobile? Those who have illy grasped the significance of Thomas
produce something external of his art. The universal message which he is striving to utter and this is all that he really cares about can only be written, as it were, between the lines of that representation of reality to which he is fet-
tered.
is
Music alone, in its purest form, unhampered by limitations other than those inherent in itself. Is its monopoly
by Schopenhauer,
the
Alfred's
ieir
Clavilux
will
not
hesitate
in
past?
of color,
literally
new art form that of mobile color as pure and unconditioned, as limitless in
its
we
see these
possibilities,
as the
medium
of
Bach
and Beethoven.
is the Clavilux and what does it Persons who have seen it in action, who have been thrilled and enraptured by the magic feast spread for their hungry eyes, laughingly admit an utter inability to express in words the impressions they have received. For this new art the old
as
ends
in
themselves,
blended
What
do?
sible
harmonies. Music has long been msidered the purest of the arts, the only le able to dispense with outside assistlce and speak directly to the soul of an. In poetry and prose, in painting
idible
pat
phrases
and
so convenient
1922,
when
2,
by permission.
MM
Conseing discussed, are valueless. quently the Clavilux enthusiast is apt to be regarded as temporarily insane by
those
of
his
friends
who have
not at-
ration
for the
silent
color compositions,
it at-
recitals.
Externally the instrument is a large oblong steel box with several apertures all
of which focus on a single screen.
It is
mood
of the
impending drama.
the
program wiM
played by means At the like the console of an organ. mouth of each aperture is a series of
delicately graduated color-slides; careful manipulation of these produces the most subtle and enchanting chromatic nuances.
melancholy, exotic serenade, one of Rachmaninoff's lighter compositions but deeply tinged with his abysmal Slavic pessimism. Slowly the lights grow dim, the
cease.
left in
Behind the
mechan-
ism, perfected after countless heartrendis responsible for the thematic material and its bewildering transformations, transformations the more incomprehensible by reason of their perfect naturalness and freedom from mechanical rigidity. Only a few favored in-
know
darkness, what.
awaiting
we
hardly
is no sudden blaze of light, piercgloom like a trumpet blast. Instead, by almost imperceptible changes, the hitherto invisible screen becomes a
There
ing the
defined shapes.
a breeze
Two
"holy of holies," and these few are not at liberty to reveal what they have
this
They
are
seen.
Mr. Wilford
is
leaving a central space free for the entrance of the theme. The latter emerges
debasement by unscrupulous commercial (A well-known scientific journal, after vain attempts on the part of its representatives to obtain a glimpse of the
interests.
from below some simple adaptation of a motif drawn from nature, but lacking the stiffness of most conventionalized forms. It proceeds upward, slowly, majestically,
as
parent
the
begin.
fluid,
picture.
Here
the
transformations
When
ance
imagine
my
maddening
color,
ing that this aesthete who disdained the assistance of music was himself an ac-
Not
complished musician.
a few
It
required
only
moments
recital to
convince
me how
right he had
to secure a literal representation of any existing forms. The intent here is much
Visible Music
gher
Dlate
255
nothing
the
less,
in
short,
than
to to
is
certain to ask:
Why
From
aesthetic
thing-in-itself,
ment
ation
The
explan-
pictorial
simple.
a scientific stand-
The blossom slowly closes, dwindles a mere speck, or perhaps fades like a
ost into the misty depths of apparently
ent of the principal
Dtifs
er
point the problems involved in imitating the sounds of nature are mere child's play
compared with the immense difficulties which must be surmounted before the
musical treatment of her visible beauties Twentieth century becomes possible. electrical research has paved the way for the Clavilux and its perfected successors.
accompanying
parts
ime
edges of the behind the dominant subject, le background constantly changes; now is a murky gray, like the leaden hue of approaching tempest; now it reddens
their
near
the
Most
of
Mr. Wilfred's
color
recitals
com-
th the sinister
ation
now
it
Episode suc-
eds episode
usually the
is
same theme or
ernes, differently
d
manipulated
at
then,
all
soon,
che
we become aware
composition
hand.
(Perhaps
most astonishing thing about these olor sonatas" is the ease with which
can follow their structural developEvery technical resource is emDyed in one supreme, ravishing climax; en the vision fades, the screen grows ick again and we awaken with a start from an impossibly beautiful dream.
e
nt.)
and thematic material, and' separated by During the brief intervals of darkness. Philadelphia series I used to amuse myself by designating the musical tempi of the various movements. The first was undoubtedly an Allegro Moderato, the second an unmistakable Andante. Then came a weird and mysterious Adagio, followed by a swift exuberant Allegro appasionata. This final movement was most wonderful of all. Two principal themes were introduced, one of them a strikingly beautiful figure rotating on a vertical axis evidently suggested by the Maypole
Dance
the
umn
What
f
is
this
pire
meless dread, to thrill us with pantheecstasy? What is it, after all, but e spell of music, that fragile key which, locks the doors of the subconscious, ikening dusty memories of ancient joys d sorrows? Strike a major chord on piano and the sun shines; change it
ic
impressions
cannot "carry a
were not visibly moved by the Clavilux recitals. Tears stood in the eyes of some and there was an obvious effort on the
part of others to disguise their emotions After the spell by forced merriment.
once the sky is overcast, lese are daily commonplaces, but when 2 medium changes and the miracle is ought with light instead of sound the mder of it all comes back to us with a
at
>h.
minor and
wore
off
it
was interesting
to note con-
trasting reactions.
Intelligent musicians,
someone
to the idea of a pure art, wholeheartedly welcomed this belated libPainters as a eration of a sister muse. rule displayed more caution, although
accustomed
MM
I there were a few notable exceptions. shall not soon forget the enraptured visage of a prominent art teacher at the close
of his
first
Clavilux recital.
Some
paint-
to train
the
future
of
their
own time-hallowed
a small class of pupils. When these develop into finished virtuosi we shall be better able to gauge the instrument's
Their fears, however, are cerunfounded. Like the camera and the cinema, the Clavilux will eventually prove of enormous benefit to painting by forcing the latter to abandon provinces foreign to its nature and to concentrate
medium.
tainly
thrills
in
store
for
us.
Duets,
foi
quartets
tentative
sketches
ex-
own. Photography has made unnecessary and futile the pursuit of microscopic realism; artists admit
in a field peculiarly its
is
due to the inroads of the cinema. In like manner the Clavilux and its successor will in time demonstrate to painters the
futility
why not an orchesbe sure, it would be rather ghostly to see a conductor beating time for the performance of inaudible music but perhaps his physical presence could be dispensed with and the necessary synEventually,
tra?
To
chronization
nization?
say
synchroothei
some
which are
agency.
tions.
of this
instru-
ment for the recreation of visible beauty minus the non-essential detail which so frequently detracts from our enjoyment of unexpurgated nature claims no great
many silent composiIn time a new literature will arise textbooks on mobile color-harmony counterpoint, and composition, treatises on the visual equivalents of sonata form
devised, recording
etc.
artistic
value for his present recitals. Technically he considers himself a mere beginner, little more than a demonstrator
who, having
to
built the
machine,
is
content
To
oldtalk
When we
about the future of color music he wishes us not to forget the thirteenth century ancestor of our modern pipe-organ one-octave scale of enormous keys which were daintily played by vigorous blows of
But even the primitive present has itcompensations. The new art may stili be infantile but it exhales an atmosphere of purity and other-worldliness which may be considerably polluted in days tc come. Then we shall have a multitude ol performers, some of them, inevitably, o\ gross mentality and perverted taste. Ii current fashions tell us anything of th( public's color preferences, Mr. Wilfred may live to gnash his teeth over the harmonies
(?) evoked from the seraphic Clavilux by earthly-minded followers.
Among
LADIES THE rendering a
n
the
real service to the
the Magazines
is
Conducted by N. L. G.
HOME JOURNAL
series
movies
by
The
result
was
interesting
of
articles
Even
Jekyll
in
eading members of the dramatic profesion. The August number contains "John barrymore Writes on the Movies." A good many thoughtful people have vondered about the attitude of the really :reat actor toward the motion picture; they
wondered why so many artists from or so few have turned to he screen. This article goes far toward mswering these and other questions.
lave
he real stage
We
What
icreen?
first
his point.
It
is
inevitable
that
cultured
mind
the
the pictures did not interest me. \fter a fashion I liked to see one, but, hen as now, a moving picture of a swarm )f bees interested me more than most of he so-called photoplays. Frankly, the in[ucement that the pictures held out to me vas money."
first
"At
should
have
higher
thoughts
about
new medium
stands
as
should
The
in
initial
achievement
is
likely to
prove
to
mits
achieved
hey made their first essay at a movie. Reall Forbes Robertson, Robert Mantell, Gerildine Farrar, Nazimova, and, very re:ently,
Guy
Mr. Bar-
ymore
"I
icted
my first picture that I overof the scenes, that missing the ;timulus of the audience I became indiscreet. In the theatre there is a certain eeling you get through vibration from the >eople who record and receive your effects. . In the movies you must create all his yourself. I had been prewarned, :nd in my first film comedy I had a sort of eeling that if I worked hard enough I ould make the electricians and the camera nan laugh and they would take the place
found
many
We
young."
In the situation as
it
...
"The movies are todayin a parlous way, and the obvious unimaginative stories are
responsible.
The audiences
are tired of
it
257
MM
all.
tolerant,
but
it
is
a tired
for
lack
of
definition.
In
is
a crude
am
lawless
way imagination
is
rampant
in th<
"The persons who have controlled the so-called artistic end of pictures have been in tunny cases people who have failed in
the theatre. or inquired
not wanted.
higher grade of
imal
th<
enough into things to succeed in the theatre, and so, just as the unsettled and the failures drift to new gold
to try their luck, they drifted to the in the mushroom days of growth where, as a matter of fact, in that period
work
imagination
fields
by taste and restraint (unknown quality on the screen for the most part), by re|
intelligence.
movie
means
culture,
this
there
the now giant industry was stirring was greater need for imagination and information and correct projection on the
when
not
cells
animal
say
so.
he does no
part of the director or producer than has ever been in the theatre."
insists
As
a
called
difference
between
the
few
actors
who can
be
justly
Pickford,
stage
and screen,
and
declares
Chaplin,
Fair-
banks, Jannings.
see
(One is a bit startled to him include Lillian Gish also!) ". These people whose popularity
. .
endured have something to give the camera which is as exclusively their own Mary Pickford as it is indefinable.
has
. .
.
because she is authentic. Chaplin has it, too, but in a different way. Before Fairbanks released The Three Musketeers he had put in years of work. He was not masquerading like so many film actors when they get into clothes of another period. He had something of the quality that Emil Jannings had in the invading German film, Passion. Jannings did not have to pretend he was a king. He knew that he was."
is
.
successful
.
As
line
to the cure
of
development
future
Mr.
Barrymore says
"What
regulation
more
. . .
in the plastic sense, the po* of the screen seem to me to % more allied with the story-telling qualitie of painting than with any other art. Bti too often the screen play, instead of stick ing to pictorial narrative, has aped, not th artof the theatre but the tricks of theatri calism. "There is room in the movies for botl writers and directors of a very differcf sort, and this will be clearer in the futufij Most of the people now in the pictures ar a great deal better than they were, becaj they have had to be. The early direct and writers made the whole process J ridiculous, and evolved such a lot of ab surdity which they called "technic," tha their successors, in order to be listened! at all or to be taken seriously, were for<H to be very different. Even so, it seems t< me any vast improvement is more likely J come from without the film world."
sibilities
"Even now,
ten-cent store in a small western town can 'psyche' a movie from seeing a third of it. . With so much that is good in acting: and in scenery, why are the movies usually so mediocre?
.
.
Any
girl
But when
all
is
said,
John Barrymor
fu
is
which
most refresl
the
There
This whole
is
relatively
no imagination."
other
eminent members
of
theatric
is
and
literary professions.
article
though
it
rymore utters
significant,
yet
it
is
all
but meaningless
"Men of greater education and expert ence need not look down upon working the movies. "When someone comes along who thqir oughly seeps himself in the groundwork ill the movies and figures it all out matbe matically, as Ibsen and Pinero did in th
&
259
It
is
stimulating reading
amusing,
irri-
tating
and impressive by
has already
turns.
The mag-
porters
won numbers of supare abetting the enterprise energetically by subscribing for their friends.
azine
who
Probably an enumeration of
its
enemies
editor
would be
still
more
it.
impressive.
The
ter
films.
...
I sit in one of the picture theatres and get the impression of the thousands of persons all with their attention enchained on a small square of white about half a block away, I still wonder at this miracle of a mechanThere is, I am sure, a ical age. vein waiting to be hit, some radium to be obtained from this gob of stuff."
"Sometimes when
As
far as
it
is
coliseum-like
a construc-
our good wishes are with him. In future issues we hope to make reference
to
Bob
Shuler's Magazine
whenever
field.
it
can
THE
ment
in
"B
v/hich
OB SHULER'S MAGAZINE"
the
is
name
of a
the
lication,
we
Angeles news stands. Bob Shuler, we understand, is a prominent minister in that whose energy and convictions need city, more outlet than can be found in weekly
education had brought up the question of whether or not there would be a conflict be-
tween motion pictures and stereopticons on the one hand, and maps, globes and charts on the
other.
The
result
of
the
investigation
disclosed
visits
between.
education devices have not adversely affected the sale of maps, globes and charts. The superintendent of visual education in one
that
visual
America
told the
Nystrom
ten,
sometimes a bit bombastic, but always taken the It has unmistakably sincere. large contract of giving "merciless publicity"
does not introduce motion pictures into a course until a very thorough ground work has been established in the pupils' minds.
Company
that he
to
whatever
right
is
wrong
in the world,
He depends upon maps, globes and charts to implant a broad understanding of basic relationships, and the significance of what is to be shown through
stereopticon
the
editor
being
the
final
and
motion
latter.
picture
devices,
before
wrong and
introducing the
the
The
Ny-
The magazine
all
is
exclusively editorial,
hence
point.
aimed at in the 4th number a good percentage of hits) are numerous and varied Liberal Tendencies in Religion, Flappers, Will Hays, The Shorter Bible, Christian Science, Nudity in
targets
The
(and there
is
strom Company and their English connection, W. & A. K. Johnston, Ltd., throughout the English speaking world, brought to light an interesting commentary on visual education from China. This is also regarded as an example of how observers working in widely separated times and
places,
will
arrive
at
the
same conclusion.
For
centuries there has been a statement in the Chinese philosophy that "to see once is better than
to
Demp-
sey, Movies in General, and the Press and Government of Los Angeles in particular. For staunch defense are chosen The 18th Amendment, the Morals of Bryan, and the Ku Klux Klan as far as it has been judged
SeptemDer by Robert J. Flaherty which should be read by seriously interested in motion picture
for
article
advance.
"How
filmed
Nanook
of the
unjustly.
North"
is
making
MO
of this extraordinary film, written by the man who did it and profusely illustrated by
photographs.
(Atlanta
fol-
activities
his apprenticeship as
an
man
in
Land, when he shot 30,000 feet of amateurish negative on Esquimaux life all quite incidentally to the main purpose of
the
expedition.
tunately, this
by accident during the process of edition. It was probably a worthwhile fire, for it saved the public a poor film and yet left Flaherty and Revillon Freres so far convinced of the value of such a picture that
they were willing to swallow their loss and
McGregor is one of the smallest o small villages indicated on the map ol The community is not a Minnesota. wealthy one. The village has a population of about 250 inhabitants, most oi whom are hard-working people of slendei resources and limited capital. In the heart of the village a magnificent new school building has beer Last fall erected at a cost of $65,000. when the building was completed the
Mr. V. P. Mock, decided must serve the community to its capacity. Moving pictures, he fullest realized, were a never-failing drawing card, and as there was nothing of the
principal,
new
that
it
make
still
a retake.
kind in the village he at once inaugurated plans for securing a movie outfit.
maux something
like
had done for the South Sea Islander. They wanted to picture "the dramatically barren North," and millions now know, or soon will know, how well they succeeded.
Two
pages
of
is
the article
explain
why
of
It
"bear-hunting"
the
only
phase
The district could not afford to install one. He hit upon the idea of interesting the business men. This plan seemed feasible for several reasons. In the first place, it was one way of drawing people's attention to the school. In the second place, residents of the community who have money involved in such an undertaking have a common interest in its success. public enterprise of this sort
Nanook's
activity not
shown
is
in the film.
much more
likely to
succeed when
il
is a gripping story of 600 miles and 55 days of struggle and suffering, which ended,
represents the efforts of the entire community than when undertaken by individuals.
in
spite of
only in heartbreaking.disappointment
Those
Twenty-three of the leading citizens were called together by Mr. Mock for the
purpose of organizing a moving picture
association. Officers were elected, and an executive committee, consisting of two
who
will
the lack of the bear in the film easily forgive the omission if they
felt
read
Flaherty's
story.
an elaborate series of pictures from the great film, "Nanook of the North," which is enjoying phenomenal success from one end of the country to the other. (Pathe is to
be congratulated.) Detailed captions under each picture make the series most interesting as a resume of the contents of this excellent production.
for
August
-and the principal of the appointed. Each of the twenty-three members of the association contributed seven dollars towards th< purchase price of the machine.
school,
business
men
was
An
outfit
was purchased
for
the fot
lowing amount:
Machine Rewind
2 100-volt
1
$265.00
lamps
screen
2 reels
Total
$311.00
261
monthly
install-
for
to
September
a detailed
-am
ilm,
lly
week
in
given
every
January a proSaturday
light.
and a two-reel comedy. Occasionthe University Extension service for isual education sends a reel or more on ome problem of local interest. The adVery aission charges are 25c and 15c. ew outside shows ever come to town, nd when they do their charges are such s to make them almost prohibitive. Mr. iock aims to give a better show for less aoney. He will not tolerate sensationalsm, sex or gun play scenes. People everywhere are beginning to ealize the importance of the movies as Mr. Mock factor in visual education. idieves that the school movie has a great uture before it. Although it is rather early to check ip results of the introduction of moving ictures into the McGregor Consolidated jchool, still the following are becoming
,
account of the great undertaking at Yale, the production of about 100 reels of motion pictures on the History of America. The article is entitled "American History in Moving Pictures," is written by Hawthorne Daniel, and is elaborately illustrated with stills from the actual films already made. We would urge every one of our readers to peruse this article carefully, for the Yale enterprise is pretty likely to mark an epoch in our slow progress toward realization of the high possibilities of the serious
screen.
have space here merely to reprint schedule of pictures planned, the steady production of which has actually begun.
the
I.
We
nore and more apparent: It gives the people of the community ome place worth while to go. It brings crowds to the schoolhouse vho would otherwise never step into the milding. In other words, it establishes
i
1.
Columbus
Pocahontas (Jamestown)
....
3 3
2. 3.
link chool.
4.
5. 6.
7.
2
2
Farmers have been interested and lelped by such pertinent films as "Mod:rn Farm Conveniences," "The Milky
Nay,"
It etc.
Stuyvesant
William
Penn
2
2
8.
establishes
the
a
school
as
social
9.
:enter.
3
3
small monthly fund vhich will be used by the school for beter pictures, music, athletics, etc. For ifter the machine is paid for, the door eceipts will go into the school treasury.
It
furnishes
II.
McGregor
r
is
to
be
congratulated on
10. 11.
The Declaration
and
Small :owns and villages throughout the coun:ry should be doing the same thing at
perfectly logical plan in operation.
:he
2
2
14.
15.
present moment.
Only the
constitu-
human
nature
16.
2
2
Campaign)
Ml
III.
(The
3
Old Oregon (Astoria) The Alamo (Sam Houston). The Gold Rush and the
Vigilantes
18.
V.
2
THE
CIVIL
WAR
4 4
3
3
19.
(Washing3
ton)
20.
Alexander
Jefferson
Pirates
21.
33. 34.
22.
Marshall
Case)
IV.
(The
Steamboat
2
35.
36.
Daniel
mechanical
picturing
great
scale;
26. 27.
2
3
Old
Hickory
News Notes
THE
needs to be
ities:
first-class,
which
in-
sion of
The University
of the State
cludes at least the following qual1. Unless arranged otherwise in advance the negative must be an
of New York, under the leadership of A. W. Abrams, issues a circular of sugAlthough ingestions to slide makers. tended primarily for professionals mak-
original one.
2. Unless arranged otherwise in advance the negative must be 6^x8^2 or 8x10 inches on glass plate. The image should nearly fill the plate. 3. The negative should show the
amaState,
slide-makers
in
New York
try
who
are
sufficiently
objects
in
ame Poor
thing
in
their
own
institutions.
picture should be secured as is consistent with the special purpose for which the view is wanted. 4. The object should be properly lighted.
5.
The
focus.
6.
Making Photonegative
graphic Negatives.
To
be acceptable a
timed, both for the shadows and the high lights, and it is expected (Concluded on page 271)
rectly
School Department
Conducted M. E. G.
Motion
its uniformity of comprehension among all the students, the length of time the impression lasts, etc.
the impression,
4.
tested as to
independent and
use the movies for general gatherings There has been a msiderable beating of tom-toms by the
the assembly hall.
of
constructive thinking on the part of the student; their ability to make him ask questions and wish to know more; to put
into action or practice
5.
oducers
res.
so-called
educational
a vast
their
pic-
what he has
seen.
of
en-
One problem
as
is,
what
classes
tisiasm
the
selling
of
wares,
subjects,
etc.,
science,
language,
history,
efore
however, the school authorities, eluding Boards of Education, superinndents, principals and teachers adopt
picture presentation?
6.
may
Some investigamade and some measure proof furnished. The complete evalu-
movie is still to be made. Here are some of the problems which jed not be or which should be solved.
1.
an emotional appeal. It be possible to motivate the educational message with some of the fundamental instincts and emotions to make and create impressions which may be standardized, uniform, exact and lasting. The method by which these impulses may
intellectual but
It
is
unnecessary
as a
to
consider
for
the
the
otion
picture
substitute
The be evaluated, presents difficulties. creation of such a method is fundamental to a complete and adequate appraisal of
the value of motion pictures in education. Motion pictures may furnish a back7.
acher's
2.
hand.
irotion picture
is
ground or
not a substiEach tool, the
film,
set
The
for
ite
the
the
textbook.
slide,
ixtbook,
the
has
its
often noticed that the ordinary camera man in making his scenics brings into the picture life a dog, a
You have
roper use.
>
They
horse, a
this,
man,
etc.
The reason
living
is
simply
the
hammer,
of the
without
is
the
creature
id screw driver.
The stimulus
is
xtbook or
3.
>
that
of
the
ovie kinetic.
sts
Motion pictures should be tested as These facts. might determine the vividness of
263
simply a picture; with the living picture, through some strange affinity that life has for life, it becomes an exThe beholder lives in the picperience. His attitude ceases to be objective ture.
scene
The
value of ex-
The Educational Screen
pcriencc is too clearly recognized to require discussion; as to how nearly this secondhand experience approximates the
real
tlu-
3.
Do
efficiency^
of teaching, or
what combina-
tors?
medium
The value
of
motion pictures as I
experience,
is
teaching tool must be determined in the elementary and high schools. The best films should be built on real childhood interests
ties, if
and around
attractive
personali-
Pedagogically too, they should be suggestive rather than exhaustive, comprehensive without being tiresome. In other words, they must be real
ment and
life.
they are to wake the interest of the child. If they are to present facts, microscopic pictures, slow motion photography,
them
animated diagrams which show action which takes place beyond the realm of the
eye,
and they
S.
will
therefore be valueless to
create experiences.
The
is
is,
the investigator
who
Can
1.
the movies
to evaluate the
movies
will encounter
2.
Cut down the time of teaching? Cut down the cost per capita of
teaching?
The first films in been reviewed by the editor of the School Department personally. This typographic arrangement will be our regular practice hereafter and, ultimately, we shall list in this department only films so viewed.
Africa
is
dans,
who
are
making the sun-dried the manner of our southwestern Pueblo Indians. A number of Arab types are shown, from the small
dweller
is
seen
brick
much
after
mosques, or
dwellings
the
boys on the streets to the wealthy merchant who moves with his gorgeously-
bedecked
place.
away from
famous
a
istic
the oasis of Biskra, in the desert portion the sea. Here (the spot made
"Garden of Allah") we see desert market place with its characterin the
and desert brush for firewood, to exchange for the products of the outside
world.
desert,
Splendid
life.
views
native
are
given
of
The
Arab
desert-
The Cape of Good Hope (Pr ) A seldom-photographed subject, of a land which appeals to the imagination of all of us South Africa. Described by Drake as "the fairest cape," it is shadowed by Table Mountain, sometimes clothed in cloud and mist which the natives call its white tablecloth. At the base of the Cape
>
School Department
265
Town the situation of which is Cape ape Town, emarkably shown in "wide views coverng the bay and hinterland. Fine scenes >f the pier and harbor follow, along with >eautiful "iews of the ocean and rocky hore, the rugged coast and bordering
ies
The
reel,
reels
(Ditmar)
odd
farms of under-water
The
fourth
at
work upon
and
coral
reef,
and most
nountains
named
the
unusual
md
the driveway
of
hewn out
of the granite
vails
cliffs
standing
is
with
to
their
Considerable footage
nents of Cecil
given
late
the
Rhodes
his
home on
closing, pursuing their prey and enveloping him. The reel is particularly fascinating in the views it affords of starfish in a group of scallops, enacting the principal role in a drama in which the clam plays the part of the hero, assist-
perfectly
Dutch
ors,
East
loldings.
beautifully photographed.
rhe
Cataracts of Iguassu Burton Holmes (N N-T) Little-known falls, the "Niagara of South America," not far from the Argentina Magnificent water specboundary of Brazil.
(E F
QThis
it
is
is
tacles are
forests
combined with views of the tropical through which the traveler must go to
given a place in the Ditmar series, the "Living Book of Nature." Various members of the animal kingdom are seen traveling
ville
NATURAL SCIENCE
Magic Gems
is
(Pr.)
More
the
bill
interesting
ing frog
who
:ducational
3
value
for
class-room.
anything
to be seen
from a professional
hotographed under the direction of Herbert Whitelock, Curator of Mineral)gy at the American Museum of Natual History, it shows gold and silver in heir virgin state, along with various The )recious and semi-precious stones. eel is primarily designed for entertainnent, and introduces some of the superstitions connected with the early history gems, and the tendencies )f particular iscribed to them. The photography is in color, which in spite of its apparent accuracy in catchng the moods of all the inanimate subects before the camera, is not so suc:essful in
ipal,
}f its
peformer, and an Armadillo who does the "strong man act." A salamander's sudden appearance throws the audience in a panic, and they scurry from the arena.
a program, showing a
inality in idea.
Of
little
Honey Makers
of
(P)
One
of the series
Wonders of Life in Plant and Animal World. As the title suggests, bees are the
any other case as in that of the which revolves in all the brilliancy
flashing colors.
subjects of this reel, which most adequately with their life story and their work. Views of an apiary, a close-up of the inside of the hive, and a brood comb, with excellent scenes showing the individual cells, bring us to
interesting
deals
M6
the
life
The Queen
egg in each cell, and the larva Out of every is shown, greatly enlarged. cell comes either a Queen, a worker, or a drone, and most unusual views show the workers opening the cells to assist
lays an
which consist largely of chambers an< underground. The dwellers an shown actually seeming to communicati with each other by their feelers. The development of the ant is showi from egg to larva and pupae. The latte
galleries
The Queen
cell
is
much
larger,
and
are
Queen
brushes,
of
encased in silky envelopes, callo cocoons, inside of which the transforma tion takes place. The workers are seel caring for the bundles, moving thei
are
from place
the
intelligence
life
to
in
place
their
and showing
handling.
rari
tracing the
reel
life
history
Signs o
the
and
depositing
in
the
comb.
Man
after
of the
bees easier by
the
structure
The
ject,
well-fitted
for
classes
in
Naturi
which
the
Study or Zoology.
Anne's Aigrette (U.
of
S.
after the
same
is
ii
The process
market honey
scraped
is
American
egrets,
othe
to
the
wax
birds
is
much sought
picture
combs put into a Packing combs in crates is also shown, and the reel ends with a juvenile "consumer" putting honey
off,
and
centrifugal extractor.
vation of the Biological Survey in Arkansas. The story concerns Anne, who shows h new hat to her husband. He notices that th
is an aigrette, the nuptial pluttt and tells her that these bird have been almost exterminated by the plumi
it
trimming on
the
of
egret,
The
reel
is
He describes his visit to a Federa Bird Refuge among the cypress swamps ii Arkansas. The scene shifts to the haunts o
hunters. the egrets, and aigrette on her
not to
wear
for
th<
A
Craftsman (P) Another of the Nature Study series, this one devoted to those models of intelligent
lesson
al
Ants Nature's
bird lovers.
,-4;
When
Elk
2 reels
Come Down
(U.
ants.
Here again we
the American elk is to follow the buffalo into near-extinction. The remaining big herds o
see the three well-distinguished types of individuals: the Queen, the males or drones, and the workers. Our first
lowstone
time,
their
National Park during the summei where they are well protected, but U winter when the big snows of the Rockies cove
feeding
glimpse
after the
is
of
the
grounds,
they
are
forced
fron
mating
flight, is
wings by the workers. The workers themselves are shown in close view, with remarkable detail of feelers or antennae, jaws and feet, which are used as tools. Magnified scenes showing ant mounds give us an accurate idea of the "houses"
mountains and down to the lower level where there is less snow. They may pass int< the National Forests, where they become concern of the Forest Service, or onto land under private ownership. In either case, the: are prey to poachers and elk tooth hunters.
the
i
The
a state
game warden who start out to protec the elk from a band of elk hunters. The lessor that the reel carries is a plea for adequate win'
School Department
grazing grounds where the animals can be not only from poachers but from The available winter range starvation as well. an the National Forests is said to be far too imited in area, and should be enlarged by the
:er
267
The Bashful
rael's
protected
purchase of
new
lands.
in
the
Absaroka
National
Suitor 2 reels Triart (H)Josef IsIn this case, the painting picturized. painter himself is shown putting the finishing touches to another canvas, when he encounters a young girl and her extremely reticent lover. Inspired by them as a subject, the artist incorporates them into his picture. The rest of the
story concerns the bashful suitor and his more eloquent rival for the hand of the heroine. Much can be said in praise of the artistic filming of
INDUSTRIAL
ghroads and Skyroads (U. S. Dept. Agric.) Equally valuable to the student of history and the student of road-making is this reel, devoted to the problem of good highways through the National Forests of the West. The reel opens with a view of the grave of Buffalo Bill on Lookout Mountain, overlooking Denver, and contrasts the prairie schooner and the pack-train of by-gone days with the motor
cars of today.
Seldom is more beautiful all three subjects. photography nor more artistic direction to be
seen.
One
of
the
series
of
Surveying, blasting, grading and surfacing of over the mountains are shown, and at the last, some of the finished highways leading
roads
over the
le
Continental Divide,
might be listed but it takes us to the coasts of Portugal and France, where fishing boats with their nets unwound, start out
Silver Harest
as a travel reel,
(E F
C) It
is,
one made up of travel pictures taken by Major Powell. It shows Orientals at work the Filipino woman doing the family washing in the waters of a canal; a meat vender in Java whose shop is the open street and Zulus who chop logs and saw lumber by hand. In Indo-China and Borneo, women are A seen mixing concrete and digging ditches. novel reel to our modern eyes, used to seeing work done by steam, gas, electricity and animal power.
which
it
|J
pursuit
of
the
little
silver
sardine.
It
of
even to the processes cannery, where the fish are salted, smoked and packed.
washed, cleaned,
California's fruits and flowers at all seasons of the year are pictured, but the emphasis is laid upon the orange in-
Shows the rigorous Building Up (Goldwyn) course of sports that students at a military Boxing, wrestling, school must go through. horseback riding and football, as well as some less vigorous sports give opportunity for all The slow-motion to "get into the game." camera analyzes the mechanics of motion in some of the drills and games.
Photographed at the Lake Placid Sno-birds (Pr.) Club, the haunt of these particular human snoA birds, the reel is devoted to winter sports. Hare and Hounds' hunt, a snow battle, sports on the ice, as well as tobogganing and skiing
dustry as
of
it
is
Eden."
MISCELLANEOUS
he
LA.
invites to
an en-
out-of-doors.
refreshing
Prizma
color.
ondon underworld, the strange beggar Piccadilly Circus, and the mystery of e opium den unravelled by the master :tective. Seldom has suspense been betr
To testify to the lasting qualities of this, the "wood of woods," many famed colonial homes become subjects for the camera among them Longfellow's home at Cambridge, Hawthorne's
maintained; there
is
ck Holmes
:ling
cleverly
done.
The somewhat
work
film
is
famous "House of the Seven Gables' and the "Witch's House" at Salem, remembered for its Picturesque woodrole in American History. land scenes add to the pictorial features of the reel, which also sounds a warning of the dangers of the blister rust, the deadliest
artificial,
enemy
oi
woman
char-
the
pine.
A
is.
clean-cut piece of
in other
The
spects,
tional circles
Dry
justifiable.
Ice Harvest (E F C) Showing the harvesting of the ice in Wisconsin, the cutting of the great blocks, and their storage in the huge ice houses, so that man may enjoy its coolness when it is out of season.
From Hollywood
Conducted by M. T. O.
AS
tinct
one studies from one angle or another this business of making "movies," it assumes greater and
greater proportions, and more and more angles. There are, of course, certain dis-
worth passing on to the chie He, in turn, eliminates all bu the best, which then go to the scenari editor and his two associates for thei
sidered
reader.
and established phases of production that must be recognized by every one concerned, and yet it might be said that there are as many different angles from
which to consider this "fifth estate" as concerned in its persons are there For in spite of the enormous growth. advances it has made in a comparatively'
short time, there
to be
ties
is still
acceptance or rejection. few outside manuscripts ar bought, largely, I judged, although Mi Bern did not say so, because few outsid w riters know enough of screen technic. By "screei write an acceptable story. technic" I mean not the form in w cl
final
Very
t,i
the story
is
so
made
that
there
are so
the
motion picture
its
As they read, the editors fill in fo: themselves the bare outlines of the plot?
missing, of necessity,
nal
ultimate
I talked recently to Paul Bern, who is head of the scenario department at the Goldwyn studio, and who is, through his
some
of
of
the
more
interesting interesting
this
altogether
first
manuscript novel, play, or shor story would have supplied. But (Jkt*r the scenario editor shrugged his should resignedly) in a big plant where produc tion must proceed on schedule, and mam units must be kept busy, there is no enough time for intensive reading o. lengthy manuscripts, and so, of two evils
much
We
talked at
about scenarios.
He
the lesser
ity
is
chosen.
plot goes to the
c<
traced for
me
first
The accepted
writer,
reading of the first manuscript, to the final printing of the last title, and in so doing, shed light on some of the hitherto dark mysteries of the
principles of motion picture construction.
from the
who
puts
it
into
coi
form: that is, he elaborates the incidents draws characters, introduces "heart in
terest,"
In the first place, said Mr. Bern, the manuscripts come flooding to the studio from everywhere, at the rate of some twenty-five thousand every year. Obviously no one person could manage to get
this
creates situations, arranges epi sodes so that they lead smoothly t< climax and conclusion, and indicates th<
action in as
may
wish.
into the
much detail as the directo The resulting "script" goe hands of the director, who ma;
make changes
tee.
number
as
read,
much
in it, though never with out the consent of the scenario commit
merits
the
studio
For the
director,
working
at
clos-
inci
who actually read (contrary to the belief of many an ambitious writer) all the material
where concen
i|
Synopses
are
made
being the whole story, can see it as Sometimes, carried away by th>
School Department
irector's enthusiasm, they lose sight for
factor.
it.
He makes
moment
rhole,
The De
it
Milles,
nd they regret.
terpret
differently
It
I
in
terms of their
inter-
Then
made.
Footage always
It is
own
experience.
would be an
un-
shots are
5 'to
made
of the
same
scene,
thought just here, if a group of directors could be given the same story to produce, each according to It is one of the things his own notion.
esting experiment,
or
i>r
when it cutting and editing. The directhe first cutting. The original
is
re-
uced by him to perhaps ten thousand. 1 selects the best shots of each scene,
lerely cutting the film to episodes
icidents.
and
which may become possible when the movies have advanced from the status of an industry to that of an art. As to screen adaptations of novels Mr. Bern is speaking again which are invariably inaccurate on the screen, and disappointing to one who is familiar with
Then comes
the
film
editor,
proper footage (about ve thousand feet) with a view to balnce of incident, characters, climax, and nity, always under the direction of the cenario department. '^Fitle-writing is next in order, done
lt'her
the original forms, the explanation was simple and plausible. To begin with, the
screen must present the entire story in little over an hour, whereas a novel may So the screen take eight or ten hours. Delicate shadings of must condense.
character,
which
in iife
by the scenario editors, or under heir immediate supervision. And then here comes a final pruning necessitated
y
a period of years,
are impracticable on
the
screen.
Vagueness
not filmable;
the insertion of the titles; for the picure complete must come within a given
If&th,
characters must be painted strongly the hero whiter, the villain blacker than they
real life
so
to
that
are
"-eanization
'
rn
when
better
the
short
time
be conveyed, permitted be
were obtained irhen the production was made by one nan or many.
aLlWii&hce
strongly impressed. Then, too, there must be a definite conReal life never settles anything; clusion. screen life does, for most people appar-
of beauty, genstill
or inspiration
is
lost,
the result
more often good than bad. When one aan writes, directs, edits, completes the
icture,
ull
his
personality
on the screen. what Mr. Ralph Block calls the "fairy-tale formuAnd so we have virtue rewarded and la." confounded in every picture. villainy
ently do not
real life
want
They want
life
reduced
to
succeeds more he fail more greatly. "A big producing company must have eturns, must have the money to keep
reatly, so will
sway.
But as he
there
is
never any perceptible variation in the formula. (This is not Mr. Bern speaking!).
I called to mind a magazine article, by the same Mr. Block, in which he declares that the motion picture is not a fine art, but a popular art, and that it will always be limited by its appeal to
oing,
and
therefore
must keep
finer
to
ideals."
The
a big
NO
a
CHARLES RAY
Whitcomb
I is
is
at
class.
Riley's poem,
it
a limitation.
Loved." His chief concern at presJ whether the ending shall be convei
in the last analysis, is an industry, depending upon the support of the middle
tionally
happy or
logically sad.
class."
'HE
I
WHITE FLOWER"
of a story
is
tl
"But,"
"t:
title
now
in productic
ing to say to the 'high brows' who insist that motion pictures appeal chiefly to a
child's intelligence,
by Lasky. The author is Julia Crawfoi Ivers, and the star, Betty Compson. J
not
correct,"
KELLEY'S MYRAcome
to to
the
title
"Miss
Emmy
Lou."
Dana
wi
low order of
first
intelligence.
They appeal
to
play the
name
part.
the primitive in us
savage peoples; the appeal of the picture is something that reaches back half a million years, and that appeal reaches in more or less degree any order of intelligence." In illustration of his point he cited his experience on the opening night of "Orphans of the Storm" in New York. The
audience,
artists,
HARRY
satire
LEON WILSON'S
may
that
clev
the Movies,"
It
is
rumored
Glenn Hunter
w:
play "Merton."
composed largely of
writers,
4<nPOILERS OF THE
^
SEA,"
a
latij
ably represented a high intellectual level. And when in the picture, Danton at the
end of his thrilling ride, pushed through the crowd with the pardon for Henriette, that audience actually stood up and shouted in a frenzy of relief. Yet from the very first, Lillian Gish who played
the heroine, sat in the theatre,
nounced as Rex Ingram's coming production, will be made In the meantime he is at work on Passion Vine," by John Russell.
fort!
"'
MADGE soon
don Hall."
KENNEDY
in
"Dorothy Vernon
of Ha<
where the
audience could see her and could that she was safe!
know
F
ris'
SCOTT
#
FITZGERALD'S
and
"Tl
Production Notes
METRO
LOUIS
film
this fall
is
to
produce
Ben
Ames
Warner Productions.
Williams' sea story. "All the Brothers Were Valiant," which Irvin V. Willat will direct. has obtained the "Captain Applejack" and "The Famous Mrs. Fair," both of which will be directed by Fred Niblo.
rights
to
B.
MAYER
itf-nUE X will
GARDEN OF ALL^i
GOLDWYN
selected as yet.
will film a
new
version
From Hollywood
271
duced by the same company with Clara Kimball Young and Elliot Dexter.
"E
NTER MADAME"
will
be pro-
V^
filmed
B
"T J
RET HARTE'S
ITTLE OLD
j
NEW
YORK,"
by Metro under the direction of larence Badger. Blanche Sweet will ap-
Rida Johnson
Young's success-
ex-
order that the best results may be obtained. It is essential that there be 7. critical definition over all the pictures.
8.
Note An accurate title should always appear on the back of the print.
Additional items of information relative to the object, that is, descriptive notes, are appreciated. The exact location of the object photographed
The
image
is,
should
be
recti-
that be distorted.
linear;
The kind of plate used should 9. be selected with special reference to the object photographed, and the photographer should be provided with such lenses and camera accessories as may be required for photographing the variety of subjects this Division calls for. 10. When the size of an object is an important item of information, the picture should include some wellknown object that may be taken as a unit of measure, or a suitable scale should be placed alongside the ob.
THE
Cleveland
Cinema Club
organization
is
a
of
decidedly
active
women which furnishes a wholesome example for similar organizations to follow in the matter of effective work on the great civic problem of better films for this country. Mrs. Elmer G. Derr and Mrs. O. J. Gurwell are President and Vice-President respectivelv of the
Club.
of the aliveness
we go
ject.
On
11.
7th, un-
intensified,
fore the print is made which is to be submitted for approval. Note A fogged, scratched, stained, dense, weak, flat, hard or unevenly developed negative is not acceptable,
der the auspices of the Club, with the cooperation of The National Board of Review, was held "The First Annual Motion Picture Convention for Ohio" at the
Note
each
for
An
unmounted
from
negative should be submitted approval. The negative itself should not be delivered until such print has been approved. print may be made rough or ferrotyped. It should not, however, in any case be "faked."
Hotel Statler in Cleveland. National exwere expected to address the meetings, which were devoted to the serious study of films theatrical and careful conperts
sideration of the non-theatrical future of the films. hope to give extended
We
notice
of
this
convention
in
the
next
issue of
The Educational
Screen,
Tin
been eager
the coming school year the same policy will dominate the reviews, with the promised dirt statement added to aech review to guide the school man in his use of any film. There is, howev The department is very anxious to invite correspondence \ n added appeal to our readers. All such lette regard to discussion of any one film, or any phase of the theatrical film in general. It is only as such contact can be made with tl will be answered personally by the department editor.
FOR
(Pathe)
of
Anne Cornwall
value.
If
<
filming
To
watch the perilous whirling of an actual snow blizzard enhanced by the presence of the uncouth he-man, Nanook, is an experience not to be missed, but grasped several times. One might write at length about the careful and painstaking effort behind
this film.
does
so
becomingly.
One
is
constant
aware of Gloria, exquisitely gowned, bi the part she plays makes that obviousnei
An oddly elabora production that manages to leave an in pression of bigness and sincerity. (Tha
of apparel forgiveable.
trical
Suffice
it
to say, that
Nanook of
sets
use only.)
Broken Blossoms,
!
an
moving-picture production. Let the scoffers see it and tremble (School, church and community use.)
in
epoch mark
(Paramount)
this
we reviewed
Niblo pictui
disappointment was
justified.
It
We
have
n
<
(Paramount)
may
be the fault
Whatever one may say of The Gilded Cage in regard to its harking back to old stories of more or less fame, it is a desirable picture for the theatre. Beyond that it has, of course, no function. Furthermore, despite any cheap appeal of which it might be
accused, the story of a loyalty between two sisters is sure to impress the rather senti-
may
M
77
Valentino
is
was
in
Four Horsemen of
the Apocalypse.
Whi
the material of his former picture had] more cosmic appeal, this later picture h; a more intensely concentrated sex and r< mantic appeal. Yet but for one or two brif moments, Valentino is not compelling,
mental public. Yet there is more than what can be termed the sentimental in this production.
The
shadowed by the
the picturesque,
if
Harrison Ford,
handicapped by the fearful work of Nita Naldi. He: is a woman, who by form and manner at type, can rightly expect to attain poise at
is,
it
is
true,
self-conscious
strength.
She
fails dismally.
Although
si
tl
mo-
ments of Miss Swanson, together with the genuine comedy of Walter Heirs present an
inevitable array of real talent.
The work
272
of Charles
Stevenson,
on the whole, w weak enough to weaken any force of oth members in the cast. Lila Lee was betto proportionately, than either Miss Naldi
the
effect,
273
Too, with the memory of Otis dominating matador, Valentino's erpretation proved too much of a coninner's
st.
the
new foreigner Miss Talmadge has discovered; too there is power in the story, strength in the interpretation. But, all in
It
was
any greatness in its iximity to Miss Naldi's stilted performPictorially Blood and Sand was beau:e.
to speak, but
lost
ul.
all, somehow this film is but another of an unusual number of half-way good produc-
tions.
{Theatrical only.)
HUMAN HEARTS
A
typically
(Universal-Jewel)
picture
ST
[Tom
inn
TONY
House Peters
big,
(Fox)
Claire
Mix and
Adams,
directed by
crude sincerity and the courage of traditions; a stern "frontiersman" father, an adoring little sister, a gentle mother and a
selfish and shallow wife. alarming sentimentality were
fasing quietness.
[x's
An
it
array
of
>ry
community
uses.)
CONFIDENCE
thetically
(Universal)
is
idness to animals
and
any of the several pictures of this type, Mr. Mix has made the best allrand film. In no place does the action If stilted to demonstrate Tony's abilities film is not cluttered up with human beThe star and fs as was The Silent Call.
feel that
;
pa-
funny tr)ing to be funny! Just why the gentleman should have been presented
with
this
ridiculous
vehicle
is
problem, but the agonized efforts at humorous pantomime on the part of the erstwhile
able actor
dle
support are at
moments
quite forgotten;
make
!
N
:ry
>st
unsolvable
commendable
picture.
Take
the chil-
li
\~hool,
IE FAST
(Fox)
and
rhis Lincoln
J. Carter melodrama, card with deftness by the winning Charles nes and an efficient if not an unusual
pport
;
of old
is
furnish two memorable characterizations. Kindred of the Dust fulfilled all our expectations of it. {Some church and community use.)
cast.
photography Ralph
IF
YOU BELIEVE
IT,
IT'S
SO!
(Paramount)
the always thoroughly
our blase and commercial day, it is good melodrama from a time when :h events were hourly occurrences more
:
light of
less.
{Theatrical only.)
Another Thomas Meighan picture enhanced by funny presence of Theodore Roberts and the delicate quality of Pauline Starke. A passingly good picture for the family. {School, church and community use.)
IE
NEW MOON
(Selznick)
until
LOVES OF PHAROAH
Another
spectacle
film
(Paramount)
discon-
advent of nilin' Through, has not been having the Dper vehicles for her peculiar type of apthe
al.
Norma Talmadge,
crammed with
mob flashes and handicapped by a hero King who played in the crude old gnmaces of
nected
early
pictures.
(Church f)
The
New Moon
falls
MORE TO
SCORNED
It
is
BE
to
PITIED
that
THAN
film
different
classification.
Stuart
Holmes
likewise
(C. B. C. Films)
believe
difficult
enlightened
274
producers, granting that the general status of pictures is low. could take themselves seriously in presenting to a suffering public this ridiculous
REVIEWED PREVIOUS ,
THE STORM
old
(Universal Jewel).
acting.
Whathodge podge of melodrama poorly acted. ever the "famous stage play" may have been, in pictures it is absurd. (.Good for none but theatrical
ute.)
(First
GRANDMA'S BOY (Associated Exhibitoil Pathe distribution). In which Harold Lloyd graduates from even Lloyd slapstick. (School and community.)
A
One
WOMAN
OF NO IMPORTANCE
(Selecj
which Miss MacDonald has but one real moment amidst her elaborate and careful series
of
(Theatrical only.)
(FiJ
poses
(Theatrical
only.)
Very funny
if
you get
it!
(Theatrical
(Paramount)
only.)
SONNY
(First National).
Barthelmess nlJ
picture built on an old, old plot but sustainthe clothing of the plot.
passport enough.
Richard Dix and John Powers made steady supports for the naturalness of Miss
(Famous Playel
Compson.
is
Yet,
comments the
picture, like
most productions for the month's reviews, fair. (Some church and community use.)
but
Lasky). A serious bachelor's triumph over fm "banes of his life." (School, church and community.)
THE DICTATOR
A
Corporation).
ORPHANS OF THE STORM (United Artist! A barely even toss-up between Grif
(High schoo
(Paramount)
poor Reid picture, the poorest probably that During one solo Mr. Reid has made to date. moment on the screen Wallie not only managed It to be utterly silly, but looked r.s if he felt so. was pathetic. (Some community use.)
cold
silence
of
the
(Famous Playel
(Famous Playeri
(First only.)
(Paramount)
the talent
of
(Community.)
National)
use.]
unbelievable
"wonders"
happen
in
film
DOMESTIC RELATIONS
"Will pass
in
land.
(For no use^
a crowd!"
(Possible
church
NICE PEOPLE
tieth
(Paramount)
Indifferently
good.
(Theatre
This attack on the neurotic freedom of twencentury youth is partly fair but certainly unfair in certain measure. Yet however one may feel about the facts of the film, the story is well adapted and well acted. Mr. Reid and Bebe Daniels are an effective pair and Conrad Nagel as the young man of wine, women and song is
distinctly
reassuring narrative.
Oh
HURRICANE'S GAL
and
dashing
$5
(First
National).
Rezvit,
melodrama.
(Metro).
(Community use
pleasing
(Theatrical use
only.)
censorship.)
(Arrow
THE
tale.
BABY
wholesome Ghett
This Peter B. Kyne tale, played by Roy Stewart and Katherine Kirkham, is a weary reeling of strung out events. The cast has little talent to begin with and the continuity man spoiled what
small
use.)
Western
use.)
yarn.
(Some
schoc
and
community
THE WOMAN
FASCINATION
chance
it
had.
(For
An
inexcusable
(First
fifn
(Paramount)
not new particularly in epiwell interpreted by Miss Dalton and her support of Mitchell Lewis and David Powell. (Some community use.)
north
tale,
good
comedy.
(Some
National community
Goo!
(Goldwyn).
nothing.
it.
NOVEMBER,
1922
No.
Lane, Treasurer
Nelson
L. Greene, Editor
Inc.
$1.00 a year.
Back numbers,
25 cents
279
'elation of
Experience
to
Learning
Joseph
J.
284
Weber
'he
Lantern Slide
in Physics
C. C.
288
Edgctt
289
chool Department
Conducted by M. E. G.
295
rom Hollywood
Conducted by M. T. 0.
heatrical
300
Film Critique
Conducted by M. F. L.
304
Published by
Inc.
46 East 50th
St.
Chicago
277
New York
Personnel of
Joseph
J.
Weber
J.
University of Texas
Frederick
Chicago
Lane, Treasurer
Frank
R. Greene
of Palister, Greene
New York
Greene
& O'ConJ
Nelson
L. Chicago
William R. Duffey
Marquette University
STAFF
Nelson
Florence Butler Blanch ard MARIE E. GooDENOUGH Geneva Holmes Huston Marion F. Lanphier MARGUERITE ORNDORFF
L. Greene, Editor-in-Chief
George Hill
Eastern Representative
Arthur F Nicholson
Pacific Coast Representative
m
'
r n
Western Representative
W.
Shepherd, Chairman
j.
University of Oklahoma
A-
W. Abrams
New York
State Department of Education
E.
McAfee
University of Oklahoma
Richard Burton
University, of Minnesota
William A. McCall
Columbia University
Carlos E. Cummings
Buffalo Society of Natural Sciences
Rowland Rogers
Columbia University
Frank N. Freeman
The University
J.
Dav
Sn^en
of Chicago
Columbia University
PaulGoode
The University
of Chicago
^&2K
-
University of Minnesota
nrrnTTrv
j Head
r D *x^ T
tj^ H
v V.
A r Witxt^xt A. ^. liENMON
University of Wisconsin
H- B. Wilson
Superintendent of Schools,
Berkeley,
Calif.
Inc.
CHICAGO
278
NEW YORK
November, 1922
No. 9
THE Motion
Picture
may
For the first American audience, which thinks mass, watched the picture mileage
The
pic-
During this period there vas, to be sure, a fairly large fraction of the public which had its look at he pictures possibly two looks and did not want another. But the masses emained faithful, and their nickels, dimes, quarters, and finally their dollar
bills
It
it
made "the fifth industry of the world." was this avalanche of money that demoralized
the movies.
The men
were not big enough to stand it. Doubtless never Defore in commercial history was so much money handled by such little men. Fhey are now reaping what they sowed and do not understand the crop. Five years ago, say, a change in the situation began to take place. The :houghtful element of the public began estimating values. A few started it, nainly those who rarely attended the shows. They managed to wake up a ot of their fellow absentees, and they all went back to look more closely. They reached the conclusion which had been equally true from the beginning, only H had not been reached that the pictures were pretty bad. They spoke their
the top of the business
listen.
As
long as
little
men
gnore
ire
all
other sounds.
it is
Hence
now
saying
affect
:he pictures.
Recently, say three years ago, disaffection began to appear in the ranks of
Even they sickened at the inanities of their beloved They merely stayed away, and the boxoffice torrent threatened to become a trickle. Here, at last, was argument the little men could understand. Their one measure of their "art" was the currency-test, and when that failed they knew that something "must be wrong." Yet what it was that was wrong they could not be expected to understand hence, anxiety, consternation, panic, and Will Hays
:he faithful,
(*een.
They
279
880
what of the
last
mass
it
th|
I
is
reaching a conclusion.
it is still
a conclusion
valj
so
is
is
probably the
last
conclJ
sion needed to provoke action to bring the motion picture into harmony wil
the rest of the
machinery of
civilization.
This conclusion
pictures,
Simply that the wrong men are in control of tH and that the pictures are far too important a force in the world t<
?
There
selves
is
and
to take
bit,
some though
one does nl hands of a small boy, nor the qualit] More and more of th< of a grand piano under the touch of a prize-fighter. public are grasping this elementary truth. Sooner or later there are goiJ to be wholesome changes in the high places of moviedom. We are still hoping
regarding the selection of parents.
the figure a
To change
results in the
that'
Will
Hays
will be able to
when he can
fel
New Names
in
Our Personnel
TWO
ning.
significant additions
this
Board of
magazine.
Mr. Dudley Grant Hays, Assistant Superintendent anc in the Chicago Schools. Mr. Hays has been orij of the foremost national figures in the visual movement from the very beginfirst is
The
He is President of the National Academy of Visual Instruction anc Vice-President for Illinois of the Visual Instruction Association of Americj The second is Mr. H. B. Wilson, Superintendent of Schools in BerkeleJ
His position among the leaders in the visual movement has be J
California.
established beyond question by the splendid development of visual instruction throughout the Berkeley school system.
itself
specialists
names marks s and limited expansion of our personnel to incluJ the realm of secondary and elementary education the realm
will
The addition
in
unquestionably achieve
its
maximum
values an|
results.
We
announcing later other additions to oui which Mr. Hays and Mr. Wilson are such con-
;,
Editorial
281
A New
Department
it
THE
can believe in as an agency or influence for the good of the visual moveThis means every firm or organization, large or small, that
is
ment.
pparent in
its
product, in
field.
service,
and
in its
To do
this sincerely
and consistently,
this
magazine
We
movement
is
not
and the
becoming
more evident
to
eaders, contributors
and
advertisers.
revenues permit
it.
latter to the
cause
to be
wholly
effective.
in the country,
founded
activities
ible publicity.
.t
The
older one
is
organ," namely,
The Moving
organ" but
^icture
Age.
The more
recent organization
The Visual
it
Instruction Asso-
:iation of
America.
"official
seeks
may
say what
is
it
will
a definite portion of
its
The Visual
Instruction As-
sociation of
America.
own
md
will bear
no
editorial relation
Educational Screen.
This magazine
no monetary ad-
We
md
believe
it
concerned
our
public, the
Visual Instruction
to its contents an-
\ssociation of America,
other
well,
by adding
by
the Educational Screen
THEStudy
of
Berkeley school system has long published what are known as "Con rse Monographs/' issued in accordance with the following plan:
of Study in
all
"The Courses
As
rewritten following such study by the committee responsible for the task,B it will be issued in mimeographed form that its plans and recommendations i
may
all
teachers.
Upon
ing process, each course will be revised with the aim of incorporating such
who
is
use
it.
When
each course
two months.
this
We
made
to
assurt
yet
ir
will constitute
manual of procedure
will
visual instruction
based
on
and
prove invaluable
any and
all
educators
who
THE
at
field
Princeton, N.
have
first
formerly
publishec
in 1912.
of literary study. The American Chart appeared in 1913, the German Chart in 1915, and the French Chart in 1918.
reissue
the various
charts
in
revised
and uniform
editions.
The
7tr
Editorial
283
T* HE
first
*
nc.
will
J.
n visual instruction.
>eriodical or
It
covers
all
significant
writings
book form
from
in
movement down
to July,
[922.
will prepare
an additional bibliography
all
We
students and
(Further announcement
later.)
From
TPHERE
now
development
its
is
com-
maximum.
TTHERE
are
more than
200,000
community
BER OF THEATRES.
theatrical field
and
its
development
is
hardly begun;
who
have eyes to
see.
Weber
of
The University
I.
Texas
Function of Experience.
ALL
initiate
learning
is
And
and
wealth of knowledge,
skill*
perience.
Psychologically the
ideals springs
function of
experience
to
plementary instincts
love of approvsM
From
to
its
tions
tU
presents
us and the
specific
re-
sponses which
tions.
we make
to these situa-
bootleggery.
satisfaction
modem
proper
may
the infant
learns to
for theft,
industry,
mail
it4|
riage proposal.
And
"daddy."
The modern
They
are
audition,
Obviously
miscellaneous
melodrama
of
life.
Olfactory and gustatory sensationi play perhaps the smallest role in the
learning
process.
and
taste,
From
smell
we
and (6)
ternal glands
from the function of inand organs of the body. Taking these up in the reverse order, by miscellaneous organic feelings
ings, arising
I
From
taste
we
as sex drive,
higher culinary
the
epicure.
skills
and the
ideals
total
of
of
hunger,
of approval, dread
ill-
and so
learn the
forth.
From
illness
we
perience
is
comparatively insignificant.
may
meaning of
indigestion,
acquire
skill in
mastication,
health.
and gain
From
these
we
acquire
good
From
the
of our emotions
grow
the concepts
somewhat
arbitrary; they
may
equally
285
perience.
is
not po-
on.
its
Much more
tetic
One
orm
we
and
not always feasible and often quite imcan not afford to take possible.
We
But
ieals of play
also that
human
which conreat mass of motor skills our beof part big a tinues such
lavior.
in the
hands
is
Laboratory
work,
manual
its
raining,
ship
and
all
vocational
apprentice-
The photograph
can
be
are
illustrations of
wide-
pread
tion,
efficacy.
experience
that
transported
Little
tant
or hearing, except that this funcmore importion is often considered than it really is. Too much of
is
from one part of the earth to another, from one linguistic group to another, from one historic period to another, with very little loss in accuracy and
form.
our teaching
auditory appeal.
Of
The
made
course the function plays a significant the acrole in musical education, in in the and skills, linguistic quisition of
arousal and stimulation of thought by But to deverbally stated problems. for the appeal pend upon auditory
elucidation of relationships
vicarious experience practicable. The American schoolboy can now see the
hippopotamus
wade
in
the
muddy
which can
However, it is not to be inferred from all the foregoing that the sense
experiences
learning.
Many
alone
effect
complete
teacher grows impatient and calls her pupils morons simply because they
The primary
stimuli
do not
from merely
is
Visual
the
exploration
prolific
undoubtedly
source of
most
sensory
learning.
Most
ship concepts,
their
fair
many
Therefore, in and achieving. I am going which of making the study of this part to say more in the second category, article, I have added another
aspirations are
grounded
in visual ex-
Educational Screen
II.
Distribution of Experience
arises:
PROBLEM
is
now
What
"Examine
each
word,
it
and
I
]
the initial
]
] j
I
present
meaning.
Immedi-
word
place a
if
skills,
and
attitudes or ideals?
Very
interesting
studies
can
be
made
I
in the
skills.
do
so.
The
to
following investigation
is
limited
and
to one
you are certain of your judg- | ment, a D if you are doubtful, or a G if you feel that you are making a pure guess. Do the J same with every other word in the column today. Tomorrow
j
'j
verbal concepts.
was prepared
list
of 250 words
tomorrow the
until the
five
pleted."
list
of words, the
slips bear-
The judges were all experienced educators and members of my class in educational psychology. They had
been giving special training in tracing words back to their empirical origins
introspectively. The list of words represented the even-numbered ones from the commonest 500 in the English
Here
is
"T, V, A, K, C, O,
respectively!
language.*
Here
are
the
first
25
V. Visual experiences
tual realities
seeing ac-
alone, also,
are,
and demonstrastill
tions;
'movies,'
all
pic-
tures of
kinds; printed
And
so on through
the alphabet.
matter,
Arranged in five columns, the 250 words were mimeographed and subThorndike, E.
L.,
respondence,
etc.
A. Auditory
pp. 127-128.
experiences:
hear-
287
Summary Table
Summary
the
of results obtained
back
commonest 500 words in the English language. Results in weighted and unweighted credits and their percentile distribution. Also without
the category of thinking.
Weighted
Category Thinking Visual Exp.
Kinesthetic
Unweighted
Credits 6,732 5,595 2,686 2,347 1,115
Percent
.
33.6 30.7
14.3
....
Auditory
Instinctive
11.7
5.6
2.8
1.3
Percent
35.0
29.1
14.0
12.2
5.8
648
51,833
522 231
1 9,228
2.7
1.2
100.0
100.0
100.0
clarified graphically
Visual
29.1
K
14.0
A
12.2
I
c
2.7
1.2
5.8
And
K
21.5
A
17.6
C
1.9
O
4.3
8.4
ing
various
;
noises
;
and
nar-
heat,
etc.
cold,
external
pain,
sounds
music
spoken
arguin-
words
conversational,
descriptive,
rative,
agreeable
and
sweet,
mentative,
terrogatory,
exhortative,
etc.
:
disagreeable
odors
K. Kinesthetic experiences
cular
musI.
etc.
sensations
all
resulting
Instinctive
from
doing;
C.
acting,
moving,
experiences
sex
drive,
librium; etc.
various
etc."
emotions
Cutaneous experiences:
sensations
skin
'feel,'
illness,
pressure,
The order
of
the
categories
was
dates
on
ballot.
also rotated.
judges had instructions identical with Twelve other judges the foregoing,
began with the first column, seventeen others with the second, and so on I
the fifth.
Other
forms
began
sucfifth,
followed by a
a weight of
C were
given arbitrarily
3,
those followed by a E
and
seventh
categories.
is
The
was
manifest.
a weight of
of
all
1.
Following
is
a sum.1
the columns
mary
(To
be con tinned)
The Lantern
Slide in Physics
Edgett
C. C.
THE
in
the
teaching of physics
used, the
is
copied by the use of two lantern! and a camera. The negative is made
of a suitable size so the positive
exceedingly great.
the slide
is
maj
girls
of
high
to
make
piece
suitable
shown
little
until after
such a drawing had been made and used in the class. Even those who have made no drawing themselves will be aroused by the
use of the drawing of a classmate.
once made are perm* be used for class in and review work. 1 struction whole period may be spent on oik slide by having several members oi the class pass to the screen and ex plain the construction and action o the apparatus. In review, a numbei of slides may be used in one period These slides will be found valuably when a few minutes of a recitatio! remain after the lesson has beet
The
slides
nent and
may
completed.
may be
brief
Two or three drawing! placed on the screen with | review by the instructor o
These drawings are made rather small on heavy white cardboard in India ink. The drawing is then
members
r^TTORLD'S
WORK
has
furnished a
^V/
b
1
series
(August) brings further proof that the huge primate is a creature of great power,
but without speed or
ferocity.
ley
tearing
After the
"felt
like
They present
a de~
sweep
of
landscape
with
in
the
movie
hder the auspices of the American Milium of Natural History in New York City. "Hunting Gorillas in Central Africa" June) tells of the plans, the personnel, nd gets the party well into central Africa n its way to the gorilla country. Mr. Ake;y
II
constructing
background against which the group mounted in the museum. "Is the Gorilla Almost a Man?" (Sepis
tember)
distinctly different in
articles.
character
first
The
three
discusses
the
at
length
the
previous
gorilla
writings
subject of
and shows
were largely narrative of the trip. This article is an exceedingly interesting resume
of the data gathered, with
ow
ions
much
scientific
Many
ieu
trained
first
observation,
The
was
seen by white
new group
in
nen
jiven
in
185"),
very
chain.
little
study
has
been
in
since to this
he zoological
motion picture film, the first ever taken showing live gorillas moving in their native
habitat.
"Hunting
Gorillas
Mikeno" work in
its
The
scientific results
could hardly
be
over-estimated.
the
new
and
disposition
of
the
museum
sort
in
New
work
York.
is
proper
way
to study
him by
scientific
mod-
The motion
he
picture
this
camera designed by
of
man
as sug-
author
for
de-
It cribed and illustrated. is extremely ompact and manageable under the difficult
emphasizing
is
this
He
on
Its
lens
equipment permits
effective
taken
tion
immediately
will
to
make
their
present
haunts a sanctuary.
circumstances dictate.
The
)arty,
second
specimen
obtained
by
the
and various habits of life of the mimals are described, and much evidence s brought out to disprove the venerable dea that the gorilla is ferocious and dangerous to man. "Hunting Gorillas in Central Africa"
289
adequate study of this rare subject impels Mr. Akeley to devote the last part of the
an earnest argument for a prelast remaining "gorilla country" is small, comprising the slopes of three mountains about four miles apart Mikeno, Karisimbi, and Visoke. There are less than
article to
serve.
The
in.
Educational Sckeen
which one-fifth of the entire population oi is willing to pay tribute
!"
ioo gorillas
left
they represent
this
little
edge
tract
that
is
of
inestimable
s
value.
This
each week
could be
made
permanent sanctuary
There
is
It
is
eloquent of
intrinsic
power
in
the
movie
nearest
All
relatives."
illustrated,
accuracy
md
vividness
to
the
series.
The reading
and of tragic failure to realize its pos bilities. Mr. Post devotes this article mainly to an analysis of the "two elements in this situation," the motion picture per sc, and
the
splendid preparaOf these articles will he a tor viewing the remarkahle gorilla tion
men
in
control of
it.
He
finds
little
|
group
when
it
shall
be
unveiled.
Such
museum groups
education.
lions that will
When
"These men took up motion pictures in the early days and have remained in con* trol long enough virtually to characterize
it
and
ijg
high worth of such expeditions and easily understands the enthusiasm of the author
for his arduous work.
"As
write this in
York," he says, "with the skins and skeletons all safely here and one gorilla modeled for the group, I can visualize the The group can come fruits of the trip.
New
an
artist to
Mt. Mikeno to paint, as the background for it, the scene that unfolded itself before our
eyes
that
These producers gim the public what they think the public warn and since they risk their money in it, and in large quantity, we can credit them with They have little imagination of sincerity. an esthetic kind, their background in general lacking in any other motive than that of getting the money from anything they And the man can get the money for. that they chose as chief and head of theii
control today.
foundations of
artistic
suc-
Bradley shot on the slopes of Karisimbi and looked across toward Mt. Chaninagongo.
for
I
. .
manager of
prize-fighters
fad
of frank pride."
What
went
to
Africa
got
but
how
vision of
is
to study this
animal which
rose as high
al
as the
They could
. .
not
MOTION
the
title
PICTURE MADNESS
is
Christian Herald for June 1st, by Charles Johnson Post. It is more than merely another slashing attack on the movies, of which there have been so many in the past year or two. It is really a first
1922,
The understand their own success. motion picture magnates of all calibres have blundered along, getting into hottei and hotter water all the time. They, b) their own unaided efforts, have succeeded in fastening upon themselves censorshi{
laws in
many
states."
si^ obre-
gun
in
tions instead of
words are
article
to be the
in
heavy
There could be but one result of this tiation, namely the state of things that
tains
ammunition.
ber
(An
a later
num-
today.
It
is
is
more than
pitiful,
of
the
Christian
elsewhere in this
grettable. "It
on the plan of campaign.) "Think of a business terrorized and terrified by its own incapacity and yet into
picture development, for all this came fron the background of dull, sordid, unimagina'
tive lives for generations
the
dull
drab
oi
: ;
291
and the men, unfawonderful imaginative creations and art of civilization were lifted >y accident and the floods of money that >oured in upon them to be the exponents
the
reek of
furs;
niliar
with
the
slow processes of academic education have taken centuries to accomplish. But it can do none of these things unless it have art
theatrical elements
this.
have
is
It
;
must have
sincerity
)f
the
greatest
. .
social
instrument of
public
the
vorld.
The motion
the
picture industry
no substitute for
skill."
bankrupt
no more earnest in his conlemnation of the element above-mentioned ban in his eulogy of the other element, the
Mr. Post
is
THE
the
AMERICAN CITY
amusement purposes,
(Septem-
other than
notion
picture
itself.
"It
is
the greatest
he
motion
It
picture
story-telling
.
in
capacity
for
in an arti"Mosaic Maps of Cities." Numerous ends are served by aerial photos of cities in municipal administration and publicity work.
cle entitled
fills
a deep,, vital
human
need.
New York
City
recently
elevation,
from a 10,000-foot
something
were
for
It
is
reality
itself
multiplied indefiIt
is
map-making methresults
nitely
no
Some
:
interesting
location
obin-
toy;
is
tained
stance,
the
of one park,
human
thought, in
whereby it them a
an
in-
It is
which had been a whole block out of place on previous earthmade maps the police department was able to locate every scuttle and skylight for its
corrected,
;
was
information
in
trailing
burglars;
illegal
."
Perhaps the most arresting statement made in the whole article is the following "The motion picture is an instrument of
:ivilization
,
sewage disposal in rivers was shown; a leak in an oil pipe was shown to have caused the burning of a ship at its pier, etc. The Erie fire was shown to have caused
just
as
the
printing
press
is.
more than
It
is
printing
press
and
not
of
the
theater."
blockade of
(There is indeed food for thought here, it is an idea which would bear much elabora:ion.
fire.
"Such
demonstrations
to
may
save
cities
millions of dollars
Commerce
in
was the case with the printing press the Church should have seized upon this tremendous force in the very beginning and exercised a guiding influence upon its development. Not to do so was gross negligence on the part of the religious orHence
as
locations
the
cities."
Photos growth
other
estate
at
regular
show
city
in detail,
and
equal
way with
development
constantly,
directly
into
companies
means
These photos
can
be
made
maps by
ink-lining the
"The
motion
pictures
can
accomplish
in
essentials
decades
by chemicals.
is
plan-
ning to do thingsin fact, has began doing them, to judge from a enjoyed recently with Conversation M, Graham Patterson, the dynamic pubof
that
magazine.
The
Christian
Herald, in combination with certain other interests, proposes to go at the motion pictures
highest standards of morals and good tast A library of unusual excellence has been formed and additional subjects are bein Far-reaching plana constantly added to it. for the production of pictures of unl usual artistic merit with missionary back! grounds are being formulated, but the oufl put will include all classes of film. TherB are Bible stories, travel reels, comedies an!
dramas with
problem on
large
scale.
It
has
entertainment,
ture
formed The Christian Herald Motion PicBureau with headquarters in the BiHouse, New York City which will ble
lerve
the
non-theatrical
field
exclusively.
fo8 subject^ camping, hunting and fishing pictures, exl ploration, and everything else that would gfl to make a diversified entertainment for a mid-week evening or to provide the iWuM tration for a Sunday evening lecture. "The Christian Herald believes the
clean,
stories
wholesome
natural-history
from New York City. Branch offices will be opened rapidly in key cities throughout the country to take care of the churches and schools in the same effective way that the theatrical exchanges serve the theatres.
Definite
believes
the
tor.
Some
follows
"Ministers and laymen in every section of the country are aroused by the abuse of the film in the hands of an amusementpurveying industry, the boycotting of the
factors in our national life. On them rests} On them rests the American culture. moral growth of the generation. The all most universal attendance at motion-picture theaters makes the film an extremely important influence that must be taken from commercial hands and placed under the control of devoted and consecrated men who will use it for the highest purposes.1 Whole-souled faith in the power and use-
fulness
of
the
pictures
is
vigorously
exj
commercial distributors, and the fact that under existing conditions there is grave danger that approximately ten thousand projecting machines already installed in churches will be made useless
by
for want of acceptable pictures.
Church
who
represents, oj
"The Christian Herald is convinced that the motion-picture is of inestimable value in spreading the message of the church. I believe every church should look on a motion-picture projector as a necessary part of the equipment of the church plant, because a good picture leaves an impression that it is impossible to obtain with either the written or spoken word. "Not a single reel of film for theatrical uses will be supplied by any of the branches. Every single foot of film that is distributed through the Christian Herald Motion-Picture Bureau will be inspected and stamped with the guarantee of the Christian Herald that it conforms to the
"More than that, the Church has a responsibility that can not be overlooked til combat in the most effective way the influences that surround and permeate the average motion-picture theater. "The time has come, however, when the film must be restored to something approaching its true function, which is educational, inspirational and informative as
well as a
It
is
medium
for entertainment."
a great
idea
huge undertaking.
all
It will
this
The
Herald
the
realizes
the
that
is
magnitude
willing
attempt
knows
of
to
but
or-
ganization and
development and
accept
;.
233
responsibility
for
its
actions
and
in-
mean
tion
dentions.
i
decent
destiny.
moThe
We
iflr
It
admire the move. We shall give it and anything else we can. should mean much for the churches and
best wishes
a
little
Christian
clean
ambitious effort
AT
fth,
tion,
of the Ohio Motion Picture Convention held in Cleveland, October 6th and
the
first
session
ment
coming
under the auspices of the Cleveland Cinema Club, steps were taken toward the formation of a state-wide organizato
make more
effective the
work
of
how
Film
r
actively
interested
the
Better
movement. On the organization committee, announced at a later session, re live members from various sections of the state who are to perfect and present plans. Mrs. Elmer G. Derr, president of the Cleveland Cinema Club, is
chairman.
start
It
is
regardless of considered on the plane of the lecture platform and the legitimate theatre. Inherent value is becoming the deciding factor in judging screen productions, the public must discriminate among the pictures shown, and declare for the best in screen presentations, if the movie as a legitimate form of art is to advance.
novelty,
now
especially
appropriate
was preSamuel Bullock, State Organizer, Motion Picture Theatre Owners of America, who declared that the exexhibitors' point of view
The
sented
by
of the
an outgrowth of the activities Cleveland club, one of the pioneer organizations which has been active in the field for about nine years, and whose influence extends far beyond the limits of the state of Ohio. The convention assumed the nature of "get-together" conference of various interests concerned in the film business,
as
i
hibitors
in
general
are
waiting
for
con-
structive
suggestions
cooperate.
both
from the
In
theatrical
and educational
delegates
ingles.
addition
to
from
Mr. M. J. O'Toole, Chairman Commiton Public Service, Motion Picture Theatre Owners of America, brought a stirring assurance that the theatre owner? are willing to go more than half way to establish connections that will advance the cause of motion pictures. His advice to the Better Film interests is, "Make the theatre motion picture community a
tee
center.
No
agency
for
public
informa-
from the National Board of Review, with whom the Cleveland Cinema Club is affiliated, the Motion Picture Theatre
tives
Owners of America, various producers and exchanges. Mr. W. D. McGuire of Xew York, chairman of the National Committee for Better Films of the National Board of Review, struck the keynote of the move-
newspaper compares with it. Take advantage of this instrumentality at your disposal to further the ideals of good government and to better the conditions of your community." The non-theatrical use of motion piction except the
tures,
particularly
industrial
J.
reels,
was
Committee
City.
oi
the
V.
M. C.
the
A.,,
New York
of
He
traced
work
its
the
start
eleven
the
present
time,
when there were distributed (during 1921) 34,000 reels to a combined audiOne of the ence of 4,000,000 people.
chief uses of the industrial as Mr. Zehrung sees it,
by Miss Louise Prouty of the Cleveland Public Library. The libraries find them-8 selves confronted by a new influence, the! movies. Not only do children clamor fori books which have been presented in screen
form, but the library must also meet increased demand for material correJ sponding to that presented in pictures* Certain periods of history, for example,
,
al
motion
is
picture,
in
the
field
of
vocational guidance.
Noon-hour
films
become
IK
proving valuable aids in commercial houses, where they tend to broaden the outlook of the employees and show them
their
tion with
an historical
film.
Travel films
books ap-1
place
in
the
general
industrial
scheme.
plying to that particular part of the world. Miss Katherine Brown, of the CleveJ land School of the Theatre, discussed most interesting phase of the general
subject:
made
artist
and pantomime,
of
the
true
The history of the development of the educational motion picture was traced by Mrs. Elizabeth Richey Dessez of the Educational
pantomime goes beyond mere action to a deep consciousness of meaning and mood, and "paints his picture on
the consciousness of his audience." Discussions followed each topic,
hibitions
Department,
City.
Pathe
Company,
de-
New York
were given.
of
A
the
The effect of the movies upon the mands made upon the library was
display
equipment
was one
the
M. E.
G.
School Department
Conducted by M. E. G.
"Book Week"
T
is probably significant that more and more works of classic and current literature are furnishing mate-
tion equipment,
greater.
One
has only
re-
really worth-while
few months to
realize
even not be available for non-theatrical showing, but many excellent films have passed their first runs, and may be booked for school and community use.
is
the opportunity
The newest
releases
may
For English
little
from" previous One may hope it is /els and dramas. e last knell sounding the passing of the eap "thriller" and marking the advance a sounder art based on a more subsed upon, or "adapted
intial
of seeing the picture version of a classic studied in the classroom, and comparing
perhaps
nal.
foundation.
contrasting it with the origiScores of topics for discussion will immediately present themselves matters
The week of November 12th to 18th has n set aside by the National CommitNational )ard of Review as "Book Week," with v slogan, "See Your Favorite Book in During the week, cornMovies." [ unity groups are urged to ask exhibirs to include one or more pictures based
:
of background and setting, character portraying, incident and plot development. History classes also may find profitable
for
Better
Films
of
the
material
in
many
famous
of
the
excellent
films
which
historical
characters
appear.
works
ve
of literature
?s for the
week.
bookExhibitors themselves
their
among
For some
reader
able,
is
had
their
attention
called
to
the
referred to reviews in this issue. other films, not so new, are avail-
Exsure to have in screen form. anges as far as possible have been furshed with new stock prints of the "book
II
The Last
demand from
a
the thea-
can be met.
offers
two-fold opporlity to schools and educational groups For the schools unequipped general. th apparatus for showing motion picres in connection with classroom work, is an exceptional chance to see book ms in neighboring movie houses. Exbitors are often willing to arrange a ecial day-time screening of their feare film if they are assured an interestpatronage. Or a special Saturday morng matinee for young people might be
.
Book Week
in
King Arthur's
Evangeline,
Les Miserables, Tale of Two Cities, Treasure Island, Jane Eyre, Rip Van Winkle, Silas Marner,
Disraeli,
Little
Lord Fauntleroy,
>ssible.
The Km cation al Screen
t
information about Book Week be secured from the National Committee for Better Films of The National
Full
New York
of
City, as well
a
cl
may
list
good
films based
Film Reviews
(It has been the aim of this department for some time past to list only films which have been personally reviewed by the department Editor. Reviews reprinted from wholesale sources are seldom of much value to educators. Reviews for teachers should be made by teachers, if reader and reviewer are to understand each other's point of view. Our purpose is attained in this issue. Every film here presented has been viewed and the review written by the Editor of this department,
personally.)
The Prisoner
questionably
more's novel, but an adaptation withal. Its settings and backgrounds are rich in picturesque touches, true to the period represented, and photographed with beautiful Acting and direction are effect.
skillful.
As
is
story,
its
substance
Rex Ingraj has again demonstrated his right to b classed with the all-too-few directors c true genius. In his hands Anthoa] Hope's great romance becomes a screl story of compelling interest, carryinj incident after incident along in logic* sequence, beautifully proportioned, 1 Seldom is there to be seen] the end. finer climax than the departure of tfl
,
On
"noblest
Flavia's
Elphburg
of
them
all"
an
renunciation of her
own
happj
are skillfully
film
done, and
version,
although there
may
well be
a question as to whether they improve the tale. The weakest spot in the picturization is the court scene which results in John's
chagrined retreat.
Later incidents in the story, however, more than make up for previous shortcomings. The fight with the Doones in their stronghold and the final hand-tohand encounter carry the action to a
stirring climax.
paraphrase the words of the stoJ good men are kings" but kinj are seldom portrayed by better men tha Lewis Stoiie, playing the double role 1 Rudolf Rassendyll, and King Rudolf Alice Terry is a beautifl Ruritania. Flavia, and the remaining characters ar
"not
all
To
well cast.
A
as
Lorna
simplicity
herself,
all
Bellamy, has
the
Heidi of the Alps (Prizma) 2 reelscharming dramatization of this clasj of childhood, done in Prizma colors. T|
film
was made
of
all
in
Switzerland, and th
story
has,
in
which
we
background
sequence,
Alps.
the
cor
re;
tomed to associate with the heroine. Old Sir Ensor Doone is remarkably acted by Frank Keenan.
With
fine
is
tol
School Department
how
little
297
Heidi,
is
becoming
burden
and
ish
to Jules
taken to the Aim Uncle liye. Here develops a childhood atchment for Peter, the shepherd boy. fter a time Heidi goes to live in a
her aunt,
ealthy
city
ing, so to
his
is
home
as
companion
finally
to
is
allowed Heidi
song symbolic of her own precious freedom, which Pierre in his dominating way threatens to overshadow. The story involves Jean, the artist in a nearby cottage,
may
who
out to prove to the little cripple that things are wished for hard enough, the wishing true" will accomplish the seemgly impossible. Heidi's philosophy
oves
true,
spiration,
and
serious rival.
a to
He
to
tempts Jean to go to
nearby
city
taunt Marie,
for
in
the end
Clara walks
lark.
Finally, after
much unhappiness on
the
not without interest for adults, adge Evans does the part of Heidi apalingly, and Aim Uncle and Peter are
is ell
part of the principal characters Pierre proves his better self by risking his life in a fire, to save the bird. The loss of his sight is threatened, but at
last,
new
life.
Moongold (Warren)
reels
The
old
ory of Pierrot and Pierrette, in a ghtly different version this time, hower. Pierrette's head is turned by the wels she is offered by the Rich Man, and )or Pierrot is commanded to "go out id earn more." He wanders to a tmbling palace, a theft is committed,
r
loose thread of story serves to bind together much that is charming in pho-
tography.
primitive
for
much
Quaint peasant homes and surroundings are responsible of the appeal of the reels.
Hope (Hodkinson)
beautiful Triart series
id
the blame falls upon him. He is ought before the judge and sentenced.
tires
have been reviewed previously in these pages. George Frederick Watts' painting
story which inspired
of Pierrette,
starts
Pierrot,
his
sentence up,
to
As she
leaves the
home
Man, she comes upon Pierrot awakens from her dream. "Better one red apple and contentment
background of the picture. The him is told by the artist to one of his models, who is weary of the world, and can portray only soris
the
and
an
many
pearls
with
tears."
Not
upon
horn much of its subtle suggestion ould be lost. For a general program, jwever, it is a delightful subject. In
ie
manner
hre\
the
row. It concerns the daughter of a lighthouse keeper on the Breton coast, and her sailor lover, who set sail soon after their marriage, and for whom she waits and longs, only to see his ship returning in flames. The rescuing party come back with no trace of him among the survivors. She waits beside a cradle, never giving up hope, until finally he comes.
ickground
of
dark
plush
giving
sil-
Done with
markably
to
a finesse in acting,
and
re-
mette
effect.
beautiful
photography
char-
The Song of the Lark (Pathe) 2 reels As the lark's song is the inspiration to Hubert for his "Hark, Hark the Lark,"
at
Harvard.
prJ
begins
with
characteristic
quota-
Followed by views of "Sunny-side" on the Hudson, the author's home during Characters from the years. his later Sketch Hook come to life before us Rip Winkle first, and then Ichabod \ .m Crane. The former is a fairly adequate
portrayal of old Rip as he awakens from
his
tographed, although the titling is not, some cases, all that could be desired.
a dramatization of this
poem
to whij
the
remainder
of the reel
is
devoted,
the
HI
tl
the scenes
shown only
shop,
the interior of
anvil,
blacksmith's
at
the
smi]
long sleep although in comparison with Jefferson's playing of the part in the
little
children
school,
longer "Rip Van Winkle" it suffers. Ichabod Crane is a good character study, though hardly fantastic enough in appearance to suit the hero of the Legend of Sleepy Hollow. The encounter with
Looking in at the open door," it would have been a fine contribution an understanding of the atmosphere at background of the poem. Here agaj how ever, as in some other reels of tj
r
Headless Horseman in the "enchanted region" is well done, although the retreating figure of Ichabod disappearing down the road takes some of the eery
the
series
is
a too
literal
picturing of every 19
attempted, and the whole is by the introduction of a touch for whit the poet is not responsible.
mam
mystery away from the closing lines: "And the ploughboy, loitering home-
ward
choly
of a
still
summer
evening, fancies
melantranquil
psalm
tune
among
the
kinson)
thor
series,
published
by
the
reel
Company
of
America.
The
Kineto opens
"Were
half the
power that
wealth
fills
the world
more than he picks and finally Aug! finds him in the wheat fields of eastei
Oregon.
with terror,
Were
half
the
bestowed
on
What
for
follows
is
the reel,
point.
fields,
of
arsenals
and
the harvesting of the grain, clos ups of the caterpillar tractor, the con bined harvester and thresher, and evt
the
final
The
customary plan of
sewing of the
filled
bags,
i
h?
show the poet's birthplace and his early home in Portland, followed by views of Bowdoin College, so closely bound up with Longfelas
splendid.
filled
Would
that
this
subject
As
is
marred 1 by an omh
effort
1
low,
student
"Craigie
House"
in
dose of slangy
and the
weave
subject.
School Department
290
JNDER
this
the
for
results.
most recent "educational" releases bm two of the large producing compaies. Judging by the first representatives f each, the groups as a whole are inbe quite as much "entertainUpon general "education." lent" as rograms in schools, churches, coramuto
ity centers, etc.,
They
suitable
any
SEVERAL
into
ded
months ago, the Fox Film announced its entrance the educational field. Its program calls
Corporation
year the
studios.
they
may have
a legis-
six
of
which have
left
the
late place. Those which have been seen o far are not strictly classroom reels. Educational Films Corporation has beun a new issue, called "Graphics." They re a sort of screen newspaper supple-
Several are here synopsized; others will be reviewed in succeeding issues. Water Sports (Fox) y Like other 2 reel "sports" reels, this brings to the screen
they have a feature story, eauty hints, sporting news, and cartoon ection. A characteristic reel is here relent,
in that
some of the exciting moments connected with our outdoor pastimes. Among the aquatic sports represented are water tennis, canoe tilting, diving, surf-riding, aquaplaning and speed-boating. Thrills and Spills (Fox) y reel An 2 unusually adequate title to give a hint of
iewed.
The
"feature story"
is
called
rs Factory" place, somewhere in Georia where an old man, his own boss, rorks on his primitive farm with his
"A
Strike-
Many
at the
were photographed
in St.
ome-made
implements, constructs his simple furniture with crude tools, nd has only one means of transportation, mule.
wn
toboganning and skiing are sure to afford plenty of thrills, and an occasional spill. Some of the "shots" show remarkable
exhibitions
sented.
of skill
in
The beauty
t
section
the
sports reprelist.
her "waking-up exercises." In the porting pages are exhibitions of horselanship by America's woman champion
INDUSTRIAL
Fox reels might be so throws some light upon the domestication of one of the most ferocious of animals, and turning him into a
third of the
it
The
low motion photography comes in here d good effect. The reel ends with some Lllendorf animation in this case carDons showing the rise of well-known len Rockefeller, Edison, Harding,
classed, since
source of
l
profit.
Alligator
/z
from
mediocre posi-
reel
demand
political world.
Fresh Fish
oration)
ions
(Educational
It is a pleasure to
given rise to a strange industry in some of our southern states. In this reel, the "farming" of alligators is
for
leather has
shown
first.
ecommend
eeded on
turr
a"
where
series)
some
exceedingly
clever
ombined photography and animation are hown. The actors are a real boy and a jit, the little animated figures a boy, a og, and a fish. Others of this series use
and a most interesting close-up shows a baby " 'gator" assisted out of his shell. Then follow unusual views of an alligator being hunted in his native haunts, and caught with a noose thrown around his powerful jaws. A capture of a goodsized
alligator,
bare-handed, furnishes a
thrill at the
end.
From Hollywood
Conducted by M. T. O.
ONE
a
of the motion picture "fan" magazines of the month publishes an article on "Where the moving
as
much
misfits
there
as
thl
ever were.
come from." It affords few interesting moments, and suggests a line of thought. It reminds me, somehow, of the population of California: nopicture directors
all
One
dition
sees readily
enough how
came about.
of
The
first
growth
the
movies, the
body was ever really born there they came from somewhere else. And apparently nobody was ever really born,
so to speak, in the
and quick profits, and the more or les unorganized conditions which prevail! at the outset, presented an inviting pro!
pect
to
the
moving
in
picture busitells,
were "waiting
something to turn
ul
ness.
The
article
question
for
They made
selves
in
good
if
mean
money, even
pictures.
bona fide arts, you know, like painting and sculpture the army, the navy, the
And
thing, and they maj they did not make goJ now I am including pro
speedway,
profession
the
barbershop,
the
medical
and
what you
will.
Of course everything has to have a beginning some time, and the motion picture business is still, in the matter of years, in the beginning stages. So we mustn't be too hard on it. Still, we must face facts, and one of them is that the personnel of the motion picture industry still leaves much oh, much to be de-
sired.
It is not that a barber, or a doctor, or a sailor, or a lawyer may not make an entirely satisfactory movie director
cameramen, scenario writers-4 everybody in the movies. For it is quit logical and perfectly believable that the directors sprang from divers curiou origins, the same may be true of the res of the movie personnel in equal measure Q.E.D. So these barbers, these racing driver^ these football heroes, and these nevm paper reporters made movies mad them very badly too, at first. But w liked them, bad as they were: we mus have, for the movies flourished witha
ducers,
i
great flourish.
Then time went on, and with it well some of the ex-automobile-salesmen. an<
the
or
scenario
writer.
in
square peg
over;
a a
ex-circus
men,
and
the
ex-colleg<
and
is
if
bootblack,
man on
the
they did g< the magazine article did not say. The: had made enough money to satisfy then
heroes.
corner
unhappy
in
his
chosen work,
for the
and
only
medium
expression of his true self is the screen, I am far from discouraging him. He may be a genius in disguise. But genius
is
who tumbled
into the
for a while, perhaps, or something els< "turned up" and they drifted on. At an} Some, on tin rate, they disappeared. other hand, stayed with the game, an< eventually learned something about it And some there were, of that first batcl of ex-something-or-others, who stayec
From Hollywood
l/ith the
301
game and didn't learn anything, ^ou have seen the pictures they make,
i course.
A
said
magazine
recently,
its
editorial
on
this
subject
"A
river
rises
no higher
than
Why
n is
esthetic
and
artistic
one of the mysteries of the industry, public opinion, it is true, is against them, is ut public opinion a funny thing
lost
inconsistent,
to
all
appearances.
Vc are agreed
rude
ire
and
the
trashy
picture
must
be
a lot
but the fact remains that there of bad pictures on the market,
pying the swivel chairs of authority must be ousted, and replaced by educated, cultured people men of vision. Let it not be understood that I consider there are none of the latter in the movies today. On the contrary, certain names unquestionably stand out in motion pictures.
They
md
ill
lot
more
which
sell well and draw full patronage. Last spring, one day, an official of a vorld-wide distributing corporation menioned in my hearing that he had been isked what the outstanding motion pic;ure success of the month was; and he
[
represent the highest type of thought and expression that is anywhere to be found. Some of them even stand for genius. But in practically every case,
the
name
is
an actor, and
not
a producer.
Some
placed
of
these
people,
these
artists,
lamed the picture. It was a melodrama jased on the very mellowest of the old dime novel thrillers, which had been r'rowned upon by the critics in every -eview I had read. "It's the worst collection of bunk and
world," the speaker packing the houses." In spite of this condition, however, ere is a part of the motion picture pubic which is demanding something better real stories, real actors, evidences of direction and intelligent producreal
:heap
iaid,
upon them as mere parts of a unit, and they have escaped the curse by dispensing with the producer, and making their pictures indeproducing
hokum
in the
"but
it's
pendent of anything but their own high standards and the demands of an intelliThey have surrounded gent public. themselves with staffs composed of men and women who know their business or their art, and are the best of their kind.
really bet-
pictures that
find
I
"Do you
a
in in
tion.
in authority
the movies?"
demand
comedy
"Oh,
studio.
|nd have made some effort to satisfy it. To that end, they have renounced all cheap and vulgar and commonplace productions, and adopted as their slogan, "Bigger and better pictures!" But judging
lots
of
he
was
a university
man
himself
And it's are coming in all the time. bound to make a difference in time.
Why, Blank's private secretary," he named a prominent producer, "is a Then he named a Rhodes scholar." dozen picture men who were college
products.
this time,
from some
cam-
paign,
words "bigger" and "better" as synonymous. If it costs more, it must be correspondingly better. Again, Q.E.D. So
now, instead of a little cheap vulgarity and commonplaceness, we get a good deal of expensive vulgarity and commonplaceness, and the per capita tax is just
that
asked another man, a publicity man where he thought the movies' greatest improvement in the next four
I
much
higher.
was
his
answer.
nun:"
lots
suggested.
He
right
idea
in
'The
effort,
Three
Musketeel
We
intend to folll
prj
"We
What
of
college
men now,
his
lead."
No
and no expense!
especially
the
technical
departments.
the
telligence
make no difference. College men, you know," he added, "arc often terribly egotistical
duction of the literary classic on whi }M his company was then working. long afterward I learned that the art 1 rector of that particular production ha
declined
thentic
"I
to copy his settings from J photographs of the localities I place.
if
cation."
that this was not the time for ask the publicity man if he were a college graduate, so I said something about the need for men of vision. Again
I
felt
me
to
bother with 'em," he ai nounced. "I'm going to make these si they way / think they ought to be." Wl that's a small detail, perhaps, but ei
lightening.
he smiled.
"Any man who is interested in his work is a man of vision," he said. To my question as to how the undesirables are to be got rid of to
What
in the
is
movies
make room
for
the
new
men
of
partments of the motion picture organ Given that, the real abilii zations.
which
exists
among
eliminated
pictures.
by
the
necessity
for
better
to the actual
making
"We
realize,"
said
his
another
publicity
surely find expression, and the poor ar useless material will be eliminated by tl
natural process of showing up its ov\ This realization of the need defects.
a change
is
man, concerning
pictures.
ture' is
own
particular or-
<
hi
penetrated
of the
Production Notes
TWO
new
foreign
films
are
sched-
LATEST
to
reports
insist
that
Madj
<
Kennedy has
"Sodom and Gomorrah," and "Othello." "Peter the Great," "Lady Hamilton," and "Destiny" are others which will probably be shown here. Walter Reimann, who
was responsible
for the settings of
Haddon Hall"
ment
FOLLOWING
version
Goldwyn's
announc
"The
of a contemplated productic of "Vanity Fair," comes the news th Hugo Ballin, who gave us an excellei
last
year
of
"Jane
Eyre,"
wi
star of "Pas-
make
as
the
same
B.
picture with
Mabel Ball
sion" and "Gypsy Blood," is now America. Her first picture for the Famous Players-Lasky Corporation will be adapted from the stage play, "Bella Donna," by Robert Hichens.
Becky Sharp.
PETER
nia,
KYNE'S
story of Califo
Production Notes
303
T
I i
THE pany
first
of
ENE
at the
STRATTON
PORTER'S
on
rs
"Michael O'Halloran" is in producThomas H. Ince studio. Othof Mrs. Porter's books will be filmed
iter.
its "big twenty" in the order of their release will be "Remembrance," "Sherlock Holmes," "The Sin Flood," "Brothers Under Their Skins," "Hungry Hearts," "The Christian," "A Blind Bargain," and "The Strangers'
terms
GUILD,
who
are
will
group
of
Banquet."
people
independently,
SELZNICK
duction
after the
will
give
special
pro-
to
"Rupert
of
quite
Hentzau,"
naturally
Pris-
raft
Ingram version
of
"The
Juster," a
vas
;ase.
oner of Zenda."
is **T> ACK HOME AND BROKE "for Ml a 'George Ade story written
this
re-
in
producto
Lila
Lee
is
in the cast.
is
he screen shortly.
r^UITRY'S
be Pheodore Kosloff
^J
A
It is
THIRD
the
Ibanez story
reach
the
title
part.
tan.
Just an Indication
FOLLOWING
ilm,
another suggestion as to which way we are heading. This sort of thing is highly signifiis
mable
this
films has
been condemned by
Association, the National Board of Fire Underwriters, and the National Fire Protection Association,
and
the prohibition of the use of such films in some states and not in others does not remedy the
evil,
however displeasing
be
to
it
will
unquesinterests.
WHEREAS,
and
ionably
the
theatrical
.Vhen the "non-flam" comes and it is nerely a question of time one of the
motion >ictures for schools, churches, clubs and :ommunity centers will be permanently mt of the way.
difficulties in the
upreme
way
of
the prohibition of inflammable of transportation films by the National Congress will accomplish the desired result and compel the manufacturers of films to manufacture films which are noninflammable,
the
WHEREAS,
FIRE
mable films in theatres and other places is detrimental to public safety and largely increases the fire risk,
and
the use of films in theatres, schools, churches and lodges is continually increasing, and
by the Fire Marshals' Association of North America, in convention assembled, That the National Congress be requested to enact a law prohibiting the transportation of inflammable films in interstate commerce, effective January 1, 1925, and that a copy of this resolution be sent to the President and Vice-President of the United States and to each Senator and Representative in the
RESOLVED
NOW
BE
IT
THEREFORE
WHEREAS,
WHEREAS,
the
use
of
inflam-
National Congress.
IN
al-
(Metrd
pic
(Cosmopolitan)
has
the greatest
and above its rottenglamour of love and castle bars, night rides and reckless gallantry, has been one of the most widely read of any
ways
carried, over
produced. Rex Ingram hi gathered about his romantic tale a cast 1 The Prisoner himsJ splendid actors.
tures
ever
ness, a
and
his
British
finest
relative
are
two
of
ti
screen's
characterizations.
Cel
been no
played
best
seller
that
ever
found
its
way
to
more
those
stirringly
unless
perhafj
of
"the
public's"
table.
To
screen
Charles
unforgettable
moments
"T|
Four Horsemen
of the Apocalypse."
Ti
was done
Beauexcellent
first
footage.
tiful
careful
continuity,
photography and an
cast describe
efficiently" directed
in
passing of the British lover to leave Zel da's Queen was not the public's idea of; happy ending. But from the lowest loJ brow to the highest highbrow there coul
Marion Davies contributes her first real work. She is delightful. Forrest Stanley is the courteous and daring Brandon, direct from Major's pages. Johnny Dooley as the Jester and Lyn Harding as Henry VIII are remarkable
Flower."
character
roles.
the
intelligent
artist
stamped
will
"Th
wonder
if
the
screen
ever
knoi
more
effective acting than that of Mis Terry. As a frivolous and hasty aside w would whisper "Watch the blackeye
'find' of
Any
slip
in
this
film
Mr. Ingram's.
us
Julio,
He
would have been unforgiveable; certainly the slightest undesirable quality would
have stood out brazenly for the story is one to escape the severe observation it will receive. Cosmopolitan's production was a thorough satisfaction. (School and church use, properly
a too-familiar
censored.
cate
seriousness of Valentino;
give
he
coul
never
use.)
(Selznick)
]
the
splendour
Any community
use,
we should
judge.)
THE FACE
tan)
IN
THE FOG
(Cosmopoli-
nothing more completely comgood melodrama, enough but not extravagant suspense; keen, hushed action and a corking
There
is
Gloria Swanson, Norma Talmadge passe through a story of exotic passions. Ther are many accusations to be made, ex travagances of acting and setting, bn Miss Talmadge was never stronger thai Yet, eve: in this particular melodrama. Miss Talmadge could not save the pro duction from a general and tiresome un
worthiness.
(Theatrical only.)
story.
"The Face
his
in
the
Fog"
affords
BROADWAY ROSE
part this film
is
(Tiffany)
excellent
supports,
Murray
it is
film
We
th
dual-role
to play,
one
woman
that Miss
Murray
love
leap
:;o:
Broadway
THE BONDBOY
It
is
(First National)
irritation
ountry mother and a iarm-house fireide. No one but Mae Murray could put cross this film, but she is not to be deied. Monte Blue makes a strong backround for her crushed beauty. (Theatrial
disturbing
to
sit
through a poor Barthelniess picture, yet such is the mumbling, drawn out Bond
Boy
film
with
its
over-effects
in
is
the
cell.
the
same
only.)
sensitive
actor;
likewise
Mary
star,
MANSLAUGHTER
(Paramount)
Thurman performs
however,
is
creditably.
The
This lengthy production, somewhat >ropagandic in nature, is impressive as veil as entertaining. But for the absurd nserts of elder-day debauch and reckessness, the continuity
was
splendid, sus-
by Mary Alden, the shrinking, brokenspirited wreck of a once imperious woman. Miss Alden as the mother of the bond boy brings the agony of the poor
house,
the
ruthless
stress
of
Thomas
circum-
^eighan, as always, was steadily the retrained actor but the great fulfillment of nany earlier promises was Leatrice Joy. The silver sheet has achieved another
jroung
We
Barthelmess will find worthier vehicles. (Some church and community use.)
REMEMBRANCE
Some may like this drawn moments and
It
(Goldwyn)
film
woman
of
fine
intelligence.
despite
its
many
over-
its
maudlin
excellent
sentimentality.
film,
should
is,
have been
but
the
an
spots,
continual
occurrence
ruins
it.
of
and, in poor
TO HAVE AND TO
mount)
HOLD
(Para-
(Some
An
and
(Paramount)
among
the arts!
An
Wallace Reid has stood for efficiently entertaining comedy, but "The Ghost Breaker" falls far
short of his usual standard.
the dashing
(Theatrical only.)
and competent Bert Lytell, the erratic and colorful villain, Theodore Kosloff, and the pretty and common-sense Betty
[Compson.
(Theatrical only.)
LOVE
nick)
IS
AN AWFUL THING
Owen Moore
a cunning support.
use.)
(SelzMar-
A
jorie
thoroughly funny
story.
Daw
is
(Theatrical and
some community
SOUTH OF SUVA
A
(Faramount)
(Cosmopolitan)
thoroughly
thrills
Mounted-Police-cold-north
tale
But for the and scenes. unconvincing tremors of Miss Ruhens (and you forget them under the spell of her black-eyed beauty) you will find this enjoyable melodrama.
with
in
action
poor and bizarre tale with nothing to redeem unless the charm of Miss Minter is sufficient it (For no use.) unto that end.
PINK GODS
A
film of
(Paramount)
brilliantly
romance and adventure encircling the Mr. Kirkwood is alert Miss Daniels.
(Theatrical only.)
".(Theatrical only.)
occasionally sentimental.
WHITE SHOULDERS
I
(First National)
(R. C. Pictures)
There seems
to
viewing Katherine MacDonald's pictures, if we continue to be hurt by seeing a beautiful and intelligent actress slip farther and farther away from ller promising work of earlier films. (Ar o use whatsoever.)
tiresome tale of the up-to-date prohibition western town, just this side of the Mexican border. Harry Carey is careful but that is all to
for
his
acting.
poor picture.
is
wooden.
BURNING SANDS
"An answer
to
MOONSHINE VALLEY
In which the heavy William and more nauseatingly sweet
(Fox)
(Paramount)
'The Sheik'!" say the advertisements. We would say, an echo and a poor one. But for the fine acting of Milton Sills and Wanda Hawley this is a tiresome desert film. {Theatrical
is heavier than ever. We wonder what the gentleman would do to register love, anger, dismay or whatnot, if he could not protrude his eyeballs as he so faithfully does.
Farnum
(Good for no
use.)
REVIEWED PREVIOUSLY
IN
III
I
:
SEPTEMBER
I
Indifferently
use.)
good
comedy.
(Some
community
STORM
if
1'mvcrsal Jewel).
acting.
oM
incltxlr.tm.i;
excellent
(Gnl.lwyn).
ioot
community
censored.)
liRAXDM.VS
l'.itlu-
HOY
In
(Associated
Exhibitors;
distribution).
uates
from
even
IN
cational
epic.
OCTOBER
(Pathe).
An fl
comtnunity.)
church
and
communm
A One
WOMAN OF NO IMPORTANCE
of the year's best.
(Select).
use.)
(Theatrical only.)
(First
Very funny
if
you get
it!
(Theatrical
HER GILDED CAGE (Paramount). A some what sentimental offering saved by the exampleM loyalty between sisters. (Theatrical only.)
BLOOD AND SAND
beautiful;
only.)
SONNY
(First National).
passport enough.
Pictoriall)
(Theatrics
(Famous Players-
A serious bachelor's triumph over five Lasky). (School, Church and com"banes of his life." munity.)
ORPHANS OF THE STORM (United Artists Corporation). A barely even toss-up between Griffith
an elder day.
r
(Theatrical only.)
Indifferent^
talent
and
Griffith
weakness.
(High school
and community.)
(Goldwyn). In which the cold silence of the cinema takes unto itself warmth and chuckles! (School and community.)
HUMAN
HEARTS.
big,
CONFIDENCE
ure.
(Universal).
ludicrous
fail
(Community.)
DOMESTIC
RELATIONS
National).
IF
(Possible
church use.)
B'ELIEVE IT, IT'S SO! (Paramount passingly good family film. (School, church am
use.)
YOU
community
abominable
reassuring narrative.
Old
LOVES OF PHARAOH
spectacle
film.
(Paramount). (Church?)
Al
(C
list
STOLEN
nothing.
MOMENTS
No
(No
Good
for
HURRICANE'S GAL
and dashing melodrama.
censorship.)
(First
National)
National).
Red
series of
MacDonald
poses.
(Theatrical only.]
(Paramount).
use.)
Fail
THE
tale.
BABY
THE DICTATOR
tiresome.
ish rot.
Pathetic
am
(Famous
school
Western
use.)
(Paramount).
Fever
yarn.
(Some
and community
Well adapted
am
Pic-
(Theatrical only.)
(Arrow
FASCINATION
(Theatre
only.)
Generally poor.
(Theatrical only.)
(Metro).
An
inexcusable film.
(Paramount).
acted.
good fa
(Some community
(First
National).
/ol. I
DECEMBER,
1922
No. 10
Frederick
J.
Lane, Treasurer
Inc.
$1.00 a year.
Back numbers,
25 cents
311
delation of Experience to
315
Weber
317
Vlovies
rheatre Architecture
/.
318
E.
McAfee
320
324
from
Hollywood "That
Film Critique
Long Fence"
Conducted by M. T. O.
331
rheatrical
335
Conducted by M. F. L.
Published by
Inc.
46 East 50th
St.
New York
no
Advertisements
Built to
Rugged
built
Endure
simplicity is the foundation of the DeVry Projector. It is not only to show motion pictures, but to stand the abuse of the most inexperienced. It is so constructed that it can't go wrong. Day by day, year in, year out the DeVry will click out clear, flickerless motion pictures of theatre size and quality. For seven years DeVry's have been showing pictures to the nation. The DeVry was the first successful portable projector made. Despite the many imitations, it still maintains its unquestioned superiority. Every mechanical part used in the DeVry Here is the reason why machine is made in our own factory, under the supervision of our foremen. Not a casting goes into the DeVry. All parts where wear comes are machined to two ten-thousandths of an inch, out of tooled steel each part is oil hardened, individually. This can be said of no other
machine made.
The DeVry
is
made and thousands of users, the remarkable performance, even under extraorBe sure the machine you buy is the best specify
"DEVRY." Where
desired, the DeVry will be equipped with a gold glass shutter, to enable stopping on the film.
Marianna Street
Chicago, Illinois
December, 1922
No. 10
Special
Announcement
The Educational Screen has taken over The Moving Picture Age, thus combining the only two magazines in the visual field which
have been devoted exclusively to the educational cause and free from embarrassing connections with the commercial field, The first combined issue will appear in January, 1923, under the name
The Moving
Picture Age)
On January
ver attained
1st, this magazine will have the largest paid circulation by any magazine in this field.
The page-size
ducational fields
ical
such as The Bookman, The Atlantic Monthly, The ClasThe School Review, etc. The number of pages will be increased from 32 to 48. Better paper
Journal,
tock will be used for both the body and cover. The policy of independence from outside commercial control will be
trictly
maintained.
The Chicago
>uilding,
ity.
office has been moved to larger quarters in the Mailers one of the most central and generally desirable locations in the The new address is 5 South Wabash Avenue.
The above announcement means that there is now but one serious nd independent magazine in the field. It means that there is at least one lagazine and only one that can logically invite the support of the fhole visual field, educational and commercial alike. READERS can hereafter keep in touch with the whole movement by ubscribing to a single publication at the same price of $1.00 a year. CONTRIBUTORS can now reach their maximum audience by a single rticle in this one organ. ADVERTISERS can reach the entire non-theatrical field by a single
dvertisement
in
medium serving
311
that
field.
313
Picture
Age
is
It
During the last two years, especially under the editorship of Ml Milton Ford Baldwin, The Moving Picture Age has made enormous stride in the broadening of its contacts throughout the national field, in disco\ ering and appraising new and varied needs of that field, in seeking to serl these needs in more and more efficient ways, and above all, in restoring an building up in the minds of the interested public a firm confidence in th a confidence that has be! ideals and purposes behind such a magazine badly shaken in the past by certain other publications ostensibly servilj Such achievement as this should be perpetuated. Th the same cause.
it
shall be.
The
New
Responsibility
Educational Screen realizes fully the increased responsibilil upon it, a responsibility strictly in proportion to the greatnej of its opportunity. We can meet this successfully if we can hai the genuine cooperation of all elements in the field who are actually intei ested in the success of such a magazine. At the start we have had, and shall continue to have, the invaluab
task of combining successfully
THE now
The Moving Picture Age in the difficu two publications. The present merger hj been possible only through most generous concession and cooperation c the part of the personnel of that magazine notably of Mr. Edward
assistance of the publishers of
Hamm,
Baldwin, editor.
let
to see their excellent achievement continued along similar lines rather ths
it pass into unknown hands, made it possible for The Education Screen to undertake to carry on their splendid work. In the second place, we want the immediate support of the mar
and readers of The Educational Screen in the form of new sul renewed subscriptions, and especially of communications gr ing us frank suggestions and criticisms. Tell us how we can make Volun II, which begins in January, more attractive, more interesting, more va uable than Volume I. The opinions of readers of the two magazines as
friends
scriptions, of
'
Editorial
[hat features should be retained,
features
fi
313
what omitted, what extended, what new should be introduced these will be of immense assistance to us shaping the policy and contents of the enlarged Educational Screen dur-
we want the cooperation of significant contributors who have strong beliefs and sincere doubts about
in research or in practice
prove
whose
position and
This will mean material for pages both readable and worth the reading. The "scissors" play no art we do not say the "blue pencil" in the production program of The We aim to present original and vital matter only, fducational Screen. which the source, form, and content will command attention and respect rom thinking men and women everywhere. Finally, we want the patronage of advertisers who can, who will, nd who do render the service that they advertise. In return they can
kperience lend authority to their utterances.
kir
|f
xpect from us the fullest and most cordial efforts to promote their best
field. We are laking a magazine expressly calculated to serve their interests as perectly as the interests of our readers. These interests are identical. It is
our business to foster mutual confidence between the commerproducer and the educational consumer, in a field where this confidence as often been rudely shaken. We intend to make a magazine that deerves and, therefore, has the complete confidence of a public which is xactly the public worthy advertisers need to reach. We want only vorthy advertisers to reach it. Such a magazine, with such a public and vith such advertisers, cannot fail to be an invaluable means toward the evelopment of this great visual field to the maximum benefit of all conefinitely
ial
erned.
Fhe
New
ment
Magazine
technical side the
in
ON THE
lally.
)f
new magazine
will
have a page
6^/4.
2 9y
inches,
and
32,
pages.
this
With
added space
at
our disposal
all
we
shall
be able to continue,
nagazines.
cal
314
v.t
Each
is
essential in a
to
our contacts with scholarly cover the field. needed on the quel greatly so research the doing are who investigators who are active* others and leaders, club ministers, teachers, with tii ui. and increase in tfl mean steady will a This practice. in aids visual with busy
shall constantly multiply
We
quantity and quality of the matter presented. made possible by this merger will be the monthly \ notable feature the two national organizations concerned with the of each of departments
promotion of the cause of visual instruction, namely, The National Aca emy of Visual Instruction and The Visual Instruction Association of AmerWe are also to have the privilege of presenting during the year son ica. of the significant results obtained by The Committee of Research on VisJ; Instruction under the Commonwealth Fund, which is just completing elaborate investigations of the highest importance. This assures our readers first-hand contact with all that is being done at the present time by the
only three national bodies so far active in the visual field. Additional departments are planned to take care of various phases o
the subject which have not yet received adequate attention in any publication. The slide, for example, needs far fuller exploitation as an instrumen
and one which is not yet yielding American education. The stereograpl a fraction of its in writings on th< and neglected in its use restricted has been still more chart, diagram even of the black* model, map, of the subject. The values
of
supreme worth
in visual instruction,
potential value in
board should be emphasized, not merely assumed. We should develoj more systematic treatment of these great visual aids which have beei handicapped by the simple fact that they have long since passed the stagu
of novelty.
and in various centers of community activity deserves special attention in the magazine each month. Industria and agricultural films are an important element in our national education as they are being used daily from end to end of the country in factorie and commercial offices, in rural districts and farming communities. Th enormous business in export and import of films by various countries i having a mighty influence on international relations which has as ye
The use
been guessed
at,
not studied.
All these
demand
detailed consideration
Our readers may expect, therefore, to see an increase in th number of pages in The Educational Screen as constantly and rapidly a| healthy growth permits. This growth, in the last analysis, can come onll
from our readers, and from those readers only who subscribe.
i
Weber
The
facts can be presented
University of Texas
THE summary
of
more
the
previous
installment
distri-
functions
word learning:
Visual Experience
Kinesthetic
46% 22%
18%
Auditory
Instinctive
was made with 50 words selected at random from the "Thousand Commonest Words" by Ayres and submitted in the spring of 1921 to 81 psychologists and exforegoing, which
Cutaneous
Olfactory and Gustatory
8% 4% 2%
100%
perienced
educators
at
Teachers
I
ob-
Total
Auditory
Tactile
3%
100%
of
results
with
my
present distribution.
we
type of experience, we may state with assurance now that from forty to forty-five per cent of our conceptual learning is effected by visual
experience.
III.
Now what
this
*Weber,
Visual Aids, page
The answer is brief and simple Reorganize method and subject matter
:
of
Some
315
in
al6
effect learning in the
ical
manner.
Kinesthetic
Auditory
Instinctive
Cutaneous
11
1
Olf. &,
Gust.)
47
28 76 35 87
55
21
4
3
-2
17
19
6 8
1
8 4
55
eee nnd
full
21 17
73 21
3 3
5
1
23
56
51
51 13
3
5 11 5
half
home
32 22
65 32
6
31 12
40
4 24 66
10
know
like
8 4
2 6 2
11
9
10 16
15
27
2 21
4
1
men
need
or
point right
20 46
77
6
32 7 4
71
11
6
61 21
11
24
5
8
18
11
5
2 9
28
1
send
small stop
63
5
74
2 10
9
16
then top
want
80 6 28
65 48
76
31
8
10 2 22
8
16
35
46
2
11
1
why
your
2
13
Per cents
29
list is
9
the
4
j
The above
activity.
of 250
auditory
thinking.
needed
the
to
force
child
would
An
word "another" reveals in a startling manner the difnculty of the word as compared with "bed." Half of the work of gaining
following the
experiences
two persons or
human being
this
contributed by
317
ti
Concluding advice to teachers During the year your pupils are expected to acquire a certain number
of facts, skills,
ittention
hould be allotted far more time and by both teacher and pupils han an easy one like "bed."
and
ideals.
Analyze
)le
Reform in method is also desiraThe auditory appeal excessive should be reduced when'telling"
.
Then
ever
)lace
and wherever
ations
teacher.
accordingly.
Be
an
artist
SO
MUCH
it is
who go
little
^
way
to a really
good book.
to the
ing that
picture.
artistic film
Some
is Peter Ibbetson, and one city at least this film has caused a demand for the book un-
equalled
novel."
by
any
other
the
"movie
very
on the week's program of the nearby theatres, for she is sure to be asked for almost any book that is shown on the screen. If movie and book appear under the same title and the
librarian needs to be posted
version
followed
story
closely, so those
who
book,
The Count of Three Musketeers, and the Prisoner of Zenda have always been popular stories, but since they appeared in the movies, libraries have had to buy many additional copies. When the movie is well done and the book is a standall
goes well.
the
afterwards were satisfied. On the other hand, it often happens that the book has been so altered that the difference causes disappointment and worse. Recently, a mother
Monte
Cristo,
came
home. The book was a novel by Kathleen Norris and no one had
questioned it before. The mother, however, had seen it in the movies and she said the whole moral emphasis
sirable
ard novel, a number of people who read very little or else choose in-
at all de-
young
girl.
On
the
Tin-:
Educational Screen
seller
it in the movies it must be good" and that is a sufficient recommendation. It is by taking ad-
other
hand,
recent
best
can see
which many libraries did not buy was reported to be wholly innocuous and unusually picturesque in the
screen version.
different ending.
Attractive
to post,
pictures
that
large
well presented, wire unusually though both the stage versions sacrificed for the
enough
scenes
represent
the
story
or characters in
effective posters.
conventionally happy
subtle psycholog-
make
Better yet
ending, the
ical
more
that
when
they
point
was made
in
the
story.
Not every one who asks for a book has actually seen it in the movies, many have heard others tell about it, and some have merely seen it advertised. So strong is the glamor of the cinema, that "if vou
theatre.
by striking pictures,
tract attention
they are displayed when a good geographical or travel (Concludedon page 330)
Theatre Architecture
J.
E.
McAfee
Oklahoma
ion in the particular communities
so
still
University of
IXthere
atres.
American
art,
is
backward.
is
The
janitor
of
the
movie theatre
and
less
To
be sure,
we
are
still
floun-
is
his blood
Rarely
is
the
theatre
but
it
is
something to have
in
the!
in
emerged from the era of the woodshed and the pig-sty. This is not guilelessly to assert that
common, and
pace
of
for
is
often setting
the
entire
community
numbers of
the-
still
But that
is
more exalted artistic virtues.. The history of American art in other fields promises that we shall
E
1
EATRE
A RCH 1TECT U K
319
erated theatres
now
them
affect.
They are
who
it,
such emblems
creating a
tion,
Bost
ing.
resort to
The movie
is
of histrionic tradi-
When
and
will
managers
will
respond
in
no
demand
and
once
in the
harmonious with its genius. Managers are now catching the wary human night-flies by their
decorative
art
complete.
Sleeping
coaches,
cars,
railway
were
like
able
them
crude
and
frilled
and frescoed
of
the
devices.
The
about
theater center of
New
grows
elusion
that
in
passengers
palaces
to
be
York,
Times
Square,
ransported
)lalant
)f
most
new-rich standards.
On some
England,
more garish every year, and the fortunes consumed in flash and flames
are
New
doubtless
enriching
the
ind
Electric
shall
Light Companies.
Edison But we
early days,
fication of
and
real art,
omy
of
construction
have conspired
the
better-counseled
lavish
tricksters
who
upon bizarre movie signs. Money expended upon art is well spent. The higher refinefortunes
now
now The
fewer
better.
that,
grills
and
frills to
Railroad managements know and a public educated in sanitary science, and also in chaster tastes in
ments will call for the expenditure of money, even more, perhaps, than is now squandered upon cheap and primitive passions, but a more refined public from its will get more values money. We are making progress, wonderful progress.
the great
improvement
in
passenger
ing
new motion
chastity
is
rolling-stock.
After similar fashion, theatre managers will discover that grinning and
being preserved
in
numerous
reconstructions
and
new
scowling
furies
gorgons and griffons and and clowns, sticking out from friezes and pilasters, and from the surfaces of every wall, hooded and
taste over
Department of The
Visual Instruction Association of America
This department is conducted by the Association to present items of interest on visual education to members of the Association
and the
public.
PROBABLY
eral
no single principle
in-
an entire
entation
article,
but
we must
confine our-
volved in the educational process, no single phase of educational methodology, has ever found its way to genrecognition
selves to very
narrow
and shall therefore content ourselves with adverting to the very concrete facts
among
practical
educaand with so
educational
diate observation.
instruction.
Nearly
every
of
With the gradual recognition of this phase of school work there came about in
innovation has
signal
grown out
some one
New York
City, as in a
iew other
school
experiment or has been promulgated by some distinguished educational theorist, in short has been in some sense handed down and passed on to class room workers in more or less complete
form.
safely
systems, a certain degree of official recognition. For some time that amounted here to nothing more than the allotment
of a very small fund specifically dedicated
to
visual
instruction
purposes.
This
In
contrast
to
this
it
may
be
stated
that whatever
professional
meant no more than that this fund was expended in the purchase of various types of projection apparatus and in the sporadic rental
of film.
among educators today on the subject of visual instruction has been the result of slow organic growth without special guidance or stimconsciousness exists
ulation.
Nevertheless
in
the
central
is
idea
writer was asked to take< charge of the Public Lecture Service in. the New York City school system, he was also requested to assume the superthe
vision of visual instruction in the schools.
I presume that the conditions found here were and still are pretty generally duplicated in various localities throughout the
When
involved
visual
instruction
now
how
growing army of teachers who are eager for guidance in its extension and application. The whole story of the gradual evolution of its conception would merit
320
country.
We
had had
for
public
Department of the V.
iState
I.
A. of A.
321
Department
In
of Education at
Albany
Natural
of
bringing
many new
recruits
into
the
work being
carried on.
the
could be said that a very fair percentage of our schools were using slide material in one way or another and lin several of these schools this type of jwork was very intelligently organized.
it
On
the whole
prolonged and untiring endeavors of these committees that certain very definite lines of action have taken shape with
regard to the use of motion picture instruction here in our New York City
schools.
Briefly, a number of courses have been organized in specific subjects of the curriculum in which weekly film presenta-
With regard
tures, not
to the use of
motion
pic-
quite so
much
could be said.
were showing motion assembly perThey simply took what they could iods. get and there was absolutely no connection between the pictures shown and the
of the schools
Some
picture
programs
in their
tions are
tion,
made
being definitely linked up not only with the use of other visual material, but carefully correlated with all the textbook
in
At
the
same time
principals
and oral instruction received by pupils This is not much the same subject.
to
and others had been besieged by purveyors of alleged educational films to adopt It took very little and use their wares.
time to discover that neither the educators nor the producers had a very definite idea of what they needed. Accordingly, without failing to recognize the importance of numerous other
aspects of visual instruction,
tified
work
those
boast of so far as the actual extent of the is concerned, but there is a fairly
unanimous consensus of opinion, among who have participated in and among hundreds who had observed this experiment, that a very definite and conscious
step in the right direction has been taken.
we
felt jus-
for
chaos with regard to the availability and use of the motion picture as a teaching
tool.
Educational Association was in session Chicago, there was brought together a small group of persons intensely interat
ested
in
visual
instruction
and two or
As
As
a
to
result
this
no personnel for this work, it became necessary to form committees of princiIt also very soon bepals and teachers. came apparent that these committees needed the advice and experience of laymen who had some technical knowledge of the sources, limitations and possibilities of the film.
a national organization to be
assume the responsibility of launching founded on lines similar to those adopted by the
Visual
number of these work for some time, it became evident that we could achieve much more rapid and lasting
a
When
at
they were organized into an This plan made possible also the broadening of their operations by
progress
if
association.
Instruction Association of New York. It was decided that this should be undertaken at the time of the Boston convention of the main body of the AcNational Educational Association. cordingly, the Visual Instruction Association of America, was formal'y organized at Boston, Mass., July 6, 1922. Permanent officers were elected and a Constitution and By-laws were adopted. The following were the officers chosen:
Crandall,
Director of
Lec-
el
Instruction in the
New
planation of the
crete aims
tion
York Schools was elected President. A. ('. Balcom, Assistant Superintendent of New York, X. J., schools, in charge of visual instruction was elected National
Vice-President.
and purposes of the organizJ and also an explanation of the motives which prompted its founders to believe that such an organization would
serve a useful purpose.
It
formerly Director of Motion Picture Division of the the United States Department of Agriculture
Ellis,
Don Carlos
may
ever,
to point out
moving
WIS elected Recording Secretary. Charles H. Mills, Director of Publicity Boy Scouts of America, was of the
elected Treasurer.
cause of the inauguration of this asscl ciation was the deep-rooted conviction of those who had watched the organized
growth
of
visual
instruction
under the
association
fostering
Dr. Rowland Rogers. Instructor of Motion Picture Production at Columbia University, was elected Corresponding
Secretary.
care
of
our
local
felt,
as
many hun ?i
As
the Constitution
of
state
election
vice-presidents,
more
dreds throughout the country have fels the need of some general clearing house"
for ideas and experiences, types of persons interested
in
from as many states in the Union were nominated from the floor and duly elected. Without going into detail as to the provisions of the Constitution and
By-laws, it the general
follows:
or in any
phase of class
It is
may
type
be
of
briefly
stated
that
is
organization
as
our purpose to utilize these pages Screen in the future for conveying intensely practical informaof the Educational
tion.
It
committee which is to formulate policies and guide the activities of the association, an advisory council which is to consist of the state viceexecutive
presidents together with an equal number of specialists and others selected for
their technical
An
seemed pertinent
at
this
time,
educational public.
accompanying contributions
we
be to stimulate
the
in
are
from this point on we may feel that on speaking terms with our
detailed
One
readers.
More
ties
information
regard'
associations
similar
to
one
whose
New York
and present achievements of the assc so far as these are not coven
City has been described above. In other articles appearing in this and
"What the Association Proposes to Do" By Don Carlos Ellis, Recording Secretary
v
Why
Promote
the
acquisition
of
skill?
D.
F.
mind and
an
ivc
actual
in
contribution,
progres-
step
educational
method
and
esults.
Many sound
lids,
What percentage of the school population can be reached better through visual aids? Preliminary
investigation
indicates
and
especially
pedagogic
motion
that
from
ational problems.
ided
about 60 per cent to 90 per cent of all people may be reached primarily or directly through the eye. Are
these figures correct?
Visual aids
1.
may
-efficient
F.
Can
Reduce the time of learning. Cut the cost of teaching. The first promise is essentia!, the others ncidental. Two facts compel attention: 1. The enormous percentage of the pupils who never get beyond gram2.
:>.
2.
mar The
school.
results of the
5.
Humanistic or
is
classical
study?
Army
intelligence
G.
What
tests.
seems to be a
Can
tality?
mor
of
of the 'movie'?
Can they
better
existing
methods
H.
imparting information? Can they stimulate the students' imagination and constructive thinking?
type of appeal through visShould the is best used? appeal to. the intellect only be used, or should there be an appeal
ual aids
to the emotions, instincts or feelings and to the artistic sense.
What
Can they
know ?
These questions are unanswered.
help explore this field, to speed the finding of the facts, to secure fulfillment of the promise of visual aids and determine their method of use, the Visual Instruction Association of America was
established.
of
To
America has set for itself the task of helping to answer these questions and is It some of the problems. solve
planned as a clearing house of informaIt bends the tion for the entire field. joint endeavors of the makers and users
of
The field is a broad one. Many years of research, observation and investigation will be needed to determine the advantages, and limitations of visual aids and There is the field for their usefulness. room for many groups, many cooperative investigations, many organizations before the fundamental facts are determined and such questions as these are answered:
Can
A.
B.
visual
aids
to
common
end.
it
The
fills
feel
visual aids
picture, designed not a competitor of the entertainment "movie" used in the theThis association is designed to atre. promote the use of visual aids, not to onpose nor compete with any group or organization. So it has started to serve The modestly, quietly and effectively. results it obtains will be published from time to time.
323
School Department
Conducted M. E. G.
FOR
tention
233,
tivities
Department
of Agri-
growing of dates (America's New Frui Crop) wheat harvesting, lumbering, fores
fire
culture
circulating
films
which
prevention,
game
protection, besides!
name
"educational," at1922.
called to
Department Circular
The purpose
this
Department
in
in offer-
As
cular:
to
the plan
films,
for
securing the
the
De
cir
service
stated
the
foreword:
partment
we quote from
"Thousands of extension and field workers in agriculture and allied pursuits have found that motion pictures possess a tremendous possibility for usefulness in making common property of knowledge developed by scientific investigations of the United States Department of Agriculture."
"The
films
b}
extension
partment
and and
field
workers of the de
officially
of
cooperating
of
institutions.
The number
copies
is
The library of the Department includes more than 150 subjects, each of which has been worked out by experts in the
and all photographed by the Department's cinematographers. The result in each case is .an authentic, scientifically sound presentation of the subject matter from a truly
particular field concerned,
abl
supply is at present inadequate to mee demands from other sources. Howevei others desiring to borrow films may mak
application through their county agents
or
other
department
field
worker,
th
director of extension of their State agri cultural college, or other officially co operating agency, and the films can b\ furnished if not in use. Films are furnished free of chargJ except for transportation, which the bor
educational viewpoint.
The
two
in
reels
length,
variety
of
subjects.
For the
specialist
rower
is
required to pay.
Bureau of Animal Industry, Bureal of Entomology, Bureau of Plant Industry, and the Bureau of Chemistry, on such subjects as hog cholera, wool and lamb
marketing, poultry farming,
tion,
Department of Agriculture ha found that the showing of films on cir cuits makes it possible to get the maxi mum service from the pictures. It there
fore
The
silo
construc-
favors
the
organization
of
circuit
fighting
the
boll-weevil,
of other subjects.
Many
over which its films may be distributee In such circuits county agents, horn
ment's
however, are of general interest as for instance reels on the making oi wool and cotton into cloth, cheese making, the raising of farm crops, the
reels,
demonstration agents, club leaders, bu reau field men, or any other class of de partment or State extension workers ma; be organized and films may be route
324
School Department
325
iom
one to the other. It is essential in Much cases for some responsible person Id act as the agent for the entire circuit.
available
whenever needed,
is
so
small as to be negligible.
Trices are quoted as follows:
Arrangements should be made with the epartment by this person. The films will Be sent to him and he will be expected to leturn them in good condition to the department.
On
standard-width
slow-burning
film
On
plan
is
standard-width
reel.
inflammable
film
The
circuit
subject
to
many
The
variations
thousand-foot
lepartment
On
narrow-width
are
slow-burning
to
film
Ktate agricultural college or other State |>r Federal institution in arranging such circuits and in preparing programs of ifilms that may be routed in this manner. In addition to this service, however, the [(Department offers an exceptional opportunity to individuals and organizations
[authorized and approved
Purchasers
transportation
It
required
pay
for
in
from
New
York, and
credit to the
department
ment
[films,
to
for
purchase prints
their
When
will be
prospective
own
such
film
The
to
made
[advantages
[educational
of
an
arrangement
can
hardly
tory
the
in
Washington, or when
institutions
be
films will be
At a nominal cost, the copy of the film becomes the property of the institution purchasing it, and with proper care its usefulness should extend over a considerable number of vears. For
overestimated.
elsewhere.
vision
Orders should be addressed to the DiPublications, of United States Department of Agriculture, Washington,
D. C.
Film Reviews
the aim of this department to list only films which have been personally reviewed by the department Editor. Reviews reprinted from wholesale sources are seldom of much value to educators. Reviews for teachers should be made by teachers, if reader and reviewer are to understand each other's point of view. Every film here presented has been viewed and the review written by the Editor of this department, person(It
is
ally.)
The Lake
of
the
Hang'ng
Glaciers
Burrud)
from Whittier, the reel an unfolding of beauty the beauty of flying clouds above the sea, of ships at anchor, of wave-beaten cliffs, of storm
breaking
against
strange
of
toward the Selkirk Range of British Columbia leads past cliffs of clay and gravel skirting the lower ranges, and across wooded streams broken by picturesque
rapids.
forms,
sea.
and
the
silhouette
Then
follow
excep-
A poem
in
and of the sheer wall of the glacier, from which the Bergs have fed. river are lake and broken orT the melting end of the ice,
tional views of the lake itself,
shown; Major Allen ropes him in the tr and drags him down into the waiting net, ties him and returns with a second net in which he traps the mate. The reel closes with a later view showing the leopards in
a cage in the zoo.
The City Chap's Chant (Rothacker) Some good views of the Canadian country, hare peaks, log streams, wooded hanks, and beyond among the mountains,
cliff
glaciers
are
is
Roping the Black Panther (Pathe) Major Allen, accompanied by native* and dog trailers, visits the home of coffee planter in Java. The latter, who
is
the
for a reel
which
over-titled,
too much footage on preliminaries. An error into which no one need fall the Canadian out-of-doors is so full of pic-
arm
the
result of
an encounter with
the
stealthy
for the
black panther.
Allen prepares
finally
turesque
beauty
waiting
to
be
photo-
pick up the
and
locate the
graphed.
panther
temple.
NATURAL SCIENCE
Natural
of
tire
top of a ruined
Science
from the
best
standpoint
the
brings him
while
the
sportsman,
describes
Wild Animal Pictures of Major Something is said in each Jack Allen's. about the habitat of the animal, and his
three
from branches.
ries
the
animal
display
him
to
the
planter.
chiefly
upon the
thrill of the
is
chase and
in each,
The
really
is
the capture.
to
An
effort
made,
it
The
ree
a back-
ground of story or incident. If only the footage so consumed were devoted to a study of the animal and his mode of living! The three reels are here summarized
in detail:
titles
evidently
much
earlier effort
at
film
making than
Goatherds, journeying to a village mar which they regard with awe and bewilderment. They re]
ket place, see a plane
Netting the Leopard (Pathe) The scene is India, "where swamp and jungle meet." Major Allen is shown on horseback, with his native guides, making his way through the underbrush. A resident
official
Major
Allen, that
and his lady companion ride where danger lurks, the man's horse goes lanre, and the woman rides on alone. A leopard springs from a tree to the back of
the horse.
has captured a goat, so Allen sets out to capture the beast. He fixes chains hooks and anchors to the plane, they pursue the animal, catch him in the chains which are held fast by the anchoi hooks, and he is lassoed, hind and fore
legs tied
the
capture complete.
An
Wonderful Water (Prizma) Difficult to group this reel with exactness, for in
its
horse dashes into a stream, throwing his water, from which she is rescued by Major Allen. The latter then sets out to capture the beast. Some
photographed,
tics
has
so
all
the characteris-j
of
the
best
scenics.
And
yet
that
the!
it
subject
has
been
organized
School Department
327
t an
itself to a more serious use mere entertainment. It was prouced under the supervision of George I Sherwood of the American Museum f Natural History, and is a most adeluate summary of the work of water as
commends
boy,
Oliver,
without getting
it
terribly
mixed with what one must say about Jackie Coogan certainly the most finished and by far the most irresistible of all child actors. Here is little Oliver in the workhouse a new, wild-eyed, hungry, disheveled Jackie pleading for more gruel and Oliver, the undertaker's ap-
work
he sandy beach of a low coast and dashng against high rocky cliffs, water wears he shore. As vapor, water continually
ises from the surface of lake and sea and onus into clouds, which, driven by the
Then follow some beautiful views, lookng down from mountain tops to the louds below. Clouds are seen to give o the sunsets some of their most beautiul effects.
tiny mite of a figure beside Sowerberry, who accepted him because he "had a lovely face for funerals." Later, after his escape and his journey on foot to London, there is Oliver in Field Lane, fallen into the hands of the "professor of pickpockets," Fagin
prentice
the
tall
Clouds
iers
in
turn
furnish
snow
for gla-
charming Jackie eating his first real mea! awkwardly with his knife because he sees no one else manipulating a fork. Then there is Jackie on the witness stand, charged with thieving, his rumpled hand hardly above the railing and Jackie the
.
that
pantomime Brownlows
finally
artist,
describing
of
to
the
the
methods
Oliver,
Fagin,
and
mimicing the
the
latter's
every gesture.
And
Rain collects into rivers or, sinking into he ground, comes to the surface again in springs. Hot springs and geysers in Borneo are shown, as well as the geysers of Yellowstone with the remarkable terraces of the hot springs. The rivers of the earth are undoubtedly the greatest sculpturing tool, as evidenced by such gigantic examples of their work as the Grand Canyon of the Colorado, and the Falling waters are gorge of Niagara. beautifully represented by Vernal and pfosemite Falls. A truly splendid treatment of a subrich in educational material and ject
little
coming
into his
own a
Here
background and atmosphere belongs to Dickens, and characters who seem to have walked out
is
which
really
of the etchings in
tions.
remarkable piece of character acting, which deserves to be added to his alreadyThe creditable list of fine performances. only lamentable and discordant note is
what
is
still
rarer
the
modern slang of some of the titles, Minor made with a theatrical slant.
the
reel
is
titled
with
uni-
It
should find
As
classroom reel for groups studying physical geography, it merits special attention.
Timothy's Quest (American Releasing Made from the homespun story of Kate Douglas Wiggin's, the pic-
much
to
recommend
it.
The scenes
are in
Prizma
color.
general sort of appeal for very young audiences and those of much more mature years in the story of Timothy and little Gay, in their search for
There
is
someone
to
of
Advertisements
JULIUS
A Photo-Masterpiece
in Six
CAESAR
ENDORSEMENTS
BDWARD MAYER, IMVEKSITV OF
FORNIA,
i>.p:ir< in. hi
CALI-
F.
of Visual Instruction
Caesar', your six reel photomasterpiece, has proved to be one of our a'-atest films from the point of view of a distributor. The writer has viewed the film about ten times, and I dare say he will view it many more, but at no time has his interest waned".
" 'Julius
F. NALDER, STATE COLLEGE OI WASHINGTON, General College Extension "I want to tell you of my admiration for
the film 'Julius Caesar'. During the past few years we have handled a number of fine films. I do not think that I have ever seen anything more impressive in its pageantry or more striking in
numerous
is
HI
details than this remarkable picture. As a means of enforcing some of the profoundest lessons of history it
splendid".
"We have distributed the film 'Julius Caesar' during the past year to a number of Schools and organizations in Indiana. I wish there were more pictures of this type that we could offer to Schools and other community organizations".
W)I. H.
CONSIN, Bureau
"In a collection of educational motion picture films now aggregating over four thousand reels, 'Julius Caesar' ranks above all the others in educational value
and demand".
VICTOR
"The
use
months and has been distributed very widely. The demand became so great that we had to ask for another print and there has been continual interest in the film by Clubs, Schools, and other
organizations throughout the State".
R. F. EGNER, UNIVERSITY' reau of Visual Instruction
tion
film 'Julius Caesar' has been in in Kentucky for the past eight
D. HILL, OHIO UNIVERSITY, Department of Classical Languages "The Photoplay 'Julius Caesar' is a production of unusually high quality. Be-
OF UTAH,
.
Bu-
being of great educational value appeals to general audiences wherever shown. Since tho beginning of its distribution to the Schools of Ohio under the auspices of Ohio University it has in every instance brought expressions of hearty approval and satisfaction, whether shown by the Schools themselves or as a
sides
it
we have
".
"Through the Bureau of Visual Instrucof the University of Utah, 'Julius Caesar' has been circulated very successfully among educational institutions, civic, social and religious organizations. The following quotations from our patrons indicate the satisfaction with which the film was received: 'Exceptional film Every High School student ought to see it' 'A great picture. Public well pleased' 'Very good. One of the best
run' ... .'Excellent. More films like this will make our work worth while'. ... 'Wonderful picture. Was very ei.thusiastically recei.ed by entire
public
co-
group'
Copies of the film have been deposited for distribution during the current School season with twenty-two Institutional Exchanges, which supply exhibitors in their respective States at moderate rental prices.
for the
GEORGE KLEINE
NEW YORK:
729 Seventh
Avenue
CHICAGO:
114 So.
Michigan Avenu
School Department
Rieir
faith,
INDUSTRIAL
The Making
of a
they touched. The two children carry their parts with exceptional ease, and the details of background and setting are accurate it is aid that the geographical locations de-
kmose
lives
Book
Garden
Doubleday,
Page
&
Co.,
City, N. Y.
;cribed
in
the
story
furnish
the
actual
backgrounds for the picture, and that the uthor herself supervised the details of ostumes and accessories. The village ypcs of Pleasant River furnish the necssary touch of comedy, but the characerizations are well done, without too tmch of the burlesque a fault into which he producer could easily have fallen.
(Edited by Samuel A. Bloch) In "The Making of a Book," the three reel film describing the work of the publishing plant of Doubleday, Page & Co.,
we
ence of watching a book produced from the time the author is struggling with the difficulties of composition, unti it is delivered into the hands of the reader,
1
Moonlight Sonata (Prizhow Beethoven came compose the Moonlight Sonata is told 1 picture form, with Prizma coloring. Evening in the little German village Bid the cottage of the old cobbler and
Beethoven's
na)
whose
evident
enjoyment
compensates
The
story of
We
cast
original type
lis
daughter.
the
The
little
blind
girl
is
composer and his friend walking through the woods nearby hear the Sonata in F, and pause to listen.
>la3'ing;
Finally,
approaching
the
cottage,
I
they
could hear
master play!" They enter, and Beethoven offers to play it for her. As he brings from the instrument the lovely melodies of the Sonata, she guesses his identity. At the
end, he looks out of the
speed the cutting, folding and binding machines make the large sheets into book form, on which the covers are then placed. In all, there are eighty mechanical operations required to produce a complete book, and the scale on which they are carried on can be judged from the daily output of the plant 25,000 books. The latest improved methods
at terrific
The photographs
authors,
of
many well-known
of
the
beautiful
the
pictures
window
at the
grounds
dens,
tions
around
the
plant
peony
gar-
landscape quiet beneath the moon, and as she begs him to play more, he seats himself again and improvises, in an effort to portray to the sightless child the beauty of the heavens the voice of the
cherry orchard and a cypresslined pool being among the scenic attraca
help
to
make
perfect night.
As he
the scenes which the music calls before her fairies dancing, the sweep of the wind, the storm, and finally the moon [breaking through clouds. "Master, I have seen." is her tribute to the famous Moonlight Sonata. I With the film can be secured a synchronized music "key" for an orchestra (or single piano accompaniment.
do not entirely succeed in preventing it from seeming a bit too long. On the whole, however, this film is certain to give the viewer a new appreciation of and more lively interest in that exceedingly familiar and commonplace idea, "a book."
ing, but
Farm
stead
to
Films)
Produced
Limestone Company, the reel is designed show the advantages of using limeNo objection"stone on worn-out soils.
330
iblc
film,
matter
appears
in
the
in
and the subject is one splendidly adapted for rural audiences. \ farm advisor, seeing the farmer about .o tack up a sign on his mail box, "Farm
however,
tor
firm soil, and the placing of the cartridges in the hole with the fuse cartridge
top.
Sale."
is.
trouble
the soil
He
with litmus
show
that
Animated diagrams indicate method of preparing the charge under the stump and the wiring. The two films above are typical I examples of films which are being used to enormous advantage in the
on
clearly
the
He adboth acid and sour. vises the farmer to use limestone, and to
onvince
vxhich
him of the beneficial results would follow, the farm advisor takes him to visit a neighbor's farm. A machine is spraying pulverized limestone over the field, and the visitors inspect crops of clover and corn grown on land
treated with
field of rural education. Our great railroad companies, for example, are doing big things in developing more intelligence in agricultural methods throughout the vast tracts of country served by their lines. For the viewing of the above films we are indebted to Mr. W. H. Hill, Agricultural Agent of the New York Central Lines.
The
MISCELLANEOUS
Sketchographs (Educational Films Cot poration) This one, called "What's th
amount
conies
after
of
nutrition
the
feed.
The
seen,
farmer, convinced
by what he has
takes
Limit?"
is
a cartoon history of
It
home and
ordering
down
for
the sign,
his
limestone
worn-
out
soils.
who way
by
whici
result
th
pic
Land Clearing
alichigan
sity
(3 reels) Distributed
by
war
in
is
waged
cases
today, judging
of
Agricultural
Department of Agriculture
of Wisconsin.
the
the
Rheims
cathedral.
World War
to th
covered with white pine, these lands have been overgrown with brush which must be cleared. For larger growth, the scythe and ax are used, the brush is piled and cut and the waste burned. "Brushing" is sometimes done by pasturing on the lands to be cleared.
Originally
telling
piece
of
visual
argumeo
styl<
Burned stumps are removed, and various methods of stumping are shown in detail. The stump-pulling machine is seen in operation, both on green stumps and on those which are old and partly rotted.
In the case of the latter, a root-hook is sometimes necessary. The proper time for stumping operations is shown to be when the small roots have rotted but the main body of the stump is still solid.
shown
in the neighborhood.
To work
rian needs to
know
in
advance wha]
know
t
th;
or the character of
The second
in
reel
books on which the films are base and then no time must be lost i
marshalling the library's resource of advertising material and books
V
mite
blasting,
the
From Hollywood
Conducted by M. T. O.
motion picture
lot
in
curious things.
You may
num-
be
nclosed by a long,
is
ence
f
August, her languid glance just touching the tops of the heads of some idle gentle-
men
in puttees
sation
you are an ordinary human being with healthy, normal curiosity, that long, tall ence exerts for you an irresistible attracion whenever you see it. As you look lown its forbidding length, you wonder md you wonder what it is they do inside. 3i course you know in a general way. Vou've read articles in the magazines on he movies and how they are made. You are familiar with all the movie stars and their salaries. You like the movies; at one time you've even gone so far as to assert that you believed you wouldn't care to visit a movie studio, because it might spoil your illusions. That was some time ago, perhaps before you saw that fence. But now, there it is. It does intrigue you. It goes on and on; it turns an abrupt corner and goes on and on. After a very long time, you will find, if you follow it, that the fence does one of two things. It either culminates impressively in a pillared and ornamented gate-
inferred that they are directors, but as the lovely lady does not deign to notice them,
You may
gentleman
ing
star, of the
his shiny roadster with one athbound, and reaching the doorstep with another. You may see a truck back up to a great black opening that yawns unexpectedly in a hitherto blank wall, and unload
from
letic
does not satisfy you. That shuts you out from that strange world, that amazing mixture of the
But
all this
It
fence!
still
real
they
make
the movies.
You have
it;
way, or
small,
it
terminates inconspicuously in a
dark doorway. (This is the first time you have known there was anything small about the movies.) But whichever
happens, the
cerned,
is
effect,
as far as
:
the
same
in
and as you turn reluctantly away, a man passes you an ordinary sort of person, not one that you would accord a second glance. Something you can not help And yet pulls your head around, and you look back. Why, he's gone! Did he go through that You Did he? He must have. door? wonder who he was you thought all the time he had a sort of different look. Did No, he must have been ? he look like You wish you had noticed him a Oh, well, you will not little more closely.
main
If
outside.
habit of
you
of
like
like
you do
shelter
and you
those
that
who
magic
You
will
no doubt see
You take everybody all in; your nance. neck becomes supple from much twisting; but you see the movie stars, if there are any in your vicinity.
331
181
not enough.
Here you are and you have not Of seen a single thing worth mentioning. course you have joined the crowd on the corner when some comedy company was making a scene in front of the bank, but anyone can do that. No, you want to get in clear inside how can you go back East without being able to say, "When I was in
\ Vt
You
wait,
and
you
any
wait.
Many
per
in
not
is
("He
me
to be sure
and
Avith
the
movies
?"
in
this
world
Mary Pickford five years aero. One mi-sj have an appointment. The door between the inner and outer offices is fastened with a spring latch controlled by a cord, and
the office girl presides over the cord. see
You
how
important
it
is
Someone has moved a movie studio heaven and earth in your behalf, and the thing is accomplished. You have the magic password that puts that long, tall fence behind you, and with a thumping heart you enter the little black doorway.
After
all,
it
appointment.
is
not so different.
This,
The door opens and a man appears :-.nd makes straight for you. This must be SoHe shakes your hand andso you rise and greets you, with apologies for having kept you waiting. You accept his apologies gracefully, and follow him through the
;
as you look
around you, is merely an office. You have had experience with offices before
door with the spring latch. It slams behind you, and you are in the world of
pictures!
the
is
dentist's, for
example.
The
feel
feel-
The
great
moment
you
is
at
hand,
ing
somewhat
the same;
you
almost
You approach the girl at the desk and repeat your formula you wish to speak to Soandso. The girl looks at you searchingly and asks if you have an appointment. You have. You say this with a mixture of importance and nonchalance not to be duplicated under any other circumstances.
natural.
:
cannot locate that sense of the unreal that should pervade your surroundings, it must be here,
but
to
surprise,
your
but
where
office
is
it?
Here
;
little
buildings
all.
Established in Soandso's
little
cubbyhole,
The girl, not a bit impressed, telephones to some mysterious hinterland, after she has asked your name twice and \ou have finally been obliged to spell it. (Not so important after
all,
you discuss the business that brought you here, while you wait for that sense of the
unreal
to
envelop
invitation
you.
(Will
it
never
come?)
You
Soandso's
are you?)
Isn't
will be right
Soandso says he You sit by the window and watcn peopte passing. Oc-
out have
a seat.
casionally
they glance in at _>ou; not so often though as you might expect. You suppose they wonder what goes on in this
are.
fore you.
barn
the
must be wondering who you a knowing, slightly bored expression, and gaze indifferently through the sign which states unequivocally "Posi-
room
they
No
you.
You mount wooden steps gingerly, and make yourself narrow enough to slip between two
in the
You assume
tall
slabs of scenery.
You
trip
over
rolls
tively
Visitors Allowed."
It
does not
mean
length always where you would step, semi-gloom surrounds you, and comparaThat is, there is no loud tive stillness.
From Hollywood
Those around you men in overand some women in street clothes They seem to be speak in undertones. waiting for something something you can You begin to have a not understand.
noise.
alls
333
its monotonous hand is waved Click Silence, and gloom after the purple brilliance. The star darts out of the set, ind a moment later he is smoking with quick,
racket.
curious,
detached
it
feeling.
Is
it
-is
it
nervous
table
puffs.
The blonde
lady
at
the
And
then
lays
rose
against her
cheek and
smiles at
somebody
not
set.
you.
to an atAnother blonde
You
room
elaborately
by immaculate figures in evening clothes and saffron faces, who are doing nothing in particular. "There's the star," whispers Soandso
furnished,
peopled
living-room
beside
the
grave-faced
man
she
camera
if
nods
like,"
as
speaks.
"Try
it
that
way
you
You
and
see him.
He
he says. So-
and smokes your side as the leading lady flits past you, and a vague impression of blue-black hair and a red rose and the flash of a silver frock.
as he leans against something
waits.
andso
liar,
rustle at
Someone
"Hit
of
'em
a
a
flood
casual
voice
commands
click
of
purplish
light
that
your arm. This star is pecuyou; it makes her nervous to be watched. You shrink behind a piece of scenery so far that you can see nothing at all you do not wish to make anybody nervous. So you turn away, and presently discover another cafe scene. Attention seems to be centering on a sort of alcove where a man and woman are seated at a
he
:
humming
table.
sound the star disposes of his cigarette and steps forward to place an arm around
the silver girl's shoulders.
rack your
They look familiar to you, and you memory, while Soandso points
morning,"
he
set,
They pose
smil-
"This
says,
"they
were
they're
man
but
now
gone; the humming woman turn away, relaxed. The men at the camera talk together in low tones. Everybody seems
The
lights are
star
and leading
making close-ups. There's the director." He names a famous name, and indicates a
quiet
man
is
in a
peaked
hat.
You
gaze, rapt,
for this
a celebrity.
Then,
again to be waiting.
"What
"Lights,
"What
"I
be."
"I dunno."
may-
A dowdy
past
little
you,
between the
and
Click
into
!
"How
"I
The
dunno.
You
Half an hour, maybe." them waiting, and wander come upon another part of the
it
hum flicker die. Silence. "Now what are they waiting for?"
"I
dunno.
Shall
we go?"
is
is
a cafe.
at
not
star,
that
See
him?
They're taking a close-up." so's voice is close at your ear. The star is smiling at a lady
Soandin
filmy
There is the same purplish light, the same humming sound the camera, set
black.
;
You turn and follow him behind through dark passages, over more miles of snake-like tubing coiled on the floor, through small canvas doors. You catch your breath suddenly, as a
andso.
scenes,
tall
man
in riding clothes
saunters towards
He
is
in
Soandso returns and for a few minutes conversation is three-sided. That is, Von the other two talk, and you listen.
the
find time to
It
town?
Know
!
him!
And
wonder
if
this
is
really
vou.
Your breath
seems doubtful.
"Well," says the star
comes
fast,
hands are
cold,
and you discover that your and all the time he's com-
along."
so.
And
in a
ing
Soandso presents you. He smiles, and shakes your clammy hand, and is delighted to meet you. So he says, at any
rate.
And
self
After that well, nothing matters. so it happens that you find youroffice.
You
recog-
You
dumb.
Do
such
people
earthly language as
"Is this
you?
way; it is so The girl at long since you were there. the desk hardly looks up from her ema vague
broidery.
opens,
final
The
your
first visit
and as you
slams with a
sings in your
"Yes."
click
behind you.
of the lights
still
The hum
proears,
and their purple radiance dances before your eyes as you linger on the pavement outside. Your very feet are loath to
leave this place.
clever. You say something, but you'll never know what it was. Soandso is hailed by a man in overalls, and darts off without a word of apology. You feel lost; you feel
The
you
Just are
ahead,
seen
in
see
earnest conversation.
have
loiter
horrible.
Here
side,
is
star at
your
You
word
at
your command.
He
nia,
talks in a leisurely
its
way
of Califor(inevitable,
beauty,
its
climate
that!), asks
here.
you how long you have been You answer mechanically, watching
ment to carry away with you. This should be worth hearing, and worth repeating at home. Listen " and with a little electric hot plate one
can get
one's,
own
breakfast.
It's
much
his face.
The
yellowish
makeup
gives
him
concerting suddenness.
self
You
and
grin to yourstep
(or
a
at
yourself),
air,
forward
the
with
length looks
brisker
glancing
down
different
and
narrow.
little
touched,
of the
tall
fence,
brushed by ihe
it
drooping pepper
Well,
it
trees.
How
with a
that
cinates you.
You watch
and
his eyes.
He
should
you've
been
in
the
movies
Limitations of space have forced the omission of Production Notes, which usually appear in this department. For the same cause, the departments of Among the Magazines and The News Chat have been excluded in this number.
This will
all
NE EXCITING NIGHT
fith)
(D.
W.
Grif-
himself in spots.
citing
Griffith
with a mys-
for too
film.
itself
many
its
ery film affording real thrills and hearty There was, in the beginning, the laughs.
offensive old note of preachment but less familiar because of its psychological, not the
Tremendous
with
!
spoiled
aggressive persistency.
corrected
so,
Too
the
bad
An
easily
error
the
by
scissor
man.
But not
ridiculous
sentimental, nature.
Mr.
Griffith,
be
it
these leaders
were
sufficiently
number
pursuspense
no over
the
effect, their
posethe creation of an
pregnant with
dread
rolled
fear,
air
of
of
the
a
unexpected.
perfect
itself
melodrama
un-
Mr. Griffith fails in pantomimic dancing and the photodrama. It may be a very, very possible scheme but Mr. Griffith missed Barring these two adverse the possibility.
art forms.
his
experiment with
fun in utterable anxiety and immeasurable glowed Dempster, Carol gasps. between
with
we should call "One Exciting Night" the satisfactory "Bat" of the screen.
criticisms,
(Theatrical;
some community
film
use.)
to
cameo quality of feature that silver makes her more beautiful on the Add star. Griffith former sheet than any moveof grace her asset peculiar this
that
in
(First National)
as
faithful
unto
It
Dickens source as "Our Mutual Friend." is true that the story in the former is
in
regis-
the
latter,
(possibly due to
excellent
certainly
in
atmosphere, characteriza-
direction)
Dempster
per.
is
The work
Tense,
is
moments almost
of
the
and tone "Oliver Twist" is beautiful. of Gladys Brockwell as Nancy Sikes and that of Lon Chaney as the thief,
Fagin, are the finest adult characterizations
of the cast although
fair
it is
neurotic,
work
like
blackeyed
Henry
were
Strong,
Hull.
We
him.
though
we
frankly an un-
could understand
why some
for
of the audience
uncomfortable
once
rippingly
him.
in
Porter
funny
Dorothy
Among procedure to make choices. the juveniles, the two London toughs were excellent, but shining over them (and over
was the serious, someand immeasurable sweeter He is back with all the Jackie Coogan. wistful charm of Chaplin's Kid plus that fearless dignity that comes to a kiddie definitely "growing up." If Jackie's Director
all
"The Ghost in more than "did himself proud" In company with film. fith
Gish's picture,
the Garret,"
in this Grif-
what
his
mulatto
companion (Irma Harrison) he furnished irresistible comedy. Morgan Wallace looked the part of a smooth and treacherous gentleman-killer and C. H. Crocker-King might easily have stepped from Scotland Yard to
will
mirable
"Oliver
Twist"
at
least,
we
as
shall
be
at
except!
it
the screen.
content sometimes,
the movies
we
sit
future.
THE
OLD
HOMESTEAD
(Para-
mount)
Strange, this business of film reviewing. For one month an editor will tear his hair
pro,>vi! In unbreakable sequence of bad ductions only to find the following month's
Again, a film that passes muster becausi of the presence of a man who is always a
pleasure to watch, on screen or stage.
Th<
anl
ar|
is
grace
and
be
ease
denied.
of
George
about
Arliss
not to
Likewise there
Efne
old-fashioned
that delights.
ceptable,
still
grace
Shannor
ac-
Old Homestead," made dear to thousands by the kindly and gentle Denman Thompson of an elder day. Whatever Mr. Thompson meant to the drama, Theodore Roberts
is
Anne
Forest's interpretatior
is
at fault.
Ii
meaning
to the screen.
As
the genuine
carries with
too
many
farm he
narrative
and fun
in the face
of poverty, his
working; there is present throughout th< an irritating stiltedness. Giv< (Sonu Mr. Arliss the best in vehicles
!
head up, from the suave New York apartment where an old chum seems to have forgotten the farm
sterling bit in the departure,
(Hod
days
together.
No
less
splendid
the "just
is
the
man"
renun-
who measured
until
it
As the arrogant, inflated and cowardly Ichabod Crane of Sleepy Hollow, Wil Rogers gives to the cinema one of its fines
classics.
own
bitter
The
"Our
sets,
ciation.
are
as
beautifully
to
describe
Awkward
Harrison Ford as the son. "mighty sweet" is Fritzie And lilting through all the
either
Twist" were Dickens. It is such productions as "The Headless Horseman" tha stamp moving pictures as an art. (School
church and community use.)
the jaunty
"Happy Jack"
of
T.
Leroy Barnes. The storm, like most movie storms, was overdone, but give us time and we will surely learn not to spoil an otherwise flawless film by this bugbear error. (School, church and community use.)
(Maurice Tour
The
has
screen
you are
simple
tired
by the
simple
Thomas
Meighan.
Theodore
Roberts,
Alec B. Francis and Leatrice Joy are good to watch no matter how lame or illogical
the vehicle.
is
all
one can
psychology.
for
from
so
"The
Please,
please,
better
story
for
glittering
stars.
efficient
(Theatrical only.)
"The Countt you dream someday of "A Little Theatre of the Screen' you know that this vehicle of Miss Eddy's David Butler can will be among the first. not hope to match Miss Eddy it is apparent, however, that he gives his besi efforts. The presence of Wesley Barry ir a more unaffected and youngster-like bii of acting than we had ever hoped to set from Wesley adds to the charm of the pro duction. (School, church and community.)
realisms
of
people
if
337
(Selz-
(Univer-
nick)
Again comes Constance Talmadge
chicle
in a delicious
More
linson.
like himself in
this film is
He
As the romantic and chuckling humor. oung widow against the true hlue background Effie (Gertrude Claire) and the [> gentle Aunt
ious
I.
tures
fairly
drama.
Ldoring "Bill" (Harrison Ford), who knew "If he ould keep her from tying herself up for life, ie'd have his chance some time," Miss Talmadge days better comedy than she has had a chance
o play for
It
(Associated Exhibitors)
and
Robert
of
the
Ellis,
Allison
in
an
exotic
many
moon.
The
entire production,
reminiscent
Centaur
and
his
warm
with fun!
{Church
modern Spain.
the bitter
(UniverPushers"
lish
gentleman
Casablanca;
of the
it
woman, who
admirable
only.)
Reginald
made a the fight serial, a mark which he does not dull in this old and hackneyed tale of races and intrigue and the round
Leather
love,
cast
warm moon
of
the
southland.
safe
film
for
trite
(Metro)
their
enjoyment providing you do not object to and familiar material. (Theatrical only.)
EAST
WEST
closest
(Selznick)
adaptations of a stage play
Billy
anything
worthy
only.)
witnessed.
SKIN DEEP
Milton
stirring
Sills is
(Paramount)
always
reliable.
Mr. Ford did not appear in the But surely Constance Talmadge matched
(The-
Place him in a
Florence
"get by"
bound
to
(Theatrical only.)
REVIEWED PREVIOUSLY
For IN
details of these films see respective issues
SEPTEMBER
(Universal Jewel).
acting.
THE STORM
old
Violent and
Corporation).
fith
ORPHANS OF THE STORM (United Artists A barely even toss-up between Grif(High school
(Goldwyn). In which cinema takes unto itself (School and community.)
(School
and
GRANDMA'S
BOY
(Associated
Exhibitors;
cold
silence
of
the
Pathe distribution). In which Harold Lloyd grad(School and uates from even Lloyd slapstick. community.)
A WOMAN OF NO IMPORTANCE
One
of the year's best.
(Select).
(Theatrical only.)
(First
if
(Community.)
Very funny
you get
it!
(Theatrical
DOMESTIC
RELATIONS
National).
SONNY
Barthelmess film;
passport enough.
reassuring narrative.
Old
(Famous Players-
Lasky). A serious bachelor's triumph over five "banes of his life," (School, Church and community.)
STOLEN
nothing.
MOMENTS
Good
for
J
888
lllKKUANE'S GAL
and dashing melodrama.
censorship.)
{Paramount).
FevJ
NICE PEOPLE
well acted.
THE
tale.
(Theatrical only.)
(Famous
school
(Arrow
-
Pic-
Generally poor.
(Theatrical only.)
Western
use.)
yarn.
(Some
and community
I
(Paramount).
acted.
UK
competently
(Some
good f community
FASCINATION
(Theatre
only.)
An
inexcusable
film.
IN
NOVEMBER
IN
(First
National).
FLOWEB
good
comedy.
(Some
community
(Goldwyn).
Good
(Somt Thoroughly satisfactory. (Cosmopolitan). school, church and community use.) THE FACE IN THE FOG (Cosmopolitan),
Corking melodrama.
of
(Community
use.)
OCTOBER
(Pathe).
the
greatest
date.
(Theatrical,
An edu-
use.)
church
and
community
(Selznick).
greatly.
but
opinion
varies
(Paramount). A somewhat sentimental offering saved by the example of loyalty between sisters. (Theatrical only.)
11
KR GILDED CAGE
atrical only.)
BROADWAY ROSE
ray
film.
(Tiffany).
fair
Murfilm
(Theatrical only.)
(Paramount).
largely.
Pictorially
MANSLAUGHTER
spoiled
(Paramount).
effects.
good
disappointment
(Fox).
(Theatrical
vehicle
for
by
certain
over
(Some
school,
splendid
(Paramount).
only.)
community
melo-
(Theatrical
(Fox).
(Cosmo-
(Theatrical
Indifferently
WHITE
Worthless.
atrical
SHOULDERS
(No
use.)
(First
National).
HUMAN
HEARTS.
Typ-
(Some
fail-
BURNING SANDS
only.)
(Paramount).
Poor. (The-
CONFIDENCE
ure.
(Universal).
ludicrous
THE BONDBOY
disappointment.
use.)
(First National).
miserable
(Some church
and
community
REMEMBRANCE
perhaps even
maudlin.
IF
YOU BELIEVE
use.)
SO! (Paramount).
munity
Reid
use.)
(Paramount).
community
(Theatrical only.)
LOVES OF PHARAOH
abominable spectacle
B. C. Films).
film.
(Paramount). (Church?)
An
(C.
AWFUL THING
(Theatrical
(Selznick).
and
some
Poor.
com
(The-
use.)
(No use
National).
SOUTH OF SUVA
only.)
(Paramount).
Good.
C.
whatsoever.)
PINK GODS
only.)
(Paramount).
(R.
(Theatrical
MacDonald
poses.
Pictures).
Very
th.
(Theatrical only.)
THE DICTATOR
tiresome.
Pathetic
and
MOONSHINE VALLEY
nauseating
(Fox).
use.)
With
Wm.
Farnum.
(No
For
Teachers
and Superintendents
Supervisors
Comparative Effectiveness
of
Some
Visual Aids
in
Weber
Ph. D.
Price $1.50
POSTAGE PREPAID
Special price
to
Avenue CHICAGO
NEW YORK
audience,is
the film
safe
EASTMAN
SAFETY FILM
removes unnecessary
projection.
risk
from
portable
is
Eastman