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MOTION PICTURES
FOR INSTRUCTION

1

Courtesy of American Motion Pictures Corp.

Lincoln, from "The Son of Democracy" — p. 53

I

ZEbe Centura BCmcatton Series

MOTION PICTURES
FOR INSTRUCTION

BY

A. P. HOLLIS, M. S.

ill

Film Editor - DeVry Corporation

NEW YORK
THE CENTURY CO.

Copyright, 1926, by
The Century Co.

PRINTED IN U. S. A.

DEC1G'26

© Cl A9576S8

TO MY WIFE

MABEL MacDONALD HOLLIS,
HELPFUL COMPANION OF EVERY LABOR

PREFACE

The Growth of Visual Education

In 1924, Nelson L. Greene, Editor of the Educational
Screen, estimated the number of non-theatrical motion
picture machines at 15,000. In that same year the
National Education Association established a de-
partment of Visual Education, and The Commonwealth
Fund conducted an elaborate series of experiments in
Visual Education (reported in Professor Freeman's
volume, Visual Education, Chicago University Press).
The U. S. Bureau of Education has published a further
investigation in the universities, colleges, state depart-
ments, normal schools and cities to discover the type
of organization and methods employed in visual edu-
cation departments (Visual Educational Departments
in Educational Institutions, Hollis). This study and
one conducted by F. Dean McClusky of Purdue Uni-
versity, and also a list by J. V. Ankeney, secretary of
the National Academy of Visual Instruction reveal
that forty universities, normal schools, etc., have an
organized department of visual education for the dis-
tribution of films, slides and other visual aids, many
of which also offer courses in visual education, with
college credit, and that fifty cities maintain depart-
ments of visual education ; that the Educational Screen
(which has absorbed the magazine formerly called,

•vii

viii

PREFACE

Visual Education and is now the recognized organ of
the visual education movement) in its booklet, "1001
Films," lists nearly 3000 motion pictures for non-
theatrical use; that the U. S. Government, through
various departments, has produced for educational use
some 250 film subjects, running into two or three times
as many reels; that the Ford Motor Company, Inter-
national Harvester Company, General Electric and
similar firms have produced another thousand reels
of an educational nature; that numerous health and
welfare organizations have added several hundred
more; that non-theatrical motion picture companies
like Urban-Kineto, Burton Holmes Laboratories, Gen-
eral Vision, American Motion Pictures Corporation,
and the Yale University Press Film Service have cre-
ated a considerable library of educational films; and
that even the theatrical motion picture producers have
put at the disposal of the schools and churches, a con-
siderable group of feature films, scenics and science
films which have educational value.

Where to Get Classroom Films and How to Use Them

for Teaching

Despite this very considerable production and use,
there is an urgent demand by school people today for
information on where to get suitable films to accom-
pany their regular classroom work, and how to use
these films so as to produce real educational results.
The mass of production cited above is not organized
into any one volume embracing both the sources and
the pedagogy of educational films. The present book

PREFACE

ix

aims to meet this need. It lists and describes some
1,500 educational films, arranges 120 of these into
three different libraries for courses of study, and pre-
sents a series of actual film lessons, showing the
methods of presentation and follow-up work used by
many different educators. Important studies in film
pedagogy are discussed, an attempt is made to dis-
criminate between valid and exaggerated claims for
this new educational tool, and the latest statistics of
the movement are gathered for convenient reference.
A bibliography lists the important literature of the
subject.

Visual Education and Experimental Psychology

Visual educationists are not primarily psychologists
nor physiologists. They have produced nothing new
in the psychology of vision, but have concerned them-
selves with the organization and use of visual stimuli
adapted to education. The research laboratories in
experimental psychology and the physiology of the
senses are common sources to which all can go for the
technical data of vision. Specialists like Wundt, Hum-
boldt, and Miinsterberg have made substantial con-
tributions to our knowledge of vision, and the curious
reader is referred to their works for the psycho-
physiological facts of this important sense.

The "87%" Myth

Writers in visual education who have been tempted
to use figures giving the percentages of our knowl-
edge gained through the different senses have found

X

PREFACE

themselves embarrassed when exact sources and quo-
tations were demanded. Eeliable laboratory data on
such facts have not been reduced to such exact form.

Five years ago the author attempted to run down a
statement which had been much used by commercial
moving picture interests and quoted by educators.
One magazine ran a diagram divided like a pie show-
ing that psychologists agreed that 87% of our knowl-
edge was gained through the sense of sight. The
author determined to trace the psychologists who had
agreed. He wrote the editor for their names. The
editor didn't know any, but referred to a prominent
business man, who had made the statement; the busi-
ness man said he didn't know the psychologists, but
he heard a preacher state it in a sermon.

Educators have taken the educational value of visual
data for granted for many years, and the classroom is
full of blackboards, maps, pictures printed on paper,
or enlarged and projected by lenses. The tremendous
vogue of the moving picture and the new emphasis it
has given picture language, has impelled educators to
bring films and slides into the schools. But the motion
picture, especially, involved the use of unfamiliar and
costly machines, and films required a technical knowl-
edge of storage, patching and shipping.

Film Pedagogy, an Unknown Quantity

There had been no pedagogical study of the motion
picture. Volumes had been written of it as an art,
and as a commercialized amusement. But as a school-
room performer, its operation and effects were un-

PREFACE xi

known. It was, therefore, a logical step to create
special school officers to handle the new aids, and spe-
cial societies to discuss them. Experimental studies
were instituted by teachers, with parallel classes of
children. A systematic search developed for really
educational films, and the attempt was made to estab-
lish standards. Interesting data on these pedagogical
aspects of the film have accumulated in a relatively
short time. It is the purpose of this book to bring to
the attention of the teachers generally, the constructive
methods that have been worked out in teaching film
lessons to children, and to select and arrange in con-
venient "libraries" according to school subjects, the
best of the educational films available.

EDITOR'S INTRODUCTION

The great place which the moving picture has se-
cured in the life of the world has resulted in innumer-
able discussions of its importance in connection with
education. When millions of people are viewing mov-
ing pictures every day of the year there must be
serious effects of an educational character whether the
films which they are seeing are good, bad or indifferent.
The wide spread of moving pictures including almost
all conceivable subjects, has inevitably resulted in the
production of many which have, distinguishable from
those whose purpose of observation is purely for
amusement and relaxation, definite educational values.

For some time the problem of how to make use of
moving pictures in connection with a definite curricu-
lum of study has been under consideration by the edu-
cational profession. Tentative experiments looking
towards their incorporation as a part of the procedure
of the school have been made in many school systems.
Here and there generous appropriations for the organ-
izing and maintaining of departments of visual educa-
tion which make large use of the moving picture have
been secured. The city school superintendents have
shown a very open mind towards the whole problem
and in many cases have evidenced their real enthusi-
asm in efforts looking towards a more serious and

xiii

xiv EDITOR'S INTRODUCTION

scientific use of this instrument of learning in their
school system.

It was inevitable, however, on account of the mush-
room-like rapidity with which this new industry has
developed, that the problem of selecting and securing
suitable films became serious. Many films advertised
as educational, upon examinations seemed to be utterly
unsuited in every way to use in public schools. Not
infrequently superintendents have become discouraged
after spending, to them, rather large sums of money
by finding that much of this expenditure had been
wasted.

On the other hand, during this same period, on ac-
count of a steadily increasing seriousness on the part
of many moving picture producers, there has been a
steady accumulation of films of genuine educational
merit which when properly analyzed may be utilized in
public school systems to the finest advantage. The
question as to the practicability of seriously incorpor-
ating the motion picture into formal educational work
became sufficiently important to justify the granting
by the educational committee of the Commonwealth
Fund of a sum of money to be used for the purpose of
making a scientific study of educational motion pic-
tures. The results of this study, while tending to
overthrow some of the claims made by the more en-
thusiastic advocates of the moving picture in educa-
tion, confirmed a growing conviction of editors that,
properly used, many films could constitute a most in-
valuable supplement to other more conventional types
of learning. The realization that an immense body of
suitable visual educational material was available with-

EDITOR'S INTRODUCTION xv

out it being within the power of the ordinary superin-
tendent to know just how to go about the proper selec-
tion of this material, and the scientific determination
of the very real educational value of suitable educa-
tional films, has led the author to prepare this volume.
He has undertaken in addition to a consideration of
the value of the motion picture film as a teaching in-
strument, to organize as comprehensive a list as possi-
ble of the various films which may be secured either
by purchase or rental. These lists of films are pre-
pared in such a way that some notion as to their
availability can be secured although the number of
the films listed is so great that any estimate or critical
description has been impracticable. It is our belief
that school superintendents throughout the country
will find this an invaluable hand book and that through
its study and use the effectiveness of the motion picture
as an educational agency may be greatly increased.
Without any question each year will witness an in-
creasing use in our public schools of films. Without
proper guidance great waste of money and pupils'
time may result. With a careful, intelligent guidance
on the part of those responsible for the selection of
films and their proper correlation with the other or-
ganized activities of the school, w7e will see a real step
forward in educational efficiency.

C. E. Chadsey

CONTENTS

PART I

THE MOTION PICTURE FILM AS A TEACHING

INSTRUMENT

CHAPTER PAGE

I Educational Films — Types and Uses ... 3

II Three Film Libraries for the Course op Study 20

III Descriptive List of Films in the Libraries . . 37

IV Analysis of the Film Libraries by Subjects of

Study 68

V Six Sample Film Lessons ....... 85

VI A Tentative Plan for a Motion Picture Lesson 146
VII Three Important Studies on the Ltse of Educa-
tional Films 162

VIII A Score Card for Judging Values of Informa-
tional Pictures 197

IX State and City Centers of Distribution of

Educational Films ........ 208

X The Future of Educational Films .... 220

PART II

COMPREHENSIVE LIST OF EDUCATIONAL FILMS
(With Descriptive Notes)

1. Free Films . 260

2. Rental Films 324

3. Purchase Films 407

Bibliography 433

Appendix ;. 439

Index 443

xrii

ILLUSTRATIONS

Lincoln — From the Son of Democracy Frontispiece

Facing Page

Scene from "Nanook of the North" 4

Igloo in "Nanook of the North" 4

The Same Pictures shown on both widths of film (exact

sizes 13

Scene from "Eve of the Revolution," in the Yale Chronicles

of America Photoplays 36

Scene from "Dixie," in the Yale Chronicles of America

Photoplays 36

Still from "Our Children" a film produced by U S. Children's

Bureau 45

Scene of Outdoor Storage at Darien Port, Manchuria,

from "Thru the Open Door of Manchuria" 52

This ant is upholding 3,000,000 times its own weight . . 61

Two scenes from "Our Six-Legged Friend" 61

Scenes from "Manufacture of ARMCO Ingot Iron" .... 64

Scenes from "Conquest of the Forest" 68

Scene from "A Woolen Yarn" 77

Scene from "Milk as Food" 99

Dr. J. J. Weber, Author of "Comparative Effectiveness of

Visual Aids" 164

Professor Frank N. Freeman, University of Chicago . . . 173

Scene from "Yellowstone National Park" 213

Charter Members National Academy of Visual Instruction

at University of Wisconsin . 220

W. H. Dudley, Chief of Bureau of Visual Instruction,

University of Wisconsin 220

Motion Picture Studio, U. S. Department of Agriculture . 228
The dance at the husking bee — Scene from "The Corn-Belt

Derby," U. S. Department of Agriculture 237

Scene from "Saddle Journey in the Clouds," Castle Films . 260
Camera man of the Canadian Government Motion Picture

Bureau preparing to take scenes for the film "In the

Wake of Captain Cook" 269

Facing Page

pulling cable ashore at havana — scene from "making

Telephone History" 308

A Weather Bureau meteorologist making a "dust count"
from a dirigible balloon, as shown in the U. S. Depart-
ment of Agriculture film, "Exploring the Upper Air" 317

Scene from "The Covered Wagon," Famous Players -Las ky

Corporation 376

The 17-year locust — Scene from D it mar's Living Natural

History 418

Beavers — Scene from Ditmar's Living Natural History . . 418

Art Title from the De Vry film — "American Indians and

Their Ancestors" 422

Scene from "Regional Geography" (Grand Canyon of the

Colorado) . 427

The Antlers of the Elk are shed each Spring — Scene from

Ditmar's Living Natural History 427

Camera Men of the Canadian Government Motion Picture

Bureau, Ottawa, Canada 431

A veritable "slow motion" picture of a glacier "In Action"
— Scene from "Leaves from a Ranger's Notebook,"
Motion Picture Bureau on Canadian Government . . 431

A fishing drama 436

PART I

THE MOTION PICTURE FILM AS A
TEACHING INSTRUMENT

MOTION PICTURES FOR
INSTRUCTION

CHAPTER I
EDUCATIONAL FILMS— TYPES AND USES

Terminology

What is meant by the term Educational Film?

It is not strange that so new a product suffers some
confusion in nomenclature. In theatrical circles all
short subjects, as distinguished from dramatic fea-
tures, are frequently called "educationals." Come-
dies are excepted. But scenics, news weeklies of what-
ever description, novelty reels, and advertising reels
are all included.

An annoying instance of the loose use of the word,
"educational," was referred to in a recent issue of the
Educational Screen:

THAT WORD "EDUCATIONAL"

Carl Sandburg, the distinguished motion picture reviewer for the
Chicago Daily News, in the course of some remarks on an "educa-
tional comedy/' deplores the fact that the Educational Film Ex-
changes, Inc. exploits the term "educational" for comedies and
short subjects that have no claim to the adjective.

Mr. Sandburg said something. The name "Educational" has long

3

4 MOTION PICTURES FOR INSTRUCTION

since ceased to be a descriptive term for the typical productions of
that excellent company. The name has been a thorn in the flesh of
the non-theatrical world for several years. We should think it
would be similarly annoying to theatrical exhibitors, and especially
to their audiences at seeing these pleasant absurdities on the screen
bearing the familiar legend —

EDUCATIONAL PICTURES

"The Spice of the Program"

All "Edueationals," in the accepted meaning of the term, suffer
from this burlesque — and the whole field is kept busy explaining to
disappointed schools and churches the unfortunate implications of
the name. The Educational Film Exchanges, Inc. should either
change their name or their product.

In practice, things are named from their dominant
purpose or use. It is obvious that nearly every theat-
rical motion picture will convey information of some
sort about life and customs, but we do not, therefore,
call a Mae Murray film educational. Those films
should be included in the term "Educational," that are
predominantly educational. "Nanook of the North,"
a theatrical film, is nevertheless one of the best of the
educationals ; most scenics and industrials might be
permitted to bear the label. These can properly be
called "general educationals." Where the educa-
tional film is designed for purely instructional pur-
poses and is made by educators for educators, the
term "classroom film" or "text film" has been sug-
gested. The word "text," however, is not to be un-
derstood as implying that the film is designed to take
the place of a textbook, but only as an illustration to
the textbook — a moving picture supplement to the text.
Neither the textbook nor the text film is of much value

EDUCATIONAL FILMS— TYPES AND USES 5

unless the teacher is present to see that they are prop-
erly presented and used — and that the critical follow-
up work takes place.

Examples of the modern text or classroom film are
Bray's "Elements of the Automobile' 1 (12 reels);
"Secrets of Life" Series, Tolhurst; Ditmar's "Living
Natural History"; "How Life Begins" — microscopic
studies by Charles F. Herm; Wythe's "Citizens in the
Making"; and the series of technical films on anatomy
produced at the University of "Wisconsin. A large
list of such films is given in Part II, Comprehensive
List of Educational Films (with descriptive notes).

The term "Propaganda Film" embraces a large
group of educational films designed to aid some
"cause" or business, and constructed to appeal to pop-
ular audiences. The term and the product sprang
into prominent use during the war. Most of the Gov-
ernment war films were of this character ; also some of
the Department of Agriculture films, but many of these
are of such scientific and pedagogical value as to de-
serve classification among the text films. The Na-
tional Health Council, the American Eed Cross,
Y. W. C. A., Boy Scout, International Harvester Com-
pany, General Electric Company and hundreds of ad-
vertising reels come under this classification. Such
films vary greatly in pedagogical value, and need close
inspection prior to use in the classroom.

Text Films to Accompany Textbooks

This book has one advantage in the field of visual
education. It has set out a clear field for itself. It

6

MOTION PICTURES FOR INSTRUCTION

deals with films alone — not with slides, stereographs,
press pictures, museum exhibits, or projection ma-
chines. And among the films it limits itself, with few
exceptions, to classroom or text films in the Film Li-
braries, arranged to illustrate the course of study.*
Semi-dramatic productions, and miscellaneous films
combined in "programs" for the school assembly, to
be shown to masses of children of varying grades as-
sembled for the purpose — on special occasions or for
the "auditorium period" in schools under the platoon
system — are both too long and too varied in character
for serious classroom study conducted under the rigid
requirements of the daily time schedules.

The "Assembly Room" Type of Film

It was natural that films, at first, drifted out from
the theatres into the schools ; and this type of general
educational, semi-entertainment film program is still
of value on occasion. But such occasions are not the
subject matter of this book. The films discussed here
are the every day, informational type of films for
classroom use, having much the same functions as the
illustrations in the textbook, with the added action,
size, color, illumination and intensity which the screen
image has over the book picture. On the one hand, the

* Bulletin 8 (1924) by the author, U. S. Bureau of Education, page
27, suggests the following classifications for films used in educational
institutions :

( 1 ) "Text films," meaning those used to definitely illustrate the text
in class instruction;

(2) "General education," when the material is fairly educational,
but not used specifically for a class topic; and

(3) "Entertainment," where that is the obvious use and purpose.

EDUCATIONAL FILMS— TYPES AND USES 7

text film does more than the illustration in a book,
as it compels attention to pictures and the text relating
to it, in a manner impossible to books. On the other
hand, it cannot be so easily and repeatedly consulted
as the textbook picture.

Trivial Use of Pictures

Miss Edith Putnam Parker and Mr. Barrows have
called attention in a new geographical series (Silver,
Burdett & Co.) to the almost trivial use that is usually
made of pictures in a text. The pictures in a text are
not studied ; they are glanced at, and almost instantly
abandoned for the real study material in the text itself.
Whereas Miss Parker and Mr. Barrows have shown
that the picture is as much a proper subject of serious
study as the text. It should be accompanied with di-
rections, notes, questions and "layout" commensurate
with its importance.

The picture has undoubtedly gained a new impor-
tance generally from the motion picture version; and
though the frequent banalities of the theatre screen
cast some doubt on the importance of pictures to the
mental life, we know this is not the fault of the
medium, but of the box office.

Three Film Libraries for the Curriculum

In Chapter II, three short film libraries using class-
room or text films are outlined for use with a typical
American school course of study. They are the re-
sults of years of investigation and trial. Most of the

8 MOTION PICTURES FOR INSTRUCTION

films have been tested by the author ; others have been
selected on the recommendation of educators on whose
judgment he relies.

They are put down in this outline form for the sake
of definiteness, and to make it easy for school people
who have little time to study the question to go ahead
and make a start, feeling sure that somebody else has
made a careful and practical study for them.

The Film Libraries Only Suggestive

But from every other standpoint, the film libraries
can be taken only as suggestive — only as nuclei, from
which each school system may create its own film
course, either at first, or after a year's trial of the out-
line. It is obvious, for instance, that the various free
and rental films given as substitutes for the regular
numbers, may be so used, or they may be used in ad-
dition to the regular reels, thus doubling or trebling
the number of reels in the various courses. Or reels
may be freely chosen from the Comprehensive List of
Educational Films (Part II), as practically all of these
are suited for classroom use, many of them equal or
superior to those in the outline.* To cite all the rea-
sons why this or that film was finally included in the
regular outline would be tedious and unnecessary.
Matters of cost, availability and knowledge of particu-
lar films were usually involved.

* Except most of those given in Part II under Literature, which are
frequently too long and dramatic for classroom use, and are listed
mainly for reference for those teachers who want to know the films
that use standard literary works as backgrounds.

EDUCATIONAL FILMS— TYPES AND USES 9

Moreover, because city courses of study are not uni-
form as to the year in which particular subjects and
topics are taken, each teacher or supervisor will have
to switch the films somewhat to suit the degree of
divergence from the typical course followed in the
outline. Many of the films can be used in grades not
specified, where the teacher is careful to select the ap-
propriate scenes, and to fit her recitation plan to the
grade in question.

Film Libraries for Varying Pocketbooks

A real effort has been made to suit the pocketbooks
of small systems that have but little money to invest in
films, but would still like to get a start at visual in-
struction. Both free and rental reels are suggested
as substitutes for purchase reels, and where rental
reels are written into the course, free reels are fre-
quently offered as substitutes.

These substitutes, however, are suggested as only a
temporary expedient. If the means are available for
getting the purchase and rental films of the libraries,
school systems should take them as they are, without
substitutes, as most of the library films are supplied by
the producers with synopses and teachers' notes, and
the films written into the outline usually represent a
better correlation with the school course of study than
do the substitutes.

Most small systems starting the work will find that
the Eighty Reel Unit, or two films per week, will an-
swer their needs for the first year. The Forty Reel

10 MOTION PICTURES FOB INSTRUCTION

Library contains an average of only one per week for
the school year, the Eighty Reel Library, two per week,
and the One Hundred and Twenty Reel Library, three
per week.

While from the standpoint of small towns these may
seem like a large number, it should be remembered that
this number provides only about a half dozen reels for
a grade during the year. But if this should appear
too inadequate a service, reflect that the class should
nearly always see each film more than once, and that
other grades than the ones set down may see the film
to good advantage at the time it is in the building, if
it contains material relating to their lessons. Large
cities that already have generous budgets for visual in-
struction, and, therefore, film libraries of hundreds of
subjects will find the number of films indicated here
quite inadequate for their purpose, but even so, the
particular films listed may prove suggestive. The
film practices of some of the larger cities are described
at some length in Chapter VIII.

In fact, free and rental reels will have to be arranged
for several days' use, so as to allow for second show-
ings and also to complete the circuit of the other
schools in the system, that are at or near the same
topic in the curriculum ; the purchase reels can be used
whenever and wherever they are wanted — which em-
phasizes the real advantage of each school system
gradually acquiring a film library of its own.

Most of the purchase reels in this series are accom-
panied with teachers' leaflets, giving additional facts
concerning the topics in the reels, and suggestions for
teaching.

EDUCATIONAL FILMS— TYPES AND USES 11

A Director of Visual Education

From the time the school system starts visual in-
struction, it should appoint a director of visual instruc-
tion to care for and distribute the slides, films,
machines, and other apparatus of the course ; the films
should be ordered far enough in advance, and each
teacher should be notified when the showings are to
be made, and should receive in advance the synopses
and notes accompanying the films that are to be sup-
plied.

The ideal prerequisite to a classroom film showing is
for the teacher to have an opportunity to see the film
before the children do, so she can select the parts for
emphasis or slight treatment, and frame her questions
and follow-up work accordingly. But unless the
teacher can run the machine herself it requires twice
the amount of time from the operator ; a good plan is
for each room in the upper grades to have one boy or
girl who has been trained to thread and operate the
projector. * Learning to do this is a simple matter of
an hour 's instruction, and the running of several prac-
tice reels through the machine.

In one system, reported to the author, the teachers
assemble at the beginning of the school year, and once
a month during the year at a designated time to view
the group of films for the coming months, synopses of
the films are distributed and as the pictures are reeled
off, the teachers have the opportunity of making any
notes they may desire.

* For this and other reasons (see Appendix) a portable projector is
recommended for school use.

12 MOTION PICTURES FOR INSTRUCTION

A committee on visual instruction, one member for
each main subject of study, should be appointed to fit
the film course to the local textbooks and outlines, and
to help teachers plan their work. The superintendent
should recommend a budget for the rental and pur-
chase of materials, and for the proper compensation
of the director. Older students, as well as teachers,
can be trained to rewind and inspect the film after each
showing, and to operate the portable motion picture
projectors.

Film Correlations Only Partial

The correlation suggested for each reel has been
made on the basis of its principal content. Not every
scene in each is equally well adapted to the related
topic. A more perfect correlation could be secured if
the teacher or school committee should select just the
illustrations desired, in short lengths, from classified
catalogues of film negatives, and have prints made to
order in any length. It is the only way to avoid waste
of time and footage and build up a permanent library
of motion picture illustrations, every foot of which
is germane to the topic for which illustration is de-
sired. There are few such catalogues in existence,
however, and their contents are chiefly of interest to
theatrical producers. Bray Productions Inc., New
York City, and the DeVry Corporation, Chicago, will
make short prints to order from their extensive collec-
tions of educational film negatives.

Simple motion picture hand cameras, requiring no
tripod nor cranking, are now on the market and can b*>

35 mm. him 16 mm. film

The Same Pictures Shown ox Both Widths
of Film (Exact Sizes)— p. 15

EDUCATIONAL FILMS— TYPES AND USES 13

made indispensable adjuncts to any visual instruction
department, as they enable the amateur to take his own
motion pictures of many subjects that are available in
his own school or locality.

Only those cameras using the full theatre size
(35mm.) film, however, take pictures that can be shown
direct in theatres and standard portable projectors
found in the majority of schools.

All Films Are of Standard Width

Only films of the standard width (35 mm.) adopted
early in the history of the industry, by the Society of
Motion Picture Engineers, are recommended for the
three film libraries outlined in this book, or listed in the
Comprehensive List of Films in Part II. The reason
is the obvious one of making available to the schools
the best films of all the world. Any other width film
adopted would limit the schools to a very small frac-
tion of the world's film production.

In February 1925, at a meeting of the Department of
Superintendence of the National Education Associa-
tion it was announced that Mr. George Eastman of the
Eastman Kodak Co., had offered to co-operate with the
N.E.A. Committee on Visual Education in a production
of a series of moving pictures on narrow width film to
be produced for classroom work. The Eastman Kodak
Company manufactures a camera and motion picture
projector both of which take 16 mm. film. The Com-
pany secured the co-operation of the Visual Education
Committee which selected the following ten cities in
which to try out the film for two years : Eochester, De-

14 MOTION PICTURES FOR INSTRUCTION

troit, Chicago, Kansas City, Denver, Los Angeles, New
York, Springfield or Newton, Mass., Atlanta, Winston-
Salem. The films will be for the fourth, fifth and sixth
grades and the junior high school, and will illustrate
the following subjects: Geography, Health and Hy-
giene, Civics, Fine and Practical Arts, and General
Sciences. We are not told the number of films that
will be produced for this purpose but are informed
that the Eastman Kodak Company mil furnish their
Kodascope Motion Picture Projector and all 16mm.
films necessary for the experiment. The 16 mm. prints
however, will be made from standard size (35 mm.)
negative. An enterprise of this kind financed by one
of the richest business firms in this country ought to
produce evidence which will determine the compara-
tive values of standard and off-standard films and pro-
jectors in public school work. We will have to wait
two years before a report is made on the work accom-
plished.

Grading Is in Teacher's Presentation

The fact that films are frequently not designated for
a specific grade is not as great a drawback as it might
seem at first glance. The film is primarily a series of
pictures for illustration. Pictures are not as easily
assigned to specific grades as are books ; the gradation
should be done by the teacher in handling the picture ;
the kind of questions and supplementary facts which
she uses will depend on the age and ability of the child.
The same picture may be used with a fifth grade child

EDUCATIONAL FILMS— TYPES AND USES 15

and a high school graduate, but the treatment will be
entirely different. For instance, in "The Oregon
Course of Study Illustrated, " the films, "Having a
Circus 99 and "Starting in Life" are listed for second
grade geography and also for high school biology.

"Motion Pictures," says Professor Freeman in
Visual Education, "should be so designed as to furnish
to the teacher otherwise inaccessible raw material of
instruction, but should leave the organization of the
complete teaching unit largely to the teacher. The
explanation, discussion or elaboration of the material
which is shown in the film is a function of language.
Language can be used fully as effectively, if not more
effectively, by the teacher as by the film. Further-
more, the class should take a large share in the dis-
cussion. The reduction of the motion picture to its
essential core will promote both economy and flexi-
bility."

However, in a large way, certain pictures are better
adapted to fifth grade children, than to college juniors,
and these rough gradations are sometimes indicated.
They are, however, only suggestive, as the teacher's
treatment of the picture will be the main factor in
reference to the grade with which it may be used.
The teacher's leaflets accompanying many of the films,
and the encyclopedias and the supplementary texts in
the library, will furnish the additional supplementary
material for interpretation and study.

It is evident that the particular day, week and month
when a film should be used cannot be designated in a
general schedule, as the various cities in the United

16 MOTION PICTURES FOR INSTRUCTION

States use different texts and arrange topics in differ-
ing sequences. Here again the teacher's intelligence
must be the guide.

The visual instruction committee or director should
note where the topic covered by each film is treated
in the textbooks or outline of the course of study in
each city. The films should be designated for definite
pages in the textbooks or lesson outlines during the
week which the local course of study specifies for the
topic.

No claim is made that these films are the best pos-
sible selections for each of the topics included. Other
factors, such as availability and cost, had to enter in.
But a sincere effort was made to include no unsuitable
film and to so edit, in the notes, those that are included,
that teachers will be guided to use the most signifi-
cant scenes and titles. The teachers' own titles may
be added with stereopticon slides, or can be copied
on two or three frames * from a card with the movie
camera and added to the film. The stop-on-film shut-
ters of portable projectors make long footage for titles
unnecessary.

Motion Pictures not Always Limited to Action

Scenes

The opinion is expressed quite generally among edu-
cators that it is a waste of time and money to include
any views in motion picture film which do not contain
action, as these "stills" can be shown equally well with

* A "frame" on a strip of moving picture film means one of the little
pictures of which there are sixteen to the foot.

EDUCATIONAL FILMS— TYPES AND USES 17

the cheaper slide, and can be held on the screen much
longer for observation. Some educators go so far as
to say that no titles should be printed on the motion
picture film, as these call for no action. Titles can be
thrown on the screen with a stereopticon and slides. *
One can agree in a general way with the obvious
principle that only action should be shown with motion
pictures, but this general agreement should admit of
many exceptions. Quite frequently convenience out-
weighs expense, in the use of many electrical appli-
ances and various business practices. When a motion
picture of a moving railroad train engages the atten-
tion, and a striking bit of scenery is in the vicinity, the
audience is in a mental state to appreciate the scene as
it flashes on immediately after the motion, -and this
heightened state of attention far outweighs the saving
effected by waiting until the whole exhibition is over to
show slides, or stopping the film and switchng on the
stereopticon slide. ' 6 Stills " frequently relate to bits
of action that justify a motion picture presentation. In
the mountain view, floating clouds increase the beauty
and heighten the effect of reality, as does a distant
bird flying, or a burro climbing a mountain pass.f

* "Subject matter should not be included in educational films which
is not primarily the representation of motion or action." — Freeman.

t "In this connection let us refer to the quotation previously made
that 'Of still objects like the Capitol at Washington, a banana tree, the
Panama Canal, etc., a more comprehensive view may be obtained from
still than from moving pictures.' The broad assumption is made that
all of these are still objects. This is wrong. The banana tree is
growing and yielding its harvest to the native fruit gatherers, the
Panama Canal with its locks opening and closing, the water within
them lowering and raising and sending thousands of ships on their
way, are very far from still objects. The visual educator should dis-
tinguish in recommending the still picture in preference to the cine-

18

MOTION PICTURES FOR INSTRUCTION

Similarly, when a manufacturer is producing a film
of the manufacture of his product, while much of the
machinery and the exterior of his plant could be shown
equally well as "stills," he knows that the audience
would likely not see at all what he wishes to show if he
does not run it in then and there with the complete
continuity of the story. Few operators would bother
to show the slides separately with different lenses, and
the audience would perhaps lose interest and not wait
for slides at the end. School children would be under
stricter control and could be made to wait for the
slides, but the principle must not be overworked where
the "stills" are natural to the scene, and take short
foot ages.

It is certainly true that dwelling on maps, diagrams,
exteriors of buildings, blackboard drawings and cross
sections in "educational" movies has been overdone,
and educators should plan to eliminate such views
where all the circumstances justify it. But they
should be equally free to include "stills" where the
circumstances justify it.

Schools Should Purchase Films

Heretofore it has been very difficult for school
boards to purchase their own film for a permanent film
library on account of the high sale prices put on films
by producers, the producers' desire being to rent
rather than sell prints. This practice is more or less

matographic, whether he has in mind teaching merely the form of
the tree and the construction of the canal, or their life and growth
and use." — Motion Pictures in Education, Ellis and Thornborough.

EDUCATIONAL FILMS— TYPES AND USES 19

traditional in the theatrical world. The adoption of
portable motion picture machines as regular equip-
ment by schools calls for a radical change in the
method of handling film. The school is used to pur-
chasing its illustrative material in the form of globes,
maps and scientific apparatus. It purchases the books
for its permanent library. The same procedure
should be followed in the case of slides and films.
After educators have settled on certain films as the
best available to illustrate certain topics in the course
of study, and the films have been listed for correla-
tion with these topics, under the rental system there
is no assurance that the same films will be available the
next year, or that they can be secured at the time
desired. Transportation losses and delays are annoy-
ing. Under the purchase plan, this uncertainty is re-
moved, and the sclool has the same control of its film
supply from year to year that it has over its books and
other teaching aids.*

* The DeVry Corporation, 1111 Center Street, Chicago, has a Classi-
fied Library of Film Negatives (about 150,000 ft.) gathered from many
parts of the world, from which films of standard width are sold out-
right to schools in short lengths suitable for classroom use. All prints
are on non-inflammable stock, so that there can be no fire hazard in
their use, either while being run in projectors or while in storage.

A large group of Purchase Films will be found in the Comprehensive
List of Educational Films (Part II).

CHAPTER II

THREE FILM LIBRARIES FOR THE COURSE OF STUDY
FORTY REEL LIBRARY

Films selected for these three librar: ,*s are printed
in italic type ; substitute films, in ordinary type. The
numbers after the films refer to the Descriptive Lists
of Films in Chapter III, arranged alphabetically under
the headings: Purchase Films, Eental Films and
Free Films/

Films numbered up to 100 are Purchase Films, those
from 100 to 200 are Rentals, and from 200 to 300 are
Free Films.

Brief notes describing each film are given in Chapter
III, together with addresses of exchanges and prices.

GEOGRAPHY

California's Wonders Grades 5 & 6

(Purchase No. 1)
Substitutions: (See Teacher's Leaflet, page 76.) f

*Free films when distributed by University centers usually have a
service charge of from 50 to 75 cents a reel. The Y. M. C. A. free films
have no service fee.

t Full lesson plans with synopses, questions, references, etc., are

20

FORTY REEL LIBRARY

21

(Eental No. 101)

(Free No. 201)
Grand Canyon (In Color)

(Rental No. 102)
Substitutions :

(Free No. 202)
The Yellowstone

(Free No. 203)
Fair Florida

(Purchase No. 2)
Substitutions :

(Free No. 204)
Cuba (2 reels)

(Free No. 205)
Enchanting Japan

(Purchase No. 3)
Substitution :

(Eental No. 103)
India and Tibet

(Purchase No. 4)
Substitution :

(Eental No. 104)
Palestine

(Purchase No. 5)
Substitution :

(Eental No. 105)

given in Chapter V, for six of the films included in these libraries,
The films are:

No. 1 — California's Wonders.

No. 110 — Immigration (2 reels).

No. 114— Bre'r Rabbit and His Pals.

No. 226 — Uncle Sam, Champion Farmer.

Xo. 10— Milk as Food.

Xo. 134a — American Ideals.

Grades 5 & 7

Grades 5 & 7
Grades 5 & 7

Grade 6
Grade 6

Grade 6

Grade 6

22

MOTION PICTURES FOR INSTRUCTION

HISTORY

American Indians and Their Ancestors Grades 5 & 7
(Purchase No. 6)
Substitutions :
(Rental No. 106)
(Free No. 206)
Landmarks of Our Forefathers Grades 5 & 7

(Rental No. 107)
Substitutions :

(Free No. 207, first reel)
Neiv England Shrines Grades 5 & 7

(Rental No. 108)
Substitution :

(Free No. 208, second reel)
Eve of the Revolution (3 reels) Grades 5 & 7

Chronicles of America
Photoplay, Yale

(Rental No. 109)
Substitutions :
Eastern Scenics
(Free Nos. 209, 210, 211)

CITIZENSHIP

Immigration (2 reels) Grades 5 & 7

(Rental No. 110)
Substitutions :

(Free Nos. 212 & 213)

See Teacher's Leaflet, page 99.

FORTY REEL LIBRARY

23

NATURE STUDY — BIOLOGY

Mammals

(Purchase No. 7)
Substitutions :
(Eental No. Ill)
(Free No. 214)
Birds

(Purchase No. 8)
Substitutions :
(Rental No. 112)
(Free No. 215)
Bre'r Rabbit & His Pals — Rodents
(Rental No. 113)
Substitution :

(Free No. 216, 1st reel)
Ants, Nature's Craftsmen

(Rental No. 114) See Teacher's Leaflet, page 72.
Substitution :
(Free No. 216, 2d reel — no correlation with ants)
Boney Makers (Bees)
(Rental No. 115)
Substitution :
(Free No. 217)
Baby Song Birds at Meal Time
(Rental No. 116)
Substitution :
(Free No. 218)

24 MOTION PICTURES FOR INSTRUCTION

LANGUAGE AND LITERATURE

Pied Piper Grades 5 & 6

(Rental No. 117)
Substitution :
See Note Below
Irving

(Rental No. 118)
Substitution :
See Note Below
Cooper

(Rental No. 119)
Substitution :
See Note Below
Bryant

(Rental No. 120)
Substitution:
See Note Below
Whittier

(Rental No. 121)
Substitution :
See Note Below
Longfellow

'(Rental No. 122)
Substitution :

See Note Below
Note: Free Films: There are practically no free
films that correlate well with literature, and where
free films are desired for the English classes, we
recommend that scenics like the following be substi-

Grades 5 & 6

Grades 5 & 6

Grades 5 & 6

Grades 5 & 6

Grades 5 & 6

FORTY KEEL LIBRARY

25

tuted: 219, 220, 221, 222, 223— these to be used as bases
of compositions and conversations.

VOCATIONAL

Dairying

(Purchase No. 9)
Substitution:

(Free No. 224)
Garden Gold

(Free No. 225)
Uncle Sam, Champion Farmer

See Teacher's Leaflet, page 88.

(Free No. 226)
Wizard y of Wireless (2 reels)

(Free' No. 227)
Baick High Spots

(Free No. 228)

PHYSIOLOGY, HEALTH AXD WELFARE

Milk as Food

(Purchase No. 10)
See Teacher's Leaflet, page 81.
Substitution :
(Free No. 229)

26 MOTION PICTURES FOR INSTRUCTION

Through Life's Windows
(Eental No. 123)
Substitution :
(Free No. 230)

ATHLETICS

Winter Sports

(Purchase No. 11)
Substitution :

(Free No. 231)
Gridiron Glory

(Rental No. 124)
Swift and Strong

(Eental No. 125)
Substitution :

(Free No. 232)

Eighty Reel Library

(All of the 40 reels in the Forty Eeel Library and the

following 40 additional reels)
Find numbers, addresses of exchanges, cost, etc., for
each reel in " Descriptive List of Films in the Three
Libraries" (Chapter III).

EIGHTY REEL LIBRARY

27

GEOGRAPHY

All 'Qtrn.lin, nvirl. 'Nfp'W 7j pnlnwcl,

JLjLWo V 1 LlUV Lkaj Lt / I \A It DM/ r J C Lt< I Hi iv \AJ

Orarlp

\A X CI

6

(Purchase No 12)

Rice and Cowva in the Philiwines

*M- \J \J \J \y \AJ w V \AJ V-/ \S t J 1 KA' V § V V 9 V W JL it'll KJ JL/ t § %f \J %J

Grade

7

(Purchasp No 13)

T*7? no P rinwtii 1 9

7

(Purchase No 14)

Athens the Glorious, Pat-he Color

Grade

6

(Rental No. 126)

The Ancient Duchy of Brittany

Grade

6

(Rental No. 127)

Three Ancient Cities of France

Grade

6

(Rental No. 128)

East is East (Northern Africa)

Grade

6

(Rental No. 129)

Free Films as Substitutes for Above

There are few free films available on foreign coun-
tries ; so those indicated below are substitutes in a very
general sense only :

Crossing the Atlantic

(Free No. 233)
From Tropic Isles

(Free No. 234)
In Gulfs Enchanted

(Free No. 235)
Panama Canal (2 reels)

(Free No. 236)
The Lone Asian Traveler

(Free No. 237)

28 MOTION PICTURES FOR INSTRUCTION

Through the Open Door of Manchuria
(Free No. 238)

HISTORY

Dixie, Yale Chronicles of America Grade 7

(3 reels)

Eental No. 130)
Evolution of Transportation (Land) Grades 5 & 7

(Purchase No. 15)
Substitution :

(Eental No. 131)
Evolution of Transportation (Water) Grades 5 & 7

(Purchase No. 16)
Substitution :

(Rental No. 132)
The Call to Arms (Lincoln Cycle) Grade 7

(2 reels)

(Rental No. 133)
The Real Roosevelt (2 reels) Grade 7

(Rental No. 134)
(There are no free films to substitute for the histori-
cal films, but patrons may draw from the free list at
the back of this book, when close correlation is not
necessary.)

CITIZENSHIP

American Ideals Grade 7

(Rental No. 134A) See Teacher's Leaflet, page 108.

EIGHTY REEL LIBRARY

29

Substitution :
(Free No. 239)
Boy Problem Solved

(Free No. 240)
Moulders of Manhood
(Eental No. 135)
Substitution :
(Free No. 241)

NATURE STUDY BIOLOGY

Reptiles Upper Grades & High School

(Purchase No. 17)
Adaption (Animal Camouflage)

(Eental No. 136)
Substitution:

(Free No. 242)
M ollusJcs

(Rental No. 137)
Substitution :

(Free No. 243)
Crayfish

(Rental No. 138)
Birds of Passage (3 reels)

(Rental No. 139)
Substitution :

(Free No. 244)
Watching the Weather

(Free No. 245)

30 MOTION PICTURES FOE INSTRUCTION

LANGUAGE AND LITERATURE

Holmes

(Rental No. 140)
Lowell

(Rental No. 141)

Foe

(Rental No. 142)

Twain

(Rental No. 143)
Whitman

(Rental No. 144)
There are no free films that really correlate with the
literary subjects above. Where patrons cannot af-
ford to rent these films, we suggest scenics from the
free list at the back of the book. Any good educa-
tional film can be used in English classes as the basis
of composition and discussion.

VOCATIONAL

Bill J ones, Champion

(Free No. 246)
Conquest of the Forest

(Free No. 266)
A Woolen Yarn

(Free No. 268)

ONE HUNDRED AND TWENTY REEL LIBRARY 31

PHYSIOLOGY, HEALTH AND WELFAKE

How We Breathe (y2 reel)

(Eental No. 145)
Substitution :

(Free No. 247)
How We Hear (y2 reel)

(Eental No. 146)
Substitution :

(Free No. 248)
One Scar or Many

(Free No. 249)
Working for Dear Life

(Free No. 250)

ATHLETICS

Dances of Many Nations

(Purchase No. 18)
Corrective Gymnastics

(Purchase No. 19)
Substitution :

(Free No. 251)

ONE HUNDRED AND TWENTY REEL
LIBRARY

(All of the 80 reels in the Forty Eeel Library and
Eighty Eeel Library and the following additional
reels)

32

MOTION PICTURES FOR INSTRUCTION

Find numbers, addresses of exchanges, cost, etc., for
e&ch reel in "The Descriptive List of Films in the
Three Libraries' 9 (Chapter III).

GEOGRAPHY

The U. 8. Ten Talent Nation: Grades 5 & 7

(A selection of four reels from the complete series.
The complete list is given in Part II.)

bOli

vxracles o & (

^xteniai i\o. itt< )

oUDstiiution :

ree ino. aua)

w ater

vxractes o ct /

^jLientai ino. l^to^

Substitution :

ree ino. zd±)

Minerals

Grades 5 & 7

(Rental No. 149)

Substitution :

(Free No. 255)

Formation of Volcanoes and Geysers

Grades 5 & 7

(Rental No. 150)

Substitution :

(Free No. 265)

Philippines and Manila

Grade 7

(Purchase No. 20)

Work and Play in the Philippines

Grade 7

(Purchase No. 21)

Java

Grade 7

(Purchase No. 22)

ONE HUNDRED AND TWENTY REEL LIBRARY 33

China Grade 7

(Purchase No. 23)
Mediterranean Types (Snap Shots in Italy, Spain and
Monte Carlo) Grade 7

(Purchase No. 24)
As explained above, there are no available free
films that correlate well with foreign subjects. When
correlation is not necessary, free films may be selected
from the list at the back of this book, to substitute for
the foreign subjects above.

HISTORY

Abraham Lincoln First National Production (10 reels)
(Rental No. 150)

CITIZENSHIP

Romance of the Republic Series (Six reels from
the complete series listed in Part II)
Department of Treasury

(Rental No. 151)
Department of War

(Rental No. 152)
Department of Navy

(Rental No. 153)
Department of Labor

(Rental No. 154)
Department of Post Office

(Rental No. 155)
Department of Interior

34 MOTION PICTURES FOR INSTRUCTION

(Rental No. 156)
Available free films do not correlate with series
above, but where correlation is not thought necessary,
free films can be ordered from list at back of this book.

NATURE STUDY AND GENERAL SCIENCE

Hoiv Life Begins (4 reels)
(Free No. 267)
Substitutions :

(Free Nos. 256, 257, & 258)
The Four Seasons (4 reels)

(Rental Nos. 157, 158, 159, 160)
Substitutions :

(Free Nos. 259, 260, 261, & 262)
Secrets of Life Series (Tolhurst)

Our Six-Legged Friends (inflammable)^
(Rental No. 161)
Living Natural History (Ditmars)
Planaria — Shelless Mollusks

(Purchase No. 25)
Living Natural History, is a remarkable scientific
series of 42 reels, only one of which is given here, to
acqaint schools with the series. All are listed in
Chapter IX.

LANGUAGE AND LITERATURE

Opinions of educators differ widely on the merits of
the film dramatizations that have been made of the
works of standard English authors. Such films are

ONE HUNDRED AND TWENTY REEL LIBRARY 35

not included in these correlated courses, but are listed
at the back of this book for ready reference.

VOCATIONAL

Many free films having a vocational bearing are dis-
tributed through these three film libraries, as substi-
tutes for the rental or purchase films. A wide variety
of other occupational films will be found listed under
free films in Part II.

PHYSIOLOGY, HEALTH AND WELFARE

Circulation of the Blood

(Rental No. 162)
Good Teeth, Good Health

(Free 253)
Jinks

(Rental No. 163)
Substitutions :

(Free No. 264)

ATHLETICS

Fundamentals of Football (2 reels)
(Directed by Coach Rockne)

(Purchase No. 26)
Golfing with Bobby Jones (y2 reel)

(Rental No. 164)

36 MOTION PICTURES FOR INSTRUCTION

Where special conditions in a course of study render
the suggested substitutes unsuitable, the visual in-
struction committee may turn to the Comprehensive
List of Educational Films, Part II, and there, under
Free, Rental, or Purchase Films, find a wide range of
other educational films from which to make appropri-
ate selection. Some films marked 6 6 Rental" in the
libraries, may be found in the free list of Part II with
a designation, N. C. R. That is, the National Cash
Register Company has purchased these, and now holds
them for free distribution. However, they do not
promise to have available a number of prints to meet
concurrent calls, so it was thought best not to include
their films in the libraries organized in this chapter.

Grades for which films are to be used, are not often
designated in the film libraries, the reason having been
stated in Chapter I. By previewing the film, the
teacher can adapt the film lesson to the ages of the
children. Films mentioned with grade designation are
mostly in geography and history where custom has
established fairly definite time units through the
grades,

Courtesy of Educational Screen

Scene from "Eve of the Revolution," in the Yale Chronicles of
America Photoplays — p. 42

Courtesy of Educational Screen

Scene from "Dixie" in the Yale Chronicles of America Photo-
plays—p. 52

CHAPTER III

DESCRIPTIVE LIST OF FILMS IN THE LIBRARIES

(Numbers, Titles, Addresses of Exchanges, Cost
of Rentals and Purchases)

Information in the notes has been gathered from a
wide variety of sources, too numerous to list in detail.
Write direct to the film exchange for rates and dates.
When films are to be used several days, it is customary
to grant a reduced rental rate for all days after the
first one. Always specify non-inflammable films when
ordering.

FORTY REEL LIBRARY *

Purchase Films

1. California 's Wonders — $65.00 — DeVry Negative
Library, 1111 Center St., Chicago, Ill.f
Views of California scenery, famous the world over, are exhibited
in this film. There are glimpses of Yosemite's Falls, the Three
Brothers, the majestic El Capitan, the giant trees, and the pic-
turesque religious ceremony held annually on Mt. Rubidoux — Lake

* Abbreviations occurring in this list ( see beginning of Part II, p.
257, for a more extended list and additional details) :

IL S. Ag. — United States Department of Agriculture, Washington,
D. C.

Bu. Mines — U. S. Bureau of Mines, Pittsburgh, Pa.
N. C. R. — National Cash Register Company, Dayton, Ohio.
G. E. — General Electric Company, Schenectady, N. Y.
t The DeVry films are printed on receipt of order.

37

38 MOTION PICTURES FOR INSTRUCTION

Tahoe — Mt. Lassen — Mirror Lake — mountain skiing and tobogganing
— Ostrich Farms. See Teachers' Leaflet, page 77.

2. Faik Florida— $65.00 — DeVry Negative Library,
1111 Center St., Chicago, III.

Views of the Casino at Palm Beach — surf bathing — airplaning —
the Royal Ponciana Hotel — the characteristic vegetation of Florida;
orange groves, bananas, pineapples, melons, cocoanuts — views of
an alligator farm. Teachers' leaflet.

3. Enchanting Japan — $65.00 — DeVry Negative Li-
brary, 1111 Center St., Chicago, III.

The gathering of the birds at the ringing of the temple bells —
education of the geisha girls — jinrikishas — Cherry Blossom Fes-
tival— the sacred mountain of Japan, Mt. Fujiyama — other bits of
Japanese scenery — a view of the great image of Buddha with its
eyes of pure gold — workers in the rice fields — pearl divers — women
at work coaling ships. Teachers' leaflet.

4. India and Tibet — $65.00 — DeVry Negative Library,
1111 Center St., Chicago, Ilk

The film brings before our eyes a wondrous panorama — the festi-
vals, featuring elephants in rich oriental trappings — the weird
burial customs of burning bodies on the ghats and scattering the
ashes on the sacred Ganges — the mysterious temple dances of the
Tibetan priests — the grotesque Devil Dances of the common people.
The reel reaches its climax with the image of the incomparable Taj
Mahal. Teachers' leaflet.

5. Palestine — $65.00 — DeVry Negative Library, 1111
Center St., Chicago, III.

Glimpses of Bethlehem and Tiberius — distant and close-up views
of Jerusalem, including the Mount of Olives, the Mosque of Omar,
the Wailing Place of the Jews, and the Church of the Holy Sepul-
cher. Teachers' leaflet.

6. Amekican Indians and Their Ancestors — $65.00 —
DeVry Negative Library.

FORTY REEL LIBRARY

39

7. Mammals — $65.00 — DeVry Negative Library, 1111
Center St., Chicago, III.

Animals in their native habitats and in captivity — buffalo —
camels — caribou — deer — elephants — hippopotami — ground hog; — por-
cupines— raccoons — sloth bear — kangaroos — lions — leopards — pan-
thers— monkeys. Teachers' leaflet.

8. Birds — $65.00 DeVry Negative Library, 1111 Center
St., Chicago, III.

Wild geese and duck — -rarer birds like the cassowary and fishing
cormorants — Australian crane — New Zealand ostrich — wedge-tailed
eagle — the temple doves of Japan — the kiwi, the famous wingless
bird of Australia. Teachers' leaflet.

9. Dairying — $65.00 — DeVry Negative Library, 1111
Center St., Chicago, III.

Herds of Jersey, Guernsey and other breeds of dairy cattle —
interior of modern barns — operation of mechanical milker. Teach-
ers' leaflet.

10. Milk as Food — $60.00 — Ford Motion Picture
Laboratories, Detroit, Mich.

Choice herds of Holstein in sanitary barns — the proper way to
keep milk healthful — testing milk for butter fat — pasteurization —
composition of milk food.

11. Winter Sports — $65.00 — DeVry Negative Library,
1111 Center St., Chicago, III.

Skiing and toboganning in Northern California — joy ride on a
dog sled — snow fight — iee skating — sleigh ride — aqua-planing— a
modern auto snow sled— winter sports in the White Mountains and
Adirondaeks. Teachers' leaflet.

Rental Films

While reels are offered from some sources for as low
as $1.00 and $1.50 rental, the experience of all reliable

40 MOTION PICTURES FOE INSTRUCTION

non-theatrical distributors is that a film rental busi-
ness cannot be conducted where reels are rented at
less than $2.00 per reel. A rental rate of $3.00 and
$4.00 per reel is not exorbitant, and productions of
exceptional merit are justified in asking $5.00. The-
atres pay many times these rates.

Bates are based on the cost of production, cost of
prints, cost of keeping prints in good physical condi-
tion, and the number of rentals. Endowed institutions
can make better rates. Lower rates from commercial
exchanges will mean as a rule, old prints in poor phys-
ical condition. Streaks, poor patches causing jumps,
etc., on the screen, divert attention from the theme to
the medium, and produce annoyance and waste of time.
Old film not kept properly humidified, gets brittle and
breaks easily in the projector, which frequently ruins
the lesson. Old prints too frequently have ragged
edges — broken sprocket holes — causing lost loops and
breaks. It pays to deal only with reliable film ex-
changes. Even when this is done, poor prints slip by
in the rewind and are sent out in poor condition with-
out the knowledge of the manager. This is another
reason for the teacher running the film through once
before the class showing.

101. California, the Golden State — $4.00 — General
Vision Company, 104 W. 42nd St., New York City.

Characteristic features of a state that embraces the widest variety
of climate, products and scenery.

102. Grand Canyon of Arizona — $4.00 — General Vi-
sion Company, 104 W. 42nd St., New York City.

FORTY REEL LIBRARY

41

A faithful depiction of one of the most interesting spots in the
world.

103. School Days in Japan — $2.50 — Fox Film Cor-
poration, 55th St. & 10th Ave. y New York City
{Branches in principal cities).

Glimpses of the educational system of a rising oriental state.

104. India — $4.00— General Vision Co., 104 W. 42nd
St., New York City.

An orderly study of the general topography, peoples and customs
of India, designed to accompany a regular geographic text.

105. Jerusalem — $5.00 — Pictorial Clubs, Inc., distrib-
uting through Pathe exchanges.

This reel concerns itself mostly with the Jerusalem of the past
and is a geographic-historical study.

106. Fiest Americans — $5.00 — Pathe Exchange, Inc.,
35 W. 35th St., New York City (Branches in prin-
cipal cities).

A picture comparison of the habits, life, religious ceremonies,
and industries between the Indians of the Southwest and the Indians
of the Plains. Most of the Pictures were made on the Blackfeet
Reservation in Glacier National Park and in Arizona and New
Mexico among the Pueblos. Some of the pictures show ancient
cliff-dwellers.

107. Landmarks of Our Forefathers — $5.00 — Pathe
Exchange, Inc., 35 W. 35th St., New York City
(Branches in principal cities).

A picture of high educational value since it gives views of his-
toric spots like Jamestown, Yorktown, and the scene of Cornwallis'
surrender. There are diagrams to supplement the pictures.

42 MOTION PICTURES FOR INSTRUCTION

108. New England Shrines — $5.00 — Pathe Exchange,
Inc., 35 W. 35th St., New York City (Branches in
principal cities).

Plymouth Rock, Faneuil Hall, site of the Battle of Lexington,
and homes of New England authors are shown, making the picture
of value both to history teachers and teachers of literature.

109. Eve of the Revolution — (3 Reels) — $15.00 —
Yale University Press Film Service, New Haven,
Conn., and Pathe Exchange Inc., 35 W. 35th St.,
New York City (Branches in principal cities).

An accurate three reel reproduction of the events preceding the
Revolutionary War, such as the Boston Tea Party, the Boston Mas-
sacre, the Ride of Paul Revere, and the Battles of Lexington and
Concord. Prepared at great expense under the supervision of the
Yale University Press, these pictures are designed to illustrate
the famous Yale Chronicles of History, and represent the highest
point reached so far in the dramatic portrayal of historic events
with a proper degree of authenticity.

110. Immigration — 2 reels — Neighborhood Motion Pic-
ture Service, 131 W. 42nd St. New York City.

Two short reels from Wythe's Citizens In The Making — an original
series of pedagogical film lessons, given in full with teachers' man-
ual in Chapter V.

111. Our Four-Footed Helpers — (Ruminants) — $4.00
—Pathe Exchange, Inc., 35 W. 35th St., New York
City (Branches in principal cities).

This reel presents types of the ruminant family (animals that
chew the cud). Studies of the common cow — zebu — buffalo — gnu
— giraffe — dromedary — alpaca — llama. The studies of the deer
family, especially the elk and reindeer are considered remarkable.
A teachers' leaflet gives much additional information.

FORTY REEL LIBRARY

43

112. Birds of Prey — $4.00 — Pathe Exchange, Inc., 35
W. 35ih St., New York City (Branches in princi-
pal cities).

Typical examples of this family — the crested auks — buzzards —
goshawks — lammergeier — condors — eagles. Teachers' leaflet.

113. Bre'r Rabbit and His Pals — (Rodents) — $4.00 —
Patlie Exchange, Inc., 35 W. 35th St., New York
City (Branches in principal cities).

Habitats and appearance of rabbits, squirrels, prairie dogs, wood
chucks, mice, jerboas, marmonts. The skeletal peculiarities of the
rodent family are shown in close-ups and the facts of hibernation
brought out in detail. Special teachers' leaflet with this film.

114. Ants, Nature's Craftsmen — $4.00 — Pathe Ex-
change, Inc., 35 W. 35th St., New York City
(Branches in principal cities).

The powers of the microscope are added to those of the moving
picture camera in the magnification employed for the study of the
community life of these tiny insects. The differences in structure
between the queen, males, and workers are shown — close-ups of the
ant-hill with its thousands of community workers — newly-born ants
are shown under the care of the nurse ants — fighting and feeding
habits. Special teachers' leaflet with this film.

115. Honey-Makers — (Bees) — $4.00 — Pathe Exchange,
Inc., 35 W. 35th St., New York City (Branches in
principal cities).

A similar study of the life and habits of the bee. One of the most
valuable picture studies ever made of animal life. Special teachers'
leaflet.

116. Baby Songbirds at Meal Time — $4.00 — Pathe Ex-
change, Inc., 35 W. 35th St., Neiv York City
(Branches in principal cities).

An untechnieal treatment of young birds at meal time — charming
and unique.

44

MOTION PICTURES FOR INSTRUCTION

117. Pied Piper— $2.00— George Kleine—49 W. 45th
St., New York City.

This film, illustrating1 Robert Browning's poem, is inserted more
as a delightful interlude in nature study, rather than as a nature
study in itself. It cannot be called a "rat film" although there
are rats in it.

118. Irving

119. Cooper $5.00 per reel — Pictorial Clubs,

120. Byrant I Inc., Distributing Through Pathe

121. Whittier Exchanges.

122. Longfellow

These well-known numbers of the American Author Series, pro-
duced by Urban, contain excellent biographical and literary studies
of the authors named. As a rule, each reel includes a dramatiza-
tion of one of the best known of the author's works.

123. Thru Life's Windows — $5.00 — American Motion
Picture Corporation, 126 W. 46th St., New York
City (Branches in principal cities).

Natural study, mainly by animated diagrams, of the structure
of the eye and its care. The defects of sight are illustrated and
their correction.

124. Gridiron Glory — $4.00 — Pathe Exchange, Inc.,
New York City (Branches in principal cities).

This film shows the training necessary for modern football effi-
ciency. The pictures were taken at several American colleges.

125. Swift and Strong — $4.00 — Pathe Exchange, Inc.,
New York City (Branches in principal cities).

The still motion picture is used to good advantage in this reel
to show good running form and the details of motion involved in
hurdling, pole-vaulting, discus throwing, and broad jumping.

FORTY REEL LIBRARY

45

Free Films

201. Sentinels of the Sunset — Forest Service — * 0/-
fice of Motion Pictures, Extension Service, U. S.
Ag., Washington, D. C.

Views of Mt. Lowe and Mt. Wilson, California, including the
observatory. Municipal camps maintained by cities for auto travel-
ers are interesting features.

202. Wonderland of Canyons — Forest Service — U. S.
Ag., Washington, D. C.

Scenes in the national forests of Colorado — the Royal Gorge —
Leadville — Lake Creek — the Mountain of the Holy Cross — general
views of the Continental Divide.

203. Yellowstone — Northern Pacific Ry., St. Paul,
Minn.

A classic film of this wonderful park, showing geysers in action,
the Grand Canyon of Yellowstone, and many other interesting and
unique scenes.

204. Citrus Fruit in Florida — 2 reels — U. S. Ag.,
Washington, D. C.

Methods of management in orange groves and grapefruit groves
of Florida; preparation of the fruit for shipment.

205. Cuba, the Island of Sugar — 2 reels — G. E.,
Schenectady, N. Y.

The largest sugar mill in the world; scenes in and around
Havana.

* The United States Department of Agriculture deposits large groups
of its films with the Extension Departments of a number of state
universities and agricultural colleges. (See list in Chapter IX).
Frequently time and transportation charges can be reduced by dealing
with the nearest state institution.

46 MOTION PICTURES FOR INSTRUCTION

206. The Prehistoric Bandelier (Cliff -Dwellers) — 2
reels — U. S. Ag.

Views of the Santa Fe National Forest which contains more
than 20,000 cliff-dwellers — ancient and modern Indian pueblos.

207. Touring with the Grangers — first reel — U. S.
Ag., Washington, D. C.

Automobile tour of the National Grangers — visits to West Point
— Newport — Plymouth Rock — Provincetown — the mountains of Ver-
mont— Niagara Falls.

208. Touring with the Grangers — second reel.

209. In Old Quebec — Can. M. P., Ottawa, Canada, or
Y. M. C. A. Motion Picture Bureau, 1111 Center
St., Chicago, and 120 W. 41st. St., New York City.

This quaint and historical city is full of pictures for the students
of American history. All of the interesting features are given in
this film.

210. White Pine, Beautiful and Useful — U. S. Ag.,
Washington, D. C, or Y. M. C. A. Motion Picture
Bureau, 1111 Center St., Chicago, and 120 W.
41st St., New York City.

The uses of white pine; some of the famous houses in New Eng-
land that are built of it; also scenes in Washington and Mt. Vernon.

211. Under the Great Stone Face (White Mountain)
—U. S. Ag., Washington, D. C, Y. M. C. A. Mo-
tion Picture Bureau, 1111 Center St., Chicago,
and 120 W. 41st St., New York City.

White Mountain National Forest, including the famous "Old
Man of the Mountains.'7

212. An American in the Making — Bu. Mines, Pitts-
burgh, Pa.

Americanization, industrial safety and welfare.

FORTY REEL LIBRARY

47

213. Our Children — U. S. Labor Bureau, Washing-
ton, D. C.

The Children's Bureau of Health of the U. S. Department of
Labor starts its beneficent work in a small town; proper methods
of weighing, measuring and examining babies are shown.

214. When Elk Come Down — U. S. Ag., Washington,
D. C.

The forest ranger gets after the elk poacher on the snow-covered
mountains of the Absaroka National Forest.

215. Bird and Animal Life of Yellowstone — North-
ern Pacafic Railway, St. Paul, Minn.

The Yellowstone subject previously mentioned deals mainly with
the scenic features of the park, and this reel devotes itself princi-
pally to deer, bears, buffalo, birds, etc., of the region, although
containing generous portions of the scenic marvels.

216. Modern Pied Piper — 2 reels — U. S. Ag., Washing-
ton, D. C.

The old tale of the Pied Piper is suggested in this film, but the
emphasis is put on modern methods of rat control and extermination.

217. Bees: How They Live and Work — U. S. Ag.,
Washington, D. C.

Bees at work gathering honey — beehive — queen bee laying eggs —
life habits of this wonderful insect.

218. National Bird Eefuges — U. 8. Ag., Washington,
D. C.

National bird refugees on islands in the Gulf of Mexico ; pelicans,
terns, laughing gulls and other interesting birds.

219. Roads to Wonderland — U. S. Ag., Washing-
ton, D. C.

Roads near Mt. Hood in Oregon National Park — Crater Lake

48 MOTION PICTURES FOR INSTRUCTION

and Yosemite National Park — unusual Western scenery — splendid
examples of modern road building.

220. Trails That Lube (Columbia River Region) —
U. S. Ag., Washington, D. C.

Views of the Columbia River Gorge and wonderful Eagle Creek
road to Wahtun Lake in Oregon National Forest.

221. Little Journeys in Colorado — U. S. Ag., Wash-
ington, D. C.

From Denver and Colorado Springs into the national forests;
the views include Pike's Peak, the Garden of the Gods, Manitou,
and Carol Lake.

222. Hitting the High Spots (White Mountains) —
U. S. Ag., W ashington, D. C.

Scenic wonders of the White Mountain National Parks — camping
and hiking scenes.

223. She 's Wild— U. S. Ag., Washington, D. C.

Broncho Busting — roping — tying — other cowboy feats — Indian
dances.

224. Great Dairy Sires and Their Daughters — U. S.
Ag., Washington, D. C.

Types of great dairy sires and their offspring.

225. Garden Gold — U. S. Ag., Washington, D. C.

How a golfer becomes a gardener ; community gardens in America
for health and profit.

226. Uncle Sam, Champion Farmer — U. S. Ag., Wash-
ington, D. C. ■

Little cross sections of the farming industry in the U. S., including
the growing of crops, fruit and live stock.

FORTY REEL LIBRARY

49

227. Wizardry of Wireless — 2 reels — G. E., Sche-
nectady, N. Y. (Branches in principal cities).

The historical development of communication to distances. The
old beacon light — the Indian smoke blanket — operation of the helio-
graph— semaphore and wig-wagging — electric telegraph and tele-
phone— animated drawings of the function of the vacuum tube and
other radio parts.

228. Buick High Spots — Buick Motor Co., Flint,
Mich.

The construction of a well-known American automobile.

229. Milk, Nature's Perfect Food — International
Harvester Co., 606 S. Michigan Ave., Chicago, III.

The composition and value of milk as food and sanitary methods
of storing and distributing it. A truly educational film.

230. The Point of View — American Optometric As-
sociation, 523 4th Ave., Louisville, Ky.

The science of optics as illustrated by the human eye. Educa-
tional diagrams make this a very instructive film.

231. King Snow Holds Court — U. S. Ag., Washing-
ton, D. C.

Winter sports in the White Mountains — skiing, skating, etc.,- —
scenery of the White Mountains.

232. Field Day Sports — Illinois Steel Co., Dept. of
Safety, 208 S. LaSalle St., Chicago, III.

A typical celebration at a modern commercial plant under the
auspices of its welfare organization.

50 MOTION PICTURES FOR INSTRUCTION

EIGHTY REEL LIBRARY

Purchase Films

12. Australia and New Zealand — $65.00 — DeVry
Negative Library, 1111 Center St., Chicago, III.

The tree ferns and eculapytus forests of Australia — a eucatyptus
forest on fire — some of the queer wild animal life of Australia —
views in the sheep country — the boiling mud springs and the Ro-
turua hot pools in New Zealand — the Helvetia Ostrich Farm —
Maori customs — shooting the rapids of the Wanganui, the Rhine
of New Zealand. Teachers' leaflet.

13. Rice and Copra in the Philippines — $65.00 — De-
Vry Negative Library, 1111 Center St., Chicago,
III.

Cocoanut from the nut to the finished copra — rice terraces of the
Ifuagos — women at work in the paddy fields — transplanting, culti-
vating and harvesting rice. Teachers' leaflet.

14. Filipino Primitives— $65.00 — DeVry Negative Li-
brary, 1111 Center St., Chicago, III.

Igorote — Dog market — Igorote government railroad employees-
gathering bamboo shoots — Benguet Igorote dance and ceremonial
feast — using the spear and head ax — Igorote musicians.

Ifuagos — An Ifuagan dance, hunt and feast — Ifuagans at work.

Moros — Moro beauties and spearmen — Moro boy divers — Moro
dance — battle between spearmen at Mindanao.

Negritos — Use of bow and arrow — Negrito dance.

Teachers' leaflet.

15. Evolution of Transportation (Land) — $65.00 —
DeVry Negative Library, 1111 Center St., Chicago,
III.

From the elephants and camels of the east to automobiles and rail-
way palaces.

EIGHTY REEL LIBRARY

51

16. Evolution of Transportation (Water) — $65.00 —
DeVry Negative Library, 1111 Center St., Chicago,
III.

From African war canoes to the modern battleship.

17. Eeptiles — $65.00 — DeVry Negative Library, 1111
Center St., Chicago, III.

Rattlesnakes rattling and striking — feeding a python — battle be-
tween a cobra and a mongoose — a turtle farm and tortoise market
— close-up of alligators. Teachers' leaflet.

18. Dances of Many Nations — $65.00 — DeVry Nega-
tive Library, 1111 Center St., Chicago, III.

Dance of an Indian girl — Indian war dance — Pageant of the
Seasons — the Cuico, the national dance of Chile — Korean dances —
nautch dancing girl of India; the dance in Kandy, Ceylon — the
devil dances of Tibet and the temple dances of the lama priests —
Italian and Javanese dances — the knife dance of Lake Bagendits;
dances of the geisha girls — dances of the Filipino primitives —
hula-hula dance of Honolulu — the Bisherene dance of Egypt — the
Oopa-Oopa dance of Tahiti. Teachers' leaflet.

19. Corrective Gymnastics — $60.00 — Visual Text Book
Publishers, 212 W. 11th St., Los Angeles, Calif.

A much neglected phase of athletic training, with exercises
designed for the development of the average student rather than
the athlete; a very helpful series under the direction of Professor
LaPorte of the Department of Physical Instruction, University of
Southern California.

Rental Films

126. Athens the Glorious — Pathe Color — $5.00 —
Pathe Eoochange, Inc., 35 W. 35th St., New York
City.

A picture of this wonderful city in color, produced under the

52 MOTION PICTURES FOR INSTRUCTION

suggestion of the department of classical art of the Metropolitan
Museum of Art.

127. The Ancient Duchy of Brittany (France) —
$5.00 — Pathe Exchange, Inc., 35 W. 35th St., New
York City.

Beautiful color views of the most picturesque province of France.,
linked with French history and literature.

128. Three Ancient Cities of France — $5.00 — Pathe
Exchange, Inc., 35 W. 35th St., Neiv York City.

In color; Arnes, Avignon, and Carcassone, all famous in French
history; includes villages and castles in the Pyrenees.

129. East Is East (Northern Africa)— $5.00— Pathe
Exchange, Inc., 35 W. 35th St., New York City.

Tunis; views of the street and home life — desert scenes and oases
in the vicinity. In Pathe color.

130. Dixie— 5 reels, $5.00 per reel— Yale— Pathe Ex-
change, Inc., 35 W. 35th St., New York City.

Scenes of sacrifice in the south during the Civil War, with a real-
istic presentation of the meeting of Grant and Lee at Appomattox.

Chronicles of America Photoplays, produced by the Yale Univer-
sity Press Film Service, are designed to form companion series of
illustrations to the well known Chronicles of America issued by
the Yale University Press. It was a great day for American history
classes and for the introduction of scholarship into the movies, when
this great series was decided upon. The auspices under which these
pictures were made justifies our departure from our rule of one
and two reel productions. As these photoplays rent for $5.00 per
reel, it would be well to arrange a special schedule for their showing,
so that more than the usual time may be given to their presentation
and to the follow-up work which should accompany the exhibit.
While only one of these subjects is in our Eighty Reel Library and

H r

EIGHTY REEL LIBRARY

53

another, "On the Eve of the Revolution," in the 120 Reel Library,
wherever more time and money can be afforded by the school, we
strongly recommend the inclusion of as many of the rest of the
series as possible. The fifteen photoplays which have been so far
completed are included in the Comprehensive List in Part II.
Thirty-three plays are planned in the complete series. Some of
these plays are not free from theatrical effects, but theatrical presen-
tation had to be considered along with the school showings in order
to get some sort of financial aid for the immense outlay involved.

131. Evolution of Travel — $5.00 — General Vision
Co., 104 W. 42nd St., New York City.

A bird's-eye view of the long road the race has traveled in reaching
the modern transportation facilities of today.

132. Bailroads in United States History — Society of
Visual Education, 327 S. LaSalle St., Chicago, III.

The development of our railway systems, and the part they played
in our economic growth.

133. The Call to Arms — 2 reels, $5.00 per reel —
Lincoln Cycle — American Motion Picture Corp.,
1260 W. 46th St., New York City.

One of the pioneer attempts to produce a series of motion pictures
of a serious educational purpose, suitable for classroom and assembly
room presentation, was the series known as "The Son of Democracy"
or sometimes called "The Lincoln Cycle," written, directed, and
produced by Benjamin Chapin, who takes the leading role. Mr.
Chapin had for years enacted the life of Lincoln from the lecture
platform, and his remarkable likeness to the Great Emancipator
made him manifestly fitted to undertake this task. The series is
variously edited in from eight to ten chapters of two reels, each
chapter forming an episode complete in itself. Only one of the
Lincoln Cycle is selected for the Libraries in order to acquaint the
schools with the general character of the series. The equally re-
markable First National Picture "Abraham Lincoln" is used in the

54

MOTION PICTURES FOR INSTRUCTION

120 Reel Library, so that the Lincoln topic is fully treated from
another angle.

134. The Real. Roosevelt — 2 reels — $5.00 per reel —
Bureau of Commercial Economics, Washington,
D. C. Can be secured free from the Motion Pic-
ture Bureau National Council, Y. M. C. A, 1111
Center St., Chicago, and 120 W. 41st St., New
York City.

Roosevelt as a colonel in the Spanish- American War with his
rough riders — as police commissioner of New York City and Gover-
nor of New York State — later as Vice-President and President of
the United States. New prints of this subject are difficult to secure.
The Y. M. C. A. (Moton Picture Bureau can furnish substi-
tutes (rentals) from its new Roosevelt series listed in Part II,
pages 39&-370.

134A. American Ideals — $5.00 — Neighborhood Mo-
tion Pictures Service, Inc., 131 W. 42nd St.,
New York City.
One of Wythe's Citizenship Films, dealing with the initiation
of an immigrant family into the ideals of American citizenship.
The citizenship reels for the Libraries were printed before it was
certain that the Wythe films would be released on a general rental
basis; otherwise more of these would have been included. The re-
mainder of them will be found in the Comprehensive List of Educa-
tional Films in Part II under the subject of "Citizenship."

135. Moulders of Manhood — $5.00 — Pictorial Clubs,
Inc., Distributing Through Pathe Exchanges.

The scene is laid at a conference of the Boy Scout executives of
the United States; many of the most influential citizens of America
are shown in this film; the famous scout, Dan Beard, and Ralph
Hubbard, at the close of the meeting, stage an interesting episode
from pioneer days.

EIGHTY REEL LIBRARY

55

136. Adaptation (Animal Camouflage) — $4.00 — Pathe
Exchange, Inc., 35 W. 35th St., New York City.

The protective mimicry of nature. Crabs — worms — the walking
stick — caterpillars — toads — -lizards — butterflies — the praying mantis.

137. Molluscs— $4.00— Pathe Exchange, Inc., 35 W.
35th St., New York City.

Studies of the oyster, octopus, cuttle fish and snail; a Pathe
screen study with teachers' leaflet.

138. Crayfish— $4.00— Pathe Exchange, Inc., 35 W.
35th St., New York City.

Selected by many as a type study, the crayfish is of great interest
to zoology classes. Also, scenes of the stickleback which has the
unusual characteristic of being a fish that builds a nest. The pic-
ture shows the nest with the eggs in it and the male guarding it.
A Pathe screen study with teachers' leaflet.

139. Birds of Passage — 3 reels, $4.00 per reel — Pathe
Exchange, Inc., 35 W. 35th St., New York City.

A study of the bird migration that has been called remarkable
by scholars as well as theater audiences. The bird studies were
made by Bengt Berg of the birds of northern Europe on their
annual migration down the Nile to Abyssinia. Here again special
schedule should be made for this three reel picture.

140. Holmes — $4.00 — Pictorial Clubs, Inc., Distribut-
ing Through Pathe Exchanges.

Oliver Wendell Holmes is the first of Urban's Great American
Author Series, its general plan being the same as that for Lowell,
Poe, Twain, and Whitman below. The high spots in the author's
biography are first shown and then a dramatization of one or two
of his most popular poems.

141. Lowell — $4.00 — Pictorial Clubs, Inc., Distribut-
ing Through Pathe Exchanges.

56 MOTION PICTURES FOR INSTRUCTION

142. Pob — $4.00 — Pictorial Clubs, Inc., Distributing
Through Pathe Exchanges.

143. Twain — $4.00 — Pictorial Clubs, Inc., Distributing
Through Pathe Exchanges.

144. Whitman — $4.00 — Pictorial Clubs, Inc., Distrib-
uting Through Pathe Exchanges.

145. How We Breathe — y2 reel — $1.50 — Bray Produc-
tions, 120 W. 142nd St., New York City.

This short reel uses the well-known Bray method of animated
diagram and phantom view to show the bodily operations involved in
breathing.

146. How We Hear — y2 reel — $1.50 — Bray Produc-
tions, 120 W. 142nd St., New York City.

Another very short reel of the same general character.

Free Films

233. Crossing the Atlantic — Pathescope Co\. of
America for White Star Line, Aeolian Bldg., New
York City.

The steamer Olympic enroute from New York to Europe — pas-
sengers engaged in sports on deck — tennis, shuffle board — swimming
in the ship's pool — squash games — gymnasium scenes — and children
riding bicycles — other scenes on the great liner — the ball room.
Produced by the White Star Line.

234. From Tropic Isles (Coconuts) — Franklin Baker
Company, 15th and Garden Sts., Hoboken, N. J.

The coconut industry.

EIGHTY REEL LIBRARY

57

235. In Gulfs Enchanted — Pathescope Co. of Amer-
ica for White Star Line, Aeolian Bldg., New York
City.

A trip on the Megantic — Cuba — Jamaica — Panama Canal — the
coast of Venezuela — the island of Trinidad with the great asphalt
bogs — various islands of the West Indies. An entertaining film
containing beautiful photography.

236. Panama Canal — 2 reels — G. E.y Schenectady,
N. Y.

The actual construction of the Panama Canal, as well as the
completed work — following a ship through the locks from ocean
to ocean.

237. The Lone Asian Traveler — Atlas Educational
Film Co., Oak Park, III., and Y. M. C. A. Motion
Picture Bureau, 1111 Center St., Chicago, III.

A fanciful and scenic introduction leading up to the manufacture
of cheese.

238. Thru the Open Door of Manchuria — 2 reels —
S. Manchuria Railway Co., 1111 Broadway, New
York City.

Rare views of a little known country.

239. A Letter to Dad — U. S. Ag., Washington, D. C.

A typical Boys' and Girls' Club champion encampment at Sioux
City, Iowa — one of the boys writes home to father and tells him of
the many interesting things he has learned during the encampment.

240. Boy Problem Solved — N. C. R., Dayton, 0.

Methods used and results obtained by John H. Patterson of Day-
ton, Ohio, in his boy welfare work — keeping them off the streets —
useful and interesting labor — clean recreation — the development of
civic pride.

58 MOTION PICTURES FOR INSTRUCTION

241. The 4-H Camp for Boys and Girls — U. S. Ag.,
Washington, D. C.

4-H means Head, Heart, Hand and Health — the Boys' and
Girls' Club Camp where they learn better farming and home-work.

242. The Most Wonderful Insect in the World —
Cicada — U. S. Ag., Washington, D. C.

The cicada, or seventeen year locust — its mysterious disappear-
ance under the ground and reappearance seventeen years later.

243. Harvest of the Sea — Y. M. C. A. Motion Picture
Bureau, 1111 Center St., Chicago, III, and 120 W.
41st St., New York City.

Thrilling pictures of deep-sea fishing.

244. Anne's Aigrette — U. S. Ag., Washington, D. C.

The egrets have been nearly exterminated by plume hunters
the plumes being used largely for ladies' hats — the egrets in a
federal bird refuge.

245. Watching the Weather — U. S. Ag., Washington,
D. C.

Concrete lessons on how the air is charted by the weather bureau.

246. Bill Jones, Champion — U. S. Ag., Washington,
D. C.

Reminiscences of a club champion on his return from the Boys'
and Girls' Club Encampment.

247. Inside Out — Y. M. C. A. Motion Picture Bureau,
1111 Center St., Chicago, III, and 120 W. 41st St.,
New York City.

The story of digestion told in wonderful animated diagrams and

EIGHTY REEL LIBRARY

59

phantom views — what happens to food during the process of diges-
tion— all the organs of the body concerned are seen at work. A
Rowland Rogers film; can also be rented from the Rowland Rogers
Studios, 71 W. 23rd St., New York City.

248. Eevelations — G. E., Schenectady, N. Y.

A classic example of the contribution of commercial firms to
education — the manufacturing of x-ray tubes and picturization of
the action of the x-rays themselves — wonderful views of what they
accomplish in the location of foreign bodies in the human body
and of the use of x-rays in medical and dental science.

249. One Scar or Many— Y. M. C. A. Motion Picture
Bureau, 1111 Center St., Chicago, III., and 120 W.
41st Si., New York City.

Many people oppose vaccination because they do not understand
the principle on which it is founded. This health reel had the care-
ful supervision of Dr. Roseneau of Harvard University.

250. Working for Dear Life — Y. M. C. A. Motion
Picture Bureau, 1111 Center St., Chicago, III., and
120 W. 41st St., New York City.

Shows the value of periodical health examinations as instituted
by various life insurance companies of this country.

251. Field Day Sports — Y. M. C. A. Motion Picture
Bureau, 1111 Center St., Chicago, III., and 120 W.
41st St., New York City.

A track meet and various other athletic events are put through
by the employees of the Illinois Steel Company under the direction
of the Department of Safety and Relief.

60 MOTION PICTURES FOR INSTRUCTION

ONE HUNDRED TWENTY REEL LIBRARY
Purchase Films

20'. Philippines and Manila— $65.00— DeVry Nega-
tive Library, 1111 Center St., Chicago, III.
The Harbor of Manila — San Juan and old Fort Santiago — views
of the Bridge of Spain and the Normal High School, in Manila-
scenes on the Escolta and Pasig River. Teachers' leaflet.

21. Work and Play in the Philippines — $65.00 — De-
Vry Negative Library, 1111 Center St., Chicago,
III.

Filipino women embroidering, weaving, making lace and baskets
— cutting, barking and stripping hemp — building a bamboo bridge
— horse races, cock fights and caribou fights — a savage Sulu dance.
Teachers' leaflet.

22. Java — DeVry Negative Library, 1111 Center St.,
Chicago, III.

Planting and harvesting rice in Java — the Batik industry — a
seller of sarongs — tying the sarong — coconut hats and dry-goods
dealers — a country fair of Garoet; kite-time in Java — Djogkarta,
Javanese dance and orchestra — Javanese fisherman — picking water
lilies — volcanic craters and boiling pools — hot geysers — Boro-
Boedoer Temple — a Javanese funeral and a comic opera performance
— the knife dance with music by an Aulong bamboo. Teachers'
leaflet.

23. China — DeVry Negative Library, 1111 Center St.,
Chicago, III.

The reel opens with examples of the cheap labor of the Orient —
loading ships on the Bund — unloading tea from junks — loading
bananas — boat life around Canton and the Pearl River — views of
the Great Wall of China — the Temple of Heaven — Hall of Classics

Courtesy Educational Pictures Corp.

"This Ant Is Upholding 3,000,000 Times Its Own Weight'

IF THE ANT WERE A MAN

f*j f7} % equal the feat
of this ant the
man would now
t>e sustaining the
anormous weight of

3,000,000 lbs,
jil.il I or 1500 tons.

Courtesy Educational Pictures Corp.

Two Scenes from "Our Six-Legged Friend" — p. 64

ONE HUNDRED TWENTY REEL LIBRARY 61

— the Camel Back ridge — the Camel Gate and a Chinese funeral
procession — grinding flour in north China with the primitive stone
mill. Teachers' leaflet.

24. Mediterranean Types — DeVry Negative Library,
1111 Center St., Chicago, III.

Views of Sicily — Italian dances — the Messina earthquake — Piazza
of St. Peter at Rome and the Fiesta de Agatha — sunset on the Bay of
Naples — Monte Carlo — 'Gibraltar — Egyptian scenes — Cairo — the
Nile River and Assouan Dam — scenes in the Libyan Desert — Algeria.
Teachers' leaflet.

25. Living Natural History — Planaria — Raymond L.
Ditmars, c/o New York Geographical Society, New
York City.

The thirty-ninth in the series "Living Natural History." This
particular reel was prepared under the direction of the Marine
Biological Station at Naples. The complete series, consisting of
forty-two reels, is noteworthy because of its strict scientific classifi-
cations as followed in most zoology classrooms. The series includes :
(1) Mammals, with the subdivisions of Primates, Carnivora, Ro-
dents, Ungulates, and Marsupials; (2) Birds, with four subdivisions;
(3) Reptiles, with seven subdivisions; (4) Amphibians, with two;
(5) Insects, with eight; and (6) Marine Life, with four. As this
series is for sale at $100.00 per reel, rather than rent, it was felt
that but one or two examples could be included for purchase in
the small film libraries arranged in Part I. The complete list is
given under Purchase Films in Part II.

26. Fundamentals of Football — 2 reels — $120.00 —

Visual Text Book Publishers, 212 W. 11th St., Los

Angeles, Calif.
A splendid example of motion pictures applied to a definite
part of college work. Coach Rockne of the University of Notre
Dame has personally supervised these reels, showing the exact
system he uses in coaching the fundamentals, of football; forty-

62 MOTION PICTURES FOR INSTRUCTION

three different units of football training are exhibited by means
of slow motion, suspended animation, and animated charts, as well
as the usual photographic process. Other athletic reels of the
Visual Text Book Publishers are listed under Purchase Reels in
the second part of this book.

Rental Films

The United States — A Tex Talent Nation — $5.00
per reel — American Motion Picture Corp., 126 W.
46th St., New York City.

This series consists of twelve reels on geography and are an
ambitious attempt to furnish the school with authoritative pedagogi-
cal material, executed with advanced technic. As they are $5.00
per reel, it was felt that only three or four of them could
be included in the Library. These are: (1) Soil, (2) Wa-
ter, and (3) Minerals. However, the complete list is given
in Part II under Rental Films for such as can afford the se-
ries.

147. Natural Resources — Soil — $5.00 — American Mo-
Hon Picture Corporation.

148. Natural Resources — Water — $5.00 — American
Motion Picture Corporation.

149. Natural Resources — Minerals — $5.00 — Ameri-
can Motion Picture Corporation.

150. Formation of Volcanoes and Geysers — $2.00 —
Society for Visual Education, 327 S. LaSalle St.,
Chicago, III.

A representative of a long list of pioneer educational reels pro-
duced by this firm. Animated diagrams, and actual motion pictures
of volcanoes and geysers. See fuller list of their films in Part II.

ONE HUNDRED TWENTY REEL LIBRARY 63

151. Abraham Lincoln — 10 reels — First National Pic-
tures, Inc., 383 Madison Ave., New York City, and
831 S. Wabash Ave., Chicago, III.

This film, distributed by First National and produced by Al and
Ray Rockett, has been hailed every where as the finest screen presen-
tation of the life of the Great Emancipator. The theatrical has
been subordinated to a picturization of real life and the action and
environment are characterized throughout by simplicity and sincerity.
Although this is a long feature picture, it is recommended here for
classroom and assembly room presentation, but when it is used a
special schedule of the classes interested should be arranged to
permit of the proper folic w-up work.

Romance of the Republic Series — $4.00 per reel — Gen-
eral Vision Co., 104 W. 42nd St., New York City.
A serious attempt to objectify the work of the United States
Government in the various executive departments. One reel is
given to each of the following departments: Treasury, State, War,
Kavy, Justice, Labor, Post Office, Agriculture, Interior, and Com-
merce. These are $4.00 per day per single reel, but when the entire
series is rented, the cost is somewhat less. Six of these depart-
mental studies are given below and the complete series is listed un-
der Rental Films in Part II.

152. Department of Treasury — $4.00 — General Vi-
sion Co.

153. Department of War — $4.00 — General Vision Co.

154. Department of Navy — $4.00 — General Vision Co.

155. Department of Labor — $4.00 — General Vision Co.

156. Department of Post Office — $4.00 — General Vi-
sion Co.

157. Department of Interior — $4.00 — General Vision

Co.

64 MOTION PICTURES FOR INSTRUCTION

The Four Seasons — $5.00 per reel — Pictorial Clubs,
Inc., Distributing Through Pathe Exchanges

The producers state that the four reels of this feature production
can be shown in serial form, covering a period of two or four weeks.
Here the changing world of nature is presented through the year in
one hour. The picture created a sensation even in the theatres
when it was first presented and undoubtedly is one of the greatest
educational features ever produced. As indicated, these can be
rented one reel at a time or all together.

158. Fall— $5.00— Pictorial Clubs, Inc.

159. Winter— $5.00— Pictorial Clubs, Inc. Pathe

160. Spring — $5.00 — Pictorial Clubs, Inc. \ Exchanges

161. Summer — $5.00 — Pictorial Clubs, Inc.

Secrets of Life Series — $5.00 per reel — Educational
Film Corporation 729 7th Ave., Neiu York City.
This series, made by Tolhurst, is another achievement in scien-
tific photography to which visual educationists are proud to point
■as an example of the definite educational value of motion pictures
under classroom conditions. Only one of the series is included in
the Libraries, but the complete set is listed in Part II under Rental
Films.

162. Our Six Legged Friends — $5.00 — Educational
Film Corp.

163. Circulation of the Blood — 1 reel — $4.00 — Gen-
eral Vision Co., 104 W. 42nd St., New York City.

A well authenticated pieturization of actual blood circulation
under the miscroseope, for use of schools. There is a two reel
version also.

164. " Jinks" — y2 Reel— 60 cents — National Tuber-
culosis Association, 370 Seventh Ave., New York
City.

Courtesy of American Rolling Mills Co.

Scene from "Manufacture of ARMCO Ingot Iron" — p. 65
Molten iron pouring from open hearth furnace just after tapping

Courtesy of American Rolling Mills Co.

Scene from "Manufacture of ARMCO Ingot Iron" — p. 65
Upturned blast furnace ladle pouring igneous iron into "pig" molds

ONE HUNDRED TWENTY REEL LIBRARY 65

A novel picture of cartoon effects, showing how persistency will
overcome a tendency toward tuberculosis and build up a complete
cure.

165. Golfing with Bobby Jones — y2 Reel — $2.50 —
Pictorial Clubs, Inc., 350 Madison Ave., New York
City, and 808 8. Wabash Ave., Chicago, III.
The leading strokes of a famous golf champion.

Free Films

252. Limestone for Ailing Clover — U. S. Ag., Wash-
ington, D. C.

For students of soil and agriculture.

253. Good Teeth, Good Health— Y. M. C. A. Motion
Picture Bureau, 1111 Center St., Chicago, III., and
120 W. 41st St., New Yarh City.

A fine example of how motion picture propaganda can make good
health habits attractive to young people.

254. White Coal — 2 reels — G. E., Schenectady, N. Y.

Water power and its combination with electrical energy in many
applications to industrial life.

255. Manufacture of Armco Iron — 2 reels — Ameri-
can Rolling Mills Co., Middletown, Ohio.

An unusually vivid and successful representation of processes
difficult to photograph.

256. Embryology of the Egg — U. S. Ag., Washing-
ton, D. C.

The beginning of life — fertile and infertile eggs — applications to
poultry raising.

66

MOTION PICTURES FOR INSTRUCTION

257. Beyond the Micboscope — Gr. E., Schenectady,
N. Y.

The decomposition of water into hydrogen and oxygen. Animated
drawings represent the atoms which make up the hydrogen and
oxygen; molecules, nuclei, electrons, ions, etc. — what happens when
water freezes or is formed into snow-flakes.

258. Last Days of the Prairie Dog — U. 8. Ag.y Wash-
ington, D. C.

The life and habits of an interesting animal in Arizona; the
damage he does to farming and the work of the Government in the
extermination of the pests.

259. When North Winds Blow — White Mountains
— U. S. Ag., Washington, D. C.

A winter carnival in the White Mountain National Parks.

260. Apple Blossom Time in the Land of Evangeline
— Can. M. P., Ottawa, Canada.

The apple industry in the Annapolis Valley in Nova Scotia, the
Land of Evangeline. ><

261. Summer Camps — Vacation Days in the National
Forests — U. S. Ag., Washington, D. C.

Boy Scouts on the Santa Fe and Oregon.

262. Where Nature Smiles— Y. M. C. A. Motion Pic-
ture Bureau, 1111 Center St., Chicago, III., and
120 W. 41st., Neiv York City.

The Niagara fruit district in Canada — beautiful scenes of the
trees in blossom — picking and distribution of the fruit.

263. Oral Hygiene — 2 reels — Colgate & Co\, New York
City.

The care of the teeth, with but little objectionable advertising.

ONE HUNDRED TWENTY REEL LIBRARY 67

264. Awakening of John Bond — New York Bureau of
Health, 136 Center St., New York City.

The gradual transformation of a miserly landlord into a con-
siderate human being in his relations with his tenants.

265. Yellowstone National Park — Northern Pacific
Railway, St. Paul, Minn.

Scenic beauties as observed in the regular four and a half day
trip of the tourist. The bird and animal life of the Park is shown
in another reel issued by the same company.

266. Conquest of the Forest — G. E., Schenectady,
N. Y.

This shows the great forests of Oregon and Washington, and the
logging and other operations performed in converting trees into
lumber — thoroughly educational.

267. How Life Begins — i reels — Y. M. C. A. Motion
Picture Bureau, 1111 Center St., Chicago, III., and
120 W. 41st St., Neiv York City. (This film ob-
tainable free from Y. M. C. A. New York address
only, but it can be rented from the Carter Cinema
Production Corp., c/o Evans Film Laboratories,
1476 Broadway, New York City.)

One of (*the earliest and best of the biological films. The com-
plete life cycles of the sweet pea, frog, butterfly, chick and white
rat.

268. A Woolen Yarn — G. E., Schenectady, N. Y.

The wool industry. The shearing of the sheep — carding — spin-
ning— weaving. A comparison of work by the primitive Indians
and the modern factory; highly educational.

CHAPTER IV

ANALYSIS OF THE FILM LIBRARIES BY SUBJECTS OF

STUDY

The Geography Films

There are twenty-six reels in geography — of which
nine are in the Forty Reel Library, eight more in the
Eighty Reel Library, and nine more in the One Hun-
dred Twenty Reel Library.

In the Forty Reel Library four reels apply to the
sixth grade, and five to both fifth and seventh. The
gradation suggested is the usual one in American
cities, but it must be remembered that the distribution
of geographic subject matter through the grades is by
no means uniform, and the teacher must use her judg-
ment as to the grades. Thus the New York City
Course of Study puts United States topics in fifth and
seventh grades, while the Columbus, Ohio, Course di-
vides the fifth year with South America, and puts Asia,
Africa and Australia in the sixth year. Omaha puts
Europe with Africa and Australia in the sixth year
and studies the United States with Asia and South
America in the seventh.

The reels are about equally divided between the
United States and Asia, with two in Cuba.

Many schools do not continue geography into the
eighth grade, but where this is done, it is usually an in-

68

neral Electric Co.

Scenes from "Conquest of the Forest" — p. 67

ANALYSIS OF THE FILM LIBRARIES 69

tensification of the preceding work along the lines of
physical geography. In this case, those films which
emphasize physical features (as the first three) can be
used over again. More often the eighth grade geog-
raphy merges a review of United States geography
with civics. The reels under Citizenship will illustrate
civics. The Forty Keel Library geography films are
about equally divided between the United States and
foreign countries.

The provision for substitute reels is very liberal,
most of them being free, but some rental. By refer-
ring to the Descriptive List of Films in the Libraries
(Chapter III), the topic of each substitute may be
found under the number given in the outline, also the
address from which it may be obtained, and the price,
if it is for rent. In general the topic covered is similar
to the regular film in the outline, but sometimes, espe-
cially in the case of free films, the similarity is only ap-
proximate. The regular film written down in the
outline should be selected wherever possible.

In the Eighty Reel Library, three reels are added on
Europe, one on Africa, two on Asia and one on Aus-
tralia. South America does not appear. In such
short courses all countries could not be included, and it
seemed best to supply sufficient material to build up
a fairly comprehensive knowledge of a few countries
rather than attempt an ineffective stab at all. The
Comprehensive Film List of Educational Films in
Part II provides, of course, a well of educational films
on all countries that can be freely drawn upon' by
teachers at any time to supplement the regular courses.
The Eighty Reel Library includes six films for the fifth

70 MOTION PICTUEBS FOE INSTRUCTION

grade, nine for the sixth and eight for the seventh in
geography.

The One Hundred Twenty Reel Library makes it ten
for the fifth, nine for the sixth and twelve for the
seventh. Four of the added reels are on Asiatic coun-
tries, four on the United States (physical geography)
and one on Europe.

History

The Forty Reel Library begins appropriately with a
glimpse of three different types of the original inhabi-
tants of America, and proceeds to a study of colonial
life through historic landmarks and shrines. The free
reels recommended as substitutes are really very good
and can be used if it is necessary to reduce the expense.
The series ends with a three reel presentation of one of
the famous Chronicles of America Photoplays pro-
duced by the Yale University Press— The Eve of the
Revolution — and rounds out the story of our early
struggles for liberty. This series is a rare instance of
where scholarly educational production achieved popu-
larity in the theaters. The rental is reasonable, con-
sidering the cost of production. Here again the
temptation was to include the whole series of fifteen
historical screen dramas, but consideration for the
limited financial appropriation of small city school sys-
tems prevented this. However, the whole series thus
far issued is given in the Comprehensive List of Edu-
cational Films in Part II, from which additional selec-
tions may be made according to the means of the school
system. The three reels here given will take an hour

ANALYSIS OF THE FILM LIBRARIES 71

to run. The importance and educational value of this
three reel subject justified a departure from the policy
of short reels only for the classroom. There are no
free reels that are in any sense substitutes for this num-
ber, but for those who cannot afford it, three free
scenics are cited. In the patriotic sense of 6 ' see Amer-
ica first, " a slight justification can be found for their
substitution.

The Eighty Eeel Library in history starts with an-
other of the Yale Chronicles of History, Dixie. Its
three reels give some of the most thrilling episodes of
the Civil War, and also a conception of the struggles
and stress of the civilian population during war times.
Picturing this critical period from another angle is a
two reel excerpt from the noteworthy "Lincoln Cycle''
known as The Son of Democracy — ten episodes of two
reels each in the life of the Great Emancipator. These
were produced by Benjamin Chapin, who takes the
part of Lincoln. Only these two typical reels of the
series are included here, because in the One Hundred
Twenty Eeel Library, the First National's wonderful
photoplay, Abraham Lincoln (ten reels), is recom-
mended. See the full Lincoln Cycle in the Comprehen-
sive List of Educational Films, Part II. Tying up
with the development of railroads and steamboats are
two purchase reels showing the evolution of trans-
portation by land and water. Two stirring reels on
Eoosevelt represent the Spanish-American War
Period.

The history number in the One Hundred Twenty
Eeel Library represents a radical departure from the
short reel principle followed in this course. The rea-

72 MOTION PICTURES FOR INSTRUCTION

son is the remarkable nature of the film material.
Abraham Lincoln, a ten reel feature play in hundreds
of first run theaters, is perhaps the greatest educa-
tional production extant for American schools. The
First National Pictures has adopted a liberal policy in
renting it to schools. The picture is, of course, too
long for classroom use, but its exhibition is important
enough to warrant the giving up of an afternoon or
evening for the whole school and for the parents to
see it. If it could come near Lincoln's Birthday or at
some other patriotic occasion, the event might have
double value.

Citizenship

The main purpose of schooling is good citizenship,
and the editor of this course has been especially careful
to include stimulating reels that furnish motivation for
ethical conduct. In the Forty Reel Library the reels
on immigration furnish the background, in story form,
for the appreciation of America's basic opportunities,
and present, in alluring form, the attitude which the
good citizen should have toward his government. The
reels are taken from the valuable series on Citizens in
the Making, by F. S. Wythe, in use in the Los Angeles
Schools and adopted for the school film course now be-
ing conducted by the Neighborhood Motion Picture
Service, Inc., in New York City.

The simple and direct quality of these reels adapt
them to any of the elementary grades. They are ac-
companied by an elaborate booklet of lesson plans and

ANALYSIS OF THE FILM LIBRARIES 73

teacher helps * that forms a real contribution to the
pedagogy of educational motion pictures. These reels
are rented, at reasonable prices, and should find a place
in every school system. One other reel is scheduled
in the Eighty Reel Library. Only the cost prevents
scheduling the whole series of thirteen lessons.

If it is absolutely impossible for the school system to
rent these reels, the free substitutes recommended may
be used. These are An American in the Making — the
growth of a foreign factory worker in American ideals
— and Our Children which is issued by the United
States Labor Bureau.

In the Eighty Reel Library, Wythe's American
Ideals is selected, for which a sort of free substitute
is A Letter to Dad, a boy's club picture sent out by the
United States Department of Agriculture. Three
other reels, a rental film, Moulders of Manhood, and a
free two reel film, make six reels dealing with civic
ideals.

The One Hundred Twenty Reel Library adds six of
the Romance of the Republic's series, which can be
rented. They deal with the various departments of
the Federal Government in a more formal manner than
the other reels mentioned.

Attention is called to the Pathe Weekly News listed
in the Comprehensive List of Educational Films.
Many schools show one of these every week, either in
history or civics classes, and they can be rented at very
low rates. In the Current Events Course of the
Neighborhood Motion Picture Service described on

* See the two film lesson plans on Immigration in Chapter VI.

74 MOTION PICTURES FOE INSTRUCTION

pages 241 to 245, these Pathe News Weeklies are edited
especially for school use, with selected events and
stimulating questions.

Nature Study

Next to geography teachers, nature study and bi-
ology teachers are the greatest users of educational
films. The reason for this is that they are dealing
with a type of material having preeminently life and
motion, and that most of the actual animals are either
unsuited for classroom use or very difficult to procure
and keep. The magic of the film supplies this lack in
a remarkably effective way, especially in small cities
and towns where zoological collections do not exist.
The standard zoological groups, such as mammals,
birds, reptiles, etc., should be subject to constant illus-
tration. These films should be purchased by the
school and kept in the film library, as they are needed
on many occasions and in many classes.

In the Forty Reel Library the start is made with
mammals because of their size, interesting appearance,
and habits. Birds are undoubtedly next in our affec-
tions, in familiarity, and in popularity with children.
The two reels here recommended for purchase present
a wide variety of each group. The rental and free
reels as substitutes are confined to individual species.
The four reels beginning with Bre'r Rabbit and His
Pals (Rodents) are from the Pathe Screen Studies —
a popularization of nature topics for elementary
pupils, rather than a detailed " study," but they con-
tain rare and interesting views of animals in action.

ANALYSIS OF THE FILM LIBRARIES

75

The teachers y leaflets * accompanying all of these are
models of modern classroom methods, and their general
plan may well be followed in handling films for teach-
ing purposes. The rentals are exceptionally reason-
able. The free reels mentioned as substitutes may
better be used as supplementary.

The Eighty Eeel Library continues the series with
four more of the screen studies — one on molluscs, one
on the interesting subject of protective form and color-
ing in the struggle for survival, one purchase film on
reptiles, and one in general science on weather meas-
urements and predictions.

The One Hundred Twenty Reel Library gives op-
portunity for introducing four of the greatest educa-
tional films series thus far produced. Each of them
has already become classic in the field. The first, How
Life Begins, was produced by the pioneer biology
film technician, George E. Stone, whose inventions and
productions made clear to educators that motion pic-
tures of microscopic animal life and tissues constituted
classroom illustrative material of the highest teaching
value. Other scientific pictures by Stone are listed in
the Comprehensive List of Educational Films, Part II.

The Four Seasons, produced by Raymond L. Dit-
mars, curator of the New York Zoological Society, has
had extensive theatrical, as well as educational, runs.
While films produced from this double point of view
usually suffer from the classroom point of view, the
Four Seasons must be regarded as an exception. It
is a wonderful exhibition of the succession of animal
and plant life throughout the year, and is conceived

* See one of these complete in Chapter VI.

76 MOTION PICTUEES FOR INSTRUCTION

and executed with unusual regard to beauty as well as
science. Mr. Ditmars has produced a valuable series
of zoological films (thirty-two subjects) all classified in
textbook fashion. They are suited for high school
and college classes and are not for rent. The whole
series is listed in Part II, under Purchase Films, and
one film from his Living Natural History Series
(Planaria) is inserted in the One Hundred Twenty
Reel Library as a purchase film.

Tolhurst's Secrets of Life series rival those men-
tioned above in scientific interest. It is noteworthy
that, like Ditmars', Tolhurst's unusual studies at-
tracted the attention of the theatrical producers and
his science subjects are still popular as auxiliaries to
feature programs. The full series is given in Part II
under Eental Films.

Language and Literature

The best way in which the film can serve language
classes is to furnish vital and thought provoking pic-
tures for composition and conversation. Enlarging
the circle of thought enlarges the vocabulary. A new
thought, especially one involving imagery, forces new
words. Thus any good educational film of travel, in-
dustry, current events, or the like can be used to ex-
cellent advantage for vocabulary building in language
classes, and the teacher should draw freely from the
Comprehensive List of Educational Films for this pur-
pose.

The lessons based on the United States Government

ANALYSIS OF THE FILM LIBRARIES 77

films used by Miss Aiton in teaching English to for-
eigners are very suggestive, and one of them is given
in Chapter V, Six Sample Film Lessons.

Mr. Thompson, who is in charge of the Visual In-
struction work at the School for the Deaf in Trenton,
New Jersey, has done some stimulating work in getting
language value out of film presentations.

It is interesting that schools for special classes are
our most frequent source of new methods, that later,
somewhat modified, prove good for all education. So
Hampton and Tuskeegee have taught the whole world
the value of industrial education, and Montessori's
work with backward children has made a great contri-
bution to our kindergarten system. In like manner,
schools for the deaf should be the world's great labra-
tories for methods of instruction through the eye gate.

In -addition to films that are made the basis of com-
position, there are a few dealing with the lives and
works of noted authors. Among the best of these are
the Charles Urban series on Great American Authors.
Five of these are pat in the Forty Eeel Library, and
five more in the Eighty Eeel Library as rental num-
bers.

Relation of Films to Great Literature Still in
Doubt. — A great number of films have been produced
purporting to be representations of great literature,
American, English and European. Many of them are
such violent departures from the original that their
exhibition to the school child would distort and well
nigh destroy his own truer conceptions gained from
the work itself. Others, while faithful in general to

78

MOTION PICTURES FOR INSTRUCTION

the story, take liberties that make subtle changes, more
mischievous because not so easily detected.*

However, some film stories of great pieces of lit-
erature do exist concerning which literary criticism
has been generally favorable. These are listed with-
out comment or recommendation in the Comprehensive
List of Educational Films in Part II, but are not in-
cluded in the Libraries. Their length alone makes
them unsuited to classroom presentation, but they are
available for school and community entertainments.

The relation of book films to book reading is still
a matter of investigation and debate. Some librarians
have kept track of the increase in the calls for certain
books when the film stories were being run. Whether
the drawings were mostly after or before viewing the
photoplays is not recorded — an unfortunate omis-
sion. It is conceivable that many persons, having seen
the photo play the "Hunchback of Notre Dame,"
might neglect reading the book under the false impres-
sion that they have already had the story and spirit of
the original. In other words, groups of people may
view the film as a substitute or short cut for the book.
The appreciation of literature would not gain by such
procedure. Bernard Shaw, as reported by Archibald

* "Discussing 'The Motion Picture and English Literature/ a pro-
fessor of English at Brown University writes: 'If in general it is
dangerous to supplant books by motion pictures, it is trebly so in
literature. A motion picture can give only the facts of the case
in action plus whatever elemental emotion these facts generate. If
the motion picture accentuated the habit of thinking in bits it would
not be a help but a menace. The best part of a novel cannot be trans-
ferred to the screen. A coarsened, syncopated representation of the
plot (as in Treasure Island) can be given, but that is all.' " — Motion
Pictures in Education by Ellis and Thornborough.

ANALYSIS OF THE FILM LIBRARIES

79

Henderson, puts in an incisive remark, drawing atten-
tion to a similar situation between the drama and the
inovie: "People see a ' Macbeth' film. They imagine
they have seen 'Macbeth,' and when somebody comes
to act the play, he finds the house empty."

Movies, the Wrong Instrument. — Attempts to teach
grammar with motion pictures have not been encour-
aging. One such film observed recently, represented
the parts of speech by children, who had various signs
pinned on to them, and the relation of these parts of
speech were shown by friendly greetings or fist fights.
The effect was confusing and the picture absurd.
These poor children and their instructor got in the way
of the simple relationship which they were supposed
to illustrate and thousands of dollars were wasted in a
sad mixture of comedy and tragedy. A few slides, or
a blackboard, or simple words and sentences in a book
with a capable teacher to give the class practice in
their use are still much more effective. One is re-
minded by such misconceptions of "making things easy
for children," of Montessori's notable words which
expressed her disapproval of the overdose of "stor-
ies" and juvenile "busy work" which passes for ex-
pert primary teaching in some schools. Three words
she gave her disciples : simplicity, brevity, truth.
Their wise application in modern school work would
brush aside great piles of pedagogical junk that clutter
up school closets and recitation periods.

The cause of visual education is injured every time
motion pictures are applied to phases of education too
abstract for picturing or for which simpler and
cheaper forms of illustration are more effective.

80

MOTION PICTURES FOE INSTRUCTION

Vocational

Appreciating the fact that many of the school sys-
tems using these film courses of study are in small
towns with many of the children from rural communi-
ties, and because, also, agriculture is as fundamental,
and should be as familiar, to the urbanite as to the
country boy, an unusual number of free films dealing
with agricultural products and pursuits are included
in the vocational unit.

The other occupations illustrated are basic and are
those with which most modern citizens are concerned,
viz., automobile construction, radio, manufacture ot
lumber, woolen cloth, and flour. Other occupations
are illustrated in many of the scenic and other films
(see the descriptive notes under each film), such as
honey making, orange culture, sugar, logging, rice and
copra growing, railroading, cheese making, fishing,
X-rays, and the manufacture of iron and steel.

Educational-Industrial Films (Advertising Films). —
Hundred of excellent films illustrating scores of in-
dustrial processes are catalogued in the Comprehen-
sive List of Educational Films, Part II. Here is a
fortunate situation indeed. Vocational Education is
in great need of motion picture illustrations for the
multiform industrial processes that cannot be repro-
duced in the schoolroom or to which the children can-
not be conveniently taken, and these industries them-
selves have produced for free circulation the very films
needed.

Of course, some of these are spoiled by too much or

ANALYSIS OF THE FILM LIBRARIES 81

too obvious advertising, but those parts should be ig-
nored in the subsequent study period by the teacher,
and the more instructional views emphasized. Many
of these "industrials" rush through the action of com-
plicated machinery too fast for immature minds to
grasp. Here is the place for using the stop-on-film
shutter. The teacher should stop the head mechanism
of the machine, and permit pupils to go up close to the
still picture, pointing out details as desired. Further
explanations by the teacher are essential, and to do
this intelligently, opportunity should be given her to
view the film before the class presentation.

Many companies producing industrial films have dis-
covered how to present the manufacture of their prod-
uct with the minimum of advertising. The forms most
acceptable to schools are where the label occurs inci-
dentally on a package, or better still, where the only
reference to the manufacturer is a brief leader or
trailer like the following:

This picture is shown through the courtesy
of The Starlight Manufacturing Company,
Cambridge, 0.

Physiology, Health, and Welfare

The One Hundred Twenty Reel Library in this sub-
ject covers in brief the main topics in physiology and
hygiene — viz., the eye, the ear, circulation of the blood,
diet, vaccination, prevention of tuberculosis, and care
of the teeth. The free films suggested include also di-
gestion, and the human skeleton and vital organs

82 MOTION PICTURES FOR INSTRUCTION

viewed by means of X-rays. Several highly technical
series, designed for medical students, will be found in
the Comprehensive List of Educational Films, Part II.

Athletics

Modern athletics, with its abundance of action and
intensive training systems, lends, itself excellently to
motion picture instruction. Two of the athletic films
in the Forty Reel Library are Grantland Rice Sport-
lights (Pathe), which have proved as popular in the
theater as in the schools. The Visual Text Book Pub-
lishers of Los Angeles have produced a notable athletic
series directed by great athletes. In the Eighty Reel
Library we have placed Corrective Gymnastics as rep-
resentative of the group, and because it is a subject of
growing importance to the physical development of the
whole student body, rather than to the few on the
teams. The One Hundred Twenty Reel Library adds
Coach Rockne's great reels on Fundamentals of Foot-
ball, and a short reel of the golfing form of the cham-
pion, Bobby Jones. The free substitute reels in this
series relate to general outdoor sports.

Mathematics, Physics, and Chemistry

Movies, the Wrong Instrument Again. — Educators
will notice the absence of films on these subjects.
They are omitted, not because such films do not exist,
but because, in the opinion of the author, motion pic-
tures do not furnish economical illustrations for these
subjects. Most mathematical rules and operations are

ANALYSIS OF THE FILM LIBRARIES 83

reduced to verbal formulae, that function best in the
memory when freed from concrete limitations. "Where
reasoning is called for, the terms of the equations used
are these verbal expressions that work best when re-
duced to abstractions. Geometry, the apparent ex-
ception to this statement, is so easily and cheaply illus-
trated with the blackboard and pencil, that it is an
almost criminal waste of school funds to use them in
the production or purchase of such films. Such ex-
penditures can be justified in the experimental labora-
tory where curious things are produced, but not in
public school classrooms.

Any psychologist knows that abstract thinking is
more frequently hindered by attempts at illustration
than otherwise. There is a film which attempts to
illustrate the Einstein Theory, and eminent educators
are quoted in praise of it. If it really makes; the
theory clear to the lay mind, it will represent a vic-
tory over the printed word greater than any respon-
sible movie advocate has yet claimed. The latest at-
tempt of this kind is a film in explanation of the
Freudian theory of psychoanalysis. But metaphysics
and philosophy ordinarily do not present favorable
fields for educational motion pictures.

Many topics in physics can be clearly illustrated by
motion pictures, as many electrical films and films on
other mechanical processes show. However, except in
the case of large and expensive installations, the laws
of physics can be better illustrated with the simple and
well-known pieces of apparatus in the hands of the in-
structor. Films exist to show the attractions of mag-
nets for iron filings, but an inexpensive magnet and

84 MOTION PICTURES FOR INSTRUCTION

bits of waste iron are more practical classroom illus-
trations. The film would cost $100.00 ; the magnet and
filings, a few cents.

In general, we must not forget that the best possible
illustration in the classroom is the object itself ; and
when this object is inexpensive and easily handled, it
is absurd to spend money on a film.

Some very elaborate and technical films in physics
have been produced in college and technical laborato-
ries. These are concerned with costly installations not
possible to many school systems. While they are very
valuable for technical students, they lie beyond the
scope of these outlines. They can be found listed in
Part II.

So also in chemistry, to show the eff ect of oxygen in
combustion by means of a film is to do at great cost
what could be done better at little or no expense by the
teacher himself with a match, a few combustibles and a
blackboard in the classroom. Highly technical proc-
esses in chemistry, are a different matter, and some
films of this nature are listed in Part II. They are not
suitable for elementary school classrooms.

CHAPTER V

SIX SAMPLE FILM LESSONS
(Teachers' Leaflets)

1. Bre'r Rabbit and His Pals (Rodents)— Pathe
Screen Study.

2. California's Wonders — DeVry Library.

3. Milk as Food — Ford Educational Library.

4. Uncle Sam, World Champion Farmer — Report by
Miss Maude E. Aiton and Mrs. Helen C. Kiernan.

5. Twentieth Century Pilgrims (Immigration) —
From Wythe's Citizens in the Making — Neighbor-
hood Motion Picture Service, Inc.

6. Steps Toward American Ideals — Neighborhood
Motion Picture Service, Inc.

The advent of the motion picture into the classroom
is so recent that any dogmatism at this time concern-
ing methods of using it for teaching purposes would
be premature. The best practice at the present time is
for each teacher to work with it until she finds the ways
which produce the best results.

Experimental studies, as far as they have been re-
corded, are valuable for data for further experimenta-
tion, but of little use for conclusions. The day of
conclusions and generalizations in motion picture
pedagogy has not yet arrived, though some published
studies have hard work to keep from forcing conclu-
sions. All experiments to date are too brief, too

85

86

MOTION PICTURES FOR INSTRUCTION

limited in environment and personnel to formulate
laws of procedure. A mere change in the teacher, in
the group of children, in the character of the film used,
in the type of projector installed, in classroom instead
of assembly room showings, might change any of the
results too radically for safe deduction.

The refinements of some of the tests used and the
mathematical computations made with graphs and co-
efficients of correlation formulae, etc., may give an ap-
pearance of conclusiveness to the experiments, that the
conditions under which the experiments proceeded do
not justify. Many questions are far from settled :

Should the film be used before or after a topic !
Should teachers talk while the film is running !
Should pupils talk ?
Should slides be used with the films ?
Should dark rooms be used or light ?
Should this or that type of projector be used ?
Should we stop on certain pictures and elaborate ?
Should we stop on titles ?

Should still subjects ever be shown on motion pic-
ture film ?

Should animated diagrams be used ?

Should industrial (advertising) pictures be allowed
in the schools ?

Are dramatic films permissible in the schoolroom?

Should teachers use one reel pictures or five? half
reels or quarter ?

Should the picture be shown once, twice or three
times?

SIX SAMPLE FILM LESSONS

87

A number of similar questions are all subject to
many more trials than have been given. When thou-
sands instead of scores of teachers have used films
under varying conditions and for a series of years, we
may begin to draw conclusions. For the present, the
pressing need is to use this new and wonderful tool
over and over again, to observe effects, to record re-
sults, to confer on procedure, and to avoid snap judg-
ments.

Experienced teachers know, of course, that the film
is only one tool in the teacher's kit; that it will be
helpful if used skilfully, harmful if used thoughtlessly.
Its tremendous influence in the theaters shows that it
has great possibilities for work in the schools when put
into the proper harness. How to find that harness,
how to find the peculiar values that it can add to other
valuable teaching aids, is a matter just now necessitat-
ing a much greater amount of practice, practice, prac-
tice, and eternal vigilance, to discover weaknesses and
strength.

One of the best things to do in the midst of the flux
of methods, is to study some methods that have shown
a measure of success, and print them in sufficient detail
for others to study and try out. This is the author rs
reason for inserting here several interesting examples
of "method sheets," pedagogical leaflets, teaching
helps, etc., that have been worked out with certain
films. The six sample film lessons which are given on
the following pages represent diversity both in subject
matter and in method.

88

MOTION PICTURES FOR INSTRUCTION

Film Lesson I

teachers' aid on bre'r rabbit and his pals *

(Rodents)

Application

Biology — Zoology — Nature Study
The Titles

1. BR'ER RABBIT AND HIS PALS

2. FROM THE SERIES OF
FASCINATING NATURE STUDIES

ON

3. WONDERS OF LIFE

IN THE
PLANT AND ANIMAL WORLD

4. This series pictures typical living specimens
of Every Branch in Zoology, from the lowest
and simplest forms of one-celled animal life up
to the highest, of the most intelligent mammals.

5. "Rodents" form by far the largest Order of
Mammals, there being over 1,000 species.
They are small and for the most part ground
animals, though some live in trees like Squirrels
and others in or around the water like Beavers.

6. Other common Rodents are Rabbits, Go-
phers, Chipmunks, Prairie Dogs, "Woodchucks,

Guinea Pigs and Mice. We will have a little
study of these and some others.

7. In the head of our gentle Bre'r Rabbit are
found the kind of jaws and teeth that distin-

* From Pathe Screen Studies.

SIX SAMPLE FILM LESSONS

guish this whole Order of Animals. Notice the
sharp projecting front teeth, called "Inci-
sors."

8. Now watch them work. This is why this
whole class of animals is called "GNAW-ERS."

9. No other animal is without the teeth between
incisors and the molars, as the Rodents are.
Now let us see the way the back teeth grind and
grate.

10. This Bunny, we call the "Snowshoe Hare."

11. See why?

12. As any rabbit knows, a very fine protection
against enemies is a good thick briar bush.

13. Besides the hunter, he has as other en-
emies, the blood-thirsty ermine and mink.

14. He can show speed in getting out of their
way.

15. The Cottontail is another member of the
family. Can you find Peter, Flopsy, Mopsy
and little Molly?

16. Another division of Rodents is called the
"Squirrel Family.' ' Here is a good example
of the Tree Squirrel.

17. His nest.

18. This man is clever in the use of the squirrel
trap. But why not leave the little animal to the
freedom of the woods ?

19. In captivity. Longing for freedom.

20. The pests that cause the world more trouble
than any other rodents are Mice and Rats, the
sly little rascals !

21. It's bad enough to try to catch mice when

90 MOTION PICTURES FOR INSTRUCTION

they just run, but when they can go in leaps and
bounds like this . . .

22. You are right — this is no ordinary specimen
of a house mouse — but a "jumping mouse" or
Jerboa, that lives in places like this.

23. The Jerboa uses his front paws as pick-axes,
and his hind feet as shovels to get rid of the
loosened sand.

24. Do you see why this class of animals is called
Gnaw-ers? The struggle to get out of his
prison.

25. The kind of Eodents that live under the
ground, and that is most of them, are great
engineers. This Prairie Dog will show us how
he provides a suitable home.

26. Here is a diagram of a typical burrow.

27. The alarm — and how they can yelp !

28. Even the tiniest toddler obeys.

29. As a whole, Eodents do far more harm than
good. They destroy millions of dollars worth
of crops of vegetables, grains and even fruits.
This little Marmot is fond of grapes.

30. One of the most fascinating stories of the
wonders of nature is that of how some animals
sleep all through the winter. Mr. Woodchuck,
will you please show us how it is done?

31. He 's fat — and he 's Oh, so sleepy — Good-
night !

32. Months have elapsed. It's past mid-winter.
Let's have a look.

33. In cases of the most complete Hibernation
(winter sleep), breathing of the animal nearly

SIX SAMPLE FILM LESSONS

91

ceases, so that he could be kept alive under
water, while asleep, for twenty minutes. But
the heart still beats. Think of it ! That keeps
the life current going.

34. But when the morning of the real Spring
arrives (early April) Mother Nature awakes
her child and out he comes.

35. Many little animals of this class come out of
their homes only in the evening. Why? Here
is a Moonlight Serenade.

ADDITIONAL INFORMATION

Among the most common Rodents we have Rabbits, Hares, Por-
cupines, Guinea Pigs, Rats and Mice, Beavers and the whole Squirrel
Family, which includes among the Tree Squirrels, the Fox Squirrel,
Red Squirrel and Gray or Black Squirrel. Then there are in this
family the Chipmunks, the Ground Squirrels, perhaps more com-
monly called Gophers, the Prairie Dogs and Woodchucks, also called
Ground Hogs. The Little Marmot, shown in the film, corresponds
in Europe to our Woodchuck.

The most universal and common rabbit is the Cottontail, found
all over the U. S. There are several species of Jack-rabbits, limited
mostly to the plains and mountains west of the Mississippi. Rabbits
multiply very rapidly. The fur of Australian rabbits is used in
making boas, muffs, hats and trimmings, but the fur of the Ameri-
can rabbits is not used much except by the Indians. The damage
of rabbits is not very great to large cultivated areas but they do
occasionally injure wheat and alfalfa fields. Their damage is more
serious to vegetable gardens. Rabbits are very good eating, espe-
cially the younger ones. Rabbit drives take place in some parts of
the country at which as many as ten thousand to twenty thousand
rabbits are killed at a single drive.

Mice and Rats, especially Rats, are by far the worst of all mamma-
lian pests. Not only does their annual damage, the world over, to
food and stored products amount to hundreds of millions of dollars,
but we have learned that they carry the disease germs of the dreaded

92 MOTION PICTURES FOR INSTRUCTION

Bubonic Plague. Modern methods of fighting Rats are to cut off
their food supply and to destroy, as far as possible, their breeding
places.

We find the Squirrel Family very interesting from many different
standpoints. Although the Squirrel proper which we show in the
picture is a Tree Squirrel, there are also the Chipmunks, and Ground
Squirrels. A brief touch is given in this picture showing how re-
markable these little animals are as "engineers" using their paws
and nose and tail as tools to build their mounds and burrows. No
better example is given of colonization than among the Prairie
Dogs. They live in colonies numbering all the way from 40 to 1,000
individuals. The Woodchuck, also known as the Ground Hog, does
not live in colonies. The story about his coming out of his hole
in February to find out if his shadow can be seen, which predicts
the amount of time that Winter is to last, is clearly a myth. The
example that we find in this picture shows how soundly he hibernates
all winter long. One interesting characteristic of the Squirrel
Family is the well-known one of his ability to lay up provisions.
On the whole, Tree Squirrels are not very great pests, but the ground
variety does considerable damage. However, they compensate in a
measure for this by eating many destructive insects such as grass-
hoppers, cut-worms, beetles, etc., often, too, killing Mice and other
small noxious animals.

Suggested Questions

1. To what general class of animals do Eodents
belong? About how many species are there in
this Order? How does this compare in size with
other Orders?

2. Name all the animals that you remember having
seen in the picture. What Eodents do you know
of that you did not see pictured ?

3. What is the one predominating characteristic of
these Animals that classifies them as Eodents?

4. Of w^hat use are these animals? Do they do
more harm than good, or vice-versa? Which

SIX SAMPLE FILM LESSONS

93

ones would you choose for pets? Which ones
are the worst pests and why?

5. Why does the "Snowshoe Hare" bear that
name? Do all Squirrels live in trees? Would
you trap Squirrels and keep them in captivity?
What other animals belong to the Squirrel Fam-
ily besides those commonly known as Squirrels?

6. What Rodents live under the ground and why
do we call them expert engineers? Describe the
way they work and a typical burrow.

7. What is meant by hibernation? Describe it,
definitely locating seasons of the year in which
its chief events take place. Name some other
animals besides Woodchucks that hibernate.

8. Is the food of Rodents chiefly animal or vege-
table?

References

Economic Zoology — By Kellogg and Doane — Pub-
lished by Henry Holt & Co.

Practical Zoology — By Hegner — Published by Mac-
millan.

Zoology — Descriptive & Practical — By Colton —

Published by Heath & Co.
A Text Book in General Zoology — By Linville &

Kelley— Published by Ginn & Co.

Film Lesson II

teacher's leaflet for "California's wonders"

(DeVry Library of Film Negatives)
(The directions, questions and references given are

94 MOTION PICTUEES FOR INSTRUCTION

more than a teacher will use in a lesson. She is ex-
pected to select only those most available or pertinent
to the general tenor of her work, and, of course, to add
others if she thinks that they are needed for her pur-
poses.)

I. Preview of Film by Teacher — with notes of im-
portant points (stop-on-film).
II. Oral Introduction and Map Study for the
Class.

Show a slide map on screen, a wall map, or a
blackboard map of the United States.
Estimate how far it is from Chicago to Wash-
ington, D. C. (787 miles).
Now look at the State of California. It is ex-
actly that far from the north to the south line
of California — the longest state in the Union.
It is so big it has every variety of land and
water features — mountains, lakes, glaciers,
deserts and enormous forests.
Find the Sierra Nevada Mountains. Find the
Coast Eange.

The great valley in between is very rich.
Find Mt. Lassen on the west side of Sierra
Nevada. It is the only volcano in the U. S.
We will see it in pictures soon.
Find the Yosemite National Park — it's twice
as large as Cook County.

Find the San Bernardino Mountains. One of
the peaks is just outside of Eiverside. It is
called Mt. Eoubidoux. An interesting thing
takes place every Easter on this mountain.

SIX SAMPLE FILM LESSONS

Remember where it is when yon see the pic-
ture.

III. First Showing of Film to Class. ( Scenes, with
teacher's remarks and questions.)
1st. Scene — Mt. Eoubidoux. As this scene is
run the teacher asks, "Near what city is Mt.
Eoubidoux ! ( Pasadena . )
2nd. Scene — A fallen giant (stop-on-film).
"How tall is the girl?" "Is the diameter of
the tree twice as long?" This tree is in Mari-
posa Grove in Yosemite Park. Some of Cali-
fornia 's big trees are 40 feet through and 300
feet high. That 's higher than a 20 story
building.

3rd. Scene — Mt. Lassen (stop-on-film).
Smoke is frequently seen issuing from the
crater of this volcano. Where did we find Mt.
Lassen on the map? (In Shasta County; al-
most due south of Mt. Shasta.)
4th. Scene — Yosemite Creek takes a leap of
2,670 feet in three jumps (stop-on-film). The
Merced Biver (mercy) of which the Yosemite
Creek is a branch, carved out the Yosemite
valley in prehistoric times. It is a mile deep
in places.

5th Scene — The Three Brothers. Here are
two of the famous formations, the Three
Brothers.

6th Scene — El Capitan. El Capitan means

"the captain" in Spanish.

7th Scene — Winter Sports in Summer.

8th Scene — Mirror Lake.

96 MOTION PICTURES FOR INSTRUCTION

9th Scene — Lake Tahoe, celebrated as the
highest lake in the United States.
10th Scene — An Ostrich Farm at Truckee.
IV. Follow-up Work

(Self -activity of pupils in research, construc-
tion, or recitation. Project work.)
1st. Look in the encyclopedias, geographies,
and atlases, guide books and books of travel
for other famous features of Yosemite Valley.
Each one bring a picture or tell a fact about
Yosemite Valley.

2nd. Which is larger, Yosemite Valley or
Cook County? (Cook County, Illinois, is 933
square miles. Yosemite Valley is roughly 1
mile by 8 miles long.) How estimate? (Use
the scale of miles on map.)
3rd. How old are the big trees of California?
(One over 3,000 years.) How- can scientists
tell the age of trees? (By the annual rings
formed by the new growth in the cortical
layer.)

4th. The cross on Mt, Roubidoux is in honor
of the first missionary priest to visit the Coast
of California. What was his name? (Padre
Junipero Serra.)

5th. Name animals peculiar to Australia.
(Kangaroo, duckbill, kiwi, cassowary.)
Helps for Research.

Article on California — p. 576, Volume 2,
Compton's Pictured Encyclopedia.
Carpenter's United States.
Stoddard's Lecture on Yosemite.

SIX SAMPLE FILM LESSONS

97

Railroad booklets :
Southern California, Union Pacific; On
Your Way, Eock Island; Along the Union
Pacific System; Wayside Notes Along the
Sunset Route, Southern Pacific.
Second Showing of Film to Class

During the follow-up work on the second day,

or at its close, the film should be run again to

clarify concepts, or furnish stimuli for student

recitation or composition.
Further Illustrative Material :

free films (See descriptive notes in Part II).

Journey Through the Valley of Heart's Delight — 2 reels
— Castle.

San Francisco — Castle.

Sentinels of the Sunset — U. S. Ag.

Sixty Minutes from Broadway (Los Angeles) — Castle.

Story of the Orange — Leggett.

The Golden Gift (Orange)— Castle.

Romance of the Lemon — California Fruit Growers Ex-
change, San Francisco.

Story of our National Parks — White Motor Company,
6611 Euclid Ave., Cleveland, 0>.

Touring California's Ports — Castle.

Roads to Wonderland — U. S. Ag.

Highroads and Skyroads — U. S. Ag.

Winged Guardians of the Forest — U. S. Ag.

SLIDE SETS.

Yosemite— 39 slides— (DeVry Set) Standard Slide Cor-
poration, 209 W. 48th St., New York City.

Nos. 36, 48, 59 and 81— (De Vry Primary Set) Standard
Slide Corporation, 209 W. 48th St., New York City.

600 set — Keystone View Co., Meadville, Calif.

Famous Missions of California — 60 slides — Victor Ani-
matograph Co., Davenport, Iowa.

98

MOTION PICTURES FOR INSTRUCTION

California — 53 slides — Victor Animatograph Co., Daven-
port, Iowa.

San Francisco — 41 slides — Victor Animatograph Co.,

Davenport, Iowa.
Panama Pacific Exposition — 70 slides — Victor Animato-

graph Co., Davenport, Iowa.
University of California — 15 slides — Victor Animato-

graph Co., Davenport, Iowa.
California — William Brown and Earle, Inc., Philadel-
phia.

Yosemite — William Brown and Earle, Inc., Philadelphia.

San Gabriel Valley and Pasadena — William Brown and
Earle, Inc., Philadelphia.

Los Angeles — William Brown and Earle, Inc., Philadel-
phia.

San Diego — William Brown and Earle, Inc., Philadelphia.
Big Trees — William Brown and Earle, Inc., Philadelphia.
Palo Alto — William Brown and Earle, Inc., Philadelphia.
Missions — William Brown and Earle, Inc., Philadelphia.
Sierra Nevada Mountains — William Brown and Earle,
Inc., Philadelphia.

PRESS PICTURES.

Pictorial Geography Series — National Geographic Society,
Washington, D. C.

Should further work on California be undertaken,
topics should be divided up for assignment. Cooper-
ative research and report should be made (seminar
method). The study would then take on the propor-
tions of a project. To add concreteness to the study,
visits may be made to any local features which would
serve for comparison with California. For Chicago
pupils, the Lincoln Park Zoo for ostriches, seals, etc.,
Field Museum for orange culture and other character-
istic California products.

Courtesy of Ford Motor Co.

Scene from "Milk as Food" — p. 99

SIX SAMPLE FILM LESSONS

99

Synopsis of Sub-Titles

Picturesque Keligious Ceremony held annually on

Mount Rubidoux, California.
A Fallen Giant, California.

Mount Lassen — only active volcano in the United

States keeping quiet to have its picture taken.
Beautiful Yosemite Falls, California.
The Three Brothers, Yosemite.
Majestic El Capitan, Yosemite.

Winter Sports in Summer — snowballs, skiing and to-
bogganing.
Mirror Lake — with Reflections.
Lake Tahoe.

An Ostrich Farm, Truckee, Calif.

The Ostrich, native of Australia, is one of the strange

survivals of giant animal species, found only in that

island.

Film Lesson III

AGRICULTURE *

(Milk as Food)

Educational Purpose

Milk is nearly an ideal food as it requires less than
two hours for complete digestion. A chemical analy-
sis shows milk to be a complete food, having all the ele-
ments that are required to build up and keep the body

* Copyrighted, 1922, by the Ford Motor Company.

100 MOTION PICTURES FOR INSTRUCTION

in repair. Besides being a nearly perfect food, it is
a cheap food.

The Milk as Food film, is designed to give an intelli-
gent conception of the methods of handling and safe-
guarding milk from the cow to the consumer. Milk
as Food presents clear information upon the milk
problem. A model dairy is visited and each step in
caring for the milk is examined. Diagrams show the
constituents of milk and the food value of each.
Definite suggestions are made for the proper care of
milk in the home. The value of milk for rapidly build-
ing up undernourished children is emphasized.

Milk as Food visualizes the necessary facts for les-
sons upon the geography of a common food. The in-
formation presented is a definite aid in domestic
science, dietetics and elementary agriculture.

Titles of Scenes.

(The following titles are exactly as they appear
upon the film.)
i.

Cow's milk is the cheapest and most nourishing of
foods. It forms one-fifth of our diet. Seventy-two
per cent of the babies live on cow's milk.

H.

The best bred cow gives the finest milk. Green
pastures with running brooks are chosen for the dairy
farm.

in.

The Jersey cow gives the richest milk. The Hol-
stein's milk is almost like the mother's milk.

SIX SAMPLE FILM LESSONS

101

IV.

The milk from this peaceful Holstein herd goes to a
great city. The milk supply of a city is an important
health problem.

v.

At sunset the cows come to the dairy barn.

VI.

Sweet and clean, without flies or dust is the dairy.

yn.

Each cow finds her place which is marked with her
name and number.

VIII.

Hay and grain are fed when the cows are kept in-
doors.

IX.

Each cow is sprayed and the floor is washed clean.

x.

Before milking each cow is wiped with a clean cloth,
which keeps dust and dirt out of the milk. The milk-
ers wash their hands and dress in clean white suits.

XI.

The warm fresh milk is drawn from the cow into a
pail through a cloth cover.

XII.

The milk of each cow is weighed. A careful record
is kept. Low yielders are taken out of the herd.
Some cows give 28 quarts daily.

XIII.

The milk is strained and cooled.

XIV.

It is tested for butter-fat.

102 MOTION PICTURES FOR INSTRUCTION

xv.

The food value of milk. (Diagram)

XVI.

Bacteria and harmful germs grow rapidly in warm
milk. It must be kept at 50 degrees or lower. Large
dairies have special cooling rooms.

XVII.

Pasteurization means to heat milk to 155 degrees for
for thirty minutes. This prevents the growth of
harmful germs. Our largest cities insist upon this
process. It protects the babies.

XVIII.

Steam and hot water are used to keep the bottles
clean.

XIX.

After pasteurizing and cooling, the milk goes
through pipes to the bottling machine.

xx.

The bottles are capped and the milk must be at your
door within 36 hours. Stale milk is dangerous for
babies and not fit for adults.

XXI.

The cow gives the rich milk and mother keeps it
clean and cold. Then we thrive —

XXII.

Milk is the food highest in growth-producing
material, mineral salts and vitamines. Babies live on
it. Children from two to twelve years require for
healthy growth a glass each meal.

XXIII.

Milk is liquid meat, without waste and easily di-
gested.

SIX SAMPLE FILM LESSONS

103

XXIV.

In cities, less than half a pint of milk is consumed
daily by each person. More milk used in your family
means better health and a cheaper diet.

xxv.

Milk is an ideal food for it supplies all the needs
of the body. (Diagram)

MILK AS FOOD.

L COW'S MILK.

Milk is the cheapest and most nourishing of foods.
Milk and milk products form about one-fifth of our
diet. It is the one food that is a necessity, for seventy-
two per cent of the babies are raised on cow's milk.

Great care is devoted to the breeding of milk cows.
The Holstein cows shown in the film are the best pro-
ducers and their milk resembles closely the mother's
milk. A thoroughbred Holstein will give daily twenty-
eight quarts of milk. The Holstein cows are kept in
the dairies which sell raw milk. The Jersey and
Guernsey cows give a richer milk but not as much as
the Holstein. The dairy herd, whose milk is used for
butter making, consists of the Jersey or Guernsey
cows.

The dairy cow requires grassy pastures with cool
streams and shady frees. It is very important in the
production of milk, that the cows be quiet, contented
and comfortable. The Holstein herd in the film is
shown under ideal conditions for pasturage.

II. THE MODERN DAIRY.

Formerly, the milk on the farm was cooled in the

104 MOTION PICTURES FOR INSTRUCTION

spring house and it was given no more attention. In
handling large quantities of milk, the spring house has
been replaced by the modern dairy. The building,
shown in the film, houses more than one hundred cows.
It has clean cement floors, it is well ventilated and
lighted. The dairy is carefully screened and contains
no flies. Dust and dirt are prevented by sprinkling
the floors.

Each cow has its stall marked with her name and
number as shown. All stalls are scrupulously clean.
Near the cow is a stream of pure spring water, and the
food manger is a cement basin.

III. THE CARE OF MILK.

In grandfather's day, the cows were driven home
from the pasture to the barn and the milking was done
in the evening. Flies were troublesome. The cow's
tail would flirt dirt into the pail, and sometimes the cow
would be unruly and the milk spilled. In the modern
dairy the milking is done very quietly and in a sanitary
manner. Each milker is required to wash his hands
before and after each milking. They wear clean white
suits. Each cow is wiped clean of the dust and dirt.
The udders are carefully cleaned with a solution of
boric acid. The pail has a cloth cover to strain the
milk. The largest dairies use a milking machine,
which is a great labor saver. It is operated by elec-
tricity and is a great aid to the dairyman who has a
large herd.

The milk of each cow is carefully weighed as shown
in the film. A careful record is kept of the yield of
each cow, and those having a low yield are taken out of

SIX SAMPLE FILM LESSONS

105

the herd. Some of the cows in this herd give twenty-
eight quarts of milk daily. It is necessary to know the
yield of each cow, otherwise the dairy will not pay.
This is the reason for the careful selection of the cows
in the herd.

After the milk is obtained you will see it taken to a
part of the dairy where it is strained and' cooled.
Samples of the milk are tested daily. The milk varies
in quantity as well as quality. All raw milk shipped
into the cities must be of a certain standard in qual-
ity. The city department of health employs milk in-
spectors who sample and test all milk sold. Milk that
is stale or contains germs is destroyed.

IV. THE CONTENTS OF MILK.

Milk is an emulsion of fat in a water solution of
casein, milk, sugar, albumin and mineral matter. Milk
from different cows or the same animal varies in its
composition from time to time.

The average composition of milk is as follows :

Water 87.0 per cent

Fat or butter-fat , 4.3 per cent

Proteid or casein 3.0 per cent

Milk sugar 5.0 per cent

Albumin and mineral each less than 7 per cent

The film diagram shows the constituents of milk.
It is well known that the fat is used in making butter
and the casein is made into cheese. Where the milk is
sold raw it contains all its natural parts. Sometimes
milk is evaporated and sold as condensed milk. Milk
is also made into milk powder which is a convenient
form.

306

MOTION PICTURES FOR INSTRUCTION

V. PASTEURIZATION.

Milk even when handled under the most favorable
conditions contains bacteria and frequently harmful
germs which increase rapidly if the milk is warm.
Milk must be kept at fifty degrees of temperature or
lower. All large dairies have special cooling rooms
similar to the one pictured.

When milk is shipped a long distance it must be
Pasteurized. This is done by heating it to a tempera-
ture of 155 to 160 degrees for 30 minutes. This treat-
ment destroys the germs of diphtheria, scarlet fever
and other diseases. Pasteurizing protects the user but
does not change the nutritive properties of the milk.
Pasteurization is the discovery of the famous French-
man, Pasteur. Nearly all the large cities insist on this
treatment of milk for it is a protection to babies. The
improper care of the milk by any of the many people
who handle it means suffering and frequently death to
the babies.

VI. BOTTLING THE MILK.

A few years ago milk was delivered by the milkman
whose wagon carried the large tin milk cans. The
amount required by the housewife was dipped out.
The modern dairy bottles all the milk that is sent to the
city. We can see how carefully the bottles are cleaned
with steam and hot water. Automatic machinery fills
the bottles with the cool milk and they are sealed with
paper caps. Every precaution is used to protect the
milk from contamination by dust, dirt or other
impurities. The bottles are packed in boxes and

SIX SAMPLE FILM LESSONS

107

loaded upon special milk trains which go to the city.

VII. DELIVERING THE MILK.

The milk is delivered in a large city by means of
motor trucks and wagons. The delivery starts early
in the morning and the milk of the previous evening is
on your doorstep for breakfast. It is very important
that it reaches your table before it is 36 hours old.
Stale milk is dangerous and not fit for babies or adults
to use. New York City consumes nearly 2,000,000
quarts of milk daily. This supply is obtained from
80,000 cows, some of which are more than 300 miles
from the city.

VIII. CARE OF THE MILK IN THE HOME.

The milk in the home must be given proper care, or
it will quickly spoil. It must be kept cool and not be
exposed to dust or dirt and placed in clean covered
dishes. It is very necessary that the home care of the
milk be entirely sanitary, or the scientific work of
the dairy will be of little benefit. Care, Cold and
Cleanliness are the three C's necessary to keep milk
pure.

IX. THE FOOD VALUE OF MILK AS COMPARED WITH OTHER
FOODS.

Sometimes we think milk is not a food because it is
liquid. It is a fact that a quart of milk has the food
value of eight and one-half eggs or eleven ounces of
sirloin steak. The film diagram should be given very
careful attention as it shows the value of milk as com-
pared with other foods.

108 MOTION PICTURES FOR INSTRUCTION

X. MILK IN THE DIET OF GROWING CHILDREN.

Cow's milk for bottle-fed babies requires the great-
est care and attention in its preparation. The mother
should realize that cow's milk must be modified for the
baby and unless care is exercised the baby's health is
endangered.

Milk is a necessity to children until twelve years of
age to assure a rapid and steady growth. Milk is a
food easily digested, rich in growth-producing materi-
als, protein or muscle builder, mineral salts and vita-
mines. The standard diet of meat, potatoes and bread
is very low in lime and vitamines ; the milk corrects this
defect. A pint of milk contains as much lime as twelve
pounds of meat or four pounds of bread. The lime is
necessary in the childhood stage of bone formation.

Aids in the Presentation of the Film

general suggestions

To obtain full appreciation of the information pre-
sented in the Milk as Food film, the group to whom it is
presented should be prepared for it. The titles of all
the scenes should he read and discussed before the film
is shown. The synopsis suggests subject matter which
will make the film of greater educational value. The
subject Milk as Food, is so important to the health and
welfare of every community, that the lesson presented
is one of practical value in any schoolroom or in a com-
munity gathering. When the titles appear upor, the
screen, they should receive careful attention. After

SIX SAMPLE FILM LESSONS

109

the film has been shown, questions and discussions
serve to increase the interest.

The synopsis gives the instructor full information of
the content of the film. The film is best presented
when the class has had the above preliminary prepara-
tion concerning Milk as Food. So important is this
topic in the practical development of children, that the
lesson should be given to the same group several times
during the term. If the film is presented more than
once, any false impressions may be corrected and the
facts to be learned are clinched.

Refebences
books

1. Broadhurst — Home and Community Hygiene,
page 62.

2. Farrington and Woll — Testing Milk and Its
Products.

3. Klein — Principles and Practice of Milk Hygiene.

4. Rosenau — The Milk Question.

5. Snyder — Dairy Chemistry.

6. Wing — Milk and Products.

PAMPHLETS

1. The Department of Agriculture at Washington,
D. G.j has pamphlets upon milk.

2. The Agricultural Experiment Station in each
state will send information upon milk.

3. The Health Department of the large cities will

110 MOTION PICTURES FOR INSTRUCTION

send upon request definite directions for the care
and use of milk.

Film Lesson IV

methodology *

Specific Methodology Used in Teaching the
English Language Through the Use of
Moving Pictures.

Quotation — ' ' Seeing is merely a factor of the learn-
ing process. Learning is the effect of thinking, feel-
ing, doing; so unless the visual impression is seized
upon vigorously by discussion, questions and pupil ex-
pression it has much less value than is commonly be-
lieved.

"The biggest task in the field of visual instruction is
the actual elaboration of a specific methodology." —
Joseph J. Weber, Ph.D.

I. Equipment.

In order to vitalize this experimental work with
motion pictures, a wall map of the United States and
a folding blackboard were installed in the projecting
studio for the use of the students and the teacher in
charge. A piano helped materially in the teaching of
correlated patriotic and folk songs.

II. The Work of the Teacher in Charge of Motion
Picture Lessons in Americanization Classes.

Each picture was studied before presenting it to the

* A sample film taken from a report by Maude E. Aiton, principal of
Americanization work in the public schools of Washington, D. C, and
Helen C. Kiernan, teacher assigned to motion picture work.

SIX SAMPLE FILM LESSONS

111

student group. Points to be emphasized and new vo-
cabulary were noted.

An outline was prepared for the teachers whose stu-
dents attended the motion picture lessons. In this
outline were given :

a. The name and brief description of the picture.

b. New words to be taught.

c. References.

Questions and problems for the discussions follow-
ing the showing of the film were prepared.
A report was made of each motion picture lesson.

III. Allotment of Time.

Seventeen lessons were given. Nine films were
shown. It was planned to have the lessons given every
Tuesday evening. The attendance on the first evening
was too large, however, so the plan had to be changed.
The use of the projecting studio was given for Tues-
day morning at 11 o'clock and Tuesday evening at 8
o'clock. These lessons were given to students of the
intermediate and advanced adult classes.

The morning lesson in the studio lasted one hour;
the evening lesson an hour and a half. The first show-
ing of the film took fifteen minutes; the discussion
twenty minutes ; the second showing of the film fifteen
minutes ; the teaching of a correlated song or poem, or
prose selection ten minutes or longer.

IV. Pictures Used.

The motion pictures used in this course were selected
from those produced and distributed by the United

112 MOTION PICTURES FOR INSTRUCTION

States Department of Agriculture and were as follows :

Uncle Sam, World Champion Farmer

Keeping Out Bad Food

Sugar Cane and Cane Sugar

Building Forest Roads

National Bird Refugees

Bees — How They Live and How They Work

White Pine, Beautiful and Useful

(These are one reel films shown in fifteen minutes)

The Spirit of Lincoln — a two reel film distributed by
The Lincoln Memorial University and

Be Careful — A Crandall film specially made in
Washington for "Safety First" week were also used.

V. The Motion Picture Lesson.

a. — Preparatory Work.

The preparatory work for the picture lesson was
taken up in the classroom the day before the presenta-
tion of the film. This consisted of the development of
the new vocabulary; ascertaining of location of places
to be showTL in the next picture ; informal talks by the
students ; reading of reference material.

b. — The First Showing of the Picture.

During the first showing of the picture the titles
were read by the teacher in charge. The students
were encouraged to converse with one another about
the picture and to ask questions while the picture was
being shown, thus insuring speaking and thinking in
English. This is the most important point to be noted.
The value of the language lesson is lost without it.

c. — The Discussion.

Participation and contributions by the students was

SIX SAMPLE FILM LESSONS 113

the aim of this part of the work. Questions were
asked by the teacher and by the students. Problems
were stated and discussed, students talked to the stu-
dent group about their experiences in the particular
industry shown in the picture. Such remarks as,
" Speak slowly," and 6 ■ Speak louder/ 9 "I cannot un-
derstand you," coming as they did from the students
themselves, inspired the speaker with an effort to
make himself understood.

d. — The Second Showing of the Picture.

During this showing of the picture the titles were
read by individual students or sometimes by the stu-
dents in unison. Conversation about the picture as it
was being shown was carried on as before, special
points brought out in discussion were noted.

e. — The Teaching of Correlated Material.

The words of the correlated song or poem were pro-
jected on the screen and read by the students. Ques-
tions were asked about parts not understood. After a
drill on pronunciation of the new words, individual
students were asked to read the selection. If a song
were being taught, the melody was played and the song
sung slowly at first. The second time the song was
sung with the correct tempo.

f. — Written Work — or articles for the "Americani-
zation Bulletin" (the students' monthly publication).

This written work usually took the form of a com-
position. Sometimes a letter was written to a friend
telling him about the picture. Sometimes the letter
was written to the teacher telling her of the value of
the picture lesson to the foreign group of students.

114 MOTION PICTURES FOR INSTRUCTION

Lessons

The following detailed report of lessons given is
made so that teachers may understand the necessity
for careful preparation, the opportunity which should
be given for much use of the language, the possibility
for using correlated material and the contributions
made by the students.

These are reports of lessons actually given.

Film: "Uncle Sam, World Champion Farmer"

I. Outline for Teachers of Intermediate Classes
Whose Students Attend Motion Picture Lessons

The Department of Agriculture 1 reel film, ' ' Uncle
Sam, World Champion Farmer," will be shown at
10 a. m. and 8 p. m. Tuesday, July 10, 1923.

The showing of the film will take fifteen or twenty
minutes. A discussion will follow and the picture will
be shown a second time.

This picture shows the Agricultural Products of the
United States and is of educational value.

Vocabulary to be taught

ingenuity truck farming machinery males

acreage cabbage cantaloupes sheep

wheat celery ladder swine

tractor lettuce cotton apple crop

potatoes horses strawberry

References

Frye — First Steps in Geography, pages 56-61 in-
clusive.

SIX SAMPLE FILM LESSONS 115

Keller and Bishop — Industrial and Commercial
Geography, pages 30, 31, 51.

Department of Agriculture Bulletins may be found
in moving picture file.

Bulletins and Pamphlets — Bureau of Plant Industry
(in motion picture file).

Geography

Lists to be posted in classroom and used for reference.

Wheat States

Com States

Cotton States

Montana

Nebraska

N. Carolina

N. Dakota

Kansas

S. Carolina

S. Dakota

Iowa

Georgia

Nebraska

Missouri

Alabama

Kansas

Indiana

Tennessee

Oklahoma

Ohio

Arkansas

Minnesota

Mississippi

Missouri

Louisiana

Illinois

Oklahoma

Indiana

Texas

Ohio

Pennsylvania

Washington

Oregon

II. Discussion Following Presentation of the

Picture *

wheat.

What is the name of the picture you have seen?
What does it show?

* Participation by the students was the aim of this part of the work.
Questions by the students were encouraged. Talks by students con-
tributed to the value of the discussion.

116 MOTION PICTURES FOR INSTRUCTION

Why is the IT. S. the leading agricultural country in
the world?

1. Soil.

2. Climate.

3. Energy of the people.

4. Help of the Government for scientific agricul-
ture.

5. Transportation system.

How many have seen wheat growing in other coun-
tries?

Where is the wheat belt in the United States ?

Locate 14 states that are in the wheat belt.

What three large rivers are in this section?

Have all wheat countries machinery like that which
you have seen in the picture to-night ?

The machine drawn by 32 or more horses is called a
combined harvester or "combine" and performs 5 dif-
ferent kinds of work.

1. Cuts the wheat.

2. Gathers it.

3. Threshes it.

4. Cleans it.

5. Sacks it.

Before the harvester goes by there is a field of grain
and after there is a row of sacks of wheat. Everything
is done by horse or steam power except sewing up the
sacks.

Who knows what work is done by the machine which
has the long chimney ?

COBK.

What is the most valuable crop in the U. S.I

SIX SAMPLE FILM LESSONS

117

Will some one locate the states which are included
in the Corn Belt?

Why does corn play an important part in the history
of the country?

How much of the corn is fed to people? How much
is exported to other countries?

How much of the corn do the people of America
use?

How does the housekeeper cook corn for dinner f

COTTOX.

What kind of climate is necessary for production of
cotton?

There are ten states in the Cotton Belt. Please lo-
cate them.

What difference did you notice between the method
of gathering wheat and the method of gathering
cotton?

Several machines have been invented for the picking
of cotton.

There are two objections against the use of these.

1. They have injured the cotton.

2. Not all the cotton balls ripen at the same time.

POTATOES.

The potato was discovered by the Spaniards when
Pizarro conquered Peru. It was taken by them to
Europe.

The Potato States are Maine, New York, Pennsyl-
vania, Ohio, Michigan, Wisconsin, Iowa and Minnesota.
Locate them on the map.

118 MOTION PICTURES FOR INSTRUCTION

FRUIT.

What fruits grow in the North?
"What fruits grow in the South?
What is the principal fruit state !
Good transportation facilities have helped to make
California a great fruit state.

CATTLE.

The cattle industry has moved steadily west an
now in the region beyond the Mississippi River.
The cattle raising states 1 1920 Census | are—

HOGS.

The pig goes with the corn belt so the corn belt is
also the swine belt.

SHEEP.

Locate the four sheep raising states.

III. Report ox Motion Picture Lessox

(Note: These reports are of special value in show-
ing how picture was used.)

The motion picture shown was Uncle Sam. World
Champion Farmer, produced and distributed by
Department of Agriculture, Bureau of Plant Industry.

This picture shows how the United States leads the
world in food productions.

The picture was shown at 10 a. m. for the morning
classes. Attendance for this lesson was 40.

During the first showing the titles were read by the
teacher in charge. The map was used for the location
of states in the Wheat, Corn, and Cotton Belts, of the

SIX SAMPLE FILM LESSONS

119

Potato raising states, Cattle and Sheep raising states.

The modern machinery methods of harvesting wheat
were noted by the students and compared with methods
used in other countries.

Interest was shown in the picture of the potato dig-
ging machine.

The cotton pickers' method was contrasted with that
of the harvesters. Many students said that they had
never known how the cotton is picked.

The blackboard was used to note the uses of wheat,
the distribution of corn, names of other wheat and corn
countries and the historical development of wheat,
corn, potatoes and cattle in this country.

The discussion lasted 30 minutes.

During the second showing of the picture the titles
were read by the f ollowing students : Napoleon Alcan-
tara, Aime Verbeeck, Louis Zanoff, Mrs. Pauline Kobt-
zeff, Ida Rubin.

(Note: The sentences in the titles were read dis-
tinctly. The students, however, had difficulty in read-
ing figures such as "50,000,000; 73,000,000; also in
pronouncing "produce, product, produces, producing,
production and rival.")

The picture was shown at 8 p. m. for the evening
classes. Attendance for this lesson was 75.

After the showing of the film the students joined in
the discussion, answered questions, pointed to places
talked about on the map, and talked about products in
other countries.

Discussion lasted 30 minutes.

During the second showing of the picture the titles
were read by Mr. Bamiro Fernandez.

120 MOTION PICTURES FOR INSTRUCTION

IV. Correlated Material

The words of the song "America the Beautiful"
were projected on the screen and read by the students.
The phrases "Amber waves of grain" and "fruited
plain" were readily understood by the foreign students
after having seen the picture.

0, beautiful for spacious skies,
For amber waves of grain,
For purple mountains' majesties
Above the fruited plain.

America, America, God shed his grace on thee
And crown thy good with brotherhood
From sea to shining sea.

An old negro cotton picker shown in this picture at
work in the cotton field suggested the song ' 6 Old Black
Joe." The words of this song were projected on the
screen and read by the students.

"OLD BLACK JOE"
Gone are the days when my heart was young and gay,
Gone are my friends from the cotton fields away,
Gone from this earth to a better land I know,
I hear their gentle voices calling, "Old Black Joe."

CHORUS

I 'm coming, I ?m coming, for my head is bending low,
I hear their gentle voices calling, "Old Black Joe."

V. Written Work

The following is an article written for the school
newspaper by a student in the Americanization Motion
Picture Class :

SIX SAMPLE FILM LESSONS

121

UNCLE SAM, WORLD CHAMPION FARMER

The picture which I saw July 6th was about the
agriculture industry in the United States. The first
picture showed how the wheat grows and how it is cut
with the 4 * harvester machine," which cleans the wheat,
makes bundles and puts it in the sacks all at the same
time. The machine is drawn by 32 horses. After the
wheat is cut and put into sacks, the seeds are separated
from the straw in a special machine which is called a
"separator." The men put the wheat into the ma-
chine with a shover. The straw or chaff blows out of
the pipe.

The United States is the first in wheat production.
Some of the wheat is consumed in the United States,
some is used for seed and some is exported. The re-
mainder is held for other years.

The second picture was about corn — how it grows
and how it is put into stacks. Corn is an American
product. The first colonists were taught by the In-
dians to produce it. Ninety per cent of corn is used
for feeding animals. Only 9 per cent is used for
people.

The next picture was about fruit and vegetable pro-
duction. Apples, lemons, cabbages, potatoes and let-
tuce were shown. The picture showed how the po-
tatoes are dug by a machine. The machine digs up
the potatoes and a man puts them in a basket.

The first people who introduced cattle into the
United States were the Spanish people. They brought
the cattle into Florida and in 1820 the colonists went
into Texas and worked at cattle raising. Now the cat-

122 MOTION PICTURES FOR INSTRUCTION

tie raising is in the West. Many sheep, horses, and
mules are raised in the United States.

Katie Feldstone.
(JEEas#been in America 8 months) — (Russian).

Film Lesson V *

AN INTRODUCTORY WORD

The film lesson is a remarkably effective teaching-
tool. In the hands of superior teachers it is destined
to become the " seven league boots" of the schoolroom.
Great educational strides may be taken. The film les-
son puts into the teacher's hand all the teaching power
in action, superior personalities, wholesome environ-
ments, narration, dramatic and educational interest,
thus speeding up intelligence and multiplying the ef-
fectiveness of the teacher a hundred fold.

Keen edged as it is, this teaching tool must be han-
dled carefully and the method of its use must be peda-
gogically scientific. Anything that educates a child
must start from within and must result in thinking
and acting. Thus the film lesson becomes educational
only as it results in conduct. The film lesson, in other
words, must set the child at work and not do the work
for him. Let us illustrate : The film lesson pictures
a girl making a garden in her back yard. The sev-
eral processes in garden making are clearly defined.
The boy who sees the action-pictures may get the im-
pulse to make a garden ; furthermore, direction may be

* This is Lesson 1 of a manual to accompany "Citizens in the Making."
a film text composed of Thirty Lessons, by F. S. Wythe, Neighborhood
Motion Picture Service, Inc., 131 W. 42nd St., New York City.

SIX SAMPLE FILM LESSONS 123

given to the impulse but the film lesson becomes edu-
cative only when the boy puts his impulse into action
and reacts to the "feel" of making his garden, a per-
fect recitation on how to make a garden, to the con-
trary notwithstanding.

We desire to emphasize that the film lesson is a class-
room accessory only educative in nature as it is scien-
tifically used and to caution the teacher against resting
the case on information alone as projected on the
screen.

May we urge careful study and trial of the methods
suggested in "Film Lesson Plans," inviting at the
same time your cooperation in perfecting classroom
procedure as it relates to film lessons?

TWENTIETH CENTURY PILGRIMS

(Immigration)
The Lesson Plan-
Civic Content:

Why foreigners come to America:

a. Drudgery and meager economic returns in Eu-

rope.

b. Seeking freedom in speech and religion.

c. Exaggerated reports of wealth easily acquired.

d. Every man has, or may have, a word in govern-

ment in America.
How foreigners judge America :
a. By first impressions of Americans. (The kindly
act*)

124 MOTION PICTURES FOR INSTRUCTION

b. By interested and just treatment.

General Topic Aim: To focus the attention of the
children on the immigration problem; to develop rea-
sons for immigration; to suggest a first step in the
process of Americanization.

Specific Lesson Aim: To teach boys and girls to re-
spect foreigners, and to treat them justly.

Motivation: (1) A classical painting; (2) attractive
personalities; (3) action-pictures; (4) narration;
(5) novelty in a supposition.

Lesson Psychology: An appeal to the social instinct
of children — sympathy for those in distress.

Teacheb's Preparation : (1) Familiarity with the les-
son story and the underlying civics portrayed; (2) a
review of the synchronized paragraphs; (3) careful
reading of leaflets accompanying this lesson; (4)
preliminary showing of film.

Note : Since the words in italics represent lesson mo-
tives which are a part of every lesson, they will be
omitted, although read between the lines, in the fol-
lowing lesson plans.

Lesson Stoey
Part I

Father Bernard, working in the field of his little
farm in Western Europe, straightens his aching back
to note with concern his children, Louise and Emile,

SIX SAMPLE FILM LESSONS

125

tired with the long hours, laboring near at hand. Dis-
couraged with the outlook for his children and troubled
about his wife's health, his eyes turn toward her.
Even as he looks, worn out with the additional burden
of long hours in the field, Mrs. Bernard falls exhausted.

Alarmed, the husband and children assist the wife
and mother to the little house, where the father pours
out his discontent and worry to Grandmother Bernard.
Comforting him, she remembers the letter which has
just arrived from America for her son. He opens it
and reads aloud the invitation to come to America.
As he reads, the home which he longs for in Ajnerica
visions in. Brother Frank in America has written be-
fore urging Pierre to bring his family to the land of
opportunity. Notv there is no desire to remain and
furthermore no excuse for the letter contains a draft
which will more than meet the expenses of making the
trip.

In great anticipation the Bernard family make their
arrangements for departure and with few regrets take
ship for America.

All the pictures of America recorded in the minds of
Emile and Louise are revivified. On board the
steamer they discuss what they expect to find in the
new land. They imagine themselves at booths where
candy may be had for the taking ; at the parks where
ponies are free. Each mounts a pony and they ride
through wondrous castles. In a mountainous district
they discover a sign, ' 1 Free gold. Take all you want. ' J
They help themselves from bags of gold at the en-
trance of the mine. While filling their pockets in great
excitement, a feathered Indian head is silhouetted from

126 MOTION PICTURES FOR INSTRUCTION

the tip of an adjoining rock. The Indian rises, draws
his bow, and imbeds an arrow in Emile 's back.
Frightened, Louise pulls out the arrow. Together
they flee, pursued by the Indian.

Living their own imaginative stories Emile and
Louise look about them in alarm, rise and hurry to
their parents. Father Bernard allays the fears of
Louise and Emile.

Part II

After an uneventful trip the Bernards enter the har-
bor of New York. The Statue of Liberty and the
great buildings astound them. The ship ties up at the
wharf and empties its load of human freight. Con-
fused by the turmoil, the Bernards follow timidly the
guide who presents herself. She leads the way to a
secluded spot and says, ' 6 Wait here until I return."
The Bernards, fearing later that they have been for-
gotten, determine to try to find the railroad station.
Soon the traffic confuses them. Their timid requests
for assistance are brushed aside in the rush of busi-
ness. Two boys, noticing the helplessness of the for-
eigners, unfeelingly fasten the rope which trails from
a hamper carried by Father Bernard to a lamp post.
As the family continue their wandering the rope
tightens, the hamper is jerked to the sidewalk.

It bursts open, displaying the wreckage of a prized
heirloom and Louise's doll. This is the climax.
Mother Bernard gives way to her distress. At this
moment a little girl who has seen the episode from her

SIX SAMPLE FILM LESSONS

127

secure seat in an automobile comes to the assistance of
the Bernards. She tries to comfort Mother Bernard
and volunteers her help. The little girl's father ar-
rives. He learns of the incident and the difficulties of
the Bernards. Inviting the family into his automobile,
he drives them to the railroad station and sees that the
Bernards proceed safely on their journey.

The Lesson

This and lesson plans which follow from time to time
presuppose a mechanical arrangement such as outlined
in the pages on "Film Education, " namely, the use of
the film lessons in the classroom or a place where the
intimacy of teacher and pupils will not be lost. The
motion picture projector and film lessons are a class-
room tool to be used much as are globes and maps.

1. Method of approach: Connect the child's experi-
ence with Americanization. Discuss the problems
dealing with the foreigners in the immediate vicinity
— the Chinese, the Japanese, the Greeks, the Hindus,
the Swedes, the Italians, etc. What privileges do we
enjoy in America not found in foreign countries?
Where were your parents born? Where were you
born?

2. Project the film lesson. Avoid distracting dis-
cussion while the lesson is in action on the screen. A
word or two at opportune moments are not objection-
able. Let the children give their full and undivided at-
tention to the film. They will enjoy it as they do the
story read in its entirety in the literature lesson.

130 MOTION PICTURES FOE INSTRUCTION

4. How do foreigners first judge America?
Special Problem Questions.

1. Did you like the picture lesson? Give a reason
for your answer.

2. Discuss the personality of each individual in the
picture.

3. Why is America the land of opportunity for boys
and girls?

4. Where had you rather attend school — Germany or
America? Why?

5. What is the average daily wage in China, Sweden,
France, England, America?

6. In what part of Europe are the scenes laid? Give
reasons for your answer.

7. How did Uncle Frank in America send money to
his brother in Europe?

8. How long do you think it took the ship to cross
the ocean t

9. Who was the busy woman who told the Bernard
family to wait until she came back, on their landing
in America ?

Project work.

1. Formulate an Americanization program for your
school. For yourself.

2. Who was Millet? Prepare a brief sketch of his
life. Make a list of his best pictures.

3. Give details of immigration — passports, trans-
portation, custom house, etc.

4. What is the governmental immigration program?

SIX SAMPLE FILM LESSONS 131

5. Discuss reasons for immigration of the Pilgrims,
our forefathers.

6. What do the people of the several European coun-
tries have to say about government — England, France,
Eussia, Germany, Italy, etc. f

7. Bring in a report on the comparative wages paid
laborers in Europe and America.

8. If possible visit an immigration station as a
lesson.

Suggestions

Radiating from each film lesson are avenues along
which the class may travel with profit. Speaking in
concrete terms, let us examine the Problem Questions
and Project Work which are suggested by action-
pictures in the film lesson.

Who was Millet?

In what part of Europe are the scenes laid? Give
reasons for your answer.

Why did Father Bernard want to go to America?

Why was his brother in America anxious that he
should come?

The action-pictures conveying the answers to these
questions are "open sesame" to the field of art, geog-
raphy of Europe, and its social and economic life.

How did Uncle Frank, in America, send money to
his brother in Europe ?

How long do you think it took the ship to cross to
America?

Where did Emile and Louise obtain their peculiar
ideas about America ?

132 MOTION PICTURES FOR INSTRUCTION

Who was the busy woman who told the Bernard
family to wait until she came back, on their landing in
America?

Why were the Bernards confused in making their
way?

What is your opinion regarding the ' ' joke " played
by the boys on Father Bernard?

How do foreigners judge America?

These questions, respectively, open studies involv-
ing world exchange, high seas transportation, avenues
of communication between nations, an Americaniza-
tion program for foreigners, and native-born as well.

Thus the thread of the Bernard family and their ex-
periences may be woven into the whole day's work.
The presence of Emile, Louise, and the parents, in the
classroom may be used to advantage by the skillful
teacher to motivate the day's program.

Suggested Plan for the Week 's Work

The prime purpose of the film lesson as an integral
part of the civic period is to motivate the civic content
for the day and the rest of the week. The interest
generated by the film should be sustained.

First Day. The lesson as outlined above.

Second Day. Recitation on civic content correlated
with the film lesson as found in the class text. Indi-
vidual assignment of Problem Questions and Project
Work.

Third Day. Discussion of the preceding day's
assignments.

Fourth Day. Library day. Readings and reports

SIX SAMPLE FILM LESSONS

133

on assignments made from list under Pupils' Reading.

Fifth Day. Reports on assignments from Project
Work as yet uncompleted. Review or field excursions,
observing principle under discussion at work in the
large.

Pupils' Reading

"Landing of the Pilgrims 99 Felicia Eemans

Life of Millet

With copies of best known pictures — "The Ange-
lus," "The Gleaners/ ' "Man with Hoe;" etc.
America— "My Country, 'Tis of Thee — 99

1 1 Max with the Hoe" Edward Mar~kham

"The Song of the Lark" (Picture) .... Jules Breton

"The Pilgrims, 1620-1630," SaraR. O'Brien

From "English for Foreigners," Book II., Hough-
ton Mifflin Co.

" Little Athens Message" Anna Doan Stephens

The Peace Association of Friends in America.

"Camp School Song" C. R. Trowbridge

Printed for The Society for Italian Immigrants,
129 Broad St., New York City.
Story of Edward W. Bok, a poor Hollander.
Formerly Editor of "The Ladies Home Journal."

"Courtship of Miles Standish" Longfellow

(Also picture, by Taylor.)
"The Pilgrim Fathers"; "Plymouth Rock" O'Reilly
1 1 The Pilgrim Fathers" Wordsworth

Government and the Citizen . . . Roscoe Lewis Ashley
California Edition (1908), Macmillan Co.
P. 194, Sec. 206.

134 MOTION PICTURES FOR INSTRUCTION

The New Civics Roscoe Lewis Ashley

(1908), Macmillan Co.

P. 42, Sees. 39-49.
American Government Roscoe Lewis Ashley

New and Revised Edition (1917), Macmillan Co.

P. 287, Sec. 290.
Civics — Studies in American Citizenship

....t......... Waldo H. Sherman

(1905), Macmillan Co.

Part IL, p. 212.
Civil Government in California John Richard Sutton

American Book Co.

Chap. 13, p. 256.
Our America — The Elements of Civics John A. Lapp

Bobbs-Merrill Co.

Chap. 5. pp: 49-53;

Chap. 25, pp. 300-330.
My Country — A Text Book on Cmcs and Patriotism

for Young Americans Grace A. Turkington

Ginn & Co.

Chaps. 1, 2, 3.
Government in State and Nation

J. A. James and A. H. Sanford

Revised Edition, Charles Scribner's Sons.
Lessons for Junior Citizens Mabel Hill

Ginn & Co.

Pp. 168-185.
Civics — The Community and the Citizen

■ Arthur William Dunn

State Printing Office, Sacramento, Cal.

Chap. 7, pp. 34r-37.

SIX SAMPLE FILM LESSONS

135

American Citizenship Charles A. Beard and Mary

Bitter Beard

(1914), Macmillan Co.

Pp. 196, 197, 202.
City, State, and Nation William L. Nido

(1917), Macmillan Co.
Community Civics .... Jessie Field and Scott N earing

(1916), Macmillan Co.
The Gulick Hygiene Series . . . Frances Gulick Jewett

Book III, Town and City.

Ginn & Co.

Civil Government Simplified J.J. Duval

(1919), Harr Wagner Publishing Co., San Francisco.

Special Aids

Have the children write for printed matter to
national and state agencies concerned in the problems
of the immigrant.

Junior Red Cross, National Headquarters, Washing-
ton, D. C. Publications relating to international
correspondents and junior adoptions.

Society for the Fatherless Children of France.

Travelers' Aid, 25 West 43rd Street, New York City.

United States Bureau of Education, Washington,
D. C. Especially reports and teachers' leaflets of
A. W. Dunn, specialist in civic education, and the
annual reports of the Commissioner of Education.

Commissioner General of Immigration, Annual Be-
ports, Washington, D. C.

Bureau of Immigration and Naturalization, Immigra-

136 MOTION PICTURES FOR INSTRUCTION

tion Laws and Regulations, Chinese Exclusion Act,

Washington, D. C.
Department of Commerce and Labor, Special Consular

Reports, Vol. XXX, Emigration to the U. S. (1904).
National Civic Federation, New York, Reports of

Conferences of Immigration Department, Sept. 14

and Dec. 12, 1906.
American National Security League, 19 West 44th

St., New York City. Pamphlets on Americaniza-
tion.

Film Lesson VI

6teps toward american ideals
The Lesson Plan

Civic Content :

The first processes in Americanization :
Kindly and just treatment.

a. First impressions lasting.
Placement in work for which the foreigner is best

fitted.

a. State program to place deserving and trained for-
eigners on the land.
The alien should become the owner of a home.

a. State program to anchor foreigner to America.

b. Participation in civic life. The foreigner get-

out of Amercia about what he puts in.

First step in formal Americanization 6 ' first papers."

General Topic Aim: To impress upon the minds of
the children that much which they enjoy was con-
tributed by foreigners; that America owes a part of

SIX SAMPLE FILM LESSONS

137

her advancement in science, art, government to for-
eign contribution; withal to establish a well balanced
attitude toward foreigners.

Specific Lesson Aim: Kindly and just treatment of
foreigners by the boys and girls.

Motivation: Appealing situations and pictures of
western events. The lesson is built largely on at-
tractive personalities.

Lesson Psychology: An appeal to the social and
dramatic instinct ; sympathy and assistance to one in
distress.

Teacher's Preparation: (1) acquaintance with the
lesson story and the underlying civics portrayed;
(2) a survey of subject matter synchronized with the
film lesson.

The Lesson Story

It is the morning following the arrival of the
Bernards at the western home of Pierre's brother.
Mother Bernard and his sister-in-law are in the front
yard. Louise and Emile, dressed in their cousins'
clothes, looking every bit like young Americans, come
from the house led by their companions, Clifford and
May. In great delight Mother Bernard notes the
transformation which has taken place. As the chil-
dren leave Pierre and Frank come from the house.
Dressed in his brother's clothes Pierre looks the part
of a well-to-do American rancher. Frank proudly
leads his relatives about the farm. The attractive
buildings, fields, and well-fed stock show evidence of
thrift. Congratulations from his brother lead Frank
to relate his experiences in America.

138 MOTION PICTURES FOE INSTRUCTION

"Soon after reaching America I found work as a
member of a railroad traction crew. Dissatisfied with
the outlook, I grasped an opportunity to better myself
by purchasing an illy-kept farm. I knew I could make
the farm pay. Setting Giant powder at work I re-
deemed the land, and with new tools which I purchased
with money loaned by the bank, made the virgin soil
produce abundantly. Then Martha came. That was
the turning point in my life. The touch of a woman's
hand soon became evident. Martha and I worked and
dreamed together.. As the babies grew, Clifford and
May did their share. Working together we have
made our home. You see, brother, the foreigner gets
out of America about what he puts in.

"After contending with bad roads season after sea-
son and exasperated finally by an afternoon in the
mud digging out my truck, I formed a 'Good Roads
Club. ' We worked hard to carry the bond election for
better roads but were beaten at the polls because many
of us could not vote. This taught me a lesson. I de-
termined to become a citizen of America in all respects.
A few years later after a vigorous campaign bonds
were voted and you can see the result/'

At the completion of the interesting narrative
Martha suggests a ride in the automobile. As the
machine gathers momentum the children run up and
clamber on the running boards.

A few days later an agent of the State Placement
Bureau calls to help the Bernards locate a home.
Under his guidance an attractive ten-acre farm
close to a thriving city is purchased on attractive
terms.

SIX SAMPLE FILM LESSONS

139

The Lesson

1. Method of approach: Make the children feel a
need for the content of this lesson. Bring the subject
near to them. What foreigners are living near your
home? Has your city or state a problem dealing with
foreigners, such as have cities in California and the
state itself with the Chinese and the Japanese? What
effort is being made to solve such problems? What
have foreign nations contributed directly and indi-
rectly to your school and community, your state?
Questions of this nature will connect the personal ex-
periences of the children to the subject content pic-
tured.

2. Show the film lesson. Avoid establishing the
habit of a divided interest. Do not discuss the picture
while it is running on the screen.

3. Have the story reproduced for its narrative prop-
erties. Inaccurate observations on the part of the
children will result in differences of opinion. These
may be settled best by a second showing of the lesson.

4. Question the children to bring out the civic con-
tent of the lesson.

5. Make use of some method whereby the impulses
which are created during the lesson shall take effect in
the conduct of the children. See Lesson I.

6. Assign work for the rest of the week.

Lesson Questions

1. What is the first interest of the Bernards? What
impression have you formed as to the home life of
Frank and his family ? Why ?

140 MOTION PICTURES FOR INSTRUCTION

2. How would you rate Uncle Frank's farm? Who
were instrumental in its development?

3. Why does Frank determine to change his occupa-
tion? What is the wage of, and the future for men
employed on a section "gang"?

4. What is the award of shiftlessness?

5. Contrast the homes of the shiftless farmer and
the one established later by Frank. How do you ac-
count for the difference? One man is a native-born
citizen, the other a foreigner; which one at heart was
the better American? Why?

6. Why was Frank confident he could make the farm
pay?

7. Where did Frank get money to purchase tools?

8. Why was Frank interested in a "Good Eoads
Club"? '

9. What upset the wise plans of Frank and his neigh-
bor farmers?

10. Explain how the Bernards found their new
home.

Problem Questions.

1. What is the purpose of one's life? The accumula-
tion of wealth?

2. What determines one's success. One man failed,
another succeeded on the same farm. How do you ac-
count for this part of the story?

3. How does the story show the value of practicing
thrift?

4. What is the value of good roads? Are the roads
in your vicinity good ones ? If not, who is responsible?
Discuss the steps in laying a state highway.

SIX SAMPLE FILM LESSONS

141

5. Why should the nation concern itself with a pro-
gram which should include the placement of foreigners
as to work and homes?

6. Why should encouragement be given to foreign-
ers to purchase small farming acreages?

7. What advantages are gained by living and work-
ing on a farm?

8. What is meant by 4 4 The foreigner gets out of
America about what he puts in"? What did Uncle
Frank put in ? What did he get out ?

9. Suggest a method by which the state might assist
deserving foreigners to own a home.

10. What do you consider the first informal and
formal steps in the Americanization of foreigners?

11. What can the teacher and the children do to as-
sist?

12. Why is the house on the farm so often neglected
while the barns are improved ?

13. Does the development of the automobile industry
bear any relation to improved highways? Give rea-
sons for your answer.

14. What is the first duty and privilege of the citizen
in Ajnerica?

15. What is a silo and how is it used?

Project Work.

1. Formulate a national program for Americaniza-
tion of foreigners. Of native-born residents.

2. Show the relationship of education and ignorance
to the Americanization problem,

3. Show that America has helped oppressed nations.

4. Make a list of our great 44 Americans. "

142 MOTION PICTURES FOR INSTRUCTION

5. What is an American ? How may one become an
American? Make out a program step by step.

6. Describe the processes in "Naturalization."
What is "Naturalization" for, and who may enjoy
its privileges.

7. Make a list of "naturalized" Americans who have
served America.

8. Discuss the use of dynamite on the farm.

9. Discuss the purpose of banks, moral and financial
credit, how each may be obtained.

10. Explain what superior tools have done for farm-
ing.

11. Compare life in the city and in the country.

Suggestions for the Week

First Day. Film lesson and assignments.

Second Day. Field visit to immigrant stations when

possible.

Third Day. Library and study.

Fourth Day. Report on problem questions.

Fifth Day. Discussion of assignments.

Pupils' Beading

An American Book of Golden Deeds James Baldwin

American Book Co.
Hero Tales from American History

Henry Cabot Lodge and Theodore Roosevelt

Century Co.
Stories of Daniel Boone, Early Settlers,

George Washington, William Penn, Etc.

SIX SAMPLE FILM LESSONS

143

"Pioneers! 0 Pioneers!" Walt Whitman

"Human Brotherhood" Whittier

"The Building of the Ship" Longfellow

"The Fatherland" James Russell Lowell

"The Ballad of East and West" . , . Kipling

"Rip Van Winkle" , Irving

"The Pathfinder" Cooper

"Little Athens Message."
"The Pathfinders, Lewis and Clark" from
"The Children's Hour,"

Vol. VIII Eva March Tappan

Houghton, Mifflin Co.
Story of LaFayette, of Pasteur's Work, of Italian
Music and Art, Architecture and Engineering;
Spanish Missions in California; Our Laws
Founded on the Old Roman and English Laws,
etc. — Showing what we owe to foreigners.

Text References

Government and the Citizen . . Roscoe Leivis Ashley
California Edition (1908), Macmillan Co.
P. 1 to Sec. 4, P. 4;
P. 9, Sec. 10 to P. 13 ;
Chap. 6 ;

P. 215, Sees. 226-230, 237.

The New Civics Roscoe Leivis Ashley

(1918), Macmillan Co.

Chap. 1, Sees. 1, 2, 3, 7-8, 12, 16-20;

Chap. 2, Sees. 22-25, 28-32 ;

P. 159, Sees. 144-146 ;

P. 184, Sec. 170;

144 MOTION PICTURES FOR INSTRUCTION

P. 269; Sees. 242, P. 275;

P. 346, Sees. 305, 306;

P. 357, Sees. 314, 318.
American Government ........ Roscoe Lewis Ashley

New and Revised Edition (1917), Macmillan Co.

P. 8, Sees. 9, 10;

Chap. 10, Sees. 123-126;

P. 211, Sees. 222-224;

P. 267, Sees. 275-279;

P. 281, Sec. 284;

P. 287, Sees. 290, 291.
Civics, Studies in American Citizenship

i Waldo H. Sherman

(1905), Macmillan Co.

Part L, Pp. 16, 17;

Part II., Pp. 208-217.
Civil Government in California

John Richard Sutton

American Book Co.

P. 159, Sec. 108.
Our America — The Elements of Civics

John A. Lapp

Bobbs-Merrill Co.

Chap. 1, especially Pp. 7, 8 ;

Chap. 5, especially Pp. 49-51 ;

Chap. 8, especially Pp. 91-94;

Chap. 25, Pp. 300-301;

Appendix, "Secretary of Interior," Pp. 335, 336.
My Country — A Text Book in Civics and Patriotism

for Young Americans Grace A. Ttirkington

Ginn & Co.
Chaps. 4, 5, 7.

SIX SAMPLE FILM LESSONS

145

GOVERNMENT IN STATE AND NATION

J. A. James and A. H. Sanford

Revised Edition, Charles Scribner's Sons.
Chap. 9; 20, See. 1;
Chap. 28.

Special Aids

Through the children correspond with organizations

concerned with the immigrant problem.

Bureau of Labor, Seventh Special Report, The Slums
of Baltimore, Chicago, New York and Philadelphia
(1894). Ninth Special Report, The Italians in Chi-
cago (1897).

Hull House Maps and Papers, New York (1895).

Naturalization, Report to the President of the Com-
mission on Naturalization, November 8, 1905, 59th
Congress, 1st Sess. H. R. Doc. 46.

Bureau of Naturalization, Washington, D. C. Nat-
uralization laws and instructions for applicants for
citizenship.

State Commission for Immigration and Housing.
American National Security League, 19 West
Forty-fourth Street, New York City. Pamphlets on
Americanization.

CHAPTER VI

A TENTATIVE PLAN FOR A MOTION PICTURE LESSON

Let us consider in one place the various factors
mentioned heretofore in other connections that must
constitute the frame work of a methodology dealing
with the film as a teaching instrument.

The six representative film lessons of Chapter V
present type lessons by five different educators. In
one case, two of the lessons are presented from the
same author. (Immigration, and Steps toward Amer-
ican Ideals — Wythe.) In an inductive study, a com-
parison of these will reveal certain procedures com-
mon to all of them, and certain others that differ.
These may give us a start toward a partial generaliza-
tion of practices obtaining among representative edu-
cators.

i. Film Synopses Necessary

It will be noted at once that all of these lessons first
isolate the film titles (sub-titles), these titles in correct
sequence being called a synopsis. Most educational
films now are accompanied with a synopsis.

It is evident that the teacher needs to know these to
determine what is lacking in information or directions
supplementary to the picture, and also whether they

146

TENTATIVE PLAN FOR A FILM LESSON 147

are suited, in meaning and form, to the purpose of the
lesson, and the spirit of the school.

Sometimes titles are too many or too long and in-
volved. In this case the teacher — or preferably the
visual education committee or department, where the
operation of cutting and patching the film is under-
stood— should cut out the undesired portions, taking
care to see that they are restored later. The film con-
tinuity would be more valuable than the synopsis, since
the continuity contains not only the titles but descrip-
tions of the scenes and action of the picture as they
occur in sequence with the titles. Where the teacher
previews the film, the continuity is not essential.

The later issues of the Ford leaflets give "explana-
tions" of the scene following each title. But most of
them do not describe the action so much as they insert
the supplementary facts. This puts the additional
information directly where it is needed in the film,
with a possible danger of the teacher making too me-
chanical use of it. The Analytic arrangement in the
earlier Ford leaflets presents a more accurate view of
the topic as a whole, and the sub-topics are seen in
better perspective.

2. Statement of Supplementary Facts

All of the six lessons print for the teacher additional
facts about the topic, from which the teacher may
select those she thinks most desirable for discussing.
The earlier Ford issues present these in analytical
form, adding greatly to the clarity of the topic. With
regard to any new type of illustrative material or a

148 MOTION PICTURES FOR INSTRUCTION

new plan of recitation, teachers are sometimes afraid
that the new work will mean more work for them.
This need not be the case. While the teacher with the
time and inclination will always pursue independent
research, the busy teacher, in the case of these films,
will find the most necessary supplementary facts
furnished her on the leaflets, and will not need to
search through encyclopedias and other books and
pamphlets.

3. References or Bibliography

All of the lesson leaflets supply the teacher with a
list of books, pamphlets, etc., containing a still wider
range of facts regarding the topic.

Consulting some of these under the teacher's guid-
ance will constitute a form of research for the pupils.
DeVry gives other illustrative material, bearing on the
same topic, in the form of films, slides and press pic-
tures.

4- Suggestive Questions

The Ford leaflet on milk does not contain questions,
but since many other of the Ford leaflets do include
the questions, it seems proper to list questions as a
fourth characteristic of all of the leaflets. In the
later issues of the leaflets accompanying the Ford Edu-
cational Library releases, the authors go ^ step further
than the others (except DeVry) and suggest which
questions come before the film showing, and which

TENTATIVE PLAN FOR A FILM LESSON 149

after. DeVry distributes the questions under Oral
Introduction, Film Presentation and Follow-up Work.

5. Oral Introductions

Four of these authorities use some sort of intro-
ductory statements at the beginning of the lesson.
Pathe omits this feature. Ford gives an "educational
purpose" directed to the teacher, rather than to the
children. The other three lessons (DeVry, Wythe and
Aiton) give suggested oral introductions framed from
the pupil 's viewpoint. Miss Aiton 's lessons, using the
films for training in English, present both an oral and
written study of "Words to be Taught" at the begin-
ning of the lesson. The Ford leaflet suggests that the
teacher read the titles to the pupils before the film is
run. There is a question here if this practice would
not become mechanical if used for all pictures. It
would tend also to reduce the element of novelty,
sometimes a help, and sometimes a hindrance to the
work in hand.

6. "Talking" with the Film

Some of these lessons make no reference to "talking
with the film," but all of these imply that the teacher
will ask questions both during the running of the film
and after the showing. If questions arg asked, re-
sponse is expected; so the rule is that teacher and
pupils talk and discuss during and after the film
shoiving.

150

MOTION PICTURES FOR INSTRUCTION

Three of the series indicate the specific points for
oral discussion as the film unwinds and one (DeVry)
indicates the stop-on-film points which may be used
where a projector is employed having a stop-on-film
shutter.

This simple little device is likely to influence very
materially the conduct of a film lesson, as well as the
construction of the film itself. As soon as it is widely
adopted, title footage can be reduced radically, and
class discussion can become a much more prominent
and natural feature of film lessons, as the stoppage of
the film not only reduces noise, but stops the rush of
the pictures, giving time for composed thought, and
closer observation at any point.

Some of the Ford leaflets advise against too many
questions during the film presentations, as making for
confusion,* claiming that most of the questions and
discussion should be saved for the review or quiz
period.

Some of the factors which would determine the
amount of talking attempted during the running of
the film are the strength or weakness of the teacher's
voice, nervousness under a definite speed pressure,
familiarity with projector operation, adaptation of the
film to the educational status of the children, the pre-
dominance of emotional or intellectual appeal in the

* "When teachers object that motion pictures move too rapidly for
the child, they are, in reality, confusing rapidity of motion with
brevity of scene, which is quite another and much more easily remedied
fault. . . . Often it can be remedied by letting the action continue
for a longer time or by repeating the action two or more times.
Moreover, the film itself can be run a second and even a third time." —
Motion Pictures in Education. — Ellis Thornborough.

TENTATIVE PLAN FOR A FILM LESSON 151

film, the effect of questions and responses, in a par-
tially darkened room, upon the discipline of the class.

7. Repeat Showing of Films

Three of the five authorities practice a second show-
ing of the film. This serves :

1. To clear up mistakes of observation.

2. To recall scenes for further discussion.

3. To stimulate oral or written work by pupils.

DeVry and Aiton make a point of the second show-
ings; the Ford Leaflet seems to advise it, "or even a
third presentation, as an occasional performance.

The necessity for repeat showings emphasizes the
desirability of schools purchasing their films, so that
a class can use them as often as is necessary. Eental
and loan films as a rule have to be returned to the
owners too quickly for these repeat showings.

8. Follow-up-Work*

There is quite general agreemeyit among all types of
lessons presented, as to provisions for further self-
activity of the pupils. This is provided for in the list

* "Caution should be observed to encourage initiative and an in-
tellectually active attitude, and not to allow the use of motion pictures
or other visual materials to overdevelop the attitude of passive re-
ceptivity. The objection is sometimes made to the use of motion pic-
tures that they make education too easy. This objection misses the real
point. If the pupil actually gets the training we wish him to secure,
it is no objection that he gets it easily. The real objection is that
he never really completes his mastery of a subject merely from having
it presented to him. He should make it a working part of his mental
machinery. To provide for this, we must encourage discussion, in-
dependent reading, problem and project work, and the like." — Pro-
fessor Frank N. Freeman, in Visual Education.

152 MOTION PICTURES FOR INSTRUCTION

of questions as well as in the references. The DeYry
leaflets give it a special heading and make definite as-
signments in the nature of research and project prob-
lems. Miss Aiton's lessons give detailed examples of
the compositions, letters, newspaper write-ups, etc.,
written by the pupils as a result of the film recitations.

Tentative Film Lesson Plan

Having now isolated and examined the characteris-
tics common to a series of film lessons worked out by
serious investigators, it is in order for us to attempt a
synthesis of these studies in the form of a Tentative
Film Lesson Plan* subject, of course, to modifications

* The Visual Educatiou Ltd. has combined both the pedagogical
and business phases of visual education in Great Britain and has
organized a complete service with machines, lecturers, and films.
They have issued a booklet listing their films and service. On the first
page they give "The Technique of a Visual Lesson/' which they have
evolved for visual educationists. It is remarkable for its clarity and
its agreement with the best American practices.

THE TECHNIQUE OF A VISUAL LESSON

It will inteiest educationists to study the lines on which a Visual
Lesson is given.

The Visual Lessons provide for careful preparation before the lecture.
All the alertness, interest and eagerness to recite which the motion
picture has aroused in the class is made use of to the fullest extent.

1. The teacher is given beforehand an outline of the Visual Lesson
and of the films which will be shown, in order to coordinate the school
teaching with the lecture.

2. The lecturer briefly prepares the class for the film without re-
moving the important element of surprise. He must create the proper
mood in which to view the picture.

3. The picture is projected without comment. Should a remark be
absolutely necessary, the picture is stopped while the lecturer speaks.

4. The interest of the class is now at its height; questions are
asked and a discussion ensues.

5. The film is then shown a second time, wherever possible. This
applies particularly to science lessons.

TENTATIVE PLAN FOR A FILM LESSON 153

for special types of subject matter, and unusual con-
ditions of projection. This lesson plan would seem to
be somewhat as follows :

L Preview of film by teacher.

2. The writing out of a synopsis of film titles, or in
the absence of (1), a continuity.

3. The introductory talk, map study, blackboard
work, etc.

4. A limited number of questions during projection
(making full use of stop-on-film points for close
discussion or observation).

5. Discussion (includes supplementary facts, refer-
ences, recitation and discussion, further illustra-
tive material), slides, etc., that might add to some
of the points made in the film or were omitted by
the film. A few of the more important of these
might occur under either (3) or (4) — pupil reac-
tions in various forms.

6. Questions after the film is run (including assign-
ment for follow-up work).

7. Second showing of film, either the same day or on
subsequent days, for correcting errors of observa-
tion or interpretation disclosed in (4) or (5), and
for cultivating oral description and composition
of the pupils, who at this time may be called upon
to explain the scenes and in general tie up the
film material with the general course.

8. Tests — written compositions, letters, presentation

6. Answers are now demanded to the specific questions that pre-
ceded the picture, and pupils are encouraged to correct one another'g
mistakes.

154 MOTION PICTURES FOR INSTRUCTION

of pupil research, and of the tests used in modern
school systems.

Nothing approaching a stereotyped formula is here
attempted or advocated. One should remember that
such a lesson is not a lesson on the film; it is a lesson on
a school topic in the regular course of study, where the
film constitutes only one kind of illustrative material.

The Wythe Lessons

The two Wythe lessons on civics are unique in the
series of sample lessons, as the film lesson is in story
form and the appeal is emotional. These lessons are
nevertheless subjected to the most searching ped-
agogical treatment and the progression of ideas is
developed for the teacher in great detail, step by step
and question by question. The result sought for the
pupils is a changed mental attitude with a correspond-
ing change in conduct toward foreigners. The whole
lesson plan is affected by this shift of emphasis from
the informational to the emotional point of view.

The "Lesson Story" here takes the place of synop-
sis of titles or of a continuity. In this case teachers
are warned "not to discuss the picture while it is run-
ning on the screen. ' 9 Here the unity and accumulative
force of the succession of events would be disturbed
by stopping and analyzing. The picture may be dis-
cussed after the showing, or in the second showing of
the film.

Neither teacher nor pupils are expected to undertake
all of the "Lesson Questions," "Special Problem Ques-
tions," "Project Work," "Suggested Plan for the

TENTATIVE PLAN FOR A FILM LESSON 155

Week's Work," "Pupils' Reading," "Text Refer-
ences, " and "Special Aids" given at the close of the
Wythe lessons. The principle of selection should be
employed.

The Aiton-Kiernan Lessons

In Miss Ait on?s# lessons both the blackboard and
map were used often during the showing of the film;
careful recitation work of this character indicates that
a film of ordinary length should scarcely ever be tuai
off continuously, but there should be frequent stops for
questions and discussion, A projector with stop-on-
film shutter is a help to this process, but any projector
may be stopped to allow discussion. The projector
current should be switched off, and the room lights
turned on.

The heading "Correlated Material" occurs only in
the Aiton lessons. It is explained by the unique type
of students constituting the class. They were adult
foreigners taking English and Americanization. The
patriotic songs and preamble to the constitution are
thus explained.

The summary of the procedure used in the lessons
given during 1923, 1924 and 1925 is so succinctly stated
in two paragraphs of the Aiton-Kiernan report that
they are quoted here for reference :

"A motion picture lesson in its entirety means the
previewing of the film and previous study of the sub-
titles by the teacher; extensive research work; a pre-

* The general plan of the lessons and their supervision was the work
of Miss Maud E. Aiton. The actual lessons were taught by Mrs. H.
C. Kiernan and Miss Grace Meyer.

156 MOTION PICTURES FOR INSTRUCTION

paratory lesson which includes the development of
vocabulary; showing the film; reading the titles, and
leading the students to ask and answer questions dur-
ing this showing ; leading the students to take part in
the discussion ; following the first showing of the film
encouraging them to link the new with a like experience
and helping them to tell the latter in English ; showing
the film a second time ; assisting the students 9 reading
of title ; teaching a correlated song or poem from the
screen. On the following day the students ' oral repro-
ductions are given and correlated work is done in
spelling, and language work; and reading a letter or
a composition on the subject of the picture or a subject
inspired by the picture is written by each student.
The final step in the lesson is the testing. Tests are
planned as follows: five stimulating words, five sen-
tences involving multiple choice, five completion sen-
tences and five thinking questions. These tests are
scored for English and content. The student comes to
the school to learn English. In the intermediate class
students themselves admit that they learn English
quickly by the motion picture method. ' '

"Motion picture lessons in the Americanization
School require a teacher who believes in the visual
way, a teacher who is willing to do much research
work, one who carries enthusiasm into the work, who
sees that the visual way is the economical way in that
a greater scope of content may be covered during the
regular lesson period; one who is willing to do much
preliminary work with the film, the titles and an exten-
sive bibliography so that the motion picture lesson may
serve its purpose, namely, to give to the adult foreign

TENTATIVE PLAN FOR A FILM LESSON 157

student the opportunity to visualize immediately that
which he hears, speaks, reads, and the opportunity to
learn the use of the English language by actually us-
ing it."*

Restraint in the Use of Motion Pictures

Every new movement has its " wild oats ' ' period, and
visual education is no exception. The wide publicity
given to the Edison-Wells statements, in which they
predict the coming of the time when films would dis-
place teachers and textbooks in schools, misled a few
teachers into intemperate film practices. One had only
to have a sufficient quantity of educational films to
bring in the new era of teacherless and bookless
schools. These quantity doses of films reacted very
unfavorably.

It soon appeared that too frequent film lessons nulli-
fied the specific contributions which the film had to
make to school practice. The freshening of the pools
of knowledge, due to variety and novelty, disappeared ;
there was insufficient time for the introductory step of
preparation. The tendency of frequent film lessons
was to accept film showings for film lessons. There
was not time enough for previews of the films by the
teacher, the selection of salient points from irrelevant
matter, nor for planning the questioning, reciting, and
assignments which would compel digestion of the
pertinent material and relate it to the body of knowl-

* It is interesting to compare the successful use of motion pictures
in teaching English to foreigners, with the conclusion of Professor
Freeman, with reference to its use in teaching a foreign language to
Americans. See No. 5, p. 184.

158 MOTION PICTURES FOR INSTRUCTION

edge and the mental activity already built up around
the subject matter.

There resulted a habit of hasty reading of titles and
a sort of eye concentration rather than mind concen-
tration. A bare enumeration of objects and scenes
was accepted as educational responses. Film sched-
ules required the rapid movement of the films between
schools and there was no time for a second running of
the film. This second running is a frequent necessity
when serious educational work is undertaken with a
motion picture.

One Slide to a Recitation

Stereographs and slides have already passed
through this quantitative stage in the school classroom.
Educational ' 1 sets" frequently consisted of from 30 to
50 pictures, and in the early days of their use in
schools, the whole set was shown to the class in the
recitation period. It scarcely afforded a half minute
to a slide ; barely time to change the slides in the car-
riers.

The author at one time conducted a college depart-
ment of visual instruction. It distributed slides and
films to teachers, clergymen and welfare workers of
the state. It was interesting to note the preference
for slide sets containing large numbers of slides. One
minister wrote in that he wanted the slides for an eve-
ning service and that it must contain at least 90 slides.
If he just pushed through the whole set, one after an-
other, barely announcing the title of each, the exercise
would have consumed 45 minutes, and the first effects

TENTATIVE PLAN FOR A FILM LESSON 159

of surprise and charm would have been lost after the
first ten minutes, in the dull monotony of a slot machine
performance.

Obviously, tests made on this sort of slide lesson re-
vealed disappointing results. The Keystone View
Company about this time organized their "600 set" to
cover the program of the elementary school. Together
with the teacher's manuals accompanying the sets
they brought order out of chaos. The "600" were
listed in small groupings of a few stereographs or
slides each and an elaborate cross reference system
made one slide do duty in many groups. Cross refer-
encing focused the attention on individual pictures and
minimized the value of "sets." Finally, this firm de-
veloped a plan of intensive picture study, which made
one picture do for a whole recitation. Undiscovered
educational values of pictures immediately appeared.
There was time for a leisurely and repeated viewing
of the picture by teacher and pupil, and observations
and interpretations took the place of "seeing."

A Short Length Film Every Two Weeks

The treatment of the educational film is now under-
going the same development. Mr. F. S. Wythe, pro-
ducer of the series of films on citizenship, and organ-
izer of the Neighborhood Motion Picture Service, Inc.,
for schools, has had a prolonged and varied experience
in handling educational films in schools. His reels now
are seldom over 600 feet, and he advocates a film
study of one subject every two weeks. Here is a re-
turn to sanity and restraint in the use of pictures.

160 MOTION PICTURES FOR INSTRUCTION

Such intervals give time for the necessary steps of
preparation, presentation, reflection and application,
characteristic of modern pedagogical procedure. The
three film libraries presented in this book offer from
four to sixteen films during the school year for any one
subject of study — with reels usually well under 1,000
feet. The DeVry educationals average 650 feet and
the Bray series much less than this.

Made-to-Order Films in Sight

The ideal way is for teachers to have made up for
their classes short strips on the particular topics which
lend themselves best to motion picture treatment.
Hitherto this has been impossible because producers
preferred to rent their own reels rather than accept
orders for special scenes made from the negative. Ke-
cently the DeVry Corporation has announced a nega-
tive library of nearly 200,000 feet of geography and
animal topics, from which they will make prints to
order of any desired length and in any desired com-
bination, so that even a 50-foot reel can be purchased.
It is to be hoped that the larger producers can be in-
duced to open up the wealth of negative they possess
to this sort of use in the schools. It will mean some
further use at least of negative which in most cases is
stored in vaults after only a year or two of use, having
no further productive value, which in the end reaches
the junk vats for the mere recovery of the silver salts.

Adaptation to Grade
As explained in Chapter I (p. 14), pictures depend

TENTATIVE PLAN FOR LESSON 161

more upon the teachers' questions and explanations for
adaptation to grade than they do upon the content of
the pictures themselves. The exceptions to this state-
ment are in such obvious cases as complicated machin-
ery or microscopic details ; such films are designated as
Technical in the lists. Dramas and attempts to pic-
ture abstractions are not included in the Libraries
recommended in this book.

Daylight Screens

Daylight (translucent) screens have facilitated the
use of films in classrooms. In translucent screens the
image is seen by transmitted light ; in ordinary opaque
screens, by reflected light. Since reflecting cloth sur-
faces absorb much of the light they receive, only a
portion of the light is left to convey the image to the
eye. Transmitting surfaces on the contrary absorb
but little of the light and, therefore, convey a larger
part of the light image to the eye ; hence their superi-
ority for projection in daylight. However, the eye
must receive light rays direct from the illuminant or
reflector, so that the light is but little diffused, and
both the area and angle of brilliancy are considerably
narrower than in the case of reflecting screens. Trans-
lucent screens permit film and slide showings to be
made in full daylight, if the projector is placed behind
the screen, with the class in front. This practice is
excellent with small classes, and avoids turning lights
off and on. But it is difficult to manage with large
classes, since the daylight pictures are brilliant only
with small screens.

CHAPTER VII

THREE IMPORTANT STUDIES
ON

THE USE OF EDUCATIONAL FILMS

A number of magazine articles,* pamphlets, and sev-
eral books have appeared to represent the growing
interest in visual education. Among these are three
books of such outstanding importance in the evaluation
and treatment of educational films that a somewhat
extended account of them is warranted.

The following is the pioneer study in the field, made
by a competent psychologist employing scientific safe-
guards for group experiments and using modern edu-
cational tests and computations. It was approved as
a thesis for the doctor's degree by Columbia Univer-
sity. His introduction of exact methods in the field
of visual education discouraged further publication

* Other experimenters in visual education are Professor J. W. Shep-
herd of the University of Oklahoma, who made carefully controlled
tests as a thesis at the University of Wisconsin ; #Rov L. Davis, a thesis
for a degree at the New York University; Dr. E. Crandall, Director
of Visual Instruction, New York City schools ; John V. Lacy in Teachers
College Record.

Ellis and Thornborough refer also to interesting accounts of methods
used in teaching with films by Mr. Rabenort of the New York City
schools; Dudley Grant Says of the Chicago public schools; J. H. Wilson,
former Director of Visual Education in Detroit schools; Edwin Y.
Montave, of the James G. Blaine Public School, Philadelphia; Miss
Terry, of Port Arthur, Texas; Miss Marietta L. Higgins, Hackensack,
New Jersey; Eugene E. Nifennecker, Director of Bureau of References,
New York City; and H. A. Balcom, Assistant superintendent of Schools,
Newark, N. J.

162

THREE STUDIES IN EDUCATIONAL FILMS 163

of loosely conducted and uncontrolled 4 ' experiments, "
and of fantastic prophecies by uninformed enthusiasts.

We are fortunate in getting permission from Dr.
Weber to use his own summary of this monograph in
the Visual Instruction Handbook for 1925, with some
additions made especially for this chapter.

I

COMPARATIVE EFFECTIVENESS OF VISUAL
AIDS IN SEVENTH GRADE INSTRUCTION

J. J. Weber, Ph.D.

Published by Educational Screen, Inc., 5 S. Wabash

Ave., Chicago

In recent years the educational world has heard
much of visual instruction; and it is believed by many
of its devotees that visual instruction will revolution-
ize our present teaching technique and bring about a
new order of learning. Nothing, however, could be
farther from the truth. Visual instruction is not at
all new. It is as old as education through visual ex-
perience itself; and many of the so-called visual aids —
models, charts, graphs and diagrams — are of long
standing. But visual instruction has recently been
given a powerful impetus by the perfection of photog-
raphy. Practical photography has created for us vari-
ous media of manifest instructional value. They are
the book illustration, the photograph, the stereograph,
the lantern slide, and the motion picture.

Early in 1920 the problem of visual aids had grown

164 MOTION PICTURES FOR INSTRUCTION

sufficiently important to warrant a serious investiga-
tion on the part of some research man in the field of
education. Being a graduate student in Teachers Col-
lege, Columbia University, at that time, and in quest
of a degree, I undertook the investigation to provide
me with data for the doctor's thesis and, incidentally,
to shed more or less light upon a timely problem in pro-
fessional education. The investigation was mainly in
the form of a number of experiments which were con-
ducted in Public School No. 62, Manhattan, New York
City.

A Problem in Economy

The central problem of the investigation was : Will
the use of pictures along with verbal instruction effect
economy in the learning process? And, if so, hoiof
The answers to these problems were found in a series
of tests which, from many angles, illuminated the whole
subject of visual aids in education. Great care was
exercised in the formulation of the tests as well as in
the conclusions deduced from the observed facts.

Some Secondaby Problems Stated

But, as the central problem was rather complex, it
had to be subdivided conveniently into its major as-
pects. Accordingly, the following secondary problems
were definitely formulated for special investigation:

1. The distribution of primary sense experiences?

2. The effectiveness of informational motion pictures
in combination with verbal instruction?

3. The value of a simple drawing in creating a com-
posite visual image ?

Dr. J. J. Weber
Author of "Comparative Effectiveness of
Visual Aids" — p. 163

THREE STUDIES IN EDUCATIONAL FILMS 165

4. The value of a diagram in developing a relatively
abstract concept?

5. The comparative effectiveness of four different
methods of presentation?

6. The interest-stimulating power of pictures, in
comparison with verbal appeal?

A Few Beservations

Before taking up the foregoing secondary problems
in detail, allow me to make a few reservations :

1. The conclusions after the various experiments
hold only for these same experiments as per-
formed under the conditions described!

2. The methods employed in the experiments are
necessarily inflexible and, therefore, not practical
for actual classroom teaching!

3. The results of this investigation indicate a dis-
tinct value for pictures only as aids, not as sub-
stitutes !

Education Based Upon Experience

It is an axiomatic truth that all our learning is, in
the last analysis, based upon experience. Our com-
mon, everyday language, for instance, has grown in
number of words and in depth of meaning from count-
less experiences since infancy. It is also true that
various types of experiences have played a role in this
growth, some more and some less. Illustrations will
make it clearer. The word "green" is chiefly the
product of visual experiences, while the word "loud"
is mainly auditory in origin; "work" is largely the

166 MOTION PICTURES FOR INSTRUCTION

product of muscle sensations, while ' 1 sick' ' has grown
principally from organic feelings; and "pepper" is
the combined product, in the order of importance, of
taste, smell, sight, hearing and touch.

Empibical Origins of Words

By means of a questionnaire, which was answered by
eighty-one psychologists and experienced educators in
tracing back to their empirical origins fifty words from
our daily language, I obtained the following results :

Visual experiences contribute forty per cent ;

Auditory experiences, twenty-five per cent ; and

All the others together, thirty-five per cent.

Motion Pictures Combined with Verbal Instruction

Three methods were compared: (1) a " lecture " les-
son in geography, followed by a short review-quiz;
(2) the same lesson, followed by a correlated travel-
ogue film; and (3) the film first, and then the lesson.
The experiment was rotated through three experi-
mental units, and approximately 500 7A-grade pupils
participated. The comparative effectiveness of the
various methods of presentation was measured with
a 60-question yes-no test after each experimental
unit, and the final results were :
Method I: Lesson-Review . 45.48 points (100% )
Method II: Lesson-Film . . 49.86 points (110%)
Method III: Film-Lesson . . 52.69 points (116% )

Conclusion from the Foregoing
The results suggest the following inferences :

THREE STUDIES IN EDUCATIONAL FILMS 167

1. When a correlated film is used as an aid in a
seventh-grade geography class it will increase the ef-
fectiveness of the lesson decidedly. And any teacher
who teaches geography today without the aid of motion
pictures is simply "traveling by horse and buggy."

2. The increase in effectiveness is the result of (a)
greater ease of comprehension and (b) a higher degree
of satisfaction as a consequence. The presentation is
more realistic, and, therefore, the children understand
it quicker and enjoy it more.

3. Since motion pictures provide what may be called
vicarious experience (substitute or make-believe), they
should precede the lesson when the subject-matter is
relatively foreign to the learner. This should not be
taken too literally, however. What is really meant
here is that the pictures should come relatively early
in the presentation to provide the children with a fund
of realistic imagery. That will enable them to inter-
pret the teacher 's statements in terms of their recently
acquired visual experience. In short, they will know
what he is talking about.

4. Summarily stated, the foregoing results establish
the value of the motion picture as an aid to, not as a
substitute for, verbal instruction.

The Value of a Simple Drawing in Creating a
Composite Visual Image

This experiment is highly suggestive. Four
methods were compared; but, for the sake of brevity,
the last one has been omitted here. The three were :
(1) a description alone of an "imaginary animal"; (2)

168 MOTION PICTURES FOR INSTRUCTION

a drawing of the animal shown alone; and (3) the
drawing and the description presented at the same
time. Approximately 250 7A-grade pupils partici-
pated. The comparative effectiveness of the various
methods of presentation was measured with a free-
recall drawing test, and the final summary shows that :
Description alone effected an average score of 40.11
points (100%);

Drawing shown alone, 53.13 points ; and
Drawing with description, 55.12 points (137%).

Inferences from the Above

1. In developing a composite visual image a pictorial
presentation is more effective than a verbal presenta-
tion.

2. The increase in learning is characterized by (a)
more memories, (b) clearer images, (c) better organi-
zation, and (d) less misinterpretation.

3. Verbal description, when aided by pictorial pres-
entation, is the most effective method of the three.

4. Perhaps the most powerful double-barreled argu-
ment in favor of visual aids is that their use (a) utilizes
a native interest and (b) prevents many deplorable
misconceptions. The ' i imaginary animal ' ' experiment
has furnished us startling proof.

The Value of a Diagram in Developing Abstract

Concepts

Do you know exactly just how an artesian well
works? In this experiment, I presented an explana-

THREE STUDIES IN EDUCATIONAL FILMS 169

tion of the phenomenon in various ways, as :

(a) verbal description without the aid of a diagram;

(b) verbal description after showing the diagram;

(c) verbal description before showing the diagram;

(d) verbal description while showing the diagram.
In conducting the experiment I discovered, however,

that it had been poorly planned. Hence, it was not
carried to a point of statistical reliability. I shall not
describe it here, partly for this reason and partly for
the reason that I repeated the experiment in revised
and more elaborate form the following year at the Uni-
versity of Kansas.

EFFECTIVENESS OF DlFFEEENT METBCODS

In this experiment four exclusive methods were com-
pared: (1) Being taught a lesson orally by the teacher;

(2) studying the same lesson from the printed page;

(3) viewing the subject-matter of the lesson as depicted
on the motion picture screen; and (4) viewing the
screen under the guidance of oral comment. The ex-
periment was rotated through four experimental units,
and approximately 600 7B-grade pupils participated.
The comparative effectiveness of the various methods
of presentation was measured with a battery of three
tests — a yes-no, a completion, and a drawing test —
after each experimental unit, and the final results were :

Being instructed orally . . 48.62 points (100%)
Studying the printed page . 49.22 points (101%)
Viewing the film silently . . 50.34 points (103%)
Film with oral comment . . 52.55 points (107%)
The average of the "film with oral comment " pres-

170 MOTION PICTURES FOR INSTRUCTION

entation is decisively higher than that of any of the
other three methods. Since this agrees with the find-
ings in the previously described experiments, it is safe
to assert now that the value of the picture as an aid in
verbal instruction stands proved.

Results from Concealed Tests

In fifteen chances out of fifteen the results show
that the pictorial presentation was invariably at least
two per cent more influential than the verbal appeal.

General Conclusion and Outlook

Nearly five years of continued research in visual in-
struction have left their influence upon me in the form
of a conglomeration of intuitions with respect to the
future of visual aids in the schoolroom and some of
these intuitions are herewith given forth in a prophecy
that may be entertaining if not actually instructive.

The most promising soil for the growth of visual
instruction is undoubtedly the elementary school. The
most important function of visual aids is that of being
a passive source of information, satisfaction, and in-
spiration in the solution of problems and the execution
of pupil projects.

Since visual aids provide vicarious experience, their
value increases up to a certain point with lack of ex-
perience on the part of the learners. Consequently,
the more limited a child's training is, the greater may
be the potential effectiveness of the picture or other
aid; and similarly, the weaker the child is in native

THREE STUDIES IN EDUCATIONAL FILMS 171

capacity, the greater is probably the value of objective
illustrations.

One caution, however, must be voiced. Viewing a
picture does not necessarily effect learning. Seeing is
merely a fraction of the learning process. Learning
results from thinking, feeling, doing — in brief, from
cerebration. So, unless the visual impression is seized
upon vigorously by questioning, application, and pupil
expression, it will have little or no effect on the pupil's
memory or character.

In conclusion, the biggest task in the field of visual
instruction now is the actual elaboration of a specific
methodology to be incorporated with our established
technique of teaching. Every subject in the curricu-
lum and every one of its fundamental elements that
can be elucidated with either a visual scene or a visual-
ized scheme, will have to be correlated with one or
more visual aids. And every teacher will have to
know how to secure, systemize, and utilize most eco-
nomically the various aids and be an expert in guiding
the pupils in their most effective use*

II

VISUAL EDUCATION

A comparative study of motion pictures and other
methods of instruction

Edited by Frank N. Freeman

Thirteen contributors, 391 pages. The University of
Chicago Press, Chicago, Illinois

172 MOTION PICTURES FOR INSTRUCTION

This most elaborate study yet made of the value of
motion pictures in instruction was made possible by a
grant from the Commonwealth Fund. The appoint-
ment of Dr. Freeman as director of the experiments
assured scientific procedure and responsible investi-
gators.

The following experiments are reported:
I. Comparisons of Different Methods of Visual

Instruction, by F. Dean McClusky.
II. A Comparison of Film and Oral Instruction,

by E. H. Eeeder and Frank N. Freeman.

III. The Relative Effectiveness of Six Forms of
Lesson Presentation, by Haddon W. James.

IV. Comparison of Six Modes of Presentation of
Subject Matter, by F. D. McClusky and H. Y.
McClusky.

V. The Effectiveness of a Motion Picture Film
Consisting Largely of Tables, Maps, and
Charts, by Frank N. Freeman, E. H. Reeder,
and Jean A. Thomas.
VI. The Effectiveness of a Motion Picture Used as
an Introduction or as a Summary, by A. P.
Hollis.

VII. The Use of a Motion Picture Film to Teach
Position and Penholding in Handwriting, by
Frank N. Freeman, Lena A. Shaw, and D. E.
Walker.

VIII. Comparison of Motion Pictures, Slides, Stereo-
graphs, and Demonstration in Teaching Hand-
work, by F. D. McClusky and H. Y. McClusky.
IX. The Effectiveness of the Film and Demonstra-
tion in Teaching Physics, by E. C. Rolfe.

Courtesy of Educational Screen

Professor Frank N. Freeman, University of Chicago
—p. 171

THREE STUDIES IN EDUCATIONAL FILMS 173

X. The Effectiveness of the Film and Demonstra-
tion in Teaching Cooking, by A. P. Hollis.
XI. Stereographs and Slides in Teaching Oral
English to Foreigners, by Nina Joy Begiinger.
XII. Oral and Film Instruction in Health Education,

by Carolyn Hoefer and Edna Keith.
XIII. Study of the Content of Educational Films, by
H. Y. McClusky.
The investigation was undertaken by men and women
trained in the statistical methods of the university
graduate schools, and represents a balanced set of ex-
periments in which the errors of one would tend to be
compensated by the work of the other twelve.

Professor Freeman's report (essentially a sum-
mary of his book, Visual Education) was made before
the Department of Superintendence of the National
Educational Association at its Chicago meeting in 1924.
The press of the city was almost unanimous in pro-
claiming it a condemnation of the use of motion pic-
tures in the schools. It was a typical press reaction
to anything educational savoring of controversy. In
answer to a letter addressed to Professor Freeman at
the close of the meeting, he wrote as follows :

"My dear Mr. Hollis:

The report of my talk was, as you probably have guessed, mis-
leading. The quotations themselves were accurate, except the first,
but if you will read the report carefully you will see that the de-
scriptive material which was added by the reporter went consid-
erably beyond anything which I said.

Take, for example, the quotation concerning the interest which
the pupils have in motion pictures and the headline of this topic.
My statement was that the value of motion pictures lies more in

174 MOTION PICTURES FOR INSTRUCTION

the peculiar content of the experience which they make possible
than in their stimulating effect upon the child's interest. I said
that the entertainment movie awakens a very strong interest, but
that the educational movie does not arouse a corresponding degree.
The reporter exaggerated this statement by saying that the child
falls asleep. That exaggeration, of course, gives a false impression.
The main heading, I suppose, was taken from another statement in
which I said the effectiveness of motion pictures has undoubtedly
been overestimated in comparison with slides, stereographs, still
pictures, and demonstration. That does not give warrant for the
statement that educational films are condemned. What I said was
that they were not as effective as many people claim them to be.
and our results bear that statement out. If as much emphasis had
been given to the quotation — "motion pictures have a distinctive part
to play; this is the representation of motion in those cases in which
it is necessary for the pupils to understand motion," — as of the some-
what more critical statements, the reader would have been left with
a different impression.

Of course, it is very unfortunate that distorted reports of this
sort get into the papers. We do not suffer any more than any
other class of people from such reports, and I do not believe any-
thing can be done about it. The reporter wishes to make a sensa-
tion and in order to do so he selects the aspect of the subject which
he thinks will be striking, failing to give the other side or to give
the qualifications.

You can at least be assured that the general tenor of the report
did not represent the temper of my paper.

Very truly yours,

[Signed] Frank N. Freeman.

This letter was published in full in the Educational
Screen for February, 1924.

The last paragraph of Professor Freeman's Final
Summary and Interpretation, which is presented be-
low, should put at rest any suggestion of antagonism
to the educational use of motion pictures. The real

THREE STUDIES IN EDUCATIONAL FILMS 175

friends of visual education welcomed tlie report as
a timely warning to enthusiasts outside of the educa-
tional field against exaggerated claims broadcasted in
the press, and also as a constructive contribution to the
special service which the motion picture is peculiarly
fitted to render to education.

It is evident from the limited number of lessons
given in a particular schoolroom or assembly room by
a certain teacher using a particular projector and film
and subject to certain light and operating conditions,
that the conclusions in this report cannot be taken as
general conclusions for the methodology of visual edu-
cation. They are conclusions, or, as Professor Free-
man prefers to put it, summaries and interpretations
for this particular group of experiments. As data to
incorporate with thousands of other similar lessons
given under widely differing conditions the series is of
great value. It will be several years before a sufficient
body of data has accumulated to make "general con-
clusions' } at all tenable.

In support of this view, the author has already
pointed out certain circumstances under which "stills"
in a motion picture film may be justified, and he has
called attention to factors which may make the
"teacher talking with the film" a success or failure.

Final Summary and Interpretation

1. The relative effectiveness of verbal instruction as
contrasted with the various forms of concrete experi-
ence, represented in visual education, depends on two
major conditions, the nature of the instruction to be

176 MOTION PICTURES FOR INSTRUCTION

given and the character of the pupils' previous ac-
quaintance with the objects uihich are dealt with in the
instruction.

This major principle is supported, in the first place,
by the fact that the relative effectiveness of verbal and
visual instruction varies. At Detroit, oral and film in-
struction were found to be equal in the orange culture
and irrigation experiments, while the film surpassed
oral instruction in the Egypt experiment. In James's
experiments oral instruction proved to be as effective
or nearly as effective as motion pictures in the case of
certain films, but decidedly inferior in others.

The contrast which is here drawn is between concrete
experience on the one hand and the comparing, analyz-
ing, and generalizing operations on the other. The
contention is that these latter ways of working over
experience and converting raw experience into thought
are very much facilitated by language, if they are not,
in fact, largely dependent upon it. Certainly com-
munication of general or abstract ideas is very clumsy
and difficult without language.

The distinction which is commonly drawn in dis-
cussing visual education, is not between sensation and
thought, but rather between one sense and another.
Vision is contrasted with the other senses, with hear-
ing, which is identified with language, and with touch,
taste, smell, etc. In making this distinction, the pur-
pose is to attack language, which is represented by the
sense of hearing. Nobody proposes to set up direct
experiences with objects through hearing, touch, smell,
or taste as competitors with sight for preeminence.
The issue is not between the sense of sight and the

THREE STUDIES IN EDUCATIONAL FILMS 177

other senses. It is between concrete or sensory ex-
perience and thought.

These facts of the study suggest that pictures may
be useful for presenting some types of subject matter.
Doubtless no careful thinker would question this.
That pictures have a legitimate function is obvious.
So far as words are concerned, the very constitution
of many of the educational motion picture films them-
selves indicate that their authors find it difficult, if not
impossible, to present some subjects, or some aspects
of subjects, by means of pictures alone. In some cases
they resort to verbal discussion and explanation to a
very large extent. A striking example of the use of
much verbal material, and tabular material of a sim-
ilar nature, is to be found in the film entitled Bail-
roads in the United States. This, however, is by no
means an isolated instance. The study of the
content of films, made by H. Y. McClusky, indicates
that many writers of scenarios for educational films,
finding themselves unable to express the ideas they
wish to express by pictures, resort to language.

The present study gives no support to a belief that
pictures may be substituted for language. It does in-
dicate, however, that they have a definite function to
perform. This function is determined by the nature
and purpose of the instruction. The purpose of in-
struction at one time is to lay the foundation for
thought, reflection, generalization, application. This
foundation consists in direct experience with material
objects. At another time the purpose is to build upon
this foundation the superstructure of thought. The
analogy should not be pressed, since it implies too

178 MOTION PICTURES FOR INSTRUCTION

much separation in time and space between concrete
experience and thought, but it serves to set forth the
distinction between getting experience through contact
with the material world and the elaboration of that
experience.

The evidence is that pictures are an invaluable
means of getting certain kinds of experience of a con-
crete sort. In the detailed reports some light is
thrown on the particular kinds of instruction which
may be served especially well by pictures. The analy-
sis of the curriculum, in order to determine what can
advantageously be taught with the aid of pictures, is,
however, only begun. This investigation will have
served a purpose if it emphasizes the need of such
analysis.

That the character of the pupils' previous experi-
ences is also an important condition which determines
whether visual or verbal instruction is the more im-
portant is suggested by some of the variations which
appear in the results of the experiments. For ex-
ample, in Hollis's cooking experiment the group which
made a high score after oral instruction had previously
had five months more instruction in cooking than had
the other groups. Their superiority may be due in
part to their ability to grasp oral directions because of
this previous experience. In James 's experiment, oral
instruction proved to be relatively effective in the pre-
liminary experiment with the film, The Queen of the
Waves, and in the latter experiment with the films,
Yellowstone Park and Toads. On the other hand, oral
instruction was clearly less effective in the case of the
films, A Woolen Yarn, Cuba, The Isle of Sugar, Lum-

THREE STUDIES IN EDUCATIONAL FILMS 179

bering in the North Woods, The Mosquito, Through
Life's Window, and Waste Disposal in Cities. The
first group of films describes objects or processes which
the child can understand or interpret in the light of his
past experience. For example, The Queen of the
Waves deals with the development of the forms of
water conveyance, the log, raft, dugout, canoe, sailboat,
steamboat, etc. The children had doubtless either seen
all these objects, or at least pictures of them. Yellow-
stone Park deals with forms of natural scenery, which,
again, the children may have seen pictures of or which
are sufficiently like objects they have seen to be com-
prehended by them from a verbal description. Sim-
ilarly with the film, Toads. The second group, on the
other hand, deals with detailed processes, such as those
of manufacture, or with more or less intricate or ab-
struse biological facts, such as the development of the
mosquito or the structure of the eye, which the child
cannot picture in terms of his previous experience.

This study has only opened up the problem of de-
termining in detail at what points the child's experi-
ence with the material world is adequate to serve as
the basis of the development of the ideas which we wish
to develop, and at what points it needs to be supple-
mented by further direct experience. Further re-
search is necessary and will be necessary for many
years. This further investigation should deal with
each subject or division of instruction intensively, and
should analyze the curriculum and the method of in-
struction with reference to this problem from the first
grade up.

Our first conclusion deals in general with the rela-

180 MOTION PICTURES FOE INSTRUCTION

tionship between visual education as a representative
of concrete instruction and the more abstract verbal
instruction. The larger portion of the investigation
was concerned more particularly with a comparison
and analysis of the various forms of visual education
than with this more general relationship and we now
turn to a consideration of this more detailed study.
The most frequent comparison which was made was
that of the effectiveness of a motion picture film and
of some other form of visual instruction.

2. The comparison of the motion picture film with
other visual aids (slides, stereographs, still pictures)
as means of informational instruction, indicates that
the motion picture is superior within a restricted range
of subjects and that outside this range of subjects the
older devices are as effective or more effective them
motion pictures.

The most striking case in which the film gave su-
perior results was in McClusky's experiment in which
a portion of the steamboat film showing the motion of
the steamboat was compared with a still picture of the
same object. It is significant that in order to obtain
a film for comparison which w7ould be chiefly a picture
of motion it was necessary to abstract a portion from
one of the existing films. When such a portion
was abstracted and isolated for comparison it gave
superior results.

James also found the film to be superior to still
pictures. In his comparisons, verbal explanation was
shown alternately with still pictures just as sub-titles
alternate with motion pictures in a film. The verbal
explanation used by James was a copy of the sub-titles

THREE STUDIES IN EDUCATIONAL FILMS 181

of the film. If we take these results alone they seem
to indicate that the pictures of objects in motion make
a stronger impression or give more information than
do still pictures. It happens that in the Cleveland and
Chicago experiments the film, Lumbering in the North
Woods, was also used, and the comparison between the
film and slide was made which indicated the film to be
superior. But when the same comparison was made
with the film, Iron and Steel, the slide proved to be
fully as effective as did the film. Whether this differ-
ence is due to the nature of the subject-matter or to
the difference in the merit of the films we cannot say.
We can only say that in some cases motion appears to
add to the effectiveness of the pictures, while in other
cases it does not.

In the application of this conclusion we must take
account of the fact that the manner of using still pic-
tures which was observed by James in order to parallel
the films as closely as possible is inferior to the usual
method of discussion during the viewing of the picture.
The comparison which has just been described was
made to discover whether motion adds to the effective-
ness of pictures which are otherwise alike. The com-
parisons which are about to be described were made to
determine how the motion picture compares with the
usual still-picture-oral-comment procedure.

Our comparisons indicate that in most cases the
informational motion picture films as now organized
are not superior to slide, still picture, or stereograph
accompanied by the usual comments. In many cases,
particularly in McClusky's experiments, still pictures
gave evidence of superior effectiveness. This conclu-

182 MOTION PICTURES FOR INSTRUCTION

sion runs counter to the opinion of many concerning
the effectiveness of motion pictures and requires
further analysis and explanation.

It has already been pointed out that there are some
facts which can be grasped better by a view of objects
in motion than by seeing them at rest. For example,
the operation of a machine or the complex of move-
ments which compose an act of skill are probably most
clearly apprehended by means of the perception of the
motion. But educational motion pictures have by no
means confined themselves to such facts. A compara-
tively small proportion of educational films deal with
such content, and those which do contain much material
which is not intended to promote the understanding of
action.

Motion pictures, then, appear to have two grounds of
merit. First, there are some cases in which the under-
standing of the action of an object requires that it be
shown in motion. Second, it may be — though on this
point we have less certain evidence — that motion makes
objects attractive and as a consequence attracts close
attention and prompts to better learning, even though
it is not necessary to an understanding of the subject.
The first type of advantage is so great as to justify
motion pictures in those cases where it is essential to
grasp the nature of a movement. The second type of
advantage must be weighed in comparison with the
advantages of still pictures.

The first advantage of the still picture appears to be
that it permits analysis. The picture provides the
opportunity for a more active study attitude on the
part of the pupil. In the second place, the still pic-

THREE STUDIES IN EDUCATIONAL FILMS 183

ture gives greater opportunity to the teacher to exert
a personal influence and to stimulate the class to active
thought. Our experiments give clear evidence on the
last-mentioned factor, the influence of the teacher. Its
importance is indicated by the advantage of oral com-
ment by the teacher during the showing of a film, by
the superiority of demonstration in teaching certain
acts of skill and by the superiority of the illustrated
lecture to an illustrated text.

Thus far our discussion has dealt chiefly with the
use of motion pictures and other visual aids in that
type of instruction which aims largely at the acquisi-
tion of information by the pupil. A number of experi-
ments were made in subjects in which the information
to be gained is of an especially concrete sort, as in a
science, or in which the pupil is required to learn to do
something instead of merely acquiring information, as
in manual arts and to some extent in laboratory sci-
ence.

3. In teaching science, demonstration by the teacher
is superior to the motion picture. This is proved to be
true in both Hollis's and Kolfe's experiments. In both
cases the proficiency of the pupils was measured in
whole or in part by their ability to perform or to do
something, not merely by their ability to express their
knowledge in language. Wherein the superiority of
the teacher lies is a matter of speculation, but that it
exists is clear. It seems likely that it may be accounted
for in part at least by the influence of the teacher >s
personality in attracting and holding the attention of
the pupils and by the fact that the teacher can watch
their behavior and vary the presentation by amplifying

184 MOTION PICTURES FOR INSTRUCTION

the discussion when they do not appear to understand,
or passing on when they have the point and are in
danger of becoming bored. In our experiments the
second factor could operate in only a minor degree
since the demonstration was designed to duplicate the
film.

4. In teadhing how to do or make something, demon-
stration, where it can advantageously he carried oat, is
superior to the film, but the film is superior to all other
methods with which it was compared. The attempt
has been made in this statement to combine the re-
sults of the handwriting experiment with the results
of the mat and box experiments. It will be remem-
bered that in the handwriting experiment the film was
compared with the usual verbal instruction and with
the procedure of giving the pupils their scores as
means of improving the pupils' position. In this ex-
periment, demonstration was not used and it would
probably have been difficult to use. The film excelled
the ordinary method of teaching.

In the mat and box experiments, besides demonstra-
tion and the film, the slide and stereograph were used.
The demonstration was superior to both. Taking the
two experiments together the film came second in
effectiveness, though it was slightly excelled by the
stereograph in the box experiment alone. In the mat
experiment the slide excelled the stereograph.

5. Pictures appear to be very effective as devices to
help in gaining proficiency in the oral use of a foreign
language. Whether the superiority of the picture
group is due to the pictures themselves or to the fact
that this group, through the use of the pictures, had

THREE STUDIES IN EDUCATIONAL FILMS 185

more individual study, is not clear. In any case, the
the method which involved the use of pictures appears
to have been very effective.

6. It does not appear that motion pictures are of
outstanding and unparalleled value as means of awak-
ening interest in a subject, or of stimulating activity, in
comparison with advanced modern methods of instruc-
tion. This statement is contrary to a view which is
rather widespread among specialists in visual educa-
tion. The experiment in health education at Joliet
was undertaken especially to measure this kind of
effect. The chief object of the experiment was not to
determine whether the motion pictures increased the
pupils' stock of information more than did the parallel
methods. Its object was more particularly to de-
termine whether or not they caused the pupils to put
into practice more faithfully the rules of health which
their information showed to be beneficial. The motion
pictures were shown after the topics with which they
dealt had already been taught, and took the place of
oral reviews. The pupils who were given the oral re-
views in place of the pictures, besides making higher
scores in the information test, made a greater gain in
weight. To offset this, the film group reported in their
answers to the questionnaire that they followed in-
structions somewhat more closely. The evidence is
that the non-film group gained at least as much from
their instruction as did the film group.

Part of James's experiments also bears on this issue.
He measured the stimulating effect of moving pictures
by testing the pupils on certain specified follow-up
reading. In the original test on the film and the oral

186 MOTION PICTURES FOR INSTRUCTION

lecture the film groups were very superior, showing
that these particular films were much more effective
than the particular oral lectures which were compared
with them as means of giving information. In the
follow-up reading on the same subject, however, only
one of the film groups was superior to the oral group,
while the other film group was slightly inferior. We
may then supplement the foregoing statement as fol-
lows.

7. The peculiar value of the film lies not in its gen-
erally stimulating effect, but in its ability to furnish
a peculiar type of content of experience. This con-
clusion is perhaps indirectly supported, again, by
Hollis's comparison of the effectiveness of a film as an
introduction to, and as a summary of, a small unit of
instruction. The film proved more effective as an in-
troduction than as a summary. Furthermore, it
proved to be more effective as an introduction than was
an oral introduction. The most probable explanation
of these facts, in the light of our other data, is that the
film, seen at the beginning, gave a background of ex-
perience which illuminated the subsequent lesson.

8. Each of the common forms of instruction which
employ visual aids has some advantage, and there are
circumstances under which each is the best form to use.

The distinctive advantage of motion pictures has al-
ready been discussed.

Slides have the advantage of cheapness and conven-
ience in comparison with motion pictures, and when
used by a well prepared teacher are very effective.

Maps can be more effectively presented in the form
of slides or wall maps than in motion pictures.

THREE STUDIES IN EDUCATIONAL FILMS 187

Stereographs are particularly valuable when ex-
tensive scenes or objects of somewhat intricate con-
struction are to be examined. They gave slightly bet-
ter results than slides in McClusky 's experiments in
the field of geography instruction. They are more
difficult to use with group discussion than are slides.

The illustrated text is the most convenient and the
easiest type of visual material to use and its effective-
ness is not greatly inferior to the other types of ma-
terial. It is particularly useful as a means of rapid
and wide distribution of new subject matter, especially
among schools which are taught by teachers of limited
training.

9. The usefulness of motion pictures would he en-
hanced if they were so organized as to confine them-
selves to their peculiar province. Their province
seems to be the exhibition of moving objects, particu-
larly to facilitate the analysis of motion. They are
outside their province when they show still objects or
when they enter the field of abstract verbal discussion.
They cannot compete, in these respects, with still pic-
tures and with the teacher.

10. The superior effectiveness of the teacher as con-
trasted ivith any merely material device was indicated
repeatedly in the investigation. In spite of the un-
doubted attractiveness of the motion picture in general,
McClusky found the attention of a class under oral in-
struction to be as high as that of a class which was
shown a motion picture. Eeading with pictures was
found to be inferior to oral lecture with pictures in
McClusky 's Cleveland experiment. The superiority of
demonstration is an evidence that the personal pres-

188 MOTION PICTURES FOR INSTRUCTION

ence and activity of the teacher is an effective agency.
Finally, carefully prepared oral comment by the
teacher accompanying a motion picture film, contrary
to the almost universal opinion of visual education
specialists, adds to its effectiveness.

11. Music, accompanying a motion picture film, ap-
pears to heighten the attention, but ivhether it in-
creases the amount of information gained from it is
not certain. This question demands further investiga-
tion.

12. There was a smaller percentage of loss on the
memory tests in the case of the film groups than of the
groups which ivere given other methods of presenta-
tion, with one exception. The exception was the group
which was shown the steamboat film, containing a large
percentage of action. This group made a higher
initial score than did the slide group with which it was
compared. In all the other cases but one, the film
groups, in which there was a smaller percentage of loss,
made the lower initial scores. When the film group
made a lower score than the group with which it was
compared in the initial test, it also made a lower score
on the final test, in spite of the fact that it suffered less
loss. This was true in every individual comparison
but one.

A few concluding comments may be made concerning
the prevailing character of the present educational
motion picture films and the direction in which they
should develop in order to be of most service to the
school. The discussion deals with informational, not
with dramatic films.

THREE STUDIES IN EDUCATIONAL FILMS 189

It is very evident from the varied proportions of
educational motion picture films which are devoted to
the representation of moving objects and to other
types of material (still objects, charts, tables, verbal
discussion) that their distinctive function has not been
completely worked out. Many films attempt to do
what can be done as well and more conveniently and
economically in other ways. To these conclusions may
be added several practical suggestions which are based
upon the results of the investigation.

13. Subject matter should not be included in edu-
cational films ivhich is not primarily the representation
of motion or action. Such subject matter can be pre-
sented fully as well by the various forms of still pic-
tures.

14. It is uneconomical to put into motion pictures
actions ivhich can be readily demonstrated by the
teacher. In one educational film commensurate quan-
tities are illustrated by showing the picture of a hand
pouring water from a gill measure into a pint meas-
ure. It would be far better for the teacher to perform
this simple act before the class and explain its signifi-
cance during the performance.

15. Motion pictures should be so designed as to
furnish to the teacher otherwise inaccessible raiv ma-
terial of instruction, but should leave the organization
of the complete teaching unit largely to the teacher.
The explanation, discussion, or elaboration of the
material which is shown in the film is a function of
language. Language can be used fully as effectively if
not more effectively by the teacher as by the film.

190 MOTION PICTURES FOR INSTRUCTION

Furthermore, the class should take a large share in the
discussion. The reduction of the motion picture to its
essential core will promote both economy and flexibil-
ity.

16. It is probably desirable to have motion picture
films in small units. The long thousand-foot units
either present too much material at once, include sub-
ject matter not suitable for the motion picture, or they
take over the rightful function of the teacher. If
smaller units are available the teacher may choose just
the picture which is needed to lay the foundation for or
to illustrate a particular part of the discussion.

17. Care should be taken to encourage initiative and
an intellectually active attitude, and not to allow the
use of motion pictures or other visual methods to over-
develop the attitude of passive receptivity. The ob-
jection is sometimes made to the use of motion pictures
that they will make education too easy. This objection
misses the real point. If the pupil actually gets the
training we wish him to secure it is no objection that he
gets it easily. The real objection is that he never
really completes his mastery of a subject merely from
having it presented to him. He should make it a work-
ing part of his mental machinery. To provide for this
we must encourage discussion, independent reading,
problem and project work, and the like.

It is the opinion of the authors of this investigation
that educational motion pictures have a definite and
important function in education. It has been the pur-
pose of the investigation to contribute to the definition
of that function and by this means to promote their
usefulness.

THREE STUDIES IN EDUCATIONAL FILMS 191

HI

THE CINEMA IN EDUCATION

A report of the Psychological Investigation con-
ducted by Special subcommittees appointed by the
Cinema Commission of Enquiry, established by the
National Council.

Edited by Sir James Marchant, 159 pp. George
Allen & Unwin, Ltd., London.

The report is edited by Sir James Marchant, gen-
eral secretary of the National Council. Part I, giving
an account of experiments with educational films, is
signed by Professor Charles Spearman, chairman of
the subcommittee on psychological research, Professor
Cyril Burt, secretary, and S. J. F. Philpott, M.C.,
B.Sc, investigator, and conductor of the experiments.
Part II is a description of the various types of motion
picture projectors suitable for school use.

The report makes acknowledgment to the Carnegie
Trust and National Council and to other sources for
$5,000 and more, granted for the experiments. The
experiments were conducted by Mr. Philpott in the
psychological class room at University College, Lon-
don.

Two classes of boys, 23 in all, and five classes of
girls, 75 in all, were used. The groups were stated to
be " approximately equal in ability, " but no grades nor
ages are given and no intelligence tests were used. It
seems also that the committee was unaware of the ex-
periments of "Weber and Freeman in the United
States, as they speak of their own experiments as being

192 MOTION PICTURES FOR INSTRUCTION

"for the first time a scientific investigation into the
psychological conditions and possibilities for using the
cinematograph for educational purposes."

The small number of children used in this experi-
ment contrasts with those of Weber and Freeman, the
former using 476 and the latter several thousand.
The larger groups of both children and teachers in the
American experiments give opportunity for the ac-
cidental factors to check out, with a consequent greater
validity to the conclusions.

Aside from these drawbacks, the experiment was
conducted with great thoroughness and the results an-
alyzed from many angles.

The tests were confined entirely to "essays" written
by the children after they had seen the films. The
more recently developed educational tests of the
American experiments are absent here.

The parallel series of lessons compared consisted of :

(1) Film alone

(2) Slides alone *

(3) Film with comment

(4) Slides with comment

(5) Purely oral lesson

The films used were given as follows :

Table i

Lesson No.

Title

Minutes.

1. "The Stickleback" (Pathe Freres)

2. "The Caddis" (Educational Films)

4y2

6

* Slides consisted of pictures and sub-titles copied directly from the
film and were run at the rate of about 5 per minute.

THREE STUDIES IN EDUCATIONAL FILMS 193

3. "The Volcano" I. The whole film being divided for
purpose of the experiments in two parts (Educational

Films) 7

4. "The Volcano" II 8

5. "Solving Canada's Fuel Problem" (Jury's) 16

6. "Salmon Fishing" (Jury's) 15

7. "The Enemy of the Forest" (Jury's) 17

The various film, slide and oral lessons were alter-
nated among the groups until each group had received
a lesson in the five different forms.

In marking the essays which the children used as
tests, the investigator compiled a Register of Facts,
that is, separate statements of all the unitary facts
mentioned in the essays. These statements of fact
were classified into categories of (1) Action, (2) Liv-
ing Things, (3) Inanimate Objects, (4) Locality.

The essay material was again analyzed into (1) Ref-
erences to the Pictures, and (2) References to the
Sub-titles. Each of the sub-divisions was again sub-
divided into (a) Direct Reports and (b) Interpreta-
tions.

With the exclusive reliance placed by the committee
on childrens7 essays as test material, the investigation
became as much a study of the essay form as of films
and slides. In fact, some thirty pages are designated
as Rules for Essay Building.

We are not told exactly on what the marks were
based, but the tables and discussions show that the text
essentially resolved itself into the acceptance of par-
ticular and general modes of expression, as standing
for verbal and pictorial representations respectively.
The relative amount of particular statements seems to
have been the principal basis of rating.

194 MOTION PICTURES FOR INSTRUCTION

The study of words and sentences in essays as ac-
curate bases of report of film and slide lessons con-
stitutes a valuable part of the report, probably the
most valuable, from the standpoint of one familiar
with the more elaborate American experiments in film
pedagogy.

Table VL, page 83, probably illustrates the type of
work done, as effectively as any in the book.

Table VI

Showing the Analysis of Marks into those for Variable and Com-
mon Elements respectively. (No note is taken of mode of ex-
pression.)

Common Elements Variable Elements
Picture

Sub- Material Sum of Total
titles Other Common Marks
than that Element "Action" "Inani- per
under D Marks mate Objects" Essay

Girls' Results

A

B

Film alone

18|

261

Slides alone

22J

24J

Film talk

321

271

Slides talk

33J

27J

Oral

43

16

Marks % Gain

C D E

441 55\ „ 99

46/ 33/ 67% 79

601 621 122

60J 50J 110

41 100

Boys' Results (immediate memory)

Film alone 531 15 1 681 32\ 100
Slides alone 53J 13 J" 66J 19 J 85

Boys' Results (delayed memory)

Film alone 501 211 711
Slides alone 48J 18J 66J

281

22J

100
87

THREE STUDIES IN EDUCATIONAL FILMS 195

The author, in part, summarizes the results as
follows :

(a) Mode of Expression — It has been shown that
film essays are much more given to reports in particu-
lar terms than are any of the other essays.

(b) Common Elements—As a result of similarities
between the lessons, essays tended to be full of com-
mon elements.

(c) Variable Elements — The more the film domi-
nates the situation, the greater the tendency to de-
scribe the pictures themselves, and that in Particular
terms.

As far as individual categories are concerned the
most striking differences are found under the heading
of Action. Gains to cinema essays here run into hun-
dreds of per cent. Figures for both boys and girls
confirm this result.

The next most important category is that of Inani-
mate Objects — machines, fishing-nets, etc. Film es-
says gain here, probably because seeing things in
motion explains their use, or, in any case, brings them
into a prominence they would not otherwise enjoy.

(d) Effect of a Commentary — Although attempts
were made to keep the commentaries on a purely de-
scriptive basis, the intervention of the teacher only
resulted in the addition of general statements to the
essays as far as the film alone and film talk were con-
cerned.

The author has one chapter on Rote Memory and
Intelligence, in which he discusses a phase of reports
of visual impressions which has not received much

196 MOTION PICTURES FOR INSTRUCTION

emphasis heretofore. The lack of words to express
the ideas received from pictures and the suggestive-
ness of oral lessons in the way of supplying words
are factors that need to be taken into serious considera-
tion when using verbal responses, especially in essay
form, as test material for visual impressions.

Says the author: 6 ' We get the difficulty of words
as a vehicle of thought. There are 'awarenesses'
and 1 words' or symbols of those awarenesses, and
translation from one to the other is no easy process.
Film children obtained a mass of awarenesses from
their lessons, and they had to put them into words.
The oral lesson children, on the other hand, were sup-
plied with words which they had to understand for
their own edification and to memorize for essay writing
purposes/ 9

"It is in this last respect that we meet with the
problem in the essays. The fitting of words to an ex-
perience is by no means the same thing as remember-
ing someone elseys description of it, and the film es-
says probably suffered considerably because of the
child's inability to express himself."

The psychological analysis of the relation of the
words used by young children to a much larger quan-
tity of ideas which they receive is quite penetrating,
and an important by-product of the report.

CHAPTER VIII

A SCORE CARD FOR JUDGING VALUES OF INFORMA.
TIONAL PICTURES

I. Introductory Statement

A considerable body of literature exists which has
for its purpose the evaluation of pictures which are
works of art. There are many books that describe
the paintings of great artists, and such art criticism
has developed various philosophical statements of the
canons of art as applied to paintings. Students of art
are given textbooks that guide them in the appreciation
of works of art. No such study has been made of the
purely informational picture, where the purpose of the
picture is to convey information of a definite type
rather than to appeal to the sense of beauty or other
related emotion.

Pictures are now used so largely to supplement text-
books, manuals of instruction, magazine and news-
paper articles, that we regard them as necessary ad-
juncts to practically all forms of instruction permitting
of an appeal to the eye. These pictures include press
prints, photographic prints designed for direct obser-
vation, or they may be lantern slides and moving pic-
ture prints designed to act as material for projection
upon a screen. The educational moving picture in-
troduces the new element of motion with a consequent
spurring of attention due to the speed at which the
movement is shown. But should the picture be

197

198 MOTION PICTURES FOR INSTRUCTION

"frozen" at any point into a "still," it subjects itself
to the criteria used in this study of still pictures.
Stereoscopic pictures require projection of a different
type. Diagrams, sectional drawings, blue prints, etc.,
form a special kind of picture, in which the artist se-
cures attention to certain features of an object or
group by omitting certain aspects of the picture and
emphasizing others. They are not representative pic-
tures since they do not portray an exact representation
of the object as it appears.

This wide variety of pictures for instructional pur-
poses has occupied the field of instruction so univer-
sally, and yet so quietly, that they have been taken for
granted since Comenius' time, and seemed to have
received a relatively small amount of study from
educators.

The writings of pedagogs contain frequent refer-
ences to the use of good pictures, and young teachers
are urged to make use of good pictures at suitable
points in instruction, but they are not told what good
pictures are. If educators are shown a collection of
informational pictures from which a selection for
teaching purposes is to be made, they pick out as a
rule pictures (1) that pertain to the subject in a gen-
eral way, and (2) that are clearly printed. Very often
another quality unconsciously dominates the selection,
namely, (3) the artistic quality, sometimes to the detri-
ment of the first two more important elements. These
Mo not constitute analytic principles of selection.

Of late, scales for the evaluation of children's draw-
ings have received some serious study in America and
a very good beginning has been made in reaching some

A SCORE CARD FOR JUDGING PICTURES 199

understanding of the values to be scored in this type
of picture.

In reviewing this literature, the conviction grew
upon the writer that a similar study should be made of
the much wider field of informational pictures used as
aids in teaching children the various subjects of study,
such as geography, botany, zoology and geology, though
without the numerical weights attached to scale points.

II. Construction of a Tentative Score Card

It seemed logical to begin the inquiry by finding out
the existing practice among representative educators
who were making a large use of pictures from the in-
formational point of view, for instructional purposes.
Accordingly, the practice and views of the following
educators were made the subject of inquiry:

A. W. Abrams, director of visual instruction, New

York State Department of Education.
W. W. Atwood, President of Clark University.
Formerly professor of geography, Clark Univer-
sity, producer of a series of Motion Picture Films
in Geography.
Edith Parker, instructor in the teaching of geog-
raphy, University of Chicago.
C. H. Hanson, Visual Instruction Service, U. S. De-
partment of Agriculture.
Dudley Grant Hays, director of the department of
visual instruction of the Chicago school system
and formerly president of the National Academy
of Visual Instruction.
Dr. Gilberg Grosvenor, editor of the National Geo-
graphic Magazine.

200 MOTION PICTURES FOR INSTRUCTION

TABLE I.
Judging Informational Pictures

COMPARATIVE SCORE CARDS

A. W. Abrams
(Terms bor-
rowed from
Literature )

Miss E. P.
Parker
(from Geog-
raphy stand-
point )

W. W. Atwood

(from Geography
standpoint)

C. H. Hanson

Visual Instruction
Service, U. S. De-
partment of Agri-
culture

Authenticity.

Legibility.

Authenticity.

Correct representa-
tion.

Truth.

Geographic
quality.

Truth.

Characteristic
or typical
view.

Typical view.

Expressiveness.
Quality.

Geographic
Impor-
tance.

Dramatic Interest.

Life of people.

Human contact.

Festivities.

Recreation.

Industries.
Quality.

Quality.
Sharp definition.
Even gradation.
Freedom1 from
blemishes.

A"f f"VJi i von pofl

a li vl ells lil V CllcBHS*

Naturalness — no
posing.

Mental stimulus
Thought-pro-
voking.
Problem-raising.

vjtuull composition.

Simple and ap-
propriate back-
ground.

Correct distribu-
tion of light
and shade.

Good arrange-
ment.

Unity

A SCORE CARD FOR JUDGING PICTURES 201

TABLE I.— Continued.
Judging Informational Pictures

COMPARATIVE SCORE CARDS

Dudley Grant
Hays

National Geographic
Society (Popular
Geography )

Morton Bassett
Mcintosh Ster-
eopticon Co.

J. P. Goode
(Geography)

Truth.

Truth.

Typical character.

Truth.

Truth.

Expressiveness,
Quality.

Action.
"Doing some usual
thing in a fashion
peculiar to him and
to his land."

Clear definition.

Quality.

Geographic
importance.

Quality.

Attractiveness.

Relevancy.
Is the view
significant for
the topic?

Beauty and charm in
composition.
"One that catches
the eye and then
delivers a message
of world geogra-
phy."

Geographic Interest.

Composition.

Pedagogic
value.

Vividness.

Impor-
tance of
the idea
to be put
over.

202 MOTION PICTURES FOR INSTRUCTION

Professor J. P. Goode, professor of geography, Uni-
versity of Chicago.

Morton Bassett, formerly head of the Mcintosh
Stereopticon Co., Chicago.

This list is of course far from being exhaustive, but
it is at least representative of competent users and
critics of informational pictures. Messrs. Hays,
Goode, Bassett, and Miss Parker were interviewed per-
sonally, while Mr. Abrams, President Atwood, and Mr.
Hanson responded with full and helpful letters. The
chief of school service of the National Geographic So-
ciety sent Mr. Grosvenor's printed directions to his
photographers and full descriptions of the society's
work with pictures issued in sets for school use.
Stripping these various accounts of their descriptive
matter down to the bare points enumerated, the follow-
ing lists of points were tabulated for purposes of com-
parison.

Table II combines the separate qualities mentioned
in all the lists into one composite list of qualities, with-
out the repetition of any quality. The points were
grouped around five main ones.

Table II
Composite Score Card

Total Points of Eight Authorities Consulted

1. Authenticity.

Eeliable Source.

2. Truth.

Faithfulness to the facts.

3. Quality.

Sharp definition.

A SCORE CARD FOR JUDGING PICTURES 203

Even gradation of light and shade.
Freedom from blemishes.

4. Attractiveness.

Naturalness — freedom from posing.

Good composition.

Balance.

Unity.

Color harmony.
Beanty — undefined.

5. Pedagogic values.

Expressiveness — legibility — vividness.
Importance of topic illustrated — relevancy.
Type Character.

Stimulation of thought — raising and answering

problems.
Power to tell one story.
Action — dramatic interest.

In geography, where human contact with na-
ture is concerned.

Festivities, industries.

By a slight change in the grouping and the use of the
subsidiary points as defining and descriptive phrases
it was possible to condense these points to six, which
gave a more practical number to deal with under the
conditions of the experiment. This condensed score
card is shown in Table III.

Table III

Suggestive Score Card fob Judging Value of Informa-
tional Pictures for Teaching Purposes

1. Truth and Authenticity.

204 MOTION PICTURES FOR INSTRUCTION

Facts shown must be accurate, without distortion
or illusion— and the source of the picture must be
reliable,

2. Relevancy.

Importance of the picture for the topic illustrated.

3. Concentration.

Does picture direct attention to the significant
facts, or are they obscured by unimportant
details?

4. Power to Provoke Thought.

Does the picture raise — answer, questions?

5. Technical Quality.

Clear definition; good distribution of light and
shade ; freedom from blemish.

6. Artistic Quality.

Unobtrusiveness. If strikingly artistic, picture
diverts attention from specific informational
value; if noticeably inartistic, same result follows.

III. Testing the Score Card

The score card having been reduced to workable
proportions, the next problem was to put it to the test
of use so as to develop its weaknesses and strength.
These would come into relief only by practice in ap-
plying the tentative score card to the judgment of in-
formational pictures used in teaching. Through the
cooperation of members of the faculty of the Univer-
sity of Chicago, several classes consisting mostly of
graduate students, experienced teachers and adminis-
trators, were permitted to act as judges of a group of
informational pictures, using the new score card as a
guide. One class below graduate grade was included

A SCORE CARD FOR JUDGING PICTURES 205

in the list of judges to get the benefit of certain tech-
nical knowledge appropriate to some of the pictures.
This was Professor Bretz' freshman class in elemen-
tary geology. Another technical group was Professor
Lemon's class in photographic processes, which gave
an unusual opportunity to get competent judgment on
technical quality.

The technical procedure and statistical data involved
in the conduct of the experiment are out of place here,
but the result can be briefly stated, as follows :

1. The ranks assigned and the points on the tenta-
tive score card were sustained by all the judges by
percentages varying from 55% to 75.

2. Criticisms of the score points by the judges sug-
gested a reduction from 6 to 4 main points for ordinary
use, when the question of time is a vital one.

Condensed Score Card

The Score Card which finally emerged from the test
was as follows :

1. Truth and Authenticity.

Are the facts true, or well vouched for?

2. Relevancy.

Does the picture illustrate the particular topic
under discussion?

3. Concentration.

Does picture direct attention to the significant
facts, or are they obscured by unimportant
details ?

4. Technical Qaulity.

Clear definition (focus) ; good distribution of
light and shade, freedom from blemish.

206 MOTION PICTURES FOR INSTRUCTION

Problem

Below is an interesting example of a score card for
Films, devised recently by Dr. J. J. Weber of the Uni-
versity of Texas.

SCORE CARD FOR EVALUATING EDUCATIONAL FILMS

General Standard: Does the moving picture, in a satisfying and
economical manner, effect learning that is worthwhile?

More in detail — Rating

1. Does the picture effect specific learning? Produce ( )

useful changes in the observer's intelligence? Pic- Truth
ture memories? Facts, ideas, concepts, inferences,
generalizations, suggestions for improving skills,
insights, ideals, and ambitions? This intellectual
growth should consist mainly of concepts involving
behavior, movement, or perceptible change — dynamic
ideas, in brief. Does the picture embody the truth
in all essentials? And, if fiction, is it free from
objectionable error?

2. Does the picture create a problem in the observer ? ( )

And does it solve it decisively? Conform to the
principles of unity, coherence, and emphasis?
Main problem — vital, gripping, interesting, whetting
curiosity, stirring emotions, etc. Subordinate
problems— complicating, relevant to and building
up the main problem? Solution — satisfaction in
the solution of the main problem? Effective word-
picture balance?

3. Does the picture appeal to socially approved native ( .

interests? And utilize the laws of attention? Ele-
ments involved: personification, human beings, ani-
mals, young things; mysterious, novel, familiar,
and sensational behavior; hero worship, struggle
and success, etc. Things that attract attention
readily; animation. However, little or no appeal
to anti-social instincts.

4. Is the picture good from a mechanical standpoint ? ( )

Photography of superior quality? Arrangements BEAUTY
and selection of scene elements effective? Captions
brief, clever, correct, unobtrusive, thought stim-
ulating? Manifest approach toward artistic per-
fection ?

5. Any other standard?.

FEELINGS

A SCORE CARD FOR JUDGING PICTURES 207

Bisections for Using the Score Card: Evaluate the picture for each
standard in accordance with the following:

Excellent E or 85

Good G or 70

Fair F or 50

Poor P or 30

Unsatisfactory U or 15

Then average your separate judgments into single rating ( )

On the reverse of the Weber Score Card are spaces
for recording film title, number of reels, condition
of reel, producer, distributor, synopsis — and the
questions: Film related to what school subjects?
Adapted to what pupil age? Previous review? By
whom? Where? Eating? Date and name of re-
viewer.

CHAPTER IX

STATE AND CITY CENTERS OF DISTRIBUTION OF
EDUCATIONAL FILMS

The most recent published study of the film situation
in city school systems and state universities is con-
tained in the author's bulletin, No. 8, published in
1924 by the U. S. Bureau of Education. The tables are
too long and detailed for reproduction here, but the
summaries of the findings may be useful to school
officers contemplating visual education departments.

The bulletin is divided into two parts ; Part I deals
with the professional status of visual education officers
in (a) state institutions, and (b) in city school systems.
Twenty state departments of visual education, mostly
in state universities, were found to have had the work
sufficiently well organized, with special directors of
visual education, budgets, etc., to warrant inclusion in
the study, and a presentation and analysis of the data
connected with their distribution of visual aids. These
twenty were :

University of Arkansas
University of Colorado
Indiana University
University of Oklahoma
Kansas State Normal School

University of California
University of Florida
Iowa State College
University of Oregon
Massachusetts State Department
of Education

CENTERS OF DISTRIBUTION OF FILMS 209

Philadelphia Commercial Mu- Texas Agricultural and Mechan-

seum ical College

University of Texas University of Utah

University of Wisconsin

Mississippi Agricultural and Me- University of Minnesota
chanical College University of Missouri

North Dakota Agricultural Col- University of New York
lege

Visual education departments are located usually in
the extension departments of the universities, though
they are occasionally found elsewhere, depending on
the position of the individual who started the work.
The directors were found to be well qualified, with the
master's degree as the average qualification and an
average salary of $2,500. Fifteen of these university
departments offered credit courses in visual instruc-
tion to university students. Four of them reported
supervising the production of films on their own
campuses.

Fourteen cities considered in Part I were found to
qualify for the purposes of the study. These were :

Atlanta, Ga. Kansas City, Mo.

Berkeley, Calif. Los Angeles, Calif.

Buffalo, N. Y. Newark, N. J.

Chicago, 111. New York, N. Y.

Cleveland, Ohio. Pittsburgh, Pa.

Detroit, Mich. San Francisco, Calif.

Indianapolis, Ind. St. Louis, Mo.

Their budgets and salaries were found to be much
larger than in the universities, and the visual aids dis-
tributed richer in variety and content. Museum ex-
hibits were chiefly responsible for this.

210 MOTION PICTURES FOR INSTRUCTION

New York has the outstanding department with a
total budget of $31,600. Chicago is next, with $25,500 ;
Los Angeles is the third, with $23,700, less salary,
which is not reported; and San Francisco is fourth,
with $23,000. Detroit is a close fifth, with $22,000.
New York's contractual system is unique among the
cities. One firm is given the contract for assembling
the films from the different exchanges, distributing
them to the schools on schedule, and furnishing opera-
tors when needed. The director thus relieves himself
at one stroke of a complicated job. He reports that
the system has worked admirably so far.

Of greater interest to film users is Part II, which
deals with the evaluation and distribution of visual
aids in state and city institutions. The twenty state
universities have large and important lists of films for
state-wide distribution to the schools, churches and
clubs of the state. They are purchasing films in in-
creasing numbers for this purpose, but nearly all of
them are film depositories both for free films and rental
films. The free films are largely from government
sources and the larger manufacturers of the country
and, barring transportation charges, are sent out free
or for a small handling fee. The rental rates for films
deposited by commercial exchanges are fixed by them,
and the university is given a commission on rentals.
The chief sources mentioned were:

George Kleine, New York City.

U. S. Government, Washington, D. C.

Ford Motor Co., Detroit, Mich.

Bureau Commercial Economics, Washington, D. C.

CENTERS OF DISTRIBUTION OF FILMS 211

Commercial exchanges in general, like Pathe Ex-
change, Inc., etc.
The films reported by the university departments as
being of hightest educational values were :

Institutions

1. Julius Caesar * 6

2. Milk Nature's Perfect

Food 2

3. Priceless Gift of Health 2

4. Revelations 2

5. Silas Marner 2

6. Animal Studies and

Magnetism 1

7. Auto Starting and

Lighting 1

8. A Woolen Yarn 1

9. Back of the Button 1

10. The Benefactor 1

11. Come Clean 1

12. Deliverance 1

13. Diary of a Murderer 1

14. Embryology of the Egg 1

15. Exit Ascaris 1

Institutions

16. Four Seasons 1

17. History of Telephone 1

18. Making Telephone His-

tory 1

19. Making the Desert

Blossom 1

20. Mechanics of Solids

and Liquids 1

21. Milk as Food 1

22. The Milky Way 1

23. The Orange Judd Films 1

24. Out of the Shadows 1

25. Pompeii 1

26. Romance of Glass 1

27. Selecting a Laying Hen 1

28. Story of a Mountain

Glacier 1

29. Story of a Stick 1

The distribution proceeds both by the individual call
system and by the circuit system, with the call system
preferred.

Very little correlation of films with courses of study
was reported ; most of the films distributed were of the
general-educational, or entertainment-educational vari-
ety. The strictly instructional, text or classroom film
had not yet become a regular feature of the schools.

* Exchanges where these films may be secured are listed in Part II.

212 MOTION PICTURES FOR INSTRUCTION

With regard to the proportion of expenditures
among films, slides, stereographs, and exhibits, Los
Angeles led the cities, with an expenditure of $9,193 for
film rentals and $15,000 for film production. New
York is next, with an expenditure of $10,000 for film
rentals. Detroit spends $6,000 and Newark $4,600.
In the large cities where commercial exchanges abound,
the film budget is spent for rentals, while in the uni-
versities, as we have seen, it is spent in film purchases.

Of thirteen cities reporting on the point, nine give
courses in visual instruction. In seven it is a formal
matter, and in two informal or individual. The for-
mal courses are from six weeks to one year in length.
This development of new courses has taken place to
about the same degree in the state institutions. It
indicates that visual instruction has entered educa-
tional circles at a high level of scholarship and tech-
nical development.

Newark, Atlanta, Detroit, New York, San Francisco,
and St. Louis all report important modifications of
state regulations which permit the use of portables
in the schools; and those visual instruction centers
having trouble in this regard would do well to write
the visual instruction heads of these cities. As pointed
out under this head in discussing state institution de-
partments this whole matter of trouble due to state
regulations is liable to disappear in the very near-
future owing to the growing practice of non-theatrical
distributing agencies handling only non-inflammable
film.

Of the fourteen cities, eleven reported on their chief
sources of film. In contrast to the institutions, nine

Scene from ''Yellowstone National Park':
p. 45

CENTERS OF DISTRIBUTION OF FILMS 213

of the eleven mention local exchanges as chief sources.
Only three mention state universities, and only one the
United States Government. Six out of ten have pro-
duced film, a growing practice in both cities and state
institutions.

Blue-Bibbon List of Films For Cities

In response to the question asking for films of high-
est educational value, the following were mentioned:

Toads, and Making of a Moun-
tain Glacier,* produced by the
Society of Visual Education.

Iron and Steel, Milk as Food,
and Luther Burbank, produced
by Ford.

Revelations, and The Lumber In-
dustry, produced by General
Electric.

How Life Begins.

Nanook of the North.

Hats Off.

Life of Lincoln.

Making of a Citizen.

My Own United States.

The Priceless Gift of Health.

The Romance of the Hardwoods.
Bre'r Rabbit.

Apple Blossom Time in Nor-
mandy.

Yellowstone National Park.
The Sugar Trail.
The Human Voice.
From Tree to Tribune.
Beyond the Microscope.
Park's Physical Geography.
Circulation of the Blood.
The Coal Industry.
Mexico and Oil.
The Land of Opportunity.
The Four Seasons.

If this list is compared with a similar list from the
state institutions, it will appear that seven of them are
mentioned by both groups. Considering that the cities
deal so largely with local exchanges, it is interesting
to note that they include theatrical films in their lists
as seldom as do the state institutions. The George

* Exchanges from which these films may he secured are listed in
Part II.

214 MOTION PICTURES FOR INSTRUCTION

Kleine films, so prominent in the institutional list, do
not appear at all in the city lists. This was obviously
a matter of lack of opportunity or attention, as Mr.
Kleine preferred to distribute his films through the
university centers. Thus many of those mentioned in
both lists reflect the accidents of opportunity more
than they do deliberate choice from the whole field.
Fully a third of the films in the institutional list show
their service to agricultural communities, while the
city list mentions only one film of agricultural appeal.

The circuit system of distribution is in even less
favor with the cities than with the institutions, and all
cities report correlation of visual aids with courses
of study. The favorite subjects for correlation seem
to be geography and nature study, though half of the
cities report some correlations in all subjects.

The recent rapid growth in the educational film sit-
uation is well illustrated by the lists of films just
quoted. Only two years have passed since these lists
were printed, and yet so many superior educational
films have appeared since then, that only a small
number of these "blue ribbon films" were selected
for the three film libraries assembled in this book. Of
the twenty-nine in the university list, five were selected
for the libraries; and of the twenty-eight in the city
list, eleven appear in the libraries of Chapter II.

Additional Universities, etc., Maintaining a Distribution

of Visual Aids

In addition to the state institutions and cities men-
tioned in the bulletin just reviewed as maintaining

CENTERS OF DISTRIBUTION OF FILMS 215

an organized form of distribution of visual aids, the
following are listed in A Visual Education Directory
by J. V. Ankeney, secretary of the National Academy
of Visual Instruction:

Bureau of Visual Instruction,
University of Alabama,
Tuscaloosa, Ala.

Alabama Polytechnical Institution,
Auburn, Ala.

Extension Department,
University of Arizona,
Tucson, Ariz.

Extension Department,

State College of Agriculture,
Athens, Ga.

Extension Department,
University of Kansas,
Lawrence, Kan.

Film Service, Extension Department,
State Agricultural College,
Manhattan, Kan.

Extension Department,
State Normal School,
Nachitoches, La.

Extension Department,
University7 of Michigan,
Ann Arbor, Michigan.

Department of Agricultural Education,
University of Missouri,
Columbia, Mo.

216 MOTION PICTURES FOR INSTRUCTION

Director Public Service,
University of Montana,
Missoula, Mont.

Extension Department,
University of Nevada,
Reno, Nev.

Director of Conservation,
University of Nebraska,
Lincoln, Neb.

Department of Visual Instruction,
State Museum,
Trenton, N. J.

Director Community Service,

State Department of Education,
Raleigh, N. C.

Department Agricultural Education,
North Carolina State College,
Raleigh, N. C.

Extension Department,
Ohio State University,
Columbus, 0.

Extension Department,
State College,
Kingston, R. I.

Extension Department,
University of Tennessee,
Knoxville, Tenn.

Extension Department,
Washington State College,
Pullman, Washington.

CENTERS OF DISTRIBUTION OP FILMS 217

Extension Department,
University of Wyoming,
Laramie, Wyoming.

Additional Cities Maintaining a Distribution of

Visual Aids : *

Akron, 0.

Rockford, 111.

Burlington, Vt.

Sacramento, Calif.

Canton, 0.

Saginaw, Mich.

Cheyenne, Wyo.

San Diego, Calif.

Dallas, Tex.

Sioux City, Iowa.

Dayton, 0.

Somerville, Mass.

Fort Wayne, Ind.

Spokane, Wash.

Jersey City, N. J.

Springfield, Mass.

Manchester, N. H.

Springfield, Ohio.

Meriden, Conn.

St. Paul, Minn.

Moline, 111.

Syracuse, N. Y.

Muskogee, Okla.

Terre Haute, Ind.

Newport News, Va.

Trenton, N. J.

Norfolk, Va.

Utica, N. Y.

Omaha, Neb.

Washington, D. C.

Paterson, N. J.

West Allis, Wis.

Portland, Ore.

Wilmington, N. C.

Providence, R. I.

Winston- Salem, N. C.

The Visual Education Directory cited above lists
museums distributing visual aid :

BUFFALO —

Carlos Cummings,
Buffalo Society of Natural Sciences,
Buffalo, N. Y.

CHICAGO—
D. C. Davies, Director,
Field Museum,
Chicago, 111.

* Listed for the most part by F. Dean MeClusky in the National
Educational Association's committee report, 1924.

218 MOTION PICTURES FOR INSTRUCTION

CLEVELAND —
William M. Gregory, Director,
Educational Museum,
School of Education,
Cleveland, 0.

GRAND RAPIDS—

H. L. Ward, Scientific Museum,
Grand Rapids, Michigan.

MILWAUKEE—

S. A. Barrett, Curator,
Milwaukee Museum,
Milwaukee, Wis.

NEW YORK—

Grace E. Fisher, Slide Librarian,
American Museum Natural History,
New York City, N. Y.

PHILADELPHIA—

Charles R. Toothaker, Curator,
Commercial Museum,
Philadelphia, Pa.

ST. LOUIS—

C. G. Rathman, Asst. Supt. of Schools,
Educational Museum,
St. Louis, Mo.
Miss Amelia Meisner, Curator,
Educational Museum,
St. Louis, Mo.

These educational institutions and cities have pur-
chased many of the films listed in this book for dis-
tribution to the schools, churches, etc., of their par-
ticular state or vicinity. Many of them are free or

THE FUTURE OF EDUCATIONAL FILMS 219

nearly so, within the particular state or city, and for
some a reasonable rental is charged, Many Ford and
Burton Holmes reels will be found in the collections of
the universities. The United States Government,
theatrical and non-theatrical exchanges, and many wel-
fare agencies have deposited groups of films with the
state universities or other state departments at fixed
rental rates, but at a saving in transportation charges
and in time of delivery to patrons.

George Kleine, the United States Department of
Agriculture and Bureau of Mines, the Canadian Mo-
tion Picture Bureau, the General Electric Co., and the
International Harvester Company and many others,
have their films on such a deposit arrangement at the
universities, and in the larger city school systems men-
tioned previously in this chapter. If your city schools
do not maintain a distribution of visual aids, write
your state university, agricultural college, state normal
school, or state department of education before writ-
ing the exchanges or firms themselves. Then if you
cannot secure service, write the firms whose addresses
are given after the films.

CHAPTER X

THE FUTURE OF EDUCATIONAL FILMS

Film Presents New Problem to Schools

The film presents an inherently new product to the
schools. There are no precedents to follow in dealing
with it. Educators do not produce their own appara-
tus, blackboards, lanterns, scientific instruments, not
even textbooks. Educators furnish the ideas, but
rely upon the industrial firms to work them up and
market them. However, in the film situation a pecu-
liar condition exists. The big producers, who alone
have the technical equipment and capital necessary
for quality film production have shown no inclina-
tion to produce purely educational films. They have
not been convinced that the school market could ab-
sorb the product in sufficient volume to warrant the
deflection of their time and resources from the more
lucrative theater field. Moreover, the theater man-
agers have a latent fear that the schools and churches
will encroach on their territory. The producers have
no wish to offend the theater managers, their best cus-
tomers, and so they are not interested in the school
field.

But schoolmen and churchmen everywhere have

sensed the educational value of the movies, and as they

see the remarkable effects of moving pictures on the

220

Charter Members Xatioxal Academy of Visual Instruction, at

University of Wisconsin, July. 1920
W. H. Dudley, the organizer, is at the center in the front row. Many
prominent leaders in the Visual Education Movement, may be found in

this group.

W. H. Dudley, Chief cf Bureau of Visual Instruction, University

of Wisconsin

Air. Dudley established the first visual instruction center in an American
University, and organized The National Academy of Visual Instruction

—p. 221

THE FUTURE OF EDUCATIONAL FILMS 221

theater screen, the reflection is inevitable that this new
and powerful method of impressing the mind should be
available to the schoolroom as well. And they have
made various attempts to get the movie into the school-
room. The National Academy of Visual Instruction
is a noteworthy effort to get together like-minded edu-
cators to study the educational aspects of the moving
picture. The Visual Instruction Association of Amer-
ica is another illustration, and the newly organized vis-
ual education section of the National Educational As-
sociation is the most recent phase of this widespread
educational interest.

Various universities and city school systems have
organized centers for distributing films to schools on
both a free and rental basis. Several departments
of the United States Government have produced edu-
cational films which are available to educational insti-
tutions. Five educational film magazines have been
started; these have successively been merged, until
now only one, the Educational Screen, Chicago, repre-
sents the interests of the Educational film field. We
are told that statistics of portable motion picture pro-
jector manufacturers reveal that approximately 30,000
motion picture projectors have been sold to schools,
churches and business firms. The DeVry Corporation
for whom I have edited educational films has sold over
12,000 portable motion picture projectors. Every in-
vestigation made of these users, however, indicates the
school showings started with entertainment films in the
assembly room, and most of them remain at that stage
today. The reason is the obvious one of the availabil-
ity of the film supply. These entertainment showings

222 MOTION PICTURES FOR INSTRUCTION

are mostly the partly worn-out prints of the theaters,
frequently obtained in irregular fashion by film
brokers and doled out to schools at whatever rental
rates they could be prevailed upon to pay.

Film showing in schools cannot compete with the
theaters in general entertainment values; for enter-
tainment is the peculiar field of the theater and it has
mastered that field with a wealth of effects impossible
to amateurs. Films for instruction, however, come
within the peculiar field of the schools and they should
combine with professionally trained producers to bring
the educational film to its highest technical and peda-
gogical possibilities.

The Risks of Educational Film Production

The attempts made by educators or those interested
in the educational film to produce classroom films for
serious study purposes have practically all ended in
financial loss, or at best in profits too modest to bear
any comparison with theatrical producers. One has
only to recite the list of the brave adventurers in the
educational production field, to realize the truth of the
above statement :

American Motion Pictures Corporation.

Beseler Educational Film Co.

Bray Productions, Inc.

Community Motion Pictures.

J. E. Holley.

Lincoln & Parker Film Corporation.
National Non-theatrical Motion Pictures, Inc.
George E. Stone.
Charles Urban (Kineto).

THE FUTURE OF EDUCATIONAL FILMS 223

Some of the firms named above have "passed," and
those that remain are holding on either because of
great faith and unusual courage and resource, or be-
cause they have shifted the bulk of this production
from educational to other types. The most striking
example of such a shift is that of the Educational Pic-
tures Corporation, its name being now an unfortunate
misnomer, and only the afterglow of its former educa-
tional activities. Its chief releases now are comedies
and other short-subject theatricals. The Yale Univer-
sity Press, in order to undertake the production of
their historical photoplays, had to make them accept-
able to theaters in order to get returns on the large
investment involved. Tolhurst and Ditmar have
secured theatrical connections to make possible
their unusual scientific films; Herm is putting up a
valiant fight for independent production; Wythe has
survived by taking his pictures bodily to the school-
rooms.

On the other hand, evidence is increasing that the
big producers are going to find it profitable to produce
classroom films. Sporadic attempts looking for quick
profits and initiated by men in the organization un-
familiar with educational contacts and with educational
departments headed by theatrical film men unable to
talk the language of the schools, were doomed to
failure.

But that such failures were unnecessary is shown by
the success of the educational department of Pathe Ex-
change, Inc. Here ample capital and wide intelligence
is provided for educational supervision and educa-
tional editors acceptable to educators. Pathe engaged

224 MOTION PICTURES FOR INSTRUCTION

competent school men and women to edit not only the
classroom films they produced, but a series of teachers'
leaflets as well which are models of practical pedagogi-
cal treatment, and have had a very wide use in the
schools. Many of the Pathe Educationals are placed
in the Film Libraries Outlined in Chapter II, and a
sample Teacher's Leaflet is given in Chapter V. Most
of the Nature study films used by the Neighborhood
Motion Picture Service (p. 241) are the Pathe Screen
Studies.

The new series of the Ford Educational Film Li-
brary, while not made by a theatrical producer, is nev-
ertheless an example of experienced direction and
ample capital applied to true educational motion pic-
tures. These have editors similar to those of the
Pathe Screen Studies, and issue teachers' leaflets of
a high degree of excellence to accompany each film.
The Ford management has wisely decided to sell their
prints directly to schools on non-inflammable stock,
practically at cost, thus encouraging the movement
for permanent film libraries to be owned by the schools
themselves. Pathe has a long-time lease arrangement
which amounts to much the same thing. The exten-
sive Ford list is given under Purchase Films in Part II.

Free Films Drove Out Rental and Purchase Films

Free films of a semi-educational nature issued by
industrial concerns and welfare organizations, while
apparently a godsend to schools and churches at the
beginning, operated in the end to discourage the pro-

THE FUTURE OP EDUCATIONAL FILMS 225

ducers of classroom films. Although these free films
were not designed primarily for the classroom, they
were nevertheless used for instructional purposes and
drove out the rental films. Institutions that had
formed the free habit refused to pay living prices for
rental films. When they did rent, they usually rented
old prints at cut rates from small dealers who made a
business of buying up vagrant prints of this character.
The result was to discredit the educational value of the
movie for the users and wreck those enterprising in-
dividuals who had risked their incomes on educational
film production.

The free film producers and distributors were not to
blame. They invested fortunes to secure films worthy
of showing in schools, and they frequently produced
the most valuable educational reels. The mischief was
due to a lack of discrimination among educational
users. Semi-educational propaganda films had a legit-
imate place and use, but they were not designed to dis-
place the true educationals made by educators for ed-
ucators as specific adjuncts to the course of study in
the classroom recitation.

Much of the early teaching with motion pictures was
done with these quasi-educational films ; and even seri-
ous pedagogical experiments * were performed with
these dual purpose films. This labor was by no means
lost. The accumulated experience of educators in

* "See films used in the Freeman Experiments, Freeman's "Visual
Education" (Bibliography) ; also an article, "A Psychological Analysis
of Moving Pictures as Means of Instruction," by Carter, which is
based entirely on films produced by the publicity department of a
well-known commercial firm.

226 MOTION PICTURES FOR INSTRUCTION

using such films to illustrate the curriculum constitutes
an interesting body of data for consultation by future
investigators.

The Rental Film an Anomaly in Schools

There is a question if expensive films, for which a
legitimate rental must be charged, will ever be the
basis of classroom film showings. Schools are not
given to renting apparatus. School apparatus should
be constantly available for illustrative purposes. The
electric machine cannot be viewed once by a class and
then pass out of the school forever. Such fleeting
glimpses would have but small educational value.
Films, too, must be purchased. The school film will
ultimately have to be purchased outright by the schools
and kept for repeated use to get real educational re-
sults.

School boards must be educated to appropriate ade-
quate funds for purchasing films, as they do for buying
maps, globes, books and typewriters. When a major
fraction of the 200,000 schools of the country adopt this
policy, competent producers will be willing to risk the
capital necessary for the production of pedagogical
films, or to release for sale prints from existing
negatives.

A form of rental very useful for smaller cities is
the nominal rental charged by state universities and
state departments for films which they have collected
for the use of schools in the state. Extensive libraries
of this sort are in active circulation at the state univer-
sities of Wisconsin, California, Indiana, Minnesota

THE FUTURE OF EDUCATIONAL FILMS 227

and several other states. In Massachusetts, New York
and North Carolina, distribution is through state de-
partments at the seat of government. In many large
cities, museums and libraries have a similar service.
A list is given in Chapter IX*

Only non-inflammable prints should ever be pur-
chased by schools, as otherwise storage of films in
buildings raises insurance rates because of the fire
hazard.

A list of firms having educational prints for sale is
given under Purchase Films in Part II, and the DeVry
Negative Library and the Bray Educational Library
from which non-inflammable prints may be ordered in
short lengths, have already been mentioned.

The Production of Educational Films

A film producer recently assured the writer that a
very modest cost for a five reel production is $50,000.00.
Five thousand dollars a reel is below the ordinary the-
atrical production rate. The classroom film will cost
but a fraction of this amount, as only rarely will paid
actors be needed or expensive scenic sets. But there
will be considerable expense nevertheless. For scien-
tific films expert camera men should be employed with
special lenses for microscopic work. Experienced art-
ists are needed, for animated and phantom drawings.
The greatest scientists and teachers of the country
should plan the films and should be well paid for it, al-

* An exception, in favor of rentals, should also be noted in the case
of a well-organized system of rental films like that of the Neighbor-
hood Motion Picture Service, described at the end of this chapter.

228 MOTION PICTURES FOR INSTRUCTION

though satisfactory work could be done in the school
laboratory. Studio lights and reflectors will be needed
for interior photography. Nature, geographical, geo-
logical and other outdoor studies will likewise need the
trained educator plus the expert camera man and the
advice of experienced directors.

It may well be that the modern university will de-
velop the technical camera expert and essential studio
equipment, as at the University of Nebraska, or as
has the Department of Moving Pictures of the United
States Department of Agriculture at Washington,
D. C. Views, however, of campus activities or of only
casual educational significance can be taken by ama-
teurs with the school movie camera. Low-priced
movie cameras adapted for both professional and ama-
teur use are now on the market. The best, strictly pro-
fessional movie camera costs $5,000.00, but $150.00
will purchase a movie camera that will do the type of
work here referred to. Only cameras taking full width
Standard films (35 mm.) should be used.

Schools Should Combine and Use the Big Producers

Historical plays like the Yale Chronicles and plays
illustrative of standard literature should probably be
given over to big producers, with faculty guidance on
historical, dramatic, literary and ethical values.

The path of least resistance to follow just now would
be for schools desiring fine technical work on purely
educational films to pool their resources and offer the
technical producer a volume market which would jus-
tify his capital investment. State teachers' associa-

THE FUTURE OF EDUCATIONAL FILMS

229

tions, state parent-teachers' associations, city associa-
tions of teachers, principals, regional associations like
the North Central Association, could appoint commit-
tees to work out the courses desired, and cooperate
throughout the production with the movie studio. The
various subject-matter groups or sections of the Na-
tional Educational Association might undertake the
task. The undertaking would cost too much for any
one school to attempt, but in numbers there is pur-
chasing power.

An organizing genius with the educator's point of
view who could get the numerous small non-theatrical
exchanges which deal in old prints to combine their re-
sources, junk their old prints and initiate educational
production on a scale commensurate with the im-
portance and dignity of the work would do a wonder-
ful service to the cause of visual education.

George E. Stone, who has put visual education for-
ever in his debt by the scholarly films he has produced
in biology, has written an earnest plea * for the en-
dowed educational film. Foundations like the Rocke-
feller, Carnegie and Commonwealth are needed to
supply the means for the elaborate equipment and high
salaried men required to give the bona fide educational
film its place in the sun. And Nelson L. Greene, editor
of the Educational Screen, thus calls the attention of
the theatrical magnates to the possibilities of produc-
tion and distribution in the non-theatrical field :

The theatrical film market can be definitely measured. In round
numbers we can call it 20,000 projectors, for only one projector

* George E. Stone, "Visual Education — a Retrospect, an Analysis and
a Solution/' Educational Screen, December, 1925.

230 MOTION PICTURES FOR INSTRUCTION

runs at a time in the 20,000 theatres. Averaging all of them, run-
ning time is but a very few hours per day. Rentals are high, but
sales expense eats up an enormous fraction of receipts. And these
20,000 projectors are 100% of the possible theatrical field.

The non-theatrical film market has not reached 1% of its possibil-
ities. It has perhaps 15,000 projectors. But one third of them is
unused; another third used occasionally; the other third may be
running to half their capacity. The average run is but a few hours
per week. Add to this that film-rentals are ridiculously low.
Naturally such a field is practically ignored by all but a very few
theatrical producers. And yet a mere 20,000 schools — with pro-
jectors usable from 9 a. m. through the day and evening for school
and community purposes, several projectors even running at the
same time in different rooms — would equal or exceed the total
theatrical run, if the schools could get the film. And "20,000
schools" are about one fortieth (Mo) of the non-theatrical field.

What will "100% of the non-theatrical field" mean ? There are in
the United States (naming always round numbers far below the
actual figures), 200,000 schools, 200,000 churches, 200,000 clubs,
lodges and community centers, besides another 200,000 projector
prospects in colleges, normal schools, universities, hospitals, prisons,
welfare institutions, hotels, railroad stations, public parks and play-
grounds, on trains, steamships, airships . . . not to mention Amer-
ican homes. Here are 800,000 potential projectors, or 40 times the
number of theatres. Further, this vast field as a whole is already
inclined to install projectors, they do not need to be "sold." Why,
then, have the 800,000 bought only 15,000 projectors to date? For
two reasons, one unimportant, the other all-important.

First, the cost of the projector. This is a minor matter. Even
small schools and churches manage it. The pitiful part of it is that
thousands of these hard-won projectors have had to go into cellars
and closets to gather dust. The rest of the field knows this, and hence
refrains from buying.

Second, the lack of films — and this is the crux of it all. The
non-theatrical field has lived from the beginning on miserable stuff,
the crusts and the crumbs. It is tired of the crude relics of early
productions, tired of worn-out prints from negatives long since
out of circulation, tired of the nondescript film efforts of well-

THE FUTURE OF EDUCATIONAL FILMS 231

intentioned pedagogues and earnest amateurs. Improvement of
theatrical pictures has created taste and appetite for films of quality,
and the non- theatrical field wants that quality. It cannot get it yet.
It is waiting only until it can. And where will this film come from?
It can come only from those who have the knowledge, skill and re-
sources for making quality films, namely, the theatrical producers.

The vast non-theatrical market is there, eager and ready to start.
It is 40 times the size of the theatrical market when it gets the pro-
jectors. It will get the projectors itself the moment it knows that
serious production has started — and the projectors will go in faster
than the films can be produced. Rentals will be higher than now —
for the films will be worth it — but always lower than for the theatres.
There is ample compensation for this lower rental — the size of the
field, its willingness to wait until the film has earned its maximum
profit in the theatres, no more need for costly advertising, and longer
circulation life because non-theatrical value is a matter of content,
not of date. The theatres will always have the new releases, the non-
theatrical field will always take them second-hand — demanding only
that the pictures are good (which means, incidentally, that the
conflicting interests of the theatrical exhibitors and the non-theatrical
field are largely imaginary).

The Eockefeller Foundation lias, in a small way,
helped to make possible certain welfare propaganda
films that are being distributed by health organiza-
tions. The Commonwealth Fund granted the sum of
$10,000.00 for pedagogical research with moving
pictures, which instituted the series of experiments
reported in Freeman's Visual Education. The most
valuable aid private wealth can furnish pioneer enter-
prises is to carry them well through the demonstration
stage and leave the public to continue the good work.
Carnegie has done that with libraries, the Carnegie
Foundation, with teachers' pensions, and the Eocke-
feller Foundation has assisted numerous investigations
to work through the demonstration stage. Such a

232 MOTION PICTURES FOR INSTRUCTION

beneficence would undoubtedly hasten the advent of
the educational film library for schools. However, the
foundation is only one way of getting new things done
— and while some are working for an endowment,
others may pursue the more ordinary paths of educa-
tion of the public, and cooperation of educators and
manufacturers, by which educational progress has, in
the main, made its way in America.

Taxation, the American Way

The American people, in its taxing capacity, is well
able to take care of the expense involved in equipping
schools with motion picture machines and film libra-
ries, when once it is convinced that motion picture illus-
trations are desirable for educational progress. Man-
ual training equipment, domestic science and athletic
apparatus, music and playgrounds require as much
expenditure as films, but the expense is now provided
for by school boards as a matter of course. If the
schools will buy the films, the regular producers will
furnish the capital and workers. Visual education
equipment should certainly rank with playground and
music equipment in accrediting schools by high school
and elementary school inspectors.

The various educational associations mentioned can
get the films produced by merely showing a sufficient
number of orders for the prints. The needed motion
picture illustrations can be worked out by committees
of leading educators working preferably in subject-
matter groups, and the list, when so recommended,
would command the confidence of purchasing bodies,

THE FUTURE OF EDUCATIONAL FILMS 233

which in turn would start the wheels of production in
the studios of the world turning out technical products
for a market of 200,000 schools, housing twenty million
students.

Training Teachers for Visual Education

Elsewhere in this book (Chapter IX) is given a list
of institutions that are known to offer courses in visual
education for teachers, with college credit. This work
is of first importance in the sane administration of a
group of aids peculiarly susceptible to flashy and en-
tertaining results. To this list of universities and
normal schools, should be added teachers' institutes,
conventions and special schools of instruction. The
author has accepted a number of invitations at teach-
ers' institutes to put on a demonstration of acceptable
methods of using visual aids in the classroom.
Through a special arrangement with a manufacturer
of approved motion picture projectors he was able to
furnish machines, films and slides, and he was his own
operator. From this experience he is convinced that
this method of teaching teachers in service is the most
available, and capable method of producing immediate
and practical results.

McLean County Teachers Institute

Some county superintendents devote from one to
three days to an intensive demonstration of visual edu-
cation methods before their institutes. Here is a
sample program of this character :

234

MOTION PICTURES FOR INSTRUCTION

McLean County Teachers Institute

Thursday, Friday, and Saturday,
December Seventh, Eighth, and Ninth

bloomington high school auditorium

Thursday

10:00 Music

10:30 "Problems of Preadolescenee" Pringle
11:15 "Changing Conceptions and Ideals in the Writing and

Teaching of History" Tryon
12:00 Noon Intermission
1 :20 Music

1:30 "The Present Status of Visual Education'' McClusky
2:20 "How to Use the History Text-book" Tryon
3:10 Exhibits and Educational Films. Intermission
3 :40 "The Use of Visual Aids in Rural Schools" Hollis
4:30 Close

Exhibits open until 5 :00 o'clock.

Friday, December Eighth

8 :45 Music

9 :00 "Psychology in Relation to Education" Cameron
9:50 "Results of Some Experiments in Visual Instruction"

McClusky

10:40 Exhibits and Educational Films. Intermission.
11:10 "The Place of Concrete Experience in Education Freeman
12 :00 Noon Intermission
1 :20 Music

1 :30 "Methods of Study" Cameron
2:20 "Types of Visual Experience and their Educational

Value" Freeman
3:10 Exhibits and Educational Films. Intermission.
3:40 The Place of the Various Types of Visual Instruction

Material in the Modern School Hamilton

THE FUTURE OF EDUCATIONAL FILMS 235

4:30 Close

Exhibits open until 5:00 o'clock.

Saturday, December Ninth

8 :45 Music

9:00 "Better Every-day English" Paul
9:50 "Visual Equipment for School Systems and How to

Administer Same Efficiently" Hays

10:40 Exhibits and Educational Films. Intermission.

11:10 "The Teacher's Vision" Paul

12:00 Noon Intermission
1 :20 Music

1 :30 "The Technique of Testing Imagery" McClusky
2:30 Close

Exhibits open until 4:00 o'clock.

DEMONSTRATIONS

Miss Lucille Greer will give class demonstrations showing the use
of the stereograph in teaching.

These will occur in room 215 as follows :
At 3 :40 Thursday, a second grade class.
At 11 :10 Friday, a fourth grade class.
At 1:30 Friday, a sixth grade class.
At 3:40 Friday, a second grade class.
At 9 :50 Saturday, a fourth grade class.
At 11 :10 Saturday, a sixth grade class.

There will be two conferences where superintendents, principals
and others may confer with Dr. McClusky on Methods in Visual
Education. These will be at 3:40 on Friday and 11:10 on Satur-
day in Room 205.

A talk wil be given on the Care and Use of Films. Time and
place will be announce "

EXHIBITS

The exhibits are from the Field Museum of Chicago, The Na-
tional Society for Visual Education, The St. Louis Museum, The

236 MOTION PICTURES FOR INSTRUCTION

Philadelphia Commercial Museum, The Animatograph Company,
The Bausch & Lomb Optical Company, The Keystone View Com-
pany, The DeVry Corporation, The Cleveland Public School
Museum, The University of Illinois. The Welch Scientific Company
and others.

LECTURERS

Dr. F. D. McClusky, School of Education, University of Illinois.

Dr. Frank N. Freeman, Professor of Educational Psychology,
University of Chicago.

Prof. Dudley Grant Hays, Director of Visual Instruction, Chicago
Public Schools, President National Academy of Visual Instruction.

Prof. A. P. Hollis, Department of Visual Instruction Service
North Dakota Agricultural College.

Dr. E. H. Cameron, Professor of Psychology, School of Educa-
tion, University of Illinois.

Dr. Harry G. Paul, Head Professor of English, University of
Illinois.

Prof. Rolla M. Tryon, Professor of History Teaching, University
of Chicago.

Prof. Ralph W. Pringle, Principal of the University High School,
Normal University.

Prof. G. E. Hamilton, Educational Department Keystone View
Company.

Another county has just requested assistance in
holding visual instruction demonstrations in a series
of teachers' meetings to cover the whole county. The
more usual method, however, is to have one or two
exercises on the institute program devoted to the more
difficult phases of the problem. This includes thread-
ing and operating the machines.

An outstanding example of a special school for train-
ing teachers in visual education is the one organized
by the DeVry Corporation, a prominent manufacturer
of motion picture projectors in Chicago. This firm

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THE FUTURE OF EDUCATIONAL FILMS 237

holds a free school of visual education each summer
and employs educators of recognized standing on its
faculty. The program of this school for the summer
of 1925 is given :

THE DeYRY SUMMER SCHOOL OF VISUAL EDUCATION,
1111 Center St., Chicago HI.

PROGRAM

Monday, Judy 27th.

Forenoon session 9 o'clock.

The Advancement of Visual Education. H. A. DeVry,

President, The DeVry Corporation.
The Modern Stereopticon, Condensers, Objectives, Slide Carrier.

A. E. Gundelach,
Vice-President, The DeVry Corporation.
The Modern Slide. A. P. Hollis.

(a) Photography (Score Card).

(b) Coloring.

Teaching a Reading Lesson With the Stereopticon.

Dudley Grant Hays,

Director of Visual Instruction, Public Schools, City of Chicago.

Afternoon session 2 o'clock.

Round Table and Question Box.

(1) Teacher-Pupil use of the slide in reading recitations.

Nelson L. Greene,
Editor, Educational Screen, Chicago, 111.

(2) Practice lessons with slides — each member of the school
to teach a lesson with one slide selected in the forenoon.

Direction of Messrs. Gundelach, Greene and Hollis.

(3) Factory inspection tour to observe manufacture of com-
plete stereopticon.

G. K. Weis, Superintendent of Factory, and Mr. Gundelach.

238 MOTION PICTURES FOR INSTRUCTION

Tuesday, July 28th.

Forenoon session 9 o'clock.

The Portable Projector in Industry. A. E. Gundelaeh.

The Literature of Visual Instruction. Nelson L. Greene.

The Geneva Movement. H. A. DeVry.

Visual Education in a City School System. Dudley Grant Hays.
Types and Sources of Film For Non-Theatrical Projection.

A. P. Hollis.

Visual Education Methods in the World War. Nelson L. Greene.
Exhibition of a Worth-while Film.

Afternoon session 2 o'clock.

Community Work With Films. Dr. R. P. Shepherd,

Author of "Essentials of Community Efficiency."
Round Table and Question Box.

(1) Demonstration of expert threading, and use of two
machines for projection of more than one reel. J. W. Lang.

(2) Instruction in threading — each member to thread a piece

of film through machine. F. Balkin.

(3) Successive Processes in Manufacture of Intermittent
(Geneva Movement). G. K. Weis.

Factory Observation Tour.

Wednesday, July 29th.

Forenoon session 9 o'clock.

Notes from the Non-Theatrical Field. A. E. Gundelaeh.

Finding the Facts in Visual Education. F. D. McClusky,

Department of Education, University of Illinois, Urbana, 111.
Motion Pictures in Church Work. Rev. Frank E. Jensen,

Editor of the Department, The Church and Pictures,

Educational Screen.

Modern Projection Illuminants and Optics. C. E. Egeler.

Commercial Engineer, General Electric Co., Cleveland, Ohio.

THE FUTURE OF EDUCATIONAL FILMS 239

How the International Harvester Company Uses Motion Pictures.

H. C. Ray.

Teaching a Lesson With a Motion Picture Film. F. D. McClusky.
Exhibition of a Worth-while Film.

Afternoon session 2 o'clock.

Round Table and Question Box.

(1) Practice by each student in operating machines and giving
short lessons using films at various points in the lesson
(film as introduction — summary — talking with film — stop
on film. Using films to inspire pupil activity — composi-
tions— talks — reviews. )

Directed by Messrs. Hollis, Gundelach and Balkin.

(2) Use of Rheostats and Transformers.

Messrs. Weis, Lang and Balkin.

(3) Factory Processes in Manufacture of Lamp Housing and
Optical Supports. G. K. Weis.
Final Assembly in Case. J. W. Lang.

Thursday, July 30th.

Forenoon session 9 o'clock.

The Take-ups, Rewinds and Stop-on-film shutters. H. A. DeVry.
Professional and Semi-Professional Projectors.
Visual Education Departments in Universities. H. W. Norman,
Director of Visual Instruction, University of Indiana, Bloom-
ington, Ind.

Fire Hazards and Laws. A. E. Oundelach.

The Place of the Museum in Visual Education.

Miss Amelia Meissner,
Director, Educational Museum, St. Louis, Missouri.
Merchandising with Motion Pictures. Douglas Rothacker,

Rothacker Film Manufacturing Company.
Americanization Work with Films. F. S. Wythe.

Author of the film, "Citizens in the Making," New York City.
Exhibition of a Worth-while Film.

24U MOTION PICTURES FOR INSTRUCTION

Afternoon session 2 o'clock.

Educational Motion Pictures in Europe Albert Bachtold,

Distributor of Visual Education Equipment, Zurich, Switzerland.
Round Table and Question Box.

(1) Operation of Super-Projectors.

Messrs. DeVry, Lang and Balkin.

(2) Oiling and Repairing Motion Picture Projectors.
Demonstration before class.

Oiling spots of constant need — spots of only occasional need.

(3) Repairs — the vulnerable spots in a motion picture projector.

J. Lang.

(4) Patching Film, and Methods of Storing and Cleaning Film.

(5) Screens.

Friday, July 31st.

Forenoon session 9 o'clock.

The Better Film Movement, George J. Zehrung,

Director New York Y. M. C. A. Motion Picture Bureau.
The Construction of the Moving Picture Camera. H. A. DeVry.
(The entire school will be shot with the movie camera. Prints
will be sent to those desiring them. )
Motion Pictures in Religious Work for Young People.

Afternoon session 2 o'clock.

A Visit to a Moving Picture Studio and Laboratory (Courtesy of
the Rothacker Film Manufacturing Company).
Actors and actresses at work on a production. Developing and
Printing Motion Pictures. Tinting, toning, color processes.

Examples of this kind show the widespread interest
in the better type of visual education and are eloquent
of the future usefulness of these promising new aids to
education.

THE FUTURE OF EDUCATIONAL FILMS 241

The Neighborhood Motion Picture Service, Inc.

A most promising enterprise is a ready-made cor-
related film service, including projectors and operators
as well as films, known as the Neighborhood Motion
Picture Service, now being worked out in Los Angeles,
Xew York and New Jersey. F. S. Wythe, producer of
the series of Americanization films, "Citizens in the
Making, 1 ' after years of contact with the school situa-
tion became convinced that the schools were holding
back from visual education methods primarily because
it seemed to involve so many difficulties — large sums of
money, film supply, correlation with courses of study,
purchase and installation of motion picture projectors,
operation and repair of the machines, questions of
storage and fire hazard, and the prompt and safe dis-
tribution of these materials.

The thing to do, in his mind, was not merely to bom-
bard the schools with pamphlets and magazine articles,
and speeches at educational conventions, but to smooth
out for them the difficulties mentioned above, and con-
struct a service that would combine all the elements
above with the difficulties left out, so that it could be
offered to schools in such a way, that about all the
superintendent would have to do would be to sign on
the dotted line and let the outside organization shoul-
der the details.

The booklet issued by the Neighborhood Motion Pic-
ture Service states :

The films supplied are Film Lesson courses, 18 one reel lessons
in each course, or enough for bi-weekly lessons throughout the full
school year.

242 MOTION PICTURES FOR INSTRUCTION

The Neighborhood Motion Picture Service, Inc., is not engaged
in the occasional rental of special subjects, but confines itself to
film courses of correlated lessons.

Film Lesson courses are:

Important: thereby justifying their inclusion in any course of
study adapted to motion picture presentations; thereby justifying
the use of motion pictures as against any other supplemental aid.

Technically adequate: produced under the direction of competent
educators by competent motion picture experts for exclusive school
use.

A critical examination of the films supplied in these
schedules bears out all the claims made above. In fact
most of these films are included in the film libraries
given in Chapter II of this book.

The Neighborhood Motion Picture Service has added
to this film schedule, through arrangement with a
prominent motion picture projector manufacturer, the
use of a projector and operator to schools having no
machine equipment, so that every two weeks each
school has delivered to it three educational films, a pro-
jector and an operator. For schools already equipped
there is a liberal bi-wTeekly film service in which the
distribution and collection is taken care of by the serv-
ice.

Thus far the usual plan is for an organizer to get
the county superintendent of schools to call a meeting
of the principals interested in his county or district and
have the plan presented to the group so that as many
schools as possible may agree to operate around a com-
mon center, usually the county seat. The more schools
sign up under the same plan, the less the cost to each
school.

THE FUTURE OF EDUCATIONAL FILMS 243

The service operates under eight plans known re-
spectively as :

Plan I. Complete Service — (film lessons, projector
and operator but no films left).

Plan II. Film Library Service — (film lessons only).

Plan HI. Film Library and Projector Service — (film
and projectors delivered — no operator).

Plan IV. Film Library, Projector and Limited Oper-
ator Service — (a combination of plans one and
three).

Plan V. Same as Plan I, with extra projector left for
continuous use.

Plan VI. Same as Plan I, with use of any of the thirty-
six reels of nature study and citizenship at any of
the bi-weekly lessons.

Plan VII. Same as Plan II, except films remain one
week instead of two, thus permitting more schools
to be served at a lower cost per school.

Plan VIII. Exchange Service — any film in the whole
series may be rented at any time as from any reg-
ular exchange.

Real Educational Films

Using his own films as the standard and nucleus, Mr.
Wythe has assembled the finest classroom (text) films
to be found in the country. Not every subject of study
in the modern curriculum is illustrated by these films,
but three important ones are quite fully treated.
These are nature study, Americanization and current
events, for the first year. The second year would add
eighteen films in history, and the third year eighteen in

244 MOTION PICTURES FOR INSTRUCTION

geography. All films used are on non-inflammable
stock, so that there is never a question of fire hazards
involving booths, insurance and licensed operators,
which have proved such obstacles to school installa-
tions in some cities. Many of the films used are the
same as those which form the foundation for the three
film libraries recommended in this book.

Teachers' Leaflets

Another great difficulty confronting schools starting
modern visual instruction methods is the fact that
many teachers have not let learned how to use films in
regular classroom recitations, so as to avoid mere film
showings that do not stimulate thought and release the
energy of the students. While a few normal schools
and several universities now offer courses in visual
education, these are very recent and have not reached
the great mass of the teaching profession. Neighbor-
hood Motion Picture Service supplies a teachers' man-
ual with each subject, and abundant notes and ques-
tions are given on each lesson. Two of these are given
as sample film lessons in Chapter V of this book.

Low Cost

On account of the block system of securing and dis-
tributing the films, projection and pedagogical plans
can all be furnished at the usual rental cost of the films
alone. Thus far the service has operated in a limited
area near New York City where the presence of its
originators and their enthusiasm and grasp of its

THE FUTURE OF EDUCATIONAL FILMS 245

problems have sold it to the school systems. A plan
to present it in the same way to school systems from
coast to coast has recently been consummated so that
its range of usefulness may be extended to the whole
country.

Should the larger school systems, or others having
already had sufficient experience to warrant their own
initiative, wish to add a wider range of films to illus-
trate these and other subjects in the school program,
it will be easy to select additional films from the lists
given in this book.

Purchase films have no part in the plans of the
Neighborhood Motion Picture Service. Its plans con-
template schools renting, rather than owning films.
The author believes that ultimately schools should pur-
chase their libraries of films for continuous use during
the year, just as they purchase books for the library,
slides, stereographs, stereopticons, motion picture pro-
jectors and other useful school apparatus.

However, while we are waiting for this ideal condi-
tion to occur, the author knows of no practical film
service, or combined film and projector service that
compares with that offered to schools by the Neigh-
borhood Motion Picture Service.

As far as the author knows there has been no com-
munication between the Neighborhood Motion Picture
Service, Inc., and Visual Education, Ltd. of London,
and yet the film pamphlet of this latter organization
which has just come to hand, shows that the same con-
ditions, demanding the same service, obtain in Great
Britain. Their plan of service to the schools lies so
closely along that of the Neighborhood Motion Pic-

246 MOTION PICTURES FOR INSTRUCTION

ture Service that a part of it is reprinted here for
comparison :

A well-planned Visual Lesson, illustrated by the right Kinema
Film is valuable as a lecture ... it imparts knowledge presented
in an attractive manner: but this is not enough.

A Lecture or Lesson which does not work hand in hand with the
School's curriculum fails to support the Teacher and will not serve
to make the Text Book live in the way it might do.

Visual Lessons should be given once a week or a fortnight in
order to serve as a rallying point for the preceding teaching: they
should amplify and illustrate the Teacher's work . . . and this is
the object of the Visual Education Lectures.

The Schools which have adopted the Visual Lesson as a regular
event find that teachers and pupils, as well as parents, support
strongly a step forward which makes reality out of what before
were abstract and imagined facts or statements.

Lectures and Lessons illustrated by the modern Kinema projector
constitute the most important feature in Visual Education.

Our object is to use this medium to its full extent by employing: —

Lecturers who are specialists in their subjects.

The best possible films procurable.

The latest and best methods to assist the Teacher.

In order to meet the requirements of Schools and Colleges in gen-
eral, Visual Education, Ltd. offer the following services:—

Lecture Service.

Operator Service.

Film Hire Sendee.

As this final chapter is being written, announcements
have been made of two international film conferences,
dealing with films in education, to be held in Septem-
ber, 1926 ; one at Basel, Switzerland, and the other in
Paris. The Paris conference concerns itself princi-
pally with the theatrical film, but the educational aspect
is recognized as a legitimate portion of the program.

THE FUTURE OF EDUCATIONAL FILMS 247

It is significant, however, that the Paris Motion Pic-
ture Conference is under the auspices of the League
of Nations. The French National Committee on Intel-
lectual Cooperation is in direct charge of the congress.
The Basel conference, however, is entirely on the edu-
cational film, and its announcement is a very good in-
dication of the present European sentiment on the
subject. A portion of the announcement is reproduced
here :

In the course of the last decade great progress has been made in
the introduction of the film as a means of instruction. In most
countries eminent pedagogues have undertaken, in cooperation with
the film industry, to utilize the incontestable advantages of the mov-
ing picture for teaching and for education in its broadest sense. —
In all these efforts the following facts have become evident :

1. In many cases the film is a means of instruction of specific
value, above all in such cases where incidents of life and
movement are concerned which cannot be reached directly.

2. The highest aim is to adapt the use of the film in class instruc-
tion. The instruction of large numbers of pupils by means
of the film and outside the class room may only be considered as
a makeshift in transitory stages of economic difficulties.

3. For some particular subject-matter and large syntheses the in-
struction film on a large scale will always have a great value.
Especially this type of film appears to be the most appropriate
medium for popular education in a broad sense. The fight
against the low class film is most efficiently conducted by means
of the good film.

4. The State, in its attempt to combat the abuses in the moving
picture industry, must make use, on a large scale, of the instruc-
tion film. The State is in duty bound to educate youth to a
sound criterion and to cultivate its taste.

5. In spite of the good intentions of and the considerable sacrifice
made by the producers of instructive films the films of this class
today existent do not always come up to the requirements made

248 MOTION PICTURES FOR INSTRUCTION

by the pedagogues. This may partly be due to the heretofore
lacking cooperation by the educationists but also to the fact
that the production of instructive or educational films has
proved unprofitable owing to the reduced market for such films.
6. Notwithstanding the considerable number of educational films
in existence there is up to the present no clear survey or
system in this subject-matter. This leads to an overproduction
in some lines while there are large gaps in others. The school
authorities are quite often wholly dependent on the catalogs of
the producers instead of finding assistance by the experience of
neutral and expert pedagogues.
All these questions must be discussed and solved, but it would be
futile to attempt a solution on a national basis inasmuch as the film
industry has long ago become international.

Recognizing the fact that the State may no longer withhold its co-
operation in this task, the undersigned authority has caused the gov-
ernments of all countries to be invited to a First Conference on
Educational Films to be held in Basel during September, 1926.
The special object of the conference will be :

1. Discussion of the above mentioned questions of general interest
by expert representatives from the various countries, in order
to arrive at a clear survey of the subject-matter.

2. To adopt a uniform plan and system for the production of
educational films. This is to afford the school authorities an
opportunity to procure film material meeting fully the require-
ments and at the same time to provide a more extended and
dependable market for the producers of such film.

3. To organize the international exchange of unquestionably
good educational films.

4. To incite the authorities and educationists of all countries to
intensive and clearsighted activity on the basis of mutual co-
operation for the future development of the educational film.

The author has carefully refrained from rhapsodiz-
ing on the value of films in education, but Ellis and
Thornborough * have put the case for the educational

* Motion Pictures in Education.

THE FUTURE OF EDUCATIONAL FILMS 249

film in its legitimate uses, so cogently and eloquently
that the whole passage deserves quotation :

To a greater extent than any still representation, the cinema is
able to present objects as they actually exist, move and have their
being; bring distant peoples into the classroom and show them
actually going about their ordinary pursuits as they really did in
the distant land when the picture was being taken; or, better still,
it in effect transports the spectator to the distant land and en-
ables him to mingle and live with its inhabitants, to view the
country from the observation platform of a railroad train as it
winds its way through the chasms and valleys and mountains, or
to stand beneath the waterfall many hundreds of miles away and
almost feel the spray upon his brow.

Motion pictures overcome time and space. By means of them
rapid processes can be slowed down and analyzed; slow processes
can be accelerated; inanimate objects become animate; dead facts
made to live and pulsate. Attention can be held and concentrated
and the memory more deeply impressed by the moving image pro-
jected on a brightly illuminated screen in a darkened room than
by ordinary teaching methods.

Scientific experiments and demonstrations performed with this
ideal equipment and under the best possible conditions, and opera-
tions performed in the clinic can, by means of motion pictures, be
repeated indefinitely anywhere and at small expense. Microscopic
life can be enlarged many times on the screen, so that what can
ordinarily be seen with great difficulty through the microscope by
only one at a time can easily be viewed on the screen by the entire
class. Motion pictures expand the experiences of the pupils by
bringing to them the whole wide world. Schoolroom instruction can
by this newer medium be made more pleasant, less expensive in the
long run and immeasurably more efficient.

PART II

COMPREHENSIVE LIST OF EDUCATIONAL

FILMS

GENERAL PLAN OF THE COMPREHENSIVE LIST
OF EDUCATIONAL FILMS

(The listing is alphabetic by the first significant word in the
title of the film. Such beginning words as "a," or "the" in
a title, are not considered. Addresses of exchanges are given
after the titles. Abbreviations used are explained in the foot-
note given on page 257.

Free Films

geography 261

North America 261

United States 261

Eastern States 261

Middle States 263

Western States 263

Southern States 271

Canada 272

Central America 278

South America 278

West Indies , 278

Other Islands 279

Europe 279

Asia 281

Africa 282

history 282

nature study and zoology 283

language and literature 285

VOCATIONAL STUDIES , ............. , ? 285

253

254 MOTION PICTURES FOR INSTRUCTION

Domestic Science 285

Agriculture 290

Manufacturing 298

Automobiles 298

Railroads 300

Building Materials 301

Cloth and Covering 302

Bookmaking, Printing, Etc 304

Electricity 304

Metals and Minerals 308

Mining 309

Glass ; 311

Pottery 311

Miscellaneous 312

PHYSIOLOGY AND HEALTH 314

WELFARE 317

athletics and sports 321

economics, business, etc 322

astronomy, physics and chemistry 323

Rental Films

geography 324

North America 324

United States 324

Eastern States 324

Western States 327

Southern States 330

General 331

Alaska 332

Canada 333

Central America ... 334

South America 335

Europe 336

West Indies 346

GENERAL PLAN OP COMPREHENSIVE LIST 255

Other Islands 347

East Indies 349

Hawaii 352

Asia 354

Africa 361

Physical 362

HISTORY 363

CITIZENSHIP 368

NATURE STUDY AND ZOOLOGY 370

LANGUAGES AND LITERATURE 379

VOCATIONAL STUDIES 389

Domestic Science ' 389

Agriculture , 390

Manufacturing 391

Building Materials 391

Cloths and Coverings 391

Electricity 392

Mining 392

Metals 393

Pottery 393

PHYSIOLOGY AND HEALTH 394

WELFARE 396

ATHLETICS AND SPORTS 396

CHEMISTRY 403

PHYSICS 404

electricity and magnetism 404

miscellaneous 404

Purchase Films

BRAY PRODUCTIONS, INC., 120 W. 42nd St., New York City. ... 408
VISUAL TEXT SALES CO., 1268 So. Grenshaw Blvd., Los Angeles,

Calif 412

CARLYLE ELLIS, 220 W. 42nd St., New York City 416

RAYMOND L. DITMARS, New York Zoological Society, Borough

256 MOTION PICTUEES FOR INSTRUCTION

of Bronx, New York City 419

THE DeVRY CORPORATION, Motion Picture Projector and Cam-
era Manufacturers, 1111 Center St., Chicago, Illinois 422

THE FORD MOTION PICTURE LABORATORIES of the Ford

Motor Co., Detroit, Michigan 427

APOLLO FILM COMPANY, (Beseler Films), 286 Market St.,

Newark, New Jersey 432

URBAN-KINETO CORPORATION, Irvington-on-Hudson, New York 432

Reels issued by departments of the United States Government are
listed under the proper subject-matter classification, in the list of free
films, Part II (Comprehensive List of Educational Films). These
are also sold to schools at cost.

OFFICE OF MOTION PICTURES, U. S. DEPARTMENT OF AGRI-
CULTURE, Washington, D. C.

Department of the Interior, Bureau of Mines, Pittsburgh, Pa.

U. S. Department of Labor, Children's Bureau, Washington, D. C.

U. S. Public Health Service, Washington, D. C.

PATHE EXCHANGE INC., (Long Term Lease)— 35 W. 45th St.,
New York City. The Pathe" Films are listed under Rental Films in
Part II, except those already listed in the film libraries in Chapter II.

Most of the industrial films (like the International Harvester Com-
pany and General Electric Company) who have films listed under Free
Films in The Comprehensive List, Part II, will sell prints at cost to
educational institutions.

Schools starting to form permanent film libraries would do well to
write any of the firms or exchanges mentioned in this book, as many of
them would make up prints to order, even though they do not ad-
vertise prints for sale.

COMPREHENSIVE LIST OF EDUCATIONAL FILMS
WITH DESCRIPTIVE NOTES *

These films are in addition to the films used in the film li-
braries given in Chapter II of this book, and where more than
the three reels per week of the One Hundred Twenty Reel
Library are desired, these additional films may be ordered
from the addresses given. The films are divided into three
main groups : Free Films, Rental Films, and Purchase Films.
Prices are occasionally given from as authentic sources as we
were able to obtain, but they are not guaranteed, as there is
little constancy in such matters among exchanges. The classi-
fications used are those of the regular school studies, and the
arrangement is alphabetical within each subject. The descrip-
tive notes indicate in a general way the content and character
of the film. Films starred (*) are accompanied with synop-
ses and teachers' notes.

* Abbreviations occurring most frequently in this list:

U. S. Ag Office of Motion Pictures, Extension Service, United

States Department of Agriculture, Washington, D. C.
Many of these Government films are handled by State
Universities and other educational film distribution
centers.

Bu. Mines Bureau of Mines (U. S.), Pittsburgh, Pa.

N. C. R Educational Service, National Cash Register Co., Day-
ton, Ohio.

G. E General Electric Co., Schenectady, N. Y.

W. E Westinghouse Electric & Manufacturing Co., East Pitts-
burgh, Pa.

Can. M. P Canadian Government, Motion Picture Buieau, Ottawa,

Canada.

Leggett J. A. Leggett, 1476 Broadway, New York City.

257

258 MOTION PICTURES FOR INSTRUCTION

Films for High Schools
(Not Arranged in Courses)

As explained before, many of the films recommended for the
elementary grades, are suitable also for high school students,
and even for the college classroom. It is the teacher's treat-
ment of the film, her questions and supplementary facts, that
will determine the grade of the film, more than the film itself.
With older children technical features can be held on the
screen (by means of the stop-on-the-film shutter) so that a
more detailed study of mechanisms and complicated forms
can be made than in the case of elementary pupils.

The three film libraries given in Part I are really all short,
and entirely inadequate for the larger school systems. It
should be borne in mind, however, that slide lessons will be as
frequent as film lessons, perhaps more frequent, so that where
only two film showings per week are held by the school, two
or more slide lessons are probably given too, making four or
more screen lessons each week.

Superintendent Emery of Pawtucket, R. I., a city of about
70,000 people, has made some careful studies * of the film
needs of a city of that size, containing 25 school buildings.
He recommends the rental of 10 or 12 reels a week during the
school year, ' 1 These to be routed for a day at a time to the
various larger schools, with occasional use with a portable
machine in the smaller schools. 9 9

When there are 20 school buildings in a city, the film would
need to be run 20 times — 40 times if the teachers collectively
have not had a preview of the films. This would require the
film to be held several days in order to make the circuit of
the schools. If a reel renting for $4.00 had to be held 5 days,
it might make the total rental for one reel $20.00. It would

* James Newell Emery, "Visual Instruction in a Small City System/'
the Educational Screen, September, 1925.

LIST OF EDUCATIONAL FILMS 259

be better economy, in such a case, for the school to purchase
a print outright and use it whenever and wherever it was
called for and make as many repeat showings as desired.
Such a print would last a school from five to ten years, since
two hundred showings are considered the average lifetime of
a film.

School systems of this size and larger, while using our short
courses as cores, should have the visual instruction committee
dip into the Comprehensive List in Part II, and make out
longer and more complete sets of film illustrations, in both the
Elementary and High Schools.

Three short film libraries only are outlined in this book,
merely to make it easy for small systems to start. One can
go on adding reels indefinitely to make richer courses, from
the list, with descriptions of each film, which is given in the
pages following, thus enabling each system to build up its
own courses.

PRIMARY GRADES NOT INCLUDED *

There are a number of fairy tales and fanciful pictures
produced for children in the first three grades, but as these
are chiefly entertaining they are not included in the film
libraries. And indeed, motion pictures have very limited in-
struction values for children of the fourth grade. Several
years ago the author made some experiments in showing

* Since writing the above the author witnessed several primary lessons
with films under the general supervision of Miss Stella E. Meyer, Di-
rector of Visual Education, Forest Park, 111. A health film in fairy
story form (The Knowing Gnome) was made the basis of informal
lessons. The teachers explained the titles as the films were shown.
After each lesson the children were questioned by the teacher, and their
answers showed that they had been greatly impressed by the story
and one of the teachers suggested that the children dramatize the film.
This they did in a very striking manner. This story type of film
with educational implications can doubtless be used to advantage in
primary grades — at infrequent intervals.

260 MOTION PICTURES FOR INSTRUCTION

juvenile films to primary pupils, and later on was permitted
to observe other teachers use films in primary grades and the
results convinced him that in the main, it was not a profitable
proceeding. Most of the titles were too hard for the children
to read, and even where the vocabulary was simple, the speed
was too great for reading. The pictures were also too speedy
for intelligent following. The children's re-telling of the
stories was greatly mixed in plot and details. Remembered
portions from other children's versions of the story were in-
troduced. Here the movies made for mental confusion. The
still picture is greatly to be preferred for children up to nine
years of age, where the aim is instruction.

Free Films*

To obtain these films with the most economy, the teacher
or school official in charge of visual education should write
first to the state university, state agricultural college, state
department of education, or the state department of health
nearest him, as these educational distribution centers gather
films from all sources mentioned and can give more favorable
terms than private exchanges. If they do not have the de-
sired films, then the addresses given after the title of the films
should be tried.

The Motion Picture Bureau of the Y.M.C.A., 120 W. 41st.
St., New York City, or 1111 Center St., Chicago, Illinois, has
a large number of these free films for general distribution;
so has the Educational Service of the National Cash Register
Company, Dayton, Ohio.

* An interesting list of 195 pictures on 48 countries is published by
the Extension Division of the University of California. Address Ed-
ward Mayer, Dept. Visual Instruction, University of California,
Berkeley, California.

The unusually large list of this University and that of the University
of Wisconsin, are of great value for reference, even if one does not
live in those states.

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LIST OF EDUCATIONAL FILMS

261

Films are one reel except where otherwise indicated. Non-
inflammable prints should always be requested.

Geography
NORTH AMERICA

United States (Eastern States)

Across the Atlantic on a Giant Liner — International Mer-
chant Marine, 1 Broadway, New York City.

An ocean voyage from New York to Cherbourg, France, on a giant
liner — wonderful panorama of Xew York's skyline — interesting scenes
of activities aboard ship — arrival at Cherbourg.

Cloud-Busting — ( White Mountains,) — U. S. Ag.

Adventures of an automobile touring party in the White Mountain
National Forest, New Hampshire. Of general interest.

Labrador and New England — N. C. R.

Codfishing — fox farms — the whaling industry — the rugged coast of
Labrador — Eskimo boys — Eskimo life — Twin Sister Falls — Newfound-
land.

New York City — Skyscrapers — N. C. R.

Handling the traffic at one of the busiest corners in the world —
picturesque skyscrapers — a great public library.

Xew York City — Foreign Population — N. C. R.

The famous East Side tenement district with children's playgrounds
— also Ellis Island.

New York City — The Elevated Railways and Wall
Street — N. C. R.

Views of the elevated railroad system — the sub-treasury — Wall Street
— Trinity Church.

New York State — Beauty Spots — A7. C. R.

Interesting views of the Hudson River — Tarrytown — the Catskills —

The Waterfall in the Bronx — Ausable Chasm.

262 MOTION PICTURES FOR INSTRUCTION

New York City — Around Manhattan Island by Boat —
N. C. R.

A steamer trip up the East River, through Hell Gate to the Harlem
River, and down the Hudson past the Palisades — famous bridges.

New York City — Bathing Beaches — N. C. R.

Mostly Coney Island.

New York City — Transportation — N. C. R.

The elevated railway — subway — street cars — ferryboats, and busses.

Niagara the Glorious — Can. M. P.

A beautifully photographed scenic . film. Niagara Falls, including
panoramic and close-up views of the Horseshoe and American Falls,
the Whirlpool Rapids, and the Gorge, together with glimpses of their
picturesque environs.

Niagara Falls — N. C. R.

Panorama of the world's most famous scenery — views of the Horse-
shoe and American Falls, the Whirlpool Rapids, and the Gorge.

North Wind Masonry (Niagara Falls) — N. C. R.

The effect of winter's transforming hand on the splendor of Niagara
Falls.

Prosperity Special, The — Baldwin Locomotive Works,
Philadelphia, Pa.

A trip through Pennsylvania behind twenty locomotives — views along
the Susquehanna and through the Allegheny Mountains — Horse Shoe
Curve and Pittsburgh.

Seeing Washington, D. C. — N. C. R.

The U. S. Department of Agriculture pictures the trip of the Boys'
and Girls' Club champions through the nation's capital.

Waste Disposal in Cities — N. C. R.

First method: Discharging waste into the ocean — Second method:
The action of bacteria through filters in purifying the sewage.

When Winter Comes in New England, Niagara Falls, and
Quebec — N. C. R.

Winter scenes in New England, Quebec and at Niagara.

LIST OF EDUCATIONAL FILMS 263

Winter Logging in the White Mountains — U. S. Ag.

Timber in the White Mountain National Forests and the lumberjacks'
life and work.

United States (Middle States)

Along the Green Bay Trail — Chicago, North Shore & Mil-
waukee Railway, Chicago, III.
A famous Indian trail from Chicago to Milwaukee, traversed by a
modern electric railroad, with glimpses of Fort Sheridan, the Great
Lakes Naval Training Station, and views of the cities in between.

Pace of Progress — Chicago, North Shore & Milwaukee, Rail-
way, Chicago, III.

The old Indian method of transportation compared with the prairie
schooner, stagecoach and present day electric railroad.

Pullman Travelogue #11 The Pullman Co., Pullman
Pullman Travelogue #2 j Building, Chicago, III.

The comfort of the modern Pullman coach compared with the ordinary
day coach. All views of life and conveniences on board a Pullman.

United States (Western States)

Above the Clouds in Rainier National Park — Northern
Pacific Railway, St. Paul, Minn.
Superb mountain scenery of Mt. Ranier and Paradise Inn.

Arizona, In — N. C. R.

A world of cliff-dwellers — Roosevelt Dam — giant cactus — other in-
teresting scenery of Arizona.

Arizona, Grand Canyon — Castle Films, San Francisco.

A beautiful picturization of a spot famous both for beauty and for
geological interest.

Alaska and Island Possessions of U. S. — N. C. R.

The Yukon River region, with views of Eskimo dogs — the Hawaiian
Islands — the sugar industry of the Philippine Islands and Porto Rico.

264 MOTION PICTURES FOR INSTRUCTION

Battle op Mud — Buick Motor Co., Flint, Mich.

The struggles of an automobile through seas of mud ; an excellent plea
for good roads.

Carriso Gorge — Chicago, Rock Island and Pacific Railway,
LaSaLle Street Station, Chicago, III.
The constructing of a railroad through a gorge. vSan Diego, Cal-
ifornia, comes into the picture.

Caterpillar Crowning the Summit of Pike's Peak — Cater-
pillar Tractor Co., Peoria, III.
An unusual way to reach the summit of Pike's Peak by a "caterpillar"
tractor. Wonderful scenery all the way along.

Crossing the Great Salt Desert — V. S. Ag.

Overcoming the difficulties of the desert in building the Wendover
road — the short-cut — unusual road engineering — mirages as seen by the
motion picture camera.

De Vargas Day in Santa Fe, New Mexico — U. S. Ag.

A picturesque religious ceremony.

Dude Ranches in Montana — Northern Pacific Railway, St.
Paul, Minn.

How a "tenderfoot" is broken in in the Absaroka Mountains near
Red Lodge, Montana; also views of Beartooth and Sawtooth mountains.

Electrical Travelogue — W. E.

Another evolution-of-transportation reel, starting with the early
Egyptians and ending with the electric locomotive; rich in the moun-
tainous scenery of the West.

Endurance — Dodge Bros., Detroit, Mich.

W7onderful work of an automobile through almost impassable roads,
with glimpses of the oil country and the drilling and shooting of an oil
well.

Fiery Lance, The — U. S. Ag.

Across the Continental Divide to a forest fire — a lesson in the causes
of forest fires.

From a Car Window Along the Great Northern Railway
— Great Northern Railway, St. Paul, Minn.

LIST OF EDUCATIONAL FILMS

265

Glimpses of great plains and great mountains in the western part of
our country — the wide variety of surface and occupations observed.

From Ranch to Ranch in California — U. S. Ag.

A picture of the trip taken annually by the California Farm Bureau
agents under the auspices of the University of California.

Glimpses of California — N. C. R.

Views of Spanish Missions — Chinese children — wild ducks — alligators
— petroleum wells under the sea.

Grand Canyon on the Colorado — Leggett.

A color film showing the natural beauty, and the vegetation of the
canyon country, with views of the Hopi Indians and their homes.

Grand Canyon and the West — AT. C. R.

The Grand Canyon of Arizona — mountains of Utah — the Arapahoe
Indians in Wyoming — horses and cattle of the great plains.

Gypsy Scientists — N. C. R.

The Cascade Mountain Ranges of the State of Washington are ex-
plored by a group of scientists.

Highroads and Skyroads — V. S. Ag.

The construction of government roads through great forests; beauti-
ful scenery enroute.

Industrial Oakland — Chamber of Commerce.

A tour of one of the most interesting cities in the Wrest, showing its
industrial and residential sections, colleges, parks and playgrounds.

Valley of Heart's Delight — 2 reels— Department of Visual
Instruction, University of California, Berkeley, Calif.
The Santa Clara Valley, one of the most beautiful districts in Cal-
ifornia— views of schools, universities and missions in San Jose, Santa
Clara and the Stanford University at Palo Alto — the Saratoga Blossom
Festival — blossoming orchards and harvest time — beach and park scenes,
the Redwood trees, and nearby mountain peaks — Lick Observatory — the
quicksilver mines.

Man-Made Eden, A — Leggett.

An Eden from a desert, Los Angeles — homes and public parks — uni-

266 MOTION PICTURES FOR INSTRUCTION

versity — schools and churches — industries — the harbor with boats from
the four corners of the world.

Meadows and Mountains, — V. S. Ag.

Great mountain falls in Gallatin — Gallatin National Forest in Mon-
tana— feeding grounds of the elk.

Mountains of Oregon — N. C. R.

How to open up a mountain road after a snowstorm — views of
Crater Lake, Mt. Hood — glaciers and winter sports.

Mountain Ranch, A — Dodge Brothers, Detroit, Mich.

A mountain ranch in the heart of the Rockies — a trip with the "boss"'
over Colorado's largest sheep ranch, near Garo.

My Pal — Atlas Educational Film Co., Oak Park, 111.

Actually an industrial film, but made into an interesting story
featuring the racer, Ralph Mulfod, touring the Rockies; excellent
scenery.

On the Trail of the Beautiful — Leggett.

Los Angeles — Santa Monica bathing beaches — Ocean Park, Venice,
and Long Beach — Culver City and Hollywood, and a peep behind the
scenes.

Opening the Cherokee Strip — y2 reel — Chicago, Rock Island
& Pacific Railway, LaSalle Street Station, Chicago, III.

A reproduction of the unique land rush that occurred when the Cherokee
Strip was opened to homesteaders in 1893.

Outdoor Life in the Rockies of Colorado — U. S. Ag.

The Holy Cross and White River National Forests — Hanging Lake —
Snowmoss Lake — Thompson Canyon.

Pack Train Trip Through Washington — U. S. Ag.

Across the Northern Cascades with mules, a tent, and a canoe —
mountain streams and glaciers.

Pillars of Salt — G. E.

The mining and refining of salt — excellent photography one thousand
feet underground.

LIST OF EDUCATIONAL FILMS 267

Rainier National Park — Northern Pacific By., St. Paul,
Minn.

A typical tourist journey through Rainier National Park — rare
scenic beauty and sports.

Roads from Surf to Summit — U. S. Ag.

The national forests of the Pacific coast states from motor high-
ways.

Roosevelt National Park — {Proposed) — Northern Pacific
By., St. Paul, Minn.
A scenic reel through the good Bad Lands of North Dakota — scenes
of some of strenuous days of Roosevelt's early manhood.

Saddle Journey Through the Clouds — Castle Films, 268
Market St. San Francisco, Calif.
A trip over central California's mountain range with saddle and pack
— Devil's Postpile — Fenceposts of the Giants — Devil's Wash Basin — the
Minarets— -Shadow Lakes.

San Francisco— Castle Films and N. C. B.

The N. C. R. film shows the busy streets, civic center, buildings and
monuments of San Francisco. Chinatown is included and the Golden
Gate Park.

Santa Fe National Forest — 2 reels — V. S. Ag.

Points of interest in the Santa Fe Forest — fishing in the Pecos River
— the Panchuela Ranger Station — skiing in June — Spirit Lake and the
Continental Divide.

Santa Fe — The following list of films, produced for the
Atchison, Topeka & Santa Fe Bailway, relate to this en-
tire general region, and are obtainable through the gen-
eral offices of the Atchison, Topeka & Santa Fe Bailway,
80 E. Jackson Blvd., Chicago, III.

Across the Grand Canyon 1 reel

Across the United States of America 1 "

California Missons 1 "

Chicago-California 2 "

Gallup Indian Ceremonial 2 "

Grand Canyon in Winter 1 "

268 MOTION PICTURES FOR INSTRUCTION

Grand Canyon National Park

2 "

Grand Canyon Tinted Keel

l "

Indian Ceremonials and Dances

2 "

Indian Home Life and Industries

2 "

Old Missions of California

1 "

Sante Fe, New Mexico, and Vicinity

2 "

Santa Fe Fiesta

2 "

{San Francisco, City of Hills, Etc.

1 "

Southern Arizona

2 "

Southern California Picture Book

2 "

Yosemite Valley over Tioga Pass

1 "

Scotia, the Home op Redwood — Pacific Lumber

Co., 332 S.

Michigan Ave., Chicago, III.

Scotia, California, and its twenty-century-old redwoods, the oldest
living things — scientific reforestation — a trip through a modern saw-
mill— wood turning.

Seattle — Chamber of Commerce of Seattle.

A series of contrasted views between the Seattle of forty years ago
and the vigorous, progressive city of the present day.

Sir Loin of the T-Bone Ranch — U. S. Ag.

Cattle on the western range — stirring ranch scenes, as well as in-
structive methods of the industry.

Sixty Minutes from Broadway — Leggett.

Scenes in and around Los Angeles and Pasadena — lion and alligator
farms — orange groves — San Gabriel Mission — Mt. Wilson and the ob-
servatory— Catalina Island and a view of the submarine gardens through
a glass-bottom boat.

Sportsman 's Paradise in Colorado— U. S. Ag.

Fishing amid famous scenes — a harmless bear hunt — fire look-outs in
the mountains — much of the scenery is in the Cache la Poudre Canyon
and the north fork of the White River.

Story of the Orange, the — Leggett.

A famous picture produced by the California Fruit Growers Ex-
change and distributed by Leggett — the whole story of the orange from
seed to shipment.

LIST OF EDUCATIONAL FILMS

269

Story of Our National Parks — Rothacker Industrial Films,
Inc., 1339 Diverse]} Parkway, Chicago, III.
A motor bus tour of Yellowstone, Yosemite, Grand Canyon, and Rocky
Mountain National Parks.

Summer Fun in Western National Forests — U. S. Ag.

Fishing, boating, riding, and motoring in some of the National
Forests of the West — re-stocking lakes and streams with fish fry from
the state hatcheries.

Summer Home in the Sierra National Forest — U. S. Ag.

How land may be rented from the government and a summer home
built in the National Forest.

Touring California's Ports — Leggett.

Union Square, Chinatown, and Golden Gate Park of San Francisco —
through the Golden Gate on a steel "greyhound"' — Alcatraz Island, the
prison island since the early days of the Spaniards — Los Angeles — San
Diego — Balboa Park and Coronado Beach — an aquaplaning thriller.

Trailing the Apache Trail of Arizona — Leggett.

The great scenic highway — the start of the trail at Globe, Arizona —
Sierra Ancha range — Roosevelt Lake and Dam — canyons and gorges1 —
Tonto Apache Indians and the ruins of their ancient cliff dwellings.

Transportation — 2 reels — W. E.

This W. E. electric film was made by the Bureau of Mines in Pitts-
burgh, Pa., and shows the methods of transportation beginning with
sleds drawn by slaves and ending with the powerful electric locomotive.

Tumbling Waters — U. S. Ag.

Water falls and other scenic wonders in Middle Creek Canyon and
Gallatin National Forest, Montana.

Up to Hyalite — TJ. S. Ag.

Adventures of a group of tenderfeet who are lost in the Middle Creek
Canyon — the search for them headed by the Forest Service Men —
mountain scenery enroute.

Water for Cities from National Forests — V. S. Ag.

How Portland receives its water supply from the Oregon National
Forest.

270 MOTION PICTURES FOR INSTRUCTION

Wealth of the Absarokas, The — Northern Pacific Rail-
way, St. Paul, Minn.
The picturization of the old-time prospectors and the gold miners in
the Absaroka Mountains — Grass-hopper Glacier.

When Cowboys Get Together — TJ. S. Ag.

Frontier Sports — fun and skill in horsemanship.

Where Rails End — Chicago and Northwestern Railway
(Atlas Educational Film Co., Oak Park, III.)
A trip over a great railroad to Lander, Wyoming, the end of the road,
and from there by stagecoach through the mountains to Yellowstone.

Wichita National Forest and Game Preserve — TJ. S. Ag.

Weird rock formations and scenic wonders of this little-known forest —
birds, bison, and an Indian buffalo hunt — wild turkeys and deer.

Winged Guardians of the Forest — TJ. S. Ag.

Patrolling for forest fires with airplanes and balloons — scouting for
fires — fire is discovered — soldiers and forest rangers to the rescue —
methods of fire fighting.

Woolly West, The — 2 reels — TJ. 8. Ag.

Sheep industry on the range — beautiful scenes in the Shoshone Na-
tional Forest in Wyoming.

Work of a Forest Ranger — TJ. S. Ag.

A diary of the daily tasks of the men who care for the national
forests.

Way of the West, The — N. C. R.

The celebration called "Frontier Days" at Prescott, Arizona — daring
rides by the cowboys.

Washington and Idaho — N. C. R.

This reel pictures Lake Chelan in the Cascade Mountains — the Kicke-
tet River — Yellowstone National Park, with its falls and geysers-
Salmon River, Idaho — Box Canyon— Snake River.

Yosemite Valley, The— N. C. R.

The Mountains of California — hiking on Mt. Lowe — the scenic beauty
of the Yosemite Valley in summer and winter.

LIST OF EDUCATIONAL FILMS 271

United States (Southern States)
Fishing Industry in Florida — N. C. R.

Shark fishing — marine turtles — groupers — sponge fishers — an alliga-
tor hunt.

Florida, the Peninsular State — N. C. R.

Lighthouses on the Florida keys — St. Augustine — the winter home of
Harriet Beecher Stowe on the shore of St. Johns River.

Home of the Seminole, The — N. C. R.

The Everglades of Southern Florida — camps, occupations, and man-
ner of living of the Seminole Indians.

In Dixie Land — N. C. R.

Military School at Charleston — the Texas Rangers — an old quarry
transformed into a garden — hanging moss — the Mardi Gras at New
Orleans.

In the Glory of the Past (San Antonio) — N. C. R.

San Antonio, Texas — the Alamo — the Mission of San Juan — the Mis-
sion of San Francisco — the Mission of Conception.

In the Sunny South — N. C. R.

Military training — a water power electric light plant — a pilgrimage
of Russian gypsies — trout fishing in North Carolina — magnolia gardens
in South Carolina.

Into the Big Cypress (Everglades) — N. C. R.

A trip into the Everglades to a camp of Seminole Indians.

Lookout Mountain — N. C. R.

Springtime in Dixie — gathering holly and mistletoe — baptismal serv-
ice in the Columbian River — Lookout Mountain, the location of one of
the greatest battles of the Civil War.

Manufacture of Arkansas Soft Pine — Southern Lumber
Co., Warren, Ark.
From the felling of the trees in the forest to completed product —
close-up scenes throughout, showing each operation.

272 MOTION PICTURES FOR INSTRUCTION

Mississippi River in Dixie, The — N. C. R.

The Mississippi River in Dixie — a swamp in Georgia; scenes along
the Mississippi and Swanee rivers.

Primitive Life in Tennessee — N. C. R.

Mountaineers living as their ancestors did a hundred years ago —
sheep raising — log cabins — a spinning wheel — weaving — the flintlock
and tinder box — home-made tallow candles.

Texas Trail to Your Table — Swift & Co., Vnion Stock
Yards, Chicago, 111.

Life on a Texas cattle ranch — a packing plant.

Tropical Gems of Florida — N. C. R.

A boat ride on one of the quiet streams of Florida — rare tropical
scenes.

Canada

Amid Alpine Snows — Can. M. P.

The Alpine Club of Canada climbing Mt. Robson, the highest peak of
the Canadian Rockies — 1H68 feet above the snow.

Athabaska Trail, The — Can. M. P.

Sir Arthur Conan Doyle's poem picturized — sub-titles are illustrated
by beautiful and authentic views along the famous trail.

Algonquin Park — Land of 1000 Lakes — X. C. R.

A scenic travelogue of the Ontario Provincial Park.

Camp Fires Among Snow Peaks — N. C. R.

Up the Bow Valley into Yoho and finally into Wilcox Pass, showing
how Alpinists at the top of the world made this ascent into territory
hitherto unexplored.

Canada's Mountain of Tears — N. C. R.

The ascent of Mt. Edith Cavell, named in honor of England's martyred
nurse. The snowy peak, glaciers of ice, the massive pine and spruce
trees casting their shadows, make this a fitting monument.

Canada's New Highways — N. C. R.

An argument for good roads with detailed scenes of modern road con-
struction.

LIST OF EDUCATIONAL FILMS

273

Canada's Metropolis, Montreal — N. C. B.
A travelogue of the city of Montreal — beautiful and historical.

Canada's Farthest North City — Edmunton — AT. C. R.

Scenes in the provincial capital of Alberta.

Cape Breton, Random Glimpses of — A7. C. B.

A little-known beauty spot, full of historic association — scenes in the
rugged northern section of the island around Ingonish and the beauti-
ful Bras d'Or Lake district.

Digging Up the Past — Can. M. P.

The badlands of the Red Deer Valley, Alberta, the most prolific field
in the world for Palaeontological research — how dinosaurs are located
and secured — assembling the fossilized bones of prehistoric monsters at
the Royal Victoria Museum, Ottawa.

Down North — Mackenzie River District — N. C. B.

The first motion picture ever made of the great Mackenzie River
district.

Fishin' Time — Nipigon River — N. C. B.

The piscatorial art on the picturesque Nipigon River, noted for its
scenic beauty.

Fishing Parson, The — Can. M. P.

The parson's fishing expedition — trip up the river — the catch — the
return.

Four Days Open Sea — Can. M. P.

A transatlantic voyage from Quebec to Liverpool — scenes on board —
the boiler room — the gymnasium — entertainment and amusements — sub-
marine tennis and shuffle board — care for the kiddies — nearing Liverpool.

Fresh from the Deep — Can. M. P.

Showing the methods of catching halibut along the coast of British
Columbia and Alaska — preparation of the fish at Prince Rupert, B. C,
for shipment.

Farming and Asbestos Mining in Canada — N. C. B.

Fox fur farming — fur traders — Hudson Bay — cattle in Western
Canada — cowboys riding and <rbusting" bronchos — irrigation dam at Bas-
saco — irrigation of three million acres with five thousand miles of
canals — asbestos mine at Thetford, Quebec.

274 MOTION PICTURES FOR INSTRUCTION

Frontiers of the North — From Quebec to Baffin Land,
Part 1—Can. M. P.
Dealing with the Canadian Government Arctic Expedition of 1922;
included are views of the departure from Quebec, voyage through the
northern ice floes, a polar bear hunt, killing an Arctic seal, typical
Arctic scenery, and the Eskimos of Baffin Land.

Glimpses of Canada — N. C. R.

The St. John River — early French settlers — Corpus Christi festival —
the Douklhbars or "Spirit Wrestlers."

Gentlemen Cadets (Kingston) — N. C. R.

Life and training at the Royal Military College at Kingston, On-
tario.

Getting Canada's Goat — Can. M. P. . . .

Canada's wild goats, the sure-footed inhabitants of the Rockies — a trip
up the mountain — the art of bread-making — sleeping bags — shooting a
big one — bagging a mountain sheep on the Panther.

Gems of the Rockies (Jasper Park) — N. C. R.

The world's largest scenic playground, Jasper National Park, with its
wonderful mountain scenery.

Glimpses of Toronto — A7. C. R.

Dealing with the most interesting features of Canada's second great-
est city, including views of the new harbour improvements and the
Canadian National Exhibition.

Great Lakes Eomance — Can. M. P.

A little story of a boat trip through the upper Great Lakes — views
of Windsor, Sarnia, Sault Ste. Marie, Ontario, Port Arthur, Kakabeka
Falls, and St. Mary River.

How Salmon are Caught — Can. M. P.

One of the films descriptive of Canada's extensive fisheries, and de-
picting the methods used in British Columbia coastal fisheries.

In the Wake of Capt. Cook — Can. M. P.

An airplane trip to Nootka Sound on the northern Pacific coast of
Canada, showing its inhabitants and the many queer features of life in a
quaint Indian fishing village — totem poles, images, etc.

LIST OF EDUCATIONAL FILMS

275

In Old French Canada — Can. M. P.

The land of homespuns — hand weaving — Beaupre and the Shrine of
St. Anne — walls of Quebec — Chateau Frontenac — Plains of Abraham —
Montmorency Falls.

Lake of Hanging Glaciers — Can. M. P.

Excellent views of the glacier and other scenes along a pack trail in
British Columbia — 7000 feet up in the Canadian Selkirk Range — •
Glacial Cave, the source of the Columbia River.

Lake Louise — The Most Picturesque Spot in North Amer-
ica—Can. M. P.

A beautiful scenic film showing the magic wonders of Lake Louise and
vicinity.

Last of the Bison, The — Can. M. P.

The famous buffalo reservation at Wainwright, Alberta, showing an
interesting experiment in buffalo-cattle breeding, whereby an entirely
new domestic animal has been evolved.

Leaves from a Ranger's Notebook — Can. M. P.

The experiences of a Rocky Mountain Ranger in picturesque Jasper
National Park.

MONARCHS OF THE PLAIN — Can. M. P.

A film visit to the Buffalo Park, Wainwright, Alberta, where the once
nearly extinct buffalo, as well as yak, elk, and other wild life, still
exist under government protection.

MOOSEBACK ON THE MlRAMCHI — Can. M. P.

Moose hunting in the vicinity of Lake Carson in New Brunswick —
unusual photography showing the moose in their native haunts — the ex-
citing sport of riding on the back of a moose.

Motoring in Cloudland — Can. M. P.

A view of the Banff- Windermere highway, completing the link of the
world's greatest motor route — the 4200-mile Grand Circle Tour of
Canada and the United States. Glimpses of magnificent scenery and the
wild life of the National Parks near Banff, Alberta.

Mountaineering Memories — Can. M. P.

A trip from Banff to Mount Assiniboine — Canadian Rocky Mountain
scenery.

276 MOTION PICTURES FOR INSTRUCTION

Nature's Echo — N. C. R.

■Scenes of nature's masterpieces in the Canadian Rockies; Clear lakcn
reflecting the surrounding mountains — tumbling streams and water-
falls— winding paths and deep ravines — herds of roaming caribou and
mountain goats.

On the Skeena River, Murray — N. C. R.

Salmon fisheries on the world's greatest salmon stream. One of the
films descriptive of Canada's extensive fisheries — methods of catching
and preparation of the fish.

Queen of the Coast — Vancouver, B. C. — N. C. R.

Scenes in Vancouver, B. C, and its environs. One of the most beauti-
ful scenics ever produced.

Party on the Roof of the World — Can. M. P.

Up Mt. Assiniboine — preparing for the climb — wonderful scenes on
the way and from the mountain top — return to camp.

Play Day at Banff — Can. M. P.

Banff National Park — swimming — carnival — races — mountain -
climbing — the Red Men at Banff.

Playground of a Continent — Can. M. P.

The Muskoka Lakes region of Ontario, the noted summer resort
district.

Pole Pushers of Puget Sound — Can. M. P.

Views of labor and scenery in the northwest cedar industry.

Policing the Arctic — Can. M. P. Part 2 of Frontiers of
the North.

Dealing with the Canadian Government Arctic Expedition of 1922 —
Canada's most northerly white settlement at Craig Harbour, Ellesmere
Island- — interesting glimpses of Eskimo life in this region.

Region of Romance (Lake of Bays District) — N. C. R.

A film of the scenic beauties of water and land.

Sugar Maple Tree Harvest — JV. C. R.

Life in the sugar bush — old andcl new methods of tapping maple trees
■ — gathering sap — transporting it to the kettles — finally a real old-
fashioned sugar -bush party.

LIST OF EDUCATIONAL FILMS

277

Story of a Can of Salmon — Can. M. P.

Depicting in an interesting and non-technical manner how salmon
is canned in the great canneries of British Columbia — every step in the
process from delivering the catch of the cannery to the completed
product is graphically shown.

Student Life in Canada — Can. M. P.

McGill University at Montreal — McDonnell Engineering Building —
student dental clinic — testing cable — college blacksmith and mining
students — "Liquid Air" in physics laboratory — Royal Victoria College
and the training of the maids of Canada.

Thoroughbreds (Horses) — N. C. B.

Horse breeding in Canada, including beautiful scenes of the upper
Gatineau Lake District of Quebec; an exciting point to point race.

Through the Norway of America — Can. M. P.

A trip on a Grand Trunk Pacific steamer from Vancouver to Prince
Rupert.

Top o 'World— Can. M. P.

The Jasper Park region in the vicinity of Mount Robson.

Trail Riders of the Canadian Rockies— Can. M. P.

A horseback expedition over the Wolverine Pass — the Kootenay River
— Mount Goodsir — Tumbling Glacier — Moose Creek — Lake McArthur
— Lake O'Hara.

Valley of 100 Peaks — Jasper Park — N. C. B.

Jasper Park in the Canadian Rockies — one of the National Parks
of the Dominion.

Water Powers of Canada — N. C. B.

Detailed views of the city of Winnipeg and the future water-power
possibilities on the streams of this vicinity.

Where the Moose Run Loose — Can. M. P.

Some extraordinary action pictures of moose in New Brunswick.

Where Salmon Leap — Can. M. P.

Salmon fishing — a trip up the famous Restigouche River in northern
New Brunswick — a splendid sporting picture.

278 MOTION PICTURES FOR INSTRUCTION
Wild Westing De Luxe — Can. M. P.

Ranch life, work and play — the coral — broncho busting — tricks with
the lasso — trout fishing and other recreations.

With Gun and Dog— N. C. B.

The experiences of a party of sportsmen on a deer-hunting trip in
the Laurentian hill district adjacent to the city of Ottawa.

With Rod and Fly — N. C. R.

Of interest to followers of Izaak Walton — a somewhat humorous
depiction of the experiences of a party of fishing enthusiasts on one
of the lakes in the Upper Gatineau River district.

Where Beautt Dwells — N. C. R.

Scenes in Jasper National Park — the famous Maligne Trail — Medicine
Lake — and Maligne Lake. One of the most wonderful parks in the
Canadian Rockies.

Central America

Between Friends — Mexico and Texas — N. C. R,

Views of industrial and historical places in El Paso, Texas — the In-
ternational Bridge into Mexico — customs house and old historical build-
ings of Juarez.

Mexico, Central America and Panama — N. C. R.

A garden near the city of Mexico — Guadalupe Hidalgo, Central Amer-
ica— Balsam wood — the River Dulse — the City of Panama — the Bull Ring.

SOUTH AMERICA
Lima, Peru — N. C. R.

Views of the city of Lima, the capital — the convent of St. Theresa —
the St. Augustine convent — the Peruvian House of Congress.

Rio, the Beautiful — TJ. 8. Navy Department, Washington,
2>. C.

Beauty and progress in Rio de Janiero.

WEST INDIES

Atlantic Fleet in the "West Indies — TJ. 8. Navy.
A tour of the West Indies with the ships of Uncle Sam.

LIST OF EDUCATIONAL FILMS

279

Bermuda — N. C. B.

Hamilton, the capital city — the Devil's Hole — the home of Tom
Moore, the Irish poet — St. George, the oldest settlement of Bermuda—
a yachting regatta.

Nassau— iV. C. B.

Interesting scenes of the buildings, inhabitants, and historical places
of this city in the Bahama Islands.

Trip to the West Indies, A — X. C. B.

St. Croix — Porto Rico — Roseau, capital of Dominico — Bridgetown —
the Windward Islands — the sugar industry.

OTHER ISLANDS
Land of the Ukulele — Hawaii — N. C. B.

Ocean trip to the crossroads of the Pacific, Hawaii — places of beauty
and interest in and around the city of Honolulu.

EUROPE

Austria — N. C. B.

Budapest, the twin city on both banks of the Danube — public buildings
— mineral springs and baths — Stalzberg, the Alpine mountain city — a
party of hikers in the Alps — a holiday festival.

Bavaria — N. C. R.

Stromberg Lake and the mountain country — a winter festival — curling
— ski jumping, and running.

Brittany and the Mediterranean Coast of France —
N. C. B.

Scenes in Brittany; charming old towns along the Mediterranean coast.

Carrying Old Glory to the Seven Seas — Department of

Instruction, University of California, Berkeley, Calif.
A comparison of a modern steamer with Fulton's first boat, the
Clermont — the great progress American shipping has made since the
day of that invention and the impetus given our commerce by the war.

Emerald Isle, The — N. C. B.

Kural scenes in southern Ireland; castles and lakes — Blarney Castle

280 MOTION PICTURES FOR INSTRUCTION

— the ancient custom of kissing the Blarney Stone — the Lakes of Kil-
larney; a rural Irish funeral.

Ireland — The Isle of Man — A7. C. R.

The northwest coast of Ireland — the fishing industry — digging peat.

Paris — A7. C. R.

Buildings — palaces — churches — monuments — bridges — boulevards — gar-
dens— parks — the arch of triumph — the River Seine — the Cathedral of
Notre Dame.

Paris and Alsace-Lorraine — AT. C. R.

The Montmatre section of Paris — Strassburg, the capital of Alsace-
Lorraine.

Rome, Venice and Vesuvious — A7. C. R.

Verona and Pisa — the famous leaning tower — Naples and Vesuvius —
Rome — St. Peter's — the Castle of St. Angelo — the Coliseum — Venice —
the Grand Canal — the Rialto Bridge — St. Marks Cathedral — the Bridge
of Sighs.

Scotland and Wales — N. C. R.

The River Dee — the world's longest span bridge — farming in Scot-
land— the canals of Scotland — the beach in Wales.

Tivoli and Sicily — A7. C. R.

The famous Carrara Marble Quarries — Tivoli, one of the most fas-
cinating Italian towns — Sicily, the gem of the Mediterranean — ancient
ruins at Syracuse.

Tuscany and Lake Como — A7. C. R.

Old towns and villages in the Province of Tuscany — Lake Como.

Versailles — N. C. R.

The royal dwelling-place of the French kings — the palace — the gardens
and fountains — the magnificent palace was the scene of the peace treaty
after the World War.

Village Life in Switzerland — A7. C. R.

Appenzell, the old town in the mountains of Switzerland — primitive
lace-making — the lakes — mountain towns built on the side of cliffs.

LIST OF EDUCATIONAL FILMS

281

Whi*n Winter Comes in Norway and Russia — N. C. R.

Ice boats — winter scenery in Norway — home life in winter — the ice
harvest — soldiers on skiis — North Russia — the midnight sun.

ASIA

Cairo and Jerusalem — N. C. R.

The streets of Cairo — drill of the fire fighters — the Nile — ancient
tombs of the Egyptian rulers — the Sphinx and the Pyramids — the
Sahara Desert — Jerusalem as it appears today.

Cherry Blossom Time (Japan) — N. C. R.

The great annual festival — decorated cities — processions carrying the
great dragon to dispel evil — picturesque scenes and crowds — the Geisha
Girls entertaining the revelers.

Floating Cities of China — X. C. R.

Hankow on the Yangtsze Kiang River — thousands of floating homes
on the river — Canton river life — the Samoan Islands — native huts —
water sports — the cocoanut industry.

Glimpses of India — N. C. R.

The Ganges River — the Nautch Dancers — bathing festival among the
Hindus.

Japanese Festivals — N. C. R.

Streets of Yokohama — public parks and playgrounds — the Kite
Festival — the Rice Festival — the Acrobatic Open Air Festival.

Korea— N. C. R.

Sondo, the one-time capital — scenes of the natives — the fishing col-
onies— a Korean wedding — raising ginseng — the Temple of Heaven — the
rice industry.

Native Scenes in Japan — N. C. R.

Peculiar traffic regulations — home life of natives — the Temples of
Mizusawa — a visit to the Japanese warship Izuma.

Temple Bells and Wayside Shrines (Japan) — A7. C. R.

Tokio, Japan — Temple of Asakusa — a water festival — the temple at
Nara — the sacred deer — the festival of Gion — the pilgrimage to Mt.
Fuji — the great Bronze Buddha.

282 MOTION PICTURES FOR INSTRUCTION

Types of Natives of India — AT. C. B.

Natives at work on Ceylon tea plantations — Kandy — the rickshaw men
— native troops.

AFRICA
Northern Africa — N. C. B.

Morocco — quaint old villages — native types — Moorish palaces —
Algiers, capital and chief port — Tunis — native life.

Old and Modern Devices — Egypt to Now — N. C. B.

Slot machines originated in Egypt over 2000 years ago — progress of
means of private transportation, from phaeton to motorcar, from high
bicycle to motorcycle.

Morocco — N. C. B.

Fez, the capital city — types of natives — street scenes; primitive ir-
rigation.

History — United States

A Pilgrimage (New England) — AT. C. B.

A visit to Plymouth, Newport and Provincetown — interesting and his-
torical places — Plymouth Rock — Pilgrim Hall — home of John Winslow
— the first street in New England — Pilgrim's Monument.

Old Santa Fe— U. S. Ag.

The gateway to the Santa Fe National Forest — points of historic in-
terest in Old Santa Fe.

Old New England — N. C. B.

Old New England with its quaint villages and cities — beautiful land-
scapes and old battlefields — points of interest in Boston.

Patriotic Service — At Patterson School, Dayton, Ohio.
3 reels — N. C. B.
The pageant as given for a number of years in the school auditorium
— a beautiful, patriotic, historical pageant in costume — the titles present
the words of the songs and the dialogue — considered one of the best
pageants ever produced in a public school.

LIST OF EDUCATIONAL FILMS

283

Queen of the Waves — 2 reels — G. E.

Tells the story of American navigation from the time the primitive in-
habitants paddled on logs or constructed crude rafts — a bark canoe —
Christopher Columbus and the Santa Maria — Henry Hudson and the
Half Moon — the treadmill-driven ferry and Robert Fulton's steam-driven
Clermont — launching of the Queen of the Waves, the latest and great-
est battleship.

Wards of a Nation (Indians) — N. C. R.

The Indians as wards of the United States — looking after their spirit-
ual, as well as mental and physical welfare. This film gives a good
idea of what our government is doing to make them desirable citizens.

Nature Study — Zoology

Alligator Hunt, An — N. (7. R.

The haunts of the alligator in the Everglades, west from Palm Beach
— the finding of a nest of alligator eggs — a thrilling fight with and
capture of a large alligator.

Aristocracy — (Birds) — 4 reels — N. C. R.

Many species of the feathered tribe — parent birds and young. Great
patience and care were exercised to obtain these intimate and natural
studies.

Bird City, A — Dominion Parks Branch ; Department of the
Interior, Canada.
A novel bird film taken at the bird sanctuary near Moose Jaw, Sask.
The gull, heron, tern, and many other birds are shown in their every-
day life, nesting, mating, swimming, and flying.

Circus Day— N. C. B.

An interesting depiction of circus life — unloading of the circus —
pitching of tents — the parade and clowns.

Cincinnati Zoo — 3 reels — N. C. R.

An exceedingly interesting and educational film on animals — shows a
great many of the more unusual animals and their habits.

God's Handiwork — N. C. R.

Visitors leaving a mountain inn on horses — beautiful views of moun-

284

MOTION PICTURES FOR INSTRUCTION

tain forests, lakes, ravines, cataracts — large herds of caribou — the
marvelous leaps of the mountain goats.

Harvest of the Sea— r. M. C. A.

An informative study of the salmon fishing industry, including the

catch and the canning.

How Plants are Born, Live and Die — i\r. C. R.

In twelve minutes we see plants grow from the seed to their full
bloom, then wither and die. It took many days to make these pictures
of this slow and gradual process.

Keeping Bees at Work — U. S. A.

Improved methods of bee management — how to control diseases of the

brood — a technical picture for bee-keepers.

Leather Tread, The — International Shoe Co., 1619 Washing-
ton Ave., St. Louis, Mo.

Processes in the manufacture of a shoe from the tanning of the hides
to the display of the finished product.

Little Drops of Water — X. C. R.

A microscopic study of the contents of a drop of water, showing clearly
the bacteria. The latter portion of the reel contains other scientific
experiments.

Make More from Your Poultry — International Harvester
Co., Extension Department, 616 S. Michigan Ave., Chi-
cago, III.

A popular and scientific study of poultry production from the stand-
point of profit to the small producer.

Milk — Carnation Milk Co., Oconomowoc, Wis.

A preliminary discussion of the food value of milk — the cattle are
shown in the pasture and in modern barns — milk undergoing the
processes of evaporation, canning, sterilizing, and shipping. Animated
diagrams play a large part in this picture and add to its interest and
educational value.

Starting Life — N. C. R.

Quaint study of the young animals, including sheep, turkeys,

pheasants, rabbits, kangaroos, etc.

LIST OF EDUCATIONAL FILMS

285

What a Careless Hunter Can Do — U. S. Ag.

A forest fire is started by a careless hunter — methods of government
lire lighters — the destruction of a town by the fire.

Language and Literature

John Greenleaf Whittier — N. C. R.

His birthplace at Haverhill, Massachusetts — his home at Amesbury —
the poem of "The Barefoot Boy"' illustrated — the poem "Maud Muller."

Henry Wads worth Longfellow — N. C. R.

His birthplace at Portland, Maine — his home at Cambridge, Mas-
sachusetts—"The Village Blacksmith" illustrated— "The Psalm of Life."

Vocational Studies

DOMESTIC SCIENCE

Apple of New England, The — National Motion Picture

Bureau, Bedford, Mass.
Covers a number of subjects, including the grafting and raising of
apple trees.

Apples and Granite — N. C. R.

The apple industry and granite quarries of New England. The coast
at Narragansett, R. I. — a trip with a haddock fishboat — a granite
quarry in Vermont — apple-picking time.

Apple and Fish Industries — N. C. R.

The Apple and Fish Industries of Oregon. Shooting the rapids by
barge — the apple industry — the opening of the salmon season — the
Bonnerville fish hatchery — fishing for smelt.

Baking Better Bread — Washburn Crosby Co., Minneapolis,
Minn.

For the housewife to further better bread-baking — also of general in-
terest.

Bakery and Candy — N. C. R.

A pretzel factory — making confection cakes by machinery — whole-
wheat bread — candy made from cactus plants.

286 MOTION PICTURES FOR INSTRUCTION

Beets from Seed to Sugar Bowl — U. S. Ag.

Various steps in the culture of sugar beets from the pre-planting
preparations of the soil to the harvesting of the beets — process of manu-
facture of beet sugar.

Behind the Breakfast Plate — U. S. Ag.

The complete story of the preparation of bacon by modern methods —
curing of bacon by early colonial methods — evolution of the hog busi-
ness.

Bubbles — Manufacturing of Soap — Nn C. B.

The processes and automatic machines used in the manufacture of
toilet and laundry soap.

Better Way of Milking — DeLaval Separator Co., 1709 Hey-
worth Bldg., Chicago, III.

Gland action and formation of milk in the cow's udder — operation of
a milking machine shown in detail by animated technical diagrams —
comparison of hand and machine methods of milking.

Canning by the Cold Pack Method — International Har-
vester Co., 606 S. Michigan Ave., Chicago, III.
Describing the cold pack process of preserving fruits, vegetables, and
meats.

Cheese Manufacture — Armour & Company, Union Stock
Yards, Chicago, III.

The cheese industry from source through manufacture to shipment.
The food value of cheese is carefully explained and the picture as a
whole is of considerable educational value.

Citrous Fruits and Fruit Drops — Y. M. C. A.

Contains some especially attractive scenes in color — the growing of
orange and lemon trees — irrigation of the orchards — other views of the
cultivation and shipping of the fruit — a Beechnut educational produc-
tion with very little advertising.

Concerning Cheese— Armour & Company; Union Stock
Yards, Chicago, III.

Complete process of manufacture of cheese, with close-up scenes show-
ing each operation — world's largest cheese factory — palatable dishes from
cheese.

LIST OF EDUCATIONAL FILMS

287

Cranberries — TJ. 8. Ag.

The culture of cranberries and how to overcome the disease that makes
them bitter — the Puritans receiving the berries from the Indians.

Cured by Canning — TJ. S. Ag.

A Middle West rural community is cured of illness and idleness by
the first mother-daughter canning club, which preserved and canned
foods formerly wasted.

Dates, America's Newest Crop — TJ. 8. Ag.

How date gardens have been made of the Southwestern desert land by
means of irrigation — scientific methods and management — date culture
and insect control — the government assistance furnished the new in-
dustry.

'Dates from the Garden of Eden — Hill Bros. Co., Hill &
Washington Sts., New York City.
Views of the probable geographical location of the Garden of Eden
at the junction of the Tigris and Euphrates Rivers — date growing as
carried on in this famous valley in Mesopotamia is exhibited — the
"Muharram," picturesque procession of the Mohammedans, is included
in the reel — the packing and shipping of dates — a definitely educational
subject.

Drying Fruits and Vegetables in the Home — TJ. S. Ag.

Methods of drying, packing, conditioning, and labeling tomatoes, car-
rots, and other root vegetables, corn, berries, and apples — types of
driers — a luncheon of dried foods which was attended by the wives of
cabinet officers.

Etiquette — In Public Places and the Home — N. C. B.

Of general interest and for domestic science classes.

Etiquette — Table Manners — N. C. R.

Of general interest and for domestic science classes.

Food for Reflection — 2 reels — TJ. 8. Ag.

Based on the idea that "children are the best crop the farm produces"
— how the women of the community met the need for a hot school lunch
at Pleasant View — raising the money and installation of equipment —
beneficial results of the hot lunch for school children — weighing and
measuring demonstrations.

288 MOTION PICTURES FOR INSTRUCTION

Fresh Fish — Can It — y2 reel — V. 8. Ag.

Freshly caught fish are canned in a steam-pressure cooker on the
banks of the stream — taking the canner to the fish is the best method.

Golden Gift, The — Oranges — Leggett.

The old legend of the fleet-footed Grecian Maiden, Atalanta, and the
Golden Apples, serves as an introduction to the story of the orange in-
dustry of California. This is a Castle colored film.

Household Hints — N. C. R.

Preparing a boiled dinner — a new kind of milk bottle — an ostrich egg
omelet — how to economize on coal. Of interest to housewives and others.

History of Spice — Leggett.

Showing the importance of spice in the development of the old trade
routes and the discovery of new countries.

In for a Raise — Baking Powder and Macaroni — X. C. R.

The manufacture of baking powder and macaroni.

Keeping out Bad Food — X. C. R. or U. S. Ag.

Inspection of imported food products under the food and drugs act to
protect Americans from fraudulent and unwholesome articles — inspec-
tions of tea.

Matter of Form — V. 8. Ag.

The assistance the home demonstration agent gives the farm women in
doing their own sewing — another of the Government's films on the
Pleasant View community.

Milk, Nature's Perfect Food — International Harvester Co.,
606 S. Michigan Ave., Chicago, III.
One of the best reels to show the value of milk as a healthful food
— approved methods of sterilizing — storing and shipping milk.

New England Clambake and County Fair — AT. C. R.

Catching herrings by the thousand — a New England Clambake — the
County Fair — views of the Sunken Gardens at Bridgeport, Conn.

Our Dally Bread — G. E.

The evolution of our wheat industry — the development of the ma-
chinery of harvesting, threshing, milling and baking. Begins in each

LIST OF EDUCATIONAL FILMS

289

case with the primitive and concludes with the most modern apparatus
in use.

Pearl Buttons and Ivory — A7. C. B.

The manufacture of ivory articles from elephant tusks — the produc-
tion of celluloid buttons: from sea shells to pearl buttons.

Peanuts — Leggett.

The peanut crop in Virginia and the Carolinas — the special methods
used in planting, harvesting, and delivering this interesting product.

Please Pass the Cranberries — Atlantic Film Co., 727 A
Boyhton St., Boston, Mass.
The world's greatest cranberry bogs — preparation of the soil — setting
the vines — irrigating and pruning — after four years the first crop is
ready — harvesting — screening and sorting — the finest berries for the
table.

Playthings of Childhood — N. C. B.

This interesting film shows the making and dressing of dolls, the
manufacture of toy pianos and other toys.

Rice Industry — Harcol Motion Picture Industries, Inc., New
Orleans, La.

Planting of rice — flooding of field — young growth — cutting, shocking,
threshing — hulling and polishing processes — the master recipe for cook-
ing rice.

Romance of the Lemon — California Fruit Growers Ex-
change, Advertising Dept., Los Angeles, Cal.

A reel produced by the California Fruit Growers Exchange, show-
ing the beautiful lemon tree groves in California, with methods of
cultivation, harvesting, and shipment.

Secret of Sunshine — Loose Wiles Biscuit Co., 811 Com-
merce Bldg., Kansas City, Mo.
Processes of manufacture of fancy and wholesale cookies and small
cakes. Close-ups show each operation.

Sir Lacteus — Good Milk Knight — 2 reels — U. S. Ag.

A fanciful story to impress upon children the importance of milk in

290 MOTION PICTURES FOR INSTRUCTION

the diet. Sir Lacteus and his assistants battle with Sir Disease for a
little girl whom the latter has kidnapped.

Story of the Pure Food, The — Armour & Company, Union
Stock Yards, Chicago, III.
Process of manufacture of oleomargarine.

Talk of the Town, The — Worcester Baking Co., Mason
St., W or Chester, Mass.

(Designed for local distribution only. Special arrangement will be
necesssary for outside circulation.) One of the best presentations of
the technic of the modern bakery. The attempt to interweave a love
story does not help the film for classroom presentation.

Swiss Cheese — Made in America — U. S. Ag.

Grove City Pennsylvania Creamery, which is operated by the Gov-
ernment— processes of making cheese which was formerly largely im-
ported.

To a Queen 'a Taste — Candy Factory — N. C. R.

The manufacture of several different kinds of candy is shown in an
interesting manner, and the reel closes with the making of a candy
basket with floral decorations.

WlCKERWARE — N. C. R.

The interesting processes in the manufacture of wicker furniture are
shown from beginning to end.

AGRICULTURE
Apples and the County Agent — U. S. Ag.

The agricultural extension service introduces modern methods in the
production and marketing of apples, thereby helping an unsuccessful
farmer to become progressive and prosperous.

Alfalfa Weevil Control — U. S. Ag.

The great national value of alfalfa and the tremendous loss through
the alfalfa weevil in some of the Western States. Methods of control.

LIST OF EDUCATIONAL FILMS 291

Agriculture — Broom Corn, Onions, Hops, Artichokes and
Almonds — A7. C. R.

Making brooms — an onion farm in New Jersey — hop gardens in Hol-
land— the artichoke from field to table — almonds from tree to nut
sundae.

Banana, The— .V. C. R.

The banana plantations in Jamaica — bringing in the fruit — loading
the vessel — the unloading and distribution in an American port.

Barbarous Barberry — 1 reel — V. 8. Ag.

An animated cartoon showing the common barberry, the cause of
wheat rust — science magnifies the rust germs and explains cause and
effect. Of special interest in wheat-growing districts.

Battle Against Black Stem Rust, The — Conference for
the Prevention of Grain Rust, 150 Knight Building,
Minneapolis, Minn.

The origin of black stem rust, the terror of the grain fields, on the
common barberry bush — microscopic views of the germ at work — United
States assistance in eradicating the barberry by poisoning and up-
rooting— experiment with rust-proof wheat.

Hog Breeds and Hog Management — XI. 8. Ag.

Examples of hog aristocracy in the United States, with scenes show-
ing the extent of the swine industry.

Bunch of Sheep on Every Farm, A — International Har-
vester Co., 606 S. Michigan Ave., Chicago, III.

A clear and vivid picturization of the sheep industry from grazing in
the pasture to the finished wool product — excellent suggestions regard-
ing the care of sheep and handling of the wool.

Charge of the Tick Brigade — % reel — U. 8. Ag.

An animated cartoon, in which the ticks thank cattle owners for their
neglect of cattle dipping — scenes of cattle attacked by the fever tick —
the resultant mortalities. Of interest to cattle owners, especially in the
south.

Club Champions at Camp Vail — U. 8. Ag.

A day at a Boys' and Girls' Club encampment held in connection with
an interstate fair, featuring exhibits, demonstrations and judging con-
tests.

292 MOTION PICTURES FOR INSTRUCTION

Construction of a Concrete Silo — U. 8. Ag.

Showing the various steps in the building of a concrete silo,, outlining
the practicability of building a concrete silo with the labor available on
the farm.

Co-operative Marketing — Tobacco — 2 reels — V. S. Ag.

Photographed in North Carolina, Virginia, and Kentucky, outlining
the methods followed by co-operative marketing associations.

Cotton Ginning and Marketing — U. 8. Ag.

Delivering the seed cotton at the gin — the processes of ginning — prep-
aration for the mill — baling — grades and types of cotton and bales.

Cotton — Dixie's Greatest Crop — U. S. Ag.

The new era in cotton production — pre-planting preparations — plant-
ing— cultivation — picking and delivering at the gin — problems of the
modern cotton grower, including the boll-weevil.

Cotton's Worst Enemy, the Pink BollAYorm — U. 8L Ag.

10,000 infested areas in Texas are cleaned, under the direction of the
Federal Horticultural Board — sweeping of fields and burning of plants —
the fumigation of imported cotton — the difference between the pink boll-
worm and the boll-weevil.

Dangerous Invaders — Gypsy and Brown-Tail Moths —
77. S. Ag.

This reel tells how the gypsy ond brown-tail Moths gained a foot-
hold in New England — the damage they do to trees — methods to control
them as used in the fight by the Federal and state authorities.

Dynamite — Concentrated Power — 77. S. Ag.

Farm uses of dynamite in blowing out stumps, breaking and removing
boulders, and blasting ditches. The proper methods for its use and pre-
cautions to be taken against accidents.

Farm Inconveniences — International Harvester Co., 606 8.
Michigan Ave., Chicago, III
Pictures in an interesting way the result of carelessness on the farm.

Fighting Western Pine Beetles — V. S. Ag.

The devastation of great forests by these insects as compared with loss

LIST OF EDUCATIONAL FILMS

293

by forest fires — how they destroy valuable timber — methods of control
recommended by government entomologists.

Forests Green or Gray— TJ. 8. Ag.

The uses of the national forests for the present and future genera-
tions— how campers, hikers, tourists can protect them from destruction
by fire.

Helping Negroes Farm — 2 reels — TJ. S. Ag.

Showing the beginning of the work of the agricultural extension
service among the negro farmers of the South and their families, bene-
fits effected, and operation today.

High Steppers — Horses — TJ. S. Ag.

Types of light horses for saddle and driving, that won prizes at a
horse show in an Eastern city.

Horn Flies, Pests of Cattle — TJ. 8. Ag.

Means of preventing the breeding of horn flies, thereby reducing the
harm done by their attacks on cattle — methods of control used in the
southwestern states.

How and Why of Spuds — TJ. 8. Ag.

The production of the American potato, which is second only to
wheat as a human food — modern methods and machinery in Aroostook
County, Maine.

How to Poison Boll- Weevils — TJ. S. Ag.

A lecturer explains the proper methods of poisoning cotton to
control the boll-weevil — various types of poisoning machinery — the
calcium arsenate method — methods of application — tests of poisoning
material.

In the Wake of the Storm — International Harvester Co.,
606 8. Michigan Ave., Chicago, III.
Scenes in Southern Illinois and Northern Indiana following the great
tornado in March of 1925 — views of destroyed villages, orchards, farms
— the wreckage of the coal mines, power lines, and means of communica-
tion such as telegraph, telephone, and railroad — temporary hospitals
and relief stations — beginning the work of reconstruction — rebuilding
of the towns and cultivation on the farms.

294 MOTION PICTURES FOR INSTRUCTION

Johnathan Barr's Conversation — (Milk Testing) — Hol-
stein-Frisicm Association, 230 E. Ohio & Homestead Films,
7\32 8. Wabash., Chicago, III.
An unusually good example of the use of the story method to present
useful information — the operation of the Babcock milk test — the im-
proved methods of milk weighing — the building up of high-grade herds
through the use of pure-bred bulls — need and method of organization
of cow-testing organizations. A nominal service charge is made for
the use of this film.

King Apple's Enemies — V. S. Ag.

Insects and fungi that attack the "king of fruits" — their defeat
through the use of various types of spraying and dusting apparatus.

Lambs from Range to Market — 17. 8. Ag.

Ewes and lambs grazing on national forests — lambs separated from
ewes at the end of season and taking to feeding yards for fattening —
fattening of lambs and loading for market.

Land of Cotton — 2 reels — G. E.

An unusually interesting story of a great industry from the planting
of the seed to the finished cloth. The film was made at the largest cot-
ton plantation, the largest cotton terminal and one of the largest textile
mills in the world.

Layers and Liars — Poultry — V. S. Ag.

Again this department uses the story of the community of Pleasant
View to teach its lesson — culling and other good poultry practices are
explained — community canning of the culls.

Making a Star-Ham — Armour & Company, Union Stock

Yards, Chicago, III.
In an interesting portrayal of the production of ham, this reel also
shows the magnitude of the packing industry.

Milk-Made Products — 2 reels — TJ. 8. Ag.

Laboratory and factory means of making dairy products, as de-
veloped by the Dairy Division of the Department of Agriculture.

Out of the Shadows — 2 reels — U. 8. Ag.

An unusually good argument for tested cattle is advanced in the

LIST OF EDUCATIONAL FILMS 295

story of the farmer whose daughter contracts tuberculosis from the
milk of his tuberculous herd.

Ox Warble, The— U. S. Ag.

The government service is called upon to assist in the extermination
of the ox warble which has cut down milk production — methods used
in combating this pest of American cattle.

Pines That Come Back — V. S. Ag.

How timber can be made a profitable crop on ground unfit for other
agricultural purposes — good forestry practices and uses of timber.

Poor Mrs. Jones — 4 reels — U. 8. Ag.

A short drama which outlines the advantages of country life as com-
pared with that of the usual small city flat.

Plant Disease, A, and How it Spreads. U. S. Ag.

The microscope is used in this film in the study of rhubarb blight to
show the workings of the minute organisms that cause plant diseases.

Potatoes — Early and Late — U. 8. Ag.

This film tells how the potato, which is commonly called "Irish,"
acquired this designation, although fE is entirely an American product
and was unknown until the discovery of the Western Hemisphere —
methods of cultivation and harvesting of early and late potatoes in the
great potato districts in Virginia and New Jersey.

Poultry Farming — N. C. R.

This film deals with up-to-date poultry farming — trap-door nests —
young chicks — fancy roosters — sending baby chicks by parcel post —
duck farming by scientific methods — turkey farming.

Poultry Pests, and Their Control — U. S. Ag.

Showing poultry infested with mites, fowl ticks, chiggers, and poultry
lice, and the approved methods of control.

Power Behind the Orange — International Harvester Co.,
606 8. Michigan Ave., Chicago, III.
A brief picture story of the orange during cultivation, irrigation, and
fumigation — the ripened fruit and methods of shipment.

296 MOTION PICTURES FOR INSTRUCTION

Power Farmer, The — International Harvester Co., 606 S.
Michigan Ave., Chicago, III.
This reel deals with the question of#horse or gasoline power on the
farm — a day in the field and barnyard with a modern tractor.

Production's Pulse — U. 8. Ag., and International Harvester
Co., 606 8. Michigan Ave., Chicago, III.

A film of unusual interest showing how the Government crop reports
are made by 215,000 crop reporters and how they are released to the
public, placing the farmer on a par with the speculator in farm prod-
ucts. The crop report is followed from the field to the newspaper.

Profits From Cull Oranges and Lemons — 77. S. Ag.

The former great loss to the citrous fruit industry from waste cull
fruit — research work to develop uses for culls — the by-product plants,
the balance wheel of the industry, to minimize the loss.

Red Enemy — Fire — V. S. Ag.

The story of a tree which after years of growth was destroyed by
fire, caused by a careless rancher — a camping party trapped in the
burning forest and their escape — lumbering, paper mills, and other in-
dustries depending on our national forests — fire fighting and airplane
fire patrol.

Safeguarding Citrous Fruits — V. S. Ag.

Fumigation of citrous fruit trees in southern California — methods
used in preventing damage to orange and lemon trees.

School Days — International Harvester Co., 606 8. Michigan
Ave., Chicago, III.

Story of modern rural education.

Screw Worms — How to Fight Them — U. 8. Ag.

Methods of fighting the screw worm fly as used in the southwestern
states.

Selecting a Laying Hen — U. 8. Ag.

Culling the flock — physical characteristics by which the good egg
producer can be recognized.

Stable Flies — 77. S. Ag.

The story of the harmful and annoying insect which appears in many

LIST OF EDUCATIONAL FILMS

297

parts of the United States — methods of protecting animals from them
and prevention of their breeding.

Story of White Pine, The — U. S. Ag.

Eastern white pine from virgin forest to finished products — second
growth — nursery planting — the European disease, white pine blister rust.

Strawberries from Field to Shortcake — U. S. Ag.

Cultivation of the plants — picking, sorting, and methods of handling
from field to market.

Sugar Cane and Cane Sugar — V. S. Ag.

Cultivation and harvesting of sugar cane in the South — hauling to the
factory — various operations in the manufacture and refinement of sugar.

Sugar Trail, The— G. E.

This film shows the wild beet and the methods used to bring it under
cultivation — the modern methods of growth, harvesting, and manu-
facture into sugar.

Sweet Potatoes from Seed to Storage — U. 8. Ag.

Approved methods, as recommended by the Government, for the
cultivation of the sweet potato and necessary precautions against disease.

Timberlust — Reforestation — N. C. E.

The necessity of reforestation and methods in use at the present time
— interesting scenes from a lumber camp.

To Market, to Market — V. S. Ag.

An argument for personal buying on the part of the housewife — types
of public markets and the economies which can be effected by shopping
w^ith the market basket instead of the telephone.

Uncle Sam, Champion Farmer — V. S. Ag.

Scenes showing the great crop, fruit and livestock industries of the
United States, including cotton, wheat, corn, potatoes, apples, dates,
citrous fruits, poultry, dairy and beef cattle, hogs, horses, mules, and
sheep.

Undesirable Alien, An— U. S. Ag.

This film shows how the European corn borer became established in
New England — damage to corn and truck crops in Massachusetts and
the fight to control.

298 MOTION PICTURES FOR INSTRUCTION

Unhooking the Hookworm — Bu. Mines,

This film depicts the methods by which the hookworms enter the
human body and the simple and effective methods of cure and preven-
tion.

Western Cantaloupe Industry — I) \ S. Ag.

Methods of harvesting and marketing cantaloupes in the melon-
growing Turlock and Imperial Valleys in California.

Wheat — Bulk Handling — U. S. Ag.

Showing the rapidity with which great quantities of grain can be
handled by this new and more economical method — the vastness of the
operations.

Wheat Grading — V. 8. Ag.

Tests of wheat under Government supervision.

Wheat — Sack Handling — U. S. Ag.

Various steps 'in handling sacked grain in the Pacific Northwest.

Where Uncle Sam Raises Poultry — V. 8. Ag.

Scenes showing the improved methods of handling poultry as used
on the Department of Agriculture poultry farm near Washington —

brooders, pens, houses, use of trap-nests, etc.

Year with the Flock, A — Sheep — V. 8. Ag.

Showing the care of sheep throughout the year — selection of pure-
bred ram and good grade ewes in the fall — winter management — the
shepherd's spring duties, docking, shearing, dipping — sheep on summer
pasture.

MANUFACTURING

Automobiles

Achieving Quantity Production — Buick Motor Co., Flint,
Mich.

An automobile in the making — the trip through the laboratories and
foundries shows the various operations — animated diagrams explain
automotive principles.

LIST OF EDUCATIONAL FILMS

299

Electricity in the Motor Car — 8 reels — Northeast Electric
Co., Rochester, N. Y.

A highly technical and, at the same time, popular educational ex-
position of the various applications of electricity to automobiles and
trucks. All the latest devices used for instruction purposes with the
motion picture are employed in this series of films : animated drawings.
X-ray or phantom views, and greatly enlarged close-ups.

This combination of devices results in the student being able to see
operations of the mechanism and movements of parts that he could not
see in the real object or even in the factory itself. The subjects are as
follows :

Xo. 1 — Electricity in the Motor Car ( 1 Reel )

>>o. 2 — How the Generator Works and Why the Starting

Motor Starts (2 Reels )

No. 3 — One for Two: The Starter-Generator (1 Reel)

Xo. 4 — The Burning Question: Ignition (2 Reels.)

* Xo. 5 — The Electric Starter and Generating System in the

Motor Car (1 Reel)

*No. 6— Ignition (1 Reel)

*Note: Subjects Xo. 5 and Xo. 6 are condensations of the entire

six reels and are more suited for general audiences than for classes

in mechanics.

Flight of the Grey Goose — Witts-Sainte Claire Co., Marys-
ville, Mich.

Interesting points in the manufacture and testing of an automobile.

Story of a Motor Truck — 3 reels — General Motors Corpora-
tion, Pontiuc, Mich.
This picture gives the complete story of the manufacture of powerful
trucks and shows in an interesting manner the value of these carriers
to civilization and modern commerce.

Nation's Road Maker — Dodge Bros., Inc., Detroit, Mich.

This film shows the many and interesting uses of the "caterpillar '
tractor in the making of roads — uprooting and removal of trees — re-
moval of other objects — pulling train formation of graders and wagons.

Right on the Job — BuicJc Motor Company, Flint, Mich.

A motor trip from Portland, Oregon, to San Francisco, California —
beautiful scenery of the Pacific Coast — interesting tests automobiles
are put to by the fire department of San Francisco.

300

MOTION PICTURES FOR INSTRUCTION

Story of an Automobile (Studebaker) — 5 reels — Bu. Min<

This film covers the entire manufacture of an automobile from the
raw material to the finished product — founding, forging and finishing of
metals and the final assembling of parts.

Storage Batteries and Diamond Cutting — N. C. E.

The diamond cutting industry — the manufacture of necklaces — build-
ing storage batteries.

Valve-in-Head Motor — 3 reels — Buick Motor Co., Flint, Mich.

The use of the animated drawing is of special interest in this film
which shows the making, assembling, and operation of a valve-in-head
motor — -'ignition and action of gas in the cylinder.

V-Type Cylinder Car — 3 reels — Cadillac Motor Car Co., De-
troit, Mich.

The making, assembling and minute inspection and tests of an auto-
mobile.

Railroads

Butte, Anaconda & Pacific Ry. — G. E.

The advantages of electrification of railways, using as an example the
line between Butte and Anaconda, over which copper ore must be trans-
ported through a rough and mountainous country.

Conservation of Railway Fuel — Bu. Mines.

Showing correct and incorrect methods of firing locomotives.

Electrified Travelogue — 2 reels — TT. E.

These two reels take us back to ancient Egypt and trace the develop-
ment of transportation methods by the various peoples up to the electric
locomotive — the construction and operation of a modern electric railroad
are convincingly shown — the scenery along the way adds greatly to the
interest of the picture.

King of the Rails — 3 reels — G. E.

This film on transportation goes back to the native American and
through the stone-boat, wheel-barrow, and more modern vehicles to the
DeWitt Clinton, the first locomotive, a feature that will prove of great
historical interest. The film culminates with the great electric locomo-
tive of the Chicago, Milwaukee, and St. Paul Railroad now in operation
through the Rocky Mountains.

LIST OF EDUCATIONAL FILMS

301

Making Railroad Ties on the Wasatch — U. S. Ag.

This picture shows the cutting of great pines into railroad ties.

Building Materials

Brick — From Clay to Pavement — U. S. Ag.

The preparation of clay from the raw material to vitrified paving
brick — views of some finished brick roads.

Hollow Building Tile — Hollow Brick Tile Association,
Conway Bldg., Chicago, III.
Showing the process of the manufacture of hollow building tile and
its use in building construction; interested animated drawings show its
heat and cold resisting qualities.

Lumbering — N. C. R.

The lumber industry in America and Europe.

Manufacture of Face Brick — The American Face Brick
Association, 130 N. Wells St., Chicago.
A highly educational film on the various operations in the manufac-
ture of face brick.

Marble Industry — Bu. Mines.

A film showing the quarrying, cutting, and finishing of marble.

Mixed Asphalt Pavements — Bu. Mines.

Asphalt from plant to roadway and the approved methods of con-
structing asphaltic concrete and sheet asphalt roads.

New England Home, The — Roofing — Bird & Son, East Wal-
pole, Mass.

An unusually interesting industrial film on the manufacture of
modern fire-proof roofing material, with views of old New England homes
dating back nearly three centuries.

Out of the Woods — N. C. R.

An interesting film of the lumbering industry in the Northwest, with
scenes showing the hazardous work of the lumberjack.

Romance of Clay — Atlas Educational Film Co., Oak Park,
III.

The entire story of clay, prefaced with diagrams and quotations show-

302 MOTION PICTURES FOR INSTRUCTION

ing the formation of the clay beds prior to and during the glacial age,
modern methods of mining, manufacturing, burning and glazing.

See Saw — Manufacture of Saws — N. C. B.

An exposition of the interesting processes through which a saw passes
in its manufacture.

Story of Steel Alloy — 4 reels — Bu. Mines.

The ferro-alloy storage bins — the great cast-iron scrap piles — the
charging of scrap iron into open-hearth furnaces — the pouring of the
white-hot molten metal and the rolling of the ingots into merchant
bar.

What About Macadam ! — V. S. Ag.

An explanation of the means whereby macadam roads may be made
satisfactory for automobile traffic — approved methods of building
macadam roads on Federal aid projects under the Bureau of Public
Roads.

Winter Logging — Caterpillar Tractor Co.. Peoria, III.

This film shows the use of the "caterpillar" tractor in the removal of
logs in the northern woods — pulling train formations of heavily loaded
log sleds from forest to mill — exceptionally good winter scenics through-
out.

Cloth and Coverings

Carpeting a Century — Bigelaw Hartford Co., 385 Madi-san

Ave., New York City.
Detailed scenes of the operations in the manufacture of rugs and
carpets from the preparation of the woolen yarn to the finished article,
including setting the design, weaving, shearing, etc.

Civilization's Fabric-Cotton — Converse & Co., 88 Worth St.,
New York City.
Complete story of cotton, the great fabric of modern life.

Cotton Manufacture — 4 reels — U. S. Ag.

The story of cotton from the time it arrives at the mill, including the
steps of spinning, weaving, etc., until the cotton cloth is finished.

LIST OF EDUCATIONAL FILMS

303

From East to West — N. C. R.

This film shows the making of carpets and rugs, including the special
machinery used in this industry.

From Cocoon to Spool — Corticelli Silk Co., 373 W. Adams
St., Chicago, III.

One of the first of the educational industrial films to find favor in
the schools. Very interesting and instructive views are given of the
life of the silk worm as well as the complete manufacture of silk.
Includes a number of Japanese scenes.

Just Kids (Gloves) — N. C. R.

The detailed manufacture of gloves is shown in an interesting manner
in this reel.

Linen Manufacture in America — Clear fax Linen Rug Co.,
Duluth, Minn.

An unusually interesting picture of American methods of handling an
ancient industry — fields of flax — harvesting and preparation for the
loom — European hand methods as compared to American — processes m
the manufacture of linen rugs.

Making Linoleum — Armstrong Cork Co., Lancaster Pa.

An instructive film on an interesting subject — breaking and grind-
ing of cork and its preparation with oil — shrinking and stiffening the
burlap base — the applying and pressing of ingredients — pattern print-
ing and seasoning — originating of pattern and cutting stencils.

Romance op Cloth — National Motion Picture Bureau, Bed-
ford, Mass.

A double story of the manufacture of cotton and wool, from the
natural product to the finished, bolted cloth.

Romance of Silk — Belding Bros. Co., 201 W. Monroe St.,
Chicago, III.

Story of Virgin Wool, The — Leggett.

A reel showing the industry from the sheep's back to cloth.

To Suit Man— Making Clothing — N. C. R.

An interesting and cleverly arranged film on the making of clothing.

304

MOTION PICTURES FOR INSTRUCTION

What the Ocean Hides — N. C. R.

Showing the new industry which furnishes the world with shark
skins for shoes, pocketbooks, bookcovers, traveling bags, and novelties of
all kinds — matching of the sharks and processes in the preparation of
the skin.

Your Hat and Mine — Crofut & Knapp, New York City.

An interesting industrial firm, showing the manufacture of felt hats,
including the shaving of the fur. washing, forming, shrinking, steaming,
blocking, etc.

Bookmaking, Printing, Etc.
Making a Sales Book — .V. C. R.

This film shows the processes in making the electrotype and then
views of the presses turning out sales slips — the cutting, binding, and
use of sales books.

Making a Great Newspaper — 3 reels — Rowland Rogers Stu-
dios, 71 W. 23rd St., New York City.

Your Book — 2 reels — Ginn and Co., Boston, and X. C. R.

This film shows books as man has made them since 5000 B.C.; the
original books of clay, wood, papyrus, parchment, and paper are shown,
and then the much more complex work of making books today — the
linotype machine and hand typesetters — making of illustrations — print-
ing— various steps in book binding.

King's Printing Office — .V. C. R.

An industrial film showing how a royal printery is operated.

Electricity

Behind the Button — Xational Electric Association, 29 TV.
39th St.. New York City.

Interwoven with the story of electricity as a labor saver is the old
legend of Thor, the god of thunder, and his magic hammer.

Benefactor. The — Edison — 3 reels — G. E.

This film shows Edison as a newsboy, in his railroad laboratory, later

LIST OF EDUCATIONAL FILMS

305

as a telegraph operator, and inventor of the incandescent lamp and the
dynamo — a thrilling story of struggle and achievement, authentic and
educational.

Benjamin Franklin's Return — Public Service Co., 7\3 W.
Adams St., Chicago, 111.

This film shows Franklin's early experiments with electricity, and
the great progress we have made in its use in the last century.

Light of a Race — G. E.

The evolution of artificial light from the flint sparks of the caveman
to the incandescent lamp — a reel of real historical value and of ex-
cellent photography.

Conductor, The — G. E.

The transformation of copper from the mines in the Rocky Mountains,
cotton from the South, rubber from Brazil, and silk from Japan, into the
finished lamp cord, the conductor.

Consolation Club — IT. E.

The consolation club is composed of primitive household appliances
which have been discarded by a modern housekeeper — the old appliances
come to life and recite their woes — entertaining, but only slightly
educational.

Current Occurrences — A. C. B.

An interesting reel on the making of electric flatirons and percolators.

Crops and Kilowatts — U. S. Ag.

Water power and irrigation uses of water as conserved in the National
Forests.

De-Light— A. C. B.

An interesting story of the manufacture of electric light bulbs, show-
ing earlier means of obtaining artificial light.

Edison. Thomas A. — G. E.

Mr. Edison is conducted, as a guest of the General Electric Company,
through its laboratories, where he sees the methods employed in the
development of his great invention, the incandescent lamp — fine motion
picture photography, instructive to the student of electricity.

306 MOTION PICTURES FOR INSTRUCTION

Electrical Heart, The — Y. M. C. A. Motion Picture Bureau,
120 W. 41st 81, New Yoric City, md 1111 Center St.,
Chicago, 111.
Storage Batteries and their production.

Farm Electric Visuagraph, The — W. E.

The possibilities of rural electrification told in story form.

Glow of the Lamp, The — G. E.

This film shows the great variety and multiple uses of the incandescent
lamp — the manufacturing end is not neglected.

Headlights — 2 reels — W. E.

An interesting safety film showing the necessity for good headlights.

Jupiter's Thunderbolts — W. E.

The history of the storage battery; Benjamin Franklin's experiments
with his kite, Galvani's experiments with frog legs, Plante's first battery
which was made in 1860; the place that the storage battery holds after
sixty-six years of development; its uses and details of manufacture.

Kilowatt, the Conqueror, New California Electric Corpora-
tion, Denver, Colo.

The great dams of the west and electrical power plants and equip-
ment; scenes in the Sierra Nevadas; Mt. Dana and Mt. Whitney; Im-
perial Valley, the truck gardens of America.

Light of the Nation — W. E.

A rather detailed and technical presentation of the manufacture of
Mazda lamps.

Making Telephone History — American Telephone & Tele-
graph Co., 195 Broadway, New York City.

Interesting points in the history of the telephone — Alexander Graham
Bell, the inventor — the first crude telephone in 1875 and its evolution
to date — an early switchboard as contrasted to the modern telephone
exchange — overhead and underground cables — laying an ocean cable.

Notable Achievements in Electricity — 3 reels — Atlas Edu-
cational Film Co., Oak Park, III., or Willard Battery Co.,
Cleveland, Ohio.
Highlights in the development of electricity shown in an interesting

LIST OF EDUCATIONAL FILMS

307

manner. "The Amber Soul," "Volta's Discovery," and the "Friction
Ball," are the titles of the reels which make the complete story.

Number, Please — Telephone — N. C. R.

An interesting reel about the telephone and telephone service.

Radio Telephone, The — American Telephone & Telegraph
Co., 195 Broadway, New York City.

Technical diagrams are used to explain the principles of the radio
telephone — voice, light, and electric wave vibration — the oscillograph —
construction and use of the vacuum tube explained — radio stations and
broadcasting.

Rolling Steel by Electricity — W. E.

Steel making by the steam method and also the electrical method.
The superiority of the electrical method is dwelt upon. Good pho-
tography and logical arrangement make this an instructive film.

Water Power — W. E.

This film made in cooperation with the Bureau of Mines shows the
ancient and modern methods of using the energy of falling water — the
generation of electricity by a turbine plant and the transmission of
current at high voltages over long distances.

Westinghouse Works — 2 reels — G. E.

This film concerns itself frankly with the Westinghouse plant at
East Pittsburgh. It presents to the visitor an instructive series of

views of the manufacture of electric articles, including a giant electric
locomotive.

Yoke of the Past — 3 reels — G. E.

The Yoke of the Past is physical drudgery, and this film shows in an
interesting manner how man's mind and his inventions have relieved
him of the great labor of primitive methods and replaced it with the
use of modern machinery.

Yours to Command — National Electric Association, New York
City.

The service of electricity, a tireless and invisible servant; power and
light as used by industries, commerce, and the home; its use in modern
motion picture production.

308 MOTION PICTURES FOR INSTRUCTION

Metals and Mineral

Conquest of a Wilderness, — 4 reels— Illinois Steel Co., 208
S. LaSalle St., Chicago, III.
The building of the great mills and the city of Gary by the Illinois
Steel Company.

Iron and Steel — Ford Motion Picture Laboratories, Detroit,
Mich.

An educational film on the manufacture of steel, from the ore fields to
the finished product, showing the great transports on the Great Lakes.

Making Steel and Wire— 5 reels— American Steel & Wire Co.
208 S. LaSalle St., Chicago, III.
One is amazed at the great variety of uses to which wire is put in
modern life, as shown in this film. From the wire nail to piano wire
seems like a long journey, but when the steps are all shown the essential
unity of the process is seen.

The Making of Steel— 2 Reels— International Harvester Co.,
606 South Michigan Ave., Chicago, III.
Latest picture of a great industry.

Steel Pipe — 4 reels — Bu. Mines.

This film shows the manufacture of steel pipe from the mine, trans-
portation, blast and open-hearth furnaces, ingot pouring, blowing, skelp
mills, spelterizing, and welding. (For technical classes.)

Steel and Plate Glass— N. C. R.

Making electrotype blocks— a visit to a steel mill— a plate glass
factory.

Silverware — N. C. R.

How silver plating is done.

Story of Steel— 6 reels— Bu. Mines.

The complete story of steel made by the Bureau of Mines and the
United States Steel Corporation. (For technical classes.)

Reel 1— Shows open-pit iron mining; transportation of ore by water;
blast furnace; by-product coke-oven operation; Bessemer and electric
furnaces; pouring ingots and the soaking pits,

LIST OF EDUCATIONAL FILMS 309

Reel 2 — Manufacture of rails, plates, and other products hot-rolled
from ingots.

Reel 3 — Manufacture of wire products.
Reel 4 — Manufacture of pipe.
Reel 5 — Manufacture of tin plates.
Reel 6 — The human side of steel making.

Triplex Process Making Steel — 2 reels — Bu. Mines.

These reels show the blast furnace, Bessemer converter, open-hearth,
ingot pouring, and rolling mill operations of a great steel plant.

Mining

Copper Mining, Milling and Smelting — 4 reels — Bu.Mines.

The mining, transportation, and preparation of this valuable metal is
shown in detail.

Copper Mining at Anaconda, Mont. — 12 reels — Bu. Mines.

Six reels show mining operations and six show reduction works at one
of the world's largest copper mines. Many safety scenes are given.
For technical students only.

Dangerous and Safe Practices in Soft Coal Mining — Bu.
Mines.

This reel shows the causes of accidents and disasters in coal mining
and methods of prevention.

Dredge Gold Mining — Bu. Mines.

An interesting reel on the source of gold.

Dredging Anthracite Coal — Bu. Mines.
An interesting reel showing the recovery of coal from the river bed.

Indiana Limestone — 2 reels — Bu Mines.

A pic'turization of the preparation of this stone from which some of
America's most beautiful buildings are made — quarrying, cutting and
finishing.

Iron and Gold Mining Pageant — Bu. Mines.

Scenes from the mining industry pageant given by the Carnegie In-
stitute of Technology.

310 MOTION PICTURES FOR INSTRUCTION

Mixing at the Calumet-Hecla — Bu. Mines.

Shows mining, milling, smelting, and the pouring of the molten
copper.

Modern Blast, A — Hercules Powder Co., Wilmington, Del.

Showing the use of dynamite in surface coal mining — drilling and
the preparation of the charge — loading and tamping — detonating.

Modern Coal Mining — 3 reels — Jeffrey Manufacturing Co.,
Columbus, Ohio.
This film shows the use of modern machinery in coal mining; cutters
which cut the walls and bottom of the coal mine, and the "entry driver"
which cuts and loads coal without the use of explosives. For technical
students only.

Modern Goliath Excavating Machines — i reels — Bu. Mines.

The use of the excavating machine in mining and road building — steam
and gasoline shovels, carriers holding up to eight cubic yards — rail track
— caterpillar — tower — drag-line equipment. For technical students only.

One of the World's Great Copper Mines — 3 reels — Bu.
Mines.

This reel shows the Inspiration Copper Mine and the methods used
by which they have cut the cost of production to a minimum.

Rock Drilling — 4 reels — Bu. Mines.

The use of various types of drills. Reel 1. iron mining — Pveels 2 and
3, the granite industry — Reel 4, the construction of the new 10-mile
power canal at Niagara Falls. For technical students only.

Safety Lessons in Metal Mining — 6 reels — Bu. Mines.

This film shows how simple safety measures can prevent many ac-
cidents in the mines which often result in injury and loss of life and
property.

Sandstone Industry — 2 reels — Bu. Mines.

The cutting and removal of sandstone from a deep quarry — machining
the stone — the laying of curbs and sidewalks.

Saying Coal at Home — Bu. Mines.

This reel shows the value of the insulating of heating pipes for coal
economy.

LIST OF EDUCATIONAL FILMS

311

Story of Coal, The — Bu. Mines.

This reel depicts the complete work of the coal mine. Mining and
blasting of coal — loading of mine cars — hauling underground and hoist-
ing to the surface — grading, cleaning and loading at the tipple — ship-
ment by rail.

When a Man 's a Miner — 4 reels — Bu. Mines.

Realistic and vivid coal mining scenes and the lesson of safety are
interwoven with a very good human interest story.

Zinc Mining — 4 reels — Bu. Mines.

The story of zinc, including mining, milling, and smelting.

Glass

Magic Jar, The — Atlas Educational Film Co., Oak Park, III.

This film shows the early struggle for food by prehistoric man, the
accidental discovery of preserving meat through smoking, then an ex-
position of modern home canning methods by Champion U. S. Can-
ners.

Making Cut-Glass — N. C. B.

The processes by which beautiful objects are made from cut-glass are
shown from the furnace to the finished product.

Romance of Glass, The — Atlas Educational Film Co., Oak
Park, III

The picturization of the discovery of glass by the Phoenicians — process
manufacture of glass jars — the hand blowing method as compared to
the modern machine method — explanation of the cold pack method of
canning in modern fruit jars.

Story of a Prescription Bottle, The — Illinois Glass Co.,
Alton, III.

An interesting, descriptive and educational reel showing the old
methods of manufacturing bottles compared with modern methods.

Pottery

Making Pottery — N. C. R.

The mixing and weighing of the clay — shaping on the potter's wheel
— baking, decorating, and glazing.

312 MOTION PICTURES FOR INSTRUCTION

Potter's Wheel, The — G. E.

An interesting and educational film showing the manufacture of
electrical porcelain, through the details of mixing the ingredient?,
molding, turning, glazing and firing in the kilns.

Miscellaneous

Fine Art of Making Musical Instruments, The — Atlas
Educational Film Co., Oak Park, III.
An excellent film showing the manufacture of saxophones from the
flat brass to the finished instrument, opening with the story of the
early struggles of Sax to perfect his invention.

Home Conveniences — International Harvester Co., Agricul-
tural Extension Dept., 606 S. Michigan Ave., Chicago, III.
How modern labor-saving conveniences can lighten the drudgery of
woman's work on the farm.

How to Make a Rubber Tire — Ford Motion Picture Labora-
tories, Detroit, Mich.

The complete process of cultivation and preparation of the rubber
and its final manufacture — practically no advertising.

Just Write — Fountain Pens — .V. C. E.

The story of writing instruments from prehistoric times to the modern
fountain pen — details of its manufacture.

Kewpie Dolls and Toy Trains — .V. C. R.

Showing the manufacture of two of the prime necessities of child-
hood.

Making Game — N. C. E.

An entertaining reel showing the manufacture of sporting goods.

Motion Picture Industry — AT. C. E.

Interesting views of one of America's greatest industries — entire
towns built for screen plays — mammoth stage settings — painting a por-
trait of Mary Pickford — making slow motion pictures.

Ocean Tears (Salt in Bahama Island) — X. C. E.

Scenes in the Bahama Islands showing the refining of salt from

LIST OF EDUCATIONAL FILMS

313

ocean water and the various processes it passes through before ship-
ment.

Passing of the Broom — Hoover Suction Sweeper Co., 1411
Railway Exchange Bldg., Chicago, III.
A playlet wherein husband and wife are concerned in the merits of
the suction sweeper as compared with the broom; a very presentable
story well played.

Rubber of Yesterday, The — Goodyear Rubber Company,
Akron, Ohio.

Gathering the rubber latex, methods of preparation and shipment.
Old methods as compared with those on modern scientific rubber planta-
tions of today.

Salt and Rope Making — N. C. R.

The production of salt by the evaporating system — the manufacture of
rope — the primitive method as compared to the modern methods used
in the factories in the Philippines.

Suds — Apex Appliance Co., 3223 W. 30th St., Chicago, III.
(An Atlas film)
The origin of clothes — snow and stream washing as practiced by the
American Indian — the crude washboard and soap of the pioneer — the
confusion and labor of mother's washday — a modern washing machine
in process of manufacture and operation.

Tick Tock— At. C. R.

A picture on the manufacture of clocks, watches, and alarm clocks.

Trip Through the N. C. R,— 2 reels— N. C. R.

These two reels show the plant and methods of production in the
National Cash Register Company's plant at Dayton, Ohio.

Ukeleles and Wax Candles — N. C. R.

The interesting process of making wax candles — making baskets from
palm leaves — the manufacture of ukuleles in Hawaii — assembling a desk
telephone.

With Every Meal — Knives, Forks and Spoons— N. C. R.

The manufacture of knives, forks and spoons.

314

MOTION PICTURES FOR INSTRUCTION

Physiology and Health

(See Welfare also)
The Flying Bandit — N. C. R.

An interesting and cleverly arranged film showing the plotting of the

flies against humans: their rapid multiplication, how they spread
disease, and methods of extermination are shown: animated cartoons
add a touch of comedy. Can be rented also from the Rowland Rogers
Studios, 71 W. 23rd St., New York City.

Before the Doctor Comes — Society for Visual Education,
806 W. Washington Blvd., Chicago, III.
A film on first aid which liiay be given injured workers by fellow
employees.

Boy Scout Camps — N. C. R.

Building a bridge in a hurry — Ernest Thompson Seton starting a fire
without matches — a company of deaf and dumb Boy Scouts — a scout
camp in the Catskill Mountains and a vacation trip to Porto Rico.

End of the Road, The — 5 reels — U. S. Public Health Service,
Washington, D. C.
Health propaganda in an effective form. In telling the life stories
of two girls, this picture shows the dangers of promiscuity, the ravages
of venereal diseases, and the health., love and happiness that come
to woman as a result of proper training, education, and guidance. In
the presentation of this picture, arrangements should be made for
segregated audiences.

Fit to Fight — 4 reels — N. C. R.

The prevalence of prostitution during the war around the cantonments
and its effect upon society is told in this story — the effects of venereal
disease and its treatment. Recommended for young men only.

Fly as a Disease Carrier, The — U. S. Public Health Serv-
ice, Washington, D. C.
The structure of the common housefly — the way it carries disease —
approved methods of extermination.

LIST OF EDUCATIONAL FILMS 315

General Personal Hygiene — U. S. Public Health Service,
Washington, D. C.
General standards of health for the individual.

Gift of Life, The — National Health Council, 370 Seventh
Ave., New York City.
The biology of reproduction from low forms of cell life to the human
being.

How Disease is Spread — U. 8. Public Health Service, Wash-
ington, D. C. and N. C. R.

Showing the spread of disease through public drinking glasses, sneez-
ing, coughing, etc. — animated map of the United States showing spread
of disease.

How the Mosquito Spreads Disease — U. 8. Public Health
Service, Washington, D. C, and N. C. R.
The life history of the mosquito and advice on how to prevent fever
and the extermination of the mosquito.

Heart and Circulation of Blood — N. C. R.

The action of heart, circulation and purification of the blood is shown
in an interesting manner with the assistance of animated drawings.

How Plants and Animals Cause Disease — U. 8. Public
Health Service, Washington, D. C.
Parasites and how they spread disease — the multiplication of bacteria
and their action on living tissue*

How to Prevent Disease — V. S. Public Health Service,
Washington, D. C.
Personal hygiene, pasteurization, quarantine, vaccination, etc.

How to Keep Cool in Hot Weather — N. C. R.

Approved method of reducing weight and maintaining normal weight
— how to keep cool in hot weather.

Intestines of a Mouse — N. C. R.

Of special interest to high school students or zoology classes; the
subject is thoroughly covered in an interesting manner.

316 MOTION PICTURES FOE INSTRUCTION

Interdependence of Living Things — U. 8. Public Health
Service, Washington, D. C.

This film shows the sun as the source of energy and the elemental
sources of nourishment, raw materials, etc. — bacteria in the scheme of
things.

Little Comrades (Open Air School) — N. C. R.

Interesting scenes of study, exercise, rest, etc., in an open air school.

Malaria Control Work — U. 8. Public Health Service, Wash-
ington, D. C.
The cause of the disease and treatment.

Milk for You and Me — 14 ree^ — U. S. Ag.

A four minute trailer, for special use during "Milk for Health" week.

Personal Hygiene for Young Men — Z7. S. Public Health
Service, Washington, D. C.

Sex education and personal hygiene for men, with an explanation of
sex organs and impulses and the danger of venereal disease.

Personal Hygiene for Young Women — U. S. Public Health
Service, Washington, D. C.
A good reel of sex education and personal hygiene for women — sexual
reproduction is illustrated with anatomical drawings.

Protoplasm, The Beginning of Life — U. S. Public Health
Service, Washington, D. C.
An interesting educational film showing the earliest forms of cellular
life and their methods of reproduction — reproduction in plant life.

Roentgen X-Ray — N. C. R.

An explanation of the invention that is one of the greatest steps in
medical science — its use and operation.

Social Hygiene for Women — 2 reels — U. S. Public Health
Service, Washington, D. C.
A more detailed exposition of the subjects dealt with in "Personal
Hygiene for Young Women."

LIST OF EDUCATIONAL FILMS

317

That Matter of Health — Atlas Educational Film Co., Oak
Park, III.

The vital importance of proper and modern sewage, and sewage
materials, to individual and public health. The reel touches on the
ancient cities of Mesopotamia and Babylon and the great plagues of the
Middle Ages to impress its lesson.

Toothache — N. C. R.

The story method is used to impress information regarding the cause
and cure of toothache and the importance of proper dental attention.

Turn on the Water ! — U. S. Ag.

The danger of impure water on the farm — inexpensive systems — good
and bad water supply systems.

Venereal Diseases — 3 reels — V. S. Public Health Service,
Washington, D. C.
A scientific treatment of the subject of venereal disease.

Dental Hygiene and the Animals — 2 reels — Colgate &
Co., New York City.
A film on denial hygiene from the child's viewpoint. Educational and
entertaining.

Welfare

America's Heritage — Boy Scouts — Goodyear Tire & Rubber
Co., Akron, Ohio.
A motion picture record of a Boy Scout tour through the eastern
states on a motor truck.

An American in the Making — Bu. Mines.

An excellent reel on Americanization, industrial safety and welfare.

Baby Welfare Keels — Borden Condensed Milk Co., 108
Hudson St., New York City.

Barney Medical Clinic (Rotarians for Crippled Children)
— N. C. R.

Showing the work of the Rotarians in obtaining medical care and

318 MOTION PICTURES FOR INSTRUCTION

treatment for crippled children of the cities, who would otherwise be
without aid.

How to Beautify Your Community — 2 reels — N. C. R.

A practical film on the reclaiming of a run-down, ugly neighborhood —
steps by which the people of a community can undertake and accomplish
this work — the principles of landscape gardening — the result of co-
operation.

Boy Scouts at the Fairgrounds — N. C. R.

Showing the Boy Scouts at a fair, pitching camp, various activities,
exhibits, etc.

Boy Scout Activities — N. C. R.

The Boys' Seminole Club in Florida — a fire righting drill — Swiss Boy
Scouts rescue a herdsman — Boys' Week celebration in New York City.

Christmas Thoughts — AT. C. R.

A story on the activities of the Goodfellow Clubs at Christmas.

Danger That Never Sleeps — National Board of Fire Unci' r-
writers, 76 William Street, New York City.

An educational film designed especially for children, dealing with
safety practices around the home — fire is the danger that never sleeps.

Dayton, a City of Beautiful Homes and Factories —
N. C. R.

The progress and development of a city from 1910 to the present time
— ^sriews of its factories, buildings and homes.

Diary of a Murderer (The Fly) — Bu. Mines.

An interesting and educational film showing the menace of typhoid
in the fly.

Factory "Welfare — N. C. R.

The activity of the welfare department of a large industrial institu-
tion— beautiful surroundings — recesses — recreational instruction and as-
sistance— athletics and sanitary conditions.

For the Future — Michigan State Industrial School—
N. C. R.

An interesting reel with views of the Michigan State Industrial
School and the training it is giving the workers of tomorrow.

LIST OF EDUCATIONAL FILMS

319

Fire Fighters — N. C. E.

Fire prevention day and school children's drill and the awarding of
medals — old and new methods of sending fire alarms — the run to the
fire — firemen at work — using the life nets.

Fire — National Board of Fire Underwriters, 76 William St.,
New York City.

A film produced by the National Board of Fire Underwriters for
general distribution to call attention to the great fire losses and the
preventable nature of the majority of these disasters.

Fire Prevention — Foamite-Childs Corporation, Vtica, N. Y.

An advertising film showing the use of the Foamite System in fight-
ing fires of oil, gasoline and kerosene.

Fire Prevention vs. Oil, etc. — Foamite-Childs Corporation,
Vtica, N. Y.

An advertising film showing the use of the Foamite System in the
oil fields. Unprotected tanks are struck by lightning and destroyed at a
tremendous loss. Later a 55,000 barrel tank at the refinery is struck
by lightning, but surrounding property is protected, and the fire ex-
tinguished at a slight loss.

Fire Protection vs. Liquids — Foamite-Childs Corporation,
Vtica, N. Y.

An advertising film demonstrating the use of the portable apparatus
of the Foamite-Childs Corporation in the control of fires of volatile
liquids, dip tanks, etc.

Good- Roads — N. C. R.

The early trails of the Indian — the widening of early roads for the
pioneer's prairie schooners — modern roads and their need in certain
localities.

Good Turns for Our Forests — V. 8. Ag.

The work of the Boy Scouts of America in forest conservation.
Keeping Out Bad Food — V. 8. Ag.

The work of the United States Department of Agriculture in pro-
tecting the health of the public by means of a system of inspection and
scientific tests of food stuffs.

320 MOTION PICTURES FOE INSTRUCTION

Keystone, The — National Board of Fire Underwriters, 76
William St., New York City.
The importance of fire insurance in commercial credit is shown in this
picture. Animation and human interest make this a good film for gen-
eral exhibition purposes.

Men and Management — N. C. R.

A practical film on business management, instruction, modern methods,
elimination of waste, etc.

Outlaw, The: King Carelessness — Carter Cinema Produc-
ing Corporation, % Evans Film Laboratories, 1176 Broad-
way, New York City.
An animated cartoon with allegorical characters impressing the les-
sons of safety.

Public Welfare #1 — N. C. R.

Serving milk to pupils in Kindergarten class — a check room for
babies — a San Francisco Chinatown baby show — a school of free dentis-
try— a roof playground — teaching crippled children to make toys — fresh
air camp for New York boys.

Public Welfare #2—N. C. R.

Training the blind — children's tuberculosis sanitarium in New Eng-
land— a home for orphaned children — the Redham orphanage in Eng-
land.

Rat Menace, The — New York Bureau of Public Health, 137

Center St., N. F, C.
The danger of disease as spread by rats and the proper methods to be
used for their extermination.

Reasons Why — Illinois Steel Co., 208 S. LaSalle St., Chicago,
III.

A film on accident prevention and safety practices in the steel in-
dustry, where the slightest carelessness or neglect may mean a dis-
aster.

Reawakening, The (Training Crippled Soldiers) — N. C. R.

This film was made at Fort Sheridan. Illinois, and shows the train-
ing of crippled soldiers.

LIST OF EDUCATIONAL FILMS

321

The Eoad Goes Through — V. 8. Ag.

How the Western road builder overcomes the barriers to transporta-
tion.

Roads for All America — 6 reels — V. 8. Ag.

Made in connection with the visit to Buenos Aires, Argentina, of the
United States delegation to the First Pan-American Road Congress. In-
teresting views of President Coolidge, various presidents of South
xlmerican republics, the Panama Canal, types of highways, and scenes
of general interest.

Safety Devices — N. C. R.

The accident prevention work in a large industrial plant — safety
devices for machinery — correct methods of operating machines and
handling stock.

The Short Course — U. S. Ag.

Photographed at Baton Rouge, Louisiana, showing the routine work
of a thousand boys and girls in the annual Short Course.

Trees of Righteousness — 3 reels — U. S. Ag.

A forest fire picture, and a preachment against the practice of "woods-
burning."

University of the Night — International Correspondence
Schools, 8cranton, Pa.
A film on the value of home study, and the great possibilities of ad-
vancement to be gained through proper guidance and self-instruction.

What the Forest Means to You — 2 reels — V. 8. Ag.

Man's dependence on the forest and the danger of its complete de-
struction.

Athletics and Sports

Amusement Parks and Other Sports — N. C. R.

Games as they are played in amusement parks — coasting on kiddie
wagons — the game of "follow the leader" — quoit pitching — petola, a
favorite Spanish pastime — the stick game, as played by the American
Indians.

Archery, Bowling and Polo — N. C. R.

An exhibition of pocket billiards — a New England archery contest —

322 MOTION PICTURES FOR INSTRUCTION

a bowling match — broom polo — a motorcycle road race in England —
greyhound race in Florida — a private race course in Virginia — a paper
hunt on horseback.

Camera Hunting in California National Forests — U. 8.
Ag.

A springtime hunt for deer, using a camera instead of a gun.

College Athletics and Jiu Jitsu — N. C. B.

Japanese festival at a women's college — folk dances and athletics —
tug of war — the "wall game" at an English college — association foot-
ball in Great Britain — jiu jitsu, the Japanese art of self-defense.

Dancing — Old and Modern — N. C. B.

A rehearsal for an amateur follies show — outdoor classic dancing
— the native dances of Spain — Russian Folk Dance — the Greek Dance in
Japan and America — a comparison of the slow and dignified minuet with
the modern jazz.

Happy Hours — N. C. B.

A film showing the practice of favorite American pastimes; base-
ball, golf, surf riding, tobogganing, tennis, polo, football, etc.

Hunting and Fishing — N. C. B.

The barefoot boy goes fishing — scenes of Annie Oakley, champion
woman rifle shot, hunting wild ducks.

Le Ballet de Foret — Ar. C. B.

An annual pageant and dance in the forest near Dayton, Ohio.

Water Sports— N. C. B.

Interesting views of yachting in Norway — canoe races — riding the
waves on surf boards — field day of British jackies — walking the greased
plank — crossing the equator aboard a United States warship.

Economics, Business, Etc.

Getting the Most Out op Retailing — 2 reels — N. C. B.

Produced especially for retail merchants and dealing with the four
subjects of: (1) Store Management; (2) Newspaper Advertising; (3)
Window Displays; and (4) Retail Selling.

LIST OF EDUCATIONAL FILMS

323

Face to Face with Facts — 4 reels — N. C. R.

The use of modern methods and the systematic handling of records
and transactions in the rescue of a retail store that is on the verge of
ruin — a human interest story makes these films suitable for general ex-
hibition.

Efficiency in Office Work — N. C. R.

Efficient office methods and practices which can be applied to other
kinds of work as well.

Astronomy, Physics and Chemistry

Communing with the Heavens — Can. M. P.

An interesting, non-technical film on the Dominion National Ob-
servatory and the work of the astronomers. This film has the recom-
mendation of well-known astronomers.

Science — N. C. R.

The analysis of tears under a microscope — slow motion pictures of a
ball supported by a stream of water — interesting experiments with
liquid air — the Yerkes Observatory — a short history of the progress of
illumination.

Riddles of the Firmament — U. 8. Ag.

Studies of various types of clouds and their significance.

Exploring the Upper Air — U. S. Ag.

The Weather Bureau airplanes, dirigibles, and free balloons in their
study of the upper air conditions for weather forecasting.

Tides and the Moon — N. C. R.

Animated drawings and unusual photography show how tides are
caused by the moon. The latter part of the film is devoted to ex-
periments in physics, such as air waves created by a tuning fork, electric
waves, and artificial snow from compressed gases.

Experiments in Chemistry — N. C. R.

Showing the scientific side of everyday matters — preserving fruit
experiments at the U. S. Bureau of Agriculture — scientific experiment
with matches— testing liquors— experiments in combustion — formation
of metails,

RENTAL FILMS*

Films listed in the three Libraries of Part I (Chapter III)
are not relisted in Part II.

Geography
NORTH AMERICA

United States (Eastern States)

America's Greatest Wonder — George Kleine Motion Picture
Films, 49 W. 4.5th St., New York City.

A beautiful scenic of Niagara Falls.

Boston — General Vision Co., 104 W. 42nd St., New York City.

The city of Boston from a geographical standpoint — its key position
with reference to shipping and New England industries.

Climbing Mount Washington — George Kleine Motion Picture
Films, 49 W. 45th St., New York City.
A hazardous but delightful trip by the Dartmouth Outing Club during
a Christmas vacation with the temperature 20 degrees below zero.

Infinite Variety of Little Old New York. The — Carter
Cinema Producing Corporation. % Evans Film Labora-
tories, 1476 Broadway, New York City.
Typical scenes and industries of New York City.

* The distinction between Rental and Purchase Films is not a hard
and fast one. Pathe Exchange, Inc.. lias a long term lease arrange-
ment almost equivalent to sale. The Burton Holmes Laboratories will
sell some subjects, but their list is given under Rental Films. Consult
both lists when a film is wanted on a given subject. Rental prices are
not given in Part II, as the lists were too long for securing the desired
information : then, too, rental prices differed among the various ex-
changes. Three to five dollars per reel has been the prevailing range
of prices,

324

RENTAL FILMS

325

Lure of the Maine Coast, The — Carter Cinema Producing
Corporation, % Evans Film Laboratories, 1476 Broad-
way, New York City.
Wild animals and beauties of this seacoast region.

Marvelous Manhattan — General Vision Co., 104 W. 42nd
St., New York City.
New York and its harbor as a geographical unit — the outlet and in-
let of a nation's commerce.

Middle Atlantic StatevS — General Vision Co., 104 W. 42nd
St., New York City, and Society for Visual Education,
Inc., 327\ S. LaSalle St., Chicago, III.
One of the units in the series on United States Geography prepared

especially for school classes.

Nature's Wealth of Scenic Beauty and Some Cottages
at Newport — Carter Cinema Producing Corp., % Evans
Film Laboratories, 1476 Broadway, New York City.
Summer homes of wealthy Americans.

New England Farm, A — Fox Film Corporation, 10th Ave.
and 55th St., New York City, and 910 S. Wabash Ave.,
Chicago, III.
The daily routine of a New England farm.

New England States — 2 reels — Society for Visu-al Education,
Inc., 327\ S. LaSalle St., Chicago, III.

A selection of the physical features of New England designed to bring
out the industries of the region. The reels include the coast cities, Lake
Champlain and the typical industries of lumbering, quarrying, pastur-
ing sheep and cattle, fishing, etc. A number of historic spots like Lex-
ington, Concord, Plymouth Rock and the Pilgrim Monument are shown.

New York, Empire State — 2 reels — General Vision Co., 104

W. 42nd St., New York City.
Another of the series on United States Geography edited especially for
school use. Logical presentation of the things that have made New York
the empire state of the nation.

326 MOTION PICTURES FOR INSTRUCTION

Our Nation's Metropolis — 2 reels — General Vision Co., 104
W. 42nd St., New York City.

Another unit of this series which takes up New York in detail and
shows how it is the logical focus of the nation's business.

Our Nation 's Capital — 2 reels — General Vision Co., 104 W.
42nd St., New York City.

Views of points of interest in Washington, D. C.

Outdoor Exercise in a Woman's Camp in Maine — Carter
Cinema Producing Corp., % Evans Film Laboratories,
147€ Broadiuay, New York City.
An intimate study of a new type of athletic girl in nature's out-of-
doors.

Physical Character of the New England States — General
Vision Co., 104 W. 42nd St., New York City.
For those who wish another type of geographical lesson from that
of the S. V. E., perhaps this two reel variation of the physical character
of the New England States will form the basis of an interesting com-
parison. A thorough-going geography study made especially for class-
room use.

Physical Character of the Atlantic States — 2 reels —
General Vision Co., 104 W. 42 St., New York City.

A companion film to the one just described.

Principal Cities — General Vision Co., 104 W. 42nd St., New
York City.

A bird's-eye view of the fulcrum cities of the United States from the
standpoint of geographical reasons for their importance.

Quaint Provincetown of Cape Cod — Geo. Kleine Motion
Picture Films, 49 W. 45th St., New York City.
Mr. Kleine says, "We doubt if Europe with all her hoary age can
boast of anything more quaint than these views of a New England
town." The film starts with a panoramic view from the top of the
Pilgrims' Monument. Provincetown is situated on the tip end of Cape
Cod and is a rendezvous for artists and fishermen; the latter leading an
almost primitive life. Ye Olde Towne Crier still proclaims the news.

RENTAL FILMS

327

Half of the population is Portuguese. Intimate views of the fishermen
with their smacks filled with herring and mackerel. Mending nets.

Resources and Industries of New England — 2 reels —
General Vision Co., 104 W. 42nd St., New York City.

Continuing the geographical study of New England. The emphasis is
here transferred from topography to commerce and industry. The whole
series of six reels on this important section of our country places in the
hands of teachers an assemblage of concrete ideas which will vitalize the
ordinary text and map study.

South Atlantic States — 2 reels — General Vision Co., 104
W. 42nd St., New York City.
Of the same general character as the above.

United States (Western States)

Across the Grand Canyon — General Vision Co., 104 W.
42nd St., New York City.
In the midst of all the motion pictures that have been taken of this
wonderful canyon, the present reel may safely be chosen as character-
istic and inclusive.

Ausable Falls in the Adirondacks, The — Carter Cinema
Producing Corporation, c/o Evans Film Laboratories,
1476 Broadway, New York City.
A lively portrayal of the sports and scenes of this noted region.

Central Plains — 2 reels — Society for Visual Education, Inc.,
327 S. LaSalle St., Chicago, Illinois.
A region of our country frequently neglected by motion pictures be-
cause it deals largely with farming and stock raising. Measured, how-
ever, by its importance to the prosperity of America, the central plains
are worthy of the most detailed study.

Crystal Ascension, The — Pathe Exchange, Inc., 35 W. 45th
St., New York City.
The ascent of Mount Washington by an interesting group of people.

Fire Fighting Forest Rangers of Arizona — General Vision
Co., 104 W. 42nd St., New York City.

328 MOTION PICTURES FOR INSTRUCTION

Glacier Park — General Vision Co., 104 W. 42nd St., New
York City.

Another photographer's record of this noted area. One of the Gen-
eral Vision Company's series on our national parks.

Going to the Sun in Glacier Park — General Vision Co.,
104 W. 42nd St., New Yw<k City.

Still another picture of the same type.

Grand Canyon of Arizona — George Kleine Motion Picture
Films, 49 W. 45th St., New York City, and General-
Vision Company, 104 W. 42nd St., New York City.

Tourists are seen descending into the Canyon, some on foot and others
on burros. Passing Hermit's Rest, the party descends through the
Devil's Corkscrew to the bottom of the Canyon, thousands of feet below,
and returns by the Bright Angel's Trail.

Great Plains — Society for Visual Education, Inc., 327\ S.
LaSalle St., Chicago, III.

A study of the great valley between the Mississippi and the Rocky
Mountains — views of the plains and the peaks and foothills of the
Rockies — sheep and cattle on the range and en route to market — activ-
ities on a modern ranch — Denver, the great railroad center of the West.

Man's Triumph over the Mighty Forest — George Kleine
Motion Picture Films, 49 W. 45th St., New York City.
Views of the log-floating time in the lumber district of the Northwest
and scenes of camp life.

National Parks and East Eiver Tunnels — 1 reel — American
Motion Picture Corporation, 126 W. 46th St., New York
City.

This film contrasts the natural wonders of Yellowstone with the
East River Tunnels of New York, the engineering wonders which man has
created to conserve human energy.

Pike's Peak, the Sentinel of Colorado — 1 reel — Carter
Cinema Producing Corporation., c/o Evans Film Labora-
tories, 1476 Broadway, New York City.
A beautiful scenic film of the top of the world.

RENTAL FILMS

329

Scenes Along the Columbia River Highway — 1 reel —
Carter Cinema Producing Corporation, c/o Evans Film
Laboratories, 147$ Broadway, Neiv York City.
A film combining the natural beauties of the Columbia River High-
way with interesting views of the salmon industry.

Scenes Along the Nation's Highway — 1 reel — Carter Pro-
during Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.
Views of good roads of the United States.

Sequoia National Park — 1 reel — Pictorial Chibs, Inc., 350
Madison Ave., New York City.
A pictorial trip through the great redwood forest of California.

Silver Horde, The — Paflie Exchange, Inc., 35 W. 45th St.,
New York City and 418 S. Wabash Ave., Chicago, III.

Views of community fishing and the "smelt run" when the smelts come
up the Western rivers by the millions.

Silver Trail, The — Pictorial Clubs, Inc., 350 Madison Ave.,
New York City.
Means of transportation and scenic beauties along the trails that the
silver prospectors followed in the early days of the West.

Tacoma National Park — General Vision Co., 104 W. 42nd
St., New York City.
Beautiful scenic views of the mountains, streams and forests of the
great Northwestern National Park.

Through Shoshone Valley — 1 reel — Carter Cinema Pro-
ducing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.
An interesting presentation of the greatest irrigation plant in the

world.

* As this book goes to press word comes of an arrangement just per-
fected between Pictorial Clubs and Pathe Exchange, whereby Pathe, and
its various exchanges, becomes physical distributor for Pictorial Clubs
— like Pathe's similar arrangement with The Yale University Press
Film Service for Chronicles of America Photoplays. Orders addressed
to Pictorial Clubs, will reach the nearest Pathe Exchange.

330 MOTION PICTURES FOR INSTRUCTION

Titan of Chasms, The — 1 reel — Carter Cinema Producing
Corp., c/o Evans Film Laboratories, 1476 Broadway,
New York City.

A scenic film of the Grand Canyon of Arizona.

Vanishing Race, A — George Kleine Motion Picture Films,
49 W. 45th St., New York City.

In this reel are presented the Indians on the Blackfeet Reservation in
their daily life — views of preparations for moving camp — the trip with
tents and household goods through mountain trails and across streams
to the new camp site — establishing the new home and the ceremonial
dances that follow.

With the Hopis and Navajos in New Mexico — 1 reel —
Carter Cinema Producing Corporation, c/o Evans Film
Laboratories, 1476 Broadway, New York City.

Beauties of the desert country of the Southwest and life and habits of
the Indians who make the famous Navajo blankets.

Wonders of Yellowstone — 1 reel — General Vision Co., 104
W. 42nd St., New York City.
Showing the strange rock formations, the beautiful gorges and streams,
hot springs and geysers of Yellowstone.

Yosemite National Park — 1 reel — Pictorial Clubs, Inc., 350
Madison Ave., New York City.

The scenic beauties of one of our most wonderful National Parks.

United States (Southern States)

Down in Old Richmond — 1 reel — Carter Cinema Producing
Corporation, c/o Evans Film Laboratories, 1476 Broad-
way, New York City.

Interesting views of the cotton section and old Southern homes.

Florida — 2 reels — General Vision Co., 104 W. 42nd St., New
York City.

A picture of Florida's beautiful scenery, industrial development, cities,

and her great seacoast.

RENTAL FILMS

331

Last of the Seminoles — World Educational Film Co., 732
S. Wabash Ave., Chicago, III.

A film on the Florida Indians, produced in natural color; the dress,
habits, means of livelihood, and homes of the few hundred remaining
of the great tribe are shown, as well as the natural beauty of the coun-
try.

Playing in Florida — George Kleine Motion Picture Films,
49 W. 45th St., New York City.
The great recreation centers of Florida and the people who frequent
them.

South Atlantic States — 2 reels — General Vision Co., 104
W. 42nd St., New York City.
Views of the natural scenery, industries, cities, points of beauty and
historical interest in Virginia, the Carolinas, Georgia, and Florida.

Southern States — 2 reels — Society for Viswal Education,
Inc., 327\ S. LaSalle St., Chicago, III.

An attempt to indicate pictorially the typical characteristics and in-
dustries of our southern group of states. The features included are the
coastal strip, including the Florida Keys, the higher region approaching
the Appalachian Mountains, the coal mining district of Birmingham,
and the crops of cotton, sugar cane, rice, .peanuts and fruit, as well as
the type of lumbering peculiar to the South.

United States (General)

The United States — A Ten Talent Nation — (Thirteen reels
forming a complete series of text films, edited by Gen-
evieve Lamson, M. S., and Edith Dunham Foster; pro-
duced and distributed by The American Motion Picture
Corporation, 126 W. 46th St., New York City.)

Agricultural Resources — Ancestry and Classification of Oil — Animal
Resources — Forest Resources — Life History of a Stream — Location,
Climate and Boundaries — North America, the Center of the World
Neighborhood — Mineral Resources — Rivers as Agents in Shaping the
Surface of the Earth — Size and Topography — Soil Conservation — Topo-
graphic Formation — Water Resources.

332 MOTION PICTURES FOR INSTRUCTION

#United States — 26 reels — Burton Holmes Lectures, Inc.,
N. Ashland Ave., Chicago, III.

Alaska and the Arctic

Alaska — 6 reels — Burton Holmes Lectures, Inc., 7610 N.
Ashland Ave., Chicago, III.

Reel 1, The Alaska Cruise: aboard a Princess Liner — Juneau — the
Taku Glacier — Islands of Ice — Sitka — the Russian Church — American
Indian School.

Reel 2, A Summer Day in Skaguay: the Lynn Canal — Fourth of July
— enormous flowers and berries — a deserted village — the dog bus —
Bridal Veil Falls.

Reel 3, Over the White Pass: from Skaguay to the Yukon — views of
Dead Horse Gulch — Lake Bennett — Miles Canyon — the White Horse
Rapids.

Reel 4, Down the Yukon: from White Horse City to the Flats — views
of Fort Yukon — Rex Beach's house at Rampart — Railway construction —
Fairbanks.

Reel 5, The Klondike Today: where Robert Service lived in Dawson — <
old and new mining methods, including the hydraulic system — making
real gold bricks

Reel 6, Atlin, the Switzerland of British Columbia: Five Finger
Rapids on the Yukon — views of Lake Atlin — a fox farm — and the
Llewellyn Glacier.

Physical Character and Political Geography — Alaska —

1 reel — General Vision Co., 104 W. 42nd St., New York
City.

An educational presentation of a subject of which photographs are

* The Burton Holmes series are for sale as well as rent. These films
are for sale to schools at very low rates, but they are on inflammable
stock. Schools requiring a large number of prints might be able to
get them on non-inflammable stock by communicating with the Burton
Holmes Laboratories.

While the Burton Holmes Travelogues are not produced for the
schoolroom, most of the material is highly educational. The titles are
sometimes in a vein not in the spirit of classroom study, but the teacher
can help these out somewhat. The notes upon these reels were taken
for the most part from the catalog formerly issued by National Non-
Theatrical Motion Pictures, Inc.

RENTAL FILMS

333

rare. The pictures are combined with other studies in such a way as to
make an informing reel.

Commercial Geography — Alaska — 1 reel — General Vision
Co., 104 W. 42nd St., New York City.
Similar to the above with the emphasis on the commercial development
of Alaska.

Amundsen's Polar Flight — 3 reels — Pathe Exchange, 35
W. 45th St., New York City.

Kivalina of the Islands — 6 reels — Pathe Exchange, 35 W.
45th St., New York City.
Not a strictly classroom film, as it is a romance, but the scenes and
occupations of arctic regions constitute valuable geographical material.

With Lieutenant Commander Byrd, U. S. N. in America's
Polar Triumph — 3 reels — Pathe Exchange, 35 W. 45th
St. New York City.

Canada

Canada— 16 Reels — Burton Holmes Lectures, Inc., 7610 N.
Ashland Ave., Chicago, III.

Reel 1, Going to Halifax: glimpses of Nova Scotia — small villages and
roadside scenes — Halifax.

Reel 2, The Land of Evangeline : views of Acadia, with quotations from
Longfellow's poem — apple orchards in bloom.

Reel 3, From the Bay of Fundi/ to the St. Lawrence: pilgrimage to
St. Anne de Beaupre — (St. John, New Brunswick — the Fundy tides and
Montgomery Falls.

Reel 4, Quaint Quebec: the old French city of North America — his-
toric places — the Chateau Frontenac.

Reel 5, Montreal, Old and New: the new Quebec Bridge — city scenes
and views at the races — Chateau de Ramezay.

Reel 6, Ottawa and Toronto: ruins of the Parliament Buildings — a
garden party — views of the Ottawa River and Niagara.

Reel 7, Georgian Bay to Winnipeg: the Thirty Thousand Islands —
Ojibway Inn — the city of Winnipeg and the Fort William elevators —
fishing on the French River.

Reel 8, Regina to the Rockies: the great plains of Saskatchewan and

334 MOTION PICTUEES FOR INSTRUCTION

Alberta — views of Blackfeet camp — Bassamo Dam — Calgary — North-
west Mounted Police.

Reel 9, Beautiful Banff: hotels — swimming pools — and scenic beau-
ties of the city in the Canadian National Park.

Reel 10, With the Stony Indians: sports and customs of the Indians
and the ceremonies whereby the Duke of Connaught was made a chief
of the tribe.

Reel 11, Exquisite Lake Louise: called the most beautiful spot in
North America — views of nearby lakes and glaciers.

Reel 12, The Yo ho Valley: the Canadian Yosemite — also views of
Emerald Lake and Kicking Horse Canyon.

Reel 13, On the Great Glacier: views of the Illeciilewaet and Asulkan
Glaciers — on the Revelstoke Mountain Boulevard.

Reel 14, Through Canadian Canyons: the Kettle Valley Railway —
Kootenay Lake — along the Fraser River to Vancouver.

Eeel 15, Vancouver and Victoria: the two great cities of British
Columbia — highland games and dances at the Scottish Field Day at
Vancouver.

Reel 16, Winter Sports in Quebec: curling — skating — tobogganing.

Farewell, The (Bruce Scenic) — Educational Film Ex-
changes, Inc., 370 7th Ave., New York City.
Beautiful views of sky, water and land.

Great "White North, The — 4 reels — American Motion Pic-
ture Corporation, 126 W. 46th St., New Yorfc City.

A motion picture record of Rasmussen's trip toward the North Pole.

In the Canadian Rockies — 1 reel — Carter Cinema Produc-
ing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.

The wonderful resources and scenery of the country served by the
Canadian Pacific Railroad.

Central America

Mexico— 3 reels— Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, 111.
Reel 1, The Cruise to Vera Cruz: the ocean trip from New York to
Vera Cruz, with a glimpse of Havana's harbor — tropic seas and sunsets
—activities aboard — Castle of San Juan de Ulua.

RENTAL FILMS

335

Reel 2, Torrid Tampico: the great city of the Mexican oil fields, its
skyscapers and the boom population that compares with the Alaskan gold
rush.

Reel 3, Mexican Oil Fields: a story of oil and the oil fields — boring
a well — the strike — tanking, piping and shipping the oil.

Mysteries of Yucatan — Fax Film Corporation, 10th Ave.,
55th St., New York City, and 910 S. Wabash Ave., Chicago,
III.

Views of the cities, people, and industries of an interesting country.

Panama Canal, The — General Vision Co., 104 W. 42nd St.,
New York City.
A reel presenting the Panama Canal as one of the greatest civic
enterprises of the world and an outstanding achievement of the United
States.

White Indians, The — an Ethnological Anomaly — Pathe
Exchange, 35 W. 45th St., New York City.
Actual pictures of these little known people.

SOUTH AMERICA

South America — 5 reels — Barton Holmes Lectures, Inc.,
7610 N. Ashland Ave., Chicago, III.

Reel 1, Who's Who in the Zoo: strange South American animals —
boating on the Tigre near Buenos Aires.

Reel 2, Up the Upper Parana: railway ferry on the Lower Parana
River — views from a steamboat on a jungle river — the city of Posadas
— Yerba Mate — Perto Aguirre.

Reel 3, The Cataracts of Igwassw: through the tropic forests to the
Niagara of South America — on the Brazilian-Argentine frontier.

Reel 4, Going Down to Buenos Aires: a trip to South America, touch*
ing at Pernambuco, Bahia, and Santos — in a gale at sea — the beauties of
the great industrial and cultural center of South America.

Reel 5, Rolling Down to Rio : views of the most beautiful natural
harbor in the world — buildings, streets, magnificent avenues, and the
Botanical Gardens of Rio de Janeiro — the city at night — the Sugar
Loaf crowned with morning mists.

336 MOTION PICTURES FOR INSTRUCTION

EUROPE

Alsace-Lorraine — 6 reels — Burton Holmes Lectures, Inc..
7510 X. Ashland Ave., Chicago, Til.

Reel 13 Strassburg Redeemed: streets and buildings of the reconquered
province of France — the Rhine Bridge — panoramas from the spire of
the great cathedral.

Reel 2. In Lovely Lorraine: views of village and country life of Lor-
raine— tillers of the soil and embroiderers of fine cloth.

Reel 3, In Happy Alsaee : beautiful vineyards, farms and villages in
Alsace — festivals and processions.

Reel 4, Frenchifying Metz: the overturned German statues replaced
by new figures — the splendid German buildings and the old French
quarter.

Reel 5, The Sentence of the Sarre: the French occupation of the Sarre
Valley — rich farms, great furnaces and foundries — a religious proces-
sion in Bonn on the Rhine.

Reel 6, Alsatian Days: a village welcomes its new priest — views of a
patriotic festival and Datives in the National Costume — the Castle of
Hoh Konigsberg.

Ancient Rome — Fox Film Corporation, 10th Ave. and 55th
St., New York City, and 910 S. Wabash Ave., Chicago, III.
Views of the Eternal City: St. Peter's — the Castle of St. Angelo — the
Colosseum — the Forum — other points of historic interest.

Around Wells and its Cathedrals — Carter Cinema Pro-
ducing Corporation, c o Evans Film Laboratories, 1476
Broadway, New York City.

An excellent film showing the old cathedral with its unique and beauti-
ful architecture. The cloisters and the interiors are beautifully pre-
sented.

Austria — 4 reels — Burton Holmes Lectures, Inc., 7510 N,
Ashland Ave., Chicago, 111.
Reel 1, Down the Danube to Vienna: following the longest river in
Europe from its source — views of villages, ruins and castles along its
banks — scenes in Vienna — troops, the Archduke Charles and the imperial
palace.

Reel 2, In Innsbruck : views of a quaint city with dogcarts and in-

RENTAL FILMS

337

teresting native life — buildings and parks of the city and the sur-
rounding mountains — a procession of honor — folk dances.

Reel 3, In South Tirol: Lake Garda and its lemon orchards — proces-
sion of Corpus Christi — a mountain railway and Stelvio, the highest
crossroads of the Alps — the meeting point of Italy, Austria and Switzer-
land, 12,000 feet high— Ortler Peak.

Reel 4, Climbing the Austrian Alps: the dangers as well as the joys
of mountain climbing; the city of Salzburg.

Belgium — 9 reels — Burton Holmes Lectures, Inc., 7-510 N.
Ashland Ave., Chicago, 111.
Reel 1, Mirrors of Nature: artistic and beautiful scenes reflected in
the calm waters of famous rivers and canals in Belgium, France, and
Germany.

Reel 2, Belgium Smiles Again: views of the ruined city of Dinant on
the Meuse — unharmed Ostende and its beach, one of the world's great
resorts.

Reel 3, Bustling Brussels: the Royal Palace — the Bourse and Boule-
vard life — the making of fine lace — views of the Palace of Justice —
guild houses — the city hall.

Reel 4, Martyred Cities : showing the devastation of war in the French
and Belgian cities of Ypres, Arras, Verdun, and Rheims.

Reel 5, Artistic Antwerp : the Cathedral and boulevards — Brabo Foun-
tain and Rubens' Monument — art galleries and parks — harbor works
along the Scheldt and the funeral cortege of a city councilor.

Reel 6, Beautiful Bruges: the beautiful canals and bridges of the
Flemish Venice — the German submarine base — the belfry and city hall.

Reel 7, In Flanders: ineradicable marks left by the war — Flanders
Fields — ruined Dixmude and scenes along the Yser — Ghent and the
room where the treaty of the War of 1812 was signed — the Grand
Beguinage of Ghent.

Reel 8, Heroic Liege: where the World War began — the River Meuse
— the devastation caused by the great guns — the shattered Fort of
Loncin — Malines and the Cathedral of Cardinal Mercier.

Reel 9, In Rural Belgium : Views of a country that is still like a child's
picture book — dogcarts — windmills — wooden shoes — strange costumes —
the village of Wortel — a picturesque festival for returning soldiers.

Chase, The — (Ski Running in the Alps)- — Educational
Film Exchanges, Inc. 729 7th Avenue, New York City.
Fifty of the world's champion ski-jumpers, performing their greatest

338 MOTION PICTURES FOR INSTRUCTION

feats of skill and daring, make this film a thrilling one. Photographed
near St. Moritz in the Alps.

Chateaux of France — Society for Visual Educational, Inc.,
327 S. LaSalle St., Chicago, III.
Views of some of the beautiful and historic castles of France — a
Moravian wedding and celebration are included.

Cheddar and Glastonbury — 1 reel — Carter Cinema Produc-
ing Corporation, c o Evans Film Laboratories, 1476
Broadway, New York City.
A pilgrimage to Glastonbury and is ancient abbey, the cradle of

Christianity in England — the village of Cheddar, the home of Cheddar

Cheese.

Coaching Through Conway in Wales — 1 reel — Carter
Cinema Producing Corporation, c o Evans Film Labora-
tories, 1476 Broadway, New York City.
A beautiful scenic of the Welsh country.

Czechoslovakia — 5 reels — Burton Holmes Lectures, Inc.,
7510 X. Ashland Ave., Chicago, III.

Reel 1, The Real Bohemia: the Sokols or great gymnastic meets — the
home of Kubelik — peasant life and native dances.

Reel 2, In Picturesque Prague: views in the old city with the narrow
streets and the Rathouse and the loth century clock — the great buildings
of the new city — where the famous Bohemian glass is made — laborers
and soldiery — scenes along the Vetava River and the mountains outside
the city.

Reel 3, From Carlsbad to Moravia: the great health wells at Carlsbad
and Marienbad — dog-drawn carts — the life, costumes and dances of the
peasants.

Reel 4, Present-Lay Prague: the Hradsany — the Tyn Church — the Na-
tional Theatre — the Charles Bridge — the Cathedral of St. Vitus and the
River Vetava.

Reel 5, Country Life in Bohemia: scenic beauty and the rich, cul-
tivated lands — cattle and crops — villagers at work and play — native
dances.

England — 12 reels — Burton Holmes Lectures, Inc., 7510 X.
Ashland Ave.. Chicago, III.

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Reel 1, The Sunny South of England: Land's End — Ilfracombe — Fal-
mouth— Looe — Torquay — Weymouth — Bournemouth.

Reel 2, Glimpses of English Town and Country: Stonehenge — Wells
Cathedral — Salisbury — Oxford — Cambridge — Stratford.

Reel 3, With the American T. M. C. A. in London: American soldiers
in England — Eagle Hut and the Washington Inn which was opened by
the Duke of Connaught — Fourth of July in London.

Reel 4, St. Dunstan's Happy Blind: the university for the sightless in
London — Otto Kahn's mansion turned into a training school for
blinded soldiers — work of the blind.

Reel 5, The War Women of England: Trafalgar Square — Florence
Nightingale — Army Service Corps — window washers — bus and aero
workers — 3,000 war workers at Buckingham Palace.

Reel 6, London Plays Ball: British Royalty and nobility witness a
game of baseball between the U. S. Army and Navy.

Reel 7, Seeing Sights in London: Westminster Abbey — Houses of
Parliament — the Horse Guards — No. 10 Downing Street — the Catholic
Cathedral — Whitehall — Admiralty Arch — Fire Monument — Guildhall —
St. Mary-le-Bow— St. Paul's.

Reel 8, Some British Bits Well Done: a school for Army Cooks — an
aviation camp — a tank garage — a war-dog college.

Reel 9, With Uncle Sam's Submarine Chasers: whence the Mayflower
sailed — Francis Drake and the Bowling Green — submarine chasers drop-
ping depth bombs — sea geysers — Admiral Sims.

Reel 10, Around About London: the Thames at Richmond — Windsor
Castle — Hampton Court — Aboard a Houseboat — the Thames in London
— Houses of Parliament — Lambeth — the Embankment — Street traffic,
1902 to 1918.

Reel 11, From Blarney to Broadstairs: the feat of kissing the famous
stone — Queenstown — the Lusitania graves — a Ford for cranking aero-
planes— in Plymouth Harbor — Lord Northcliffe.

Reel 12, A Fairy Foreland: a picturization of Tennyson's poem "The
Brook."

France — 28 reels — Burton Holmes Lectures, Inc., 7610 N.
Ashland Ave., Chicago, 111.

Reel 1, Gay Paree in Wartime: the Paris Opera— the Champs Elysees
• — Arch of Triumph—Notre Dame — the Hotel des Invalides — Guynemer's
plane — Napoleon's tomb — the Louvre.

Reel 2, Glorious Versailles : the palace and gardens of the home of the
Bourbon Kings — the Grand Trianon — Le Petit Trianon — the 14th of
July in Paris, 1918 (Bastille Day).

340 MOTION PICTURES FOR INSTRUCTION

Reel 3, With the Yanks in France: Crusaders in Orleans — Joan of
Arc — aviators at Issoudun — American locomotives — the S. 0. S. at
Tours and the Cathedral — army bakery at Dijon.

Reel 4, Across France with the Yankee "Gas Hounds": St. Nazaire —
Saumur — the Castle of Angers — the ancient drawbridge — The Loire River
— Amboise — Bloise — the Chateau — convoys to the front.

Reel 5, Chateau-Thierry and Beyond: with the Yanks near the front
in July 1918 — German loot — the berth of a Big Bertha — artillery in ac-
tion— camouflage and filmed history.

Reel 6, American Women in France: American fund for French woun-
ded— American Hospitals at Neuilly — tent hospital at Auteuil — nurses
— Young Women's Christian Association — Aix-les-Bains — "Y" Girls.

Reel 7, The Miracle of Montoir: the building of the supply depot near
St. Nazaire — a polyglot army of laborers — the service of supply.

Reel 8, Salvation Army on the Job: Commander Evangeline Booth —
the passage and in the War Zone — the McAllister Sisters — opening a
canteen — meetings near the front — on the edge of the Argonne.

Reel 9, Paris, the Magnificent : the Eiffel Tower — Arch of Triumph —
Alexander Bridge — the art palaces and the Place de la Concorde
Madeleine — the Opera — Cafe de la Paix — the Boulevards and the Seine —
Notre Dame — Cluny — Luxembourg — Pantheon — Sacre Coeur.

Reel 10, The Doughnut That Did It: the war service of the doughnut —
the epidemic — a doughnut factory at the front.

Reel 11, Uncle Sam, Salvager: the great salvage plant of the A. E. F.
at Tours — salving 100 million dollars worth of materials — mountains of
clothing — the world's biggest tailor shop — millions of socks and shoes.

Reel 12, In the Basque Country: the French slopes of the Pyrenees
— the land of Loyola and Francis Xavier — the game of pelota — the
world's smallest republic, Andorra, and its president — mountain scenery
and waterfalls.

Reel 13, In Brittany: the land of sincere piety — the Fair at La
Faouet — the Pardon of Ste. Barbe — the Pardon of Our Lady of Baud —
Pont Aven.

Reel 14, Mirrors of Nature: described as Reel 1 under Belgium.

Reel 15, Parisian Faces and Figures: striking studies of French
physiognomies; superb panoramas from the Eiffel Tower.

Reel 16, Martyred Cities: described as Reel 4 under Belgium.

Reel 17, Battlefields of France: the ruined coal mines of the Lens
Basin— Chinese Labor Corps at play — Fort of La Pompelle near Rheims
— a tank in a trench; German prisoners at work.

Reel 18, A Cold Star Pilgrimage: to the battlefields of Chateau-

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Thierry — Belleau Wood — the Village of Vaux — the Argonne — 22,000
crosses in the American Cemetery at Romagne.

Reel 19, Parisian Holidays: the 14th of July in Paris, 1918 and 1919,
and the transition from despair to victory— the 4th of July in the
Pershing Stadium.

Reel 20, The Land of Pardons: scenes in Brittany — curious costumes
and caps — making wooden shoes — the pardon of St. Anne of Auray —
four Bishops in procession.

Reel 21, Pyrenean Perspectives: penetrating the Pyrenees by trolley —
mountain hamlets and holy places — valleys and peaks.

Reel 22, In Finistere: the Sardine Fleet — the pilgrimage to St.
Roman's shrine — the pardon of St. John of the Finger — Brittany cos-
tumes and bridal gowns.

Reel 23, The Snoiv-Bound Pyrenees: midwinter scenes in the moun-
tains— hiking in a storm — the Cirque of Gavarnie.

Reel 24, Bordeaux to Lourdes : a rainy day in Bordeaux — fox hunting
in the sunshine — the basilica and the grotto of Bernadette at Lourdes.

Reel 25, Along the Riviera: roads and beaches and cities of the
Azure Coast of France.

Reel 26, Monte Carlo: the principality of Monaco — the castle of the
Prince — Street scenes — pigeon shooting — the great pleasure houses — the
Casino — its gaming tables and the terraces and gardens.

Reel 27, Marseilles : France's great Mediterranean seaport — views of
the harbor and Cannebiere — the "Transbordeur" Bridge and the Funi-
cular to Notre Dame de la Garde.

Reel 28, Nice and Cannes: pleasure cities of the Riviera showing the
Casinos, Cafes, Parks, Gardens and the "Battle of Flowers."

From London to Paris by Air — Society for Visual Educa-
tion, Inc., 327 S. LaSalle St., Chicago, III.
Unusual photographs of the English Channel and the cities and towns,
as well as natural scenery, en route from London to Paris.

Germany — 10 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Reel 1, Imperial Berlin: a voyage from Hoboken, U. S. A., to the
harbor and to the City of Berlin — famous streets — buildings — gardens —
monuments — the soldiers and the emperor.

Reel 2, The Spreewald near Berlin: life on the River Spree — quaint
costumes of the people of the forest — Nuremberg — an English boat-race
at old Heidelberg.

342 MOTION PICTURES FOR INSTRUCTION

Reel 3, Munich, the Magnificent : views of the streets and buildings of
the Bavarian capital — women laborers and children playing among flocks
of tame pigeons — the Izar River and the Corpus Christi procession —
King of Bavaria.

Reel 4, In Beautiful Bavaria: quaint peasants — tourists in the salt
mine — the River of Acke and the Koenigs See — Germany's most beauti-
ful lake — the Austrian Tirol.

Reel 5, Mirrors of ~Sature: described as Reel 1 under Belgium.

Reel 6, Yankee Watch on the Rhine: the American occupation of Cob-
lenz — the Flag on Castle Ehrenbreitstein — the bridge of boats — U. S.
troops on parade.

Reel 7, The Franco-British Rhine: the Rhine Bridge at Worms — the
Senegalese Watch on the Rhine at Mainz — Rudesheim — the Germania
monument — British soldiers at Cologne and the great cathedral.

Reel 8, The Lure of the Lorelei: the Rhine from Bonn to Bingen —
Drachenfels — Andernach — castles of the Rhine and the Rock of the
Lorelei — the Pfalz and Rheinstein.

Reel 9, The Sentence of the Sarre: Described as Reel 5 under France.

Reel 10, Moselle Memories : the Moselle River from Treves to Cochem ;
vertical vineyards; views of the valleys and hills: American graves
in the churchyard at Cochem.

Greece — 2 reels — Burton Holmes Lectures, Inc.. 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, In Classic Greece: Patras — Eleusis — through the Corinthian
Canal — Piraeus — Athens — the Acropolis — Evzones on parade — high div-
ing at Phaleron.

Reel 2, In Modem Athens: the great Stadium — the Olympic Games and
the Marathon Race.

Hampton Court Palace — 1 reel — Carter Cinema Producing
Corporation, % Evans Film Laboratories, 1476 Broad-
way, New York City.
Views of the historic structures: great chambers of the palace: the
grounds, vine arbor, lily ponds, and old English gardens.

In Old England — George Kleine Motion Picture Films. 49

W. 45th St., New York City.
Views of the populous island where every foot of soil is cultivated and
landscaped — English roads and quaint houses — the banks of the Thames
and its bridges and locks.

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343

Ireland — 3 reels — Burton Holmes Lectures. Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, A Scotch-Irish Reel: shearing Cheviot sheep — a school in the
Selkirk hills — Crinan Canal — the Isle of Skye — Staffa — Gingal's Cave —
Iona — Belfast Volunteers.

Reel 2, In Old Ireland: Belfast and Dublin — the Horse Show — Glen-
dalough — Achill Island — the Ballybunion Mono Railway.

Reel 3, From Blarney to Broadstairs : described as Reel 11 under Eng-
land.

Italy — 7 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, Southern Italy: Naples — pilgrims from Monte Vergine — Sor-
rento— the Tarantella — Corpus Christi in Amalfi.

Reel 2, The Island of Capri: famous dancers — festival of San Costanzo
— the Blue Grotto — warnings from Vesuvius.

Reel 3, Vesuvius in Eruption: actual volcanic activity — rains of ashes
and cinders — rivers of Lava — crushed villages — refugees — Pompeii.

Reel 4, From the Tiber to the Piave: St. Peter's — Castle of St. Angelo
— The Coliseum — the Forum — scenes of Rome — front line trenches.

Reel o, A Day in Florence: Along the Arno — the Duomo — the Ponte
Vecchio — physical exercises of the war-wounded soldiers.

Reel 6, All Aboard for Brindisi: Egypt to Italy — leaving Alexandria
— interesting fellow passengers — Brindisi — the terminal pillars of the
Appian Way — up the Adriatic.

Reel 7, Lake Maggiore: views of northern Italy and the Alps — hang-
ing gardens — Borromean archipelago — Arona — Castle of Borromean.

Norway — 1 reel — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.
Bergen — by cariole through the Romsdal — a canal boat in the Tete-
marken Canal — the Great Fjords — Hammerfest — Bird Rock — natives of
Lapland.

Old London — 1 reel — Carter Cinema Producing Corporation,
c/o Evans Film Laboratories, 1476 Broadway, New York
City.

Mansion House — Guildhall — Bank of England — Ludgate Circus — St.
Paul's Cathedral.

Old Spain — Fox Film Corporation, 10th Ave. and 55th St.,

344 MOTION PICTURES FOR INSTRUCTION

New York City, and 910 S. W 'abash Ave., Chicago, III.

Beautiful and historic points in Granada and scenes showing the life
and customs of the natives.

Paris the Beautiful — 1 reel — Pwi orial Clubs, Inc., 350 Mad-
ison Ave., New York City.
Views of the buildings, monuments, boulevards, and parks of Paris.

Portugal — 1 reel — Burton Holmes Lectures, Inc.. 7510 N.
Ashland Ave., Chicago, III.

Madrid to Madeira : life in the Spanish capital and in Lisbon — a
bloodless Portuguese bullfight — Funchal in Madeira — coasting in the

tropics.

Scotland — 3 reels — Burton Holmes Lectures, Inc., 7610 N.
Ashland Ave., Chicago, III.

Reel 1, Glasgow to Edinboro: the Clyde River — the Trossachs — Loch
Lomond — Edinboro Castle — Prince's Street — the arrival of the King and
Queen.

Reel 2, Bonnie Scotland: the Forth Bridge — Aberdeen — through the
Caledonian Canal — the Locks of Fort Augustus.

Reel 3, A Scotch-Irish Reel: described as Reel 1 under Ireland.

Sculptor's Paradise, A — Carrara, Italy — Fox Film Cor-
poration, 10th Ave. and 55th St., New York City, and
910 8. Wabash Ave., Chicago, III.

The marble quarries of Carrara, the village, the workers — views of
famous masterpieces of architecture, memorials, etc.. made of Carrara
marble. An unusually beautiful and instructive picture.

Spain — 9 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, Madrid to Madeira: described as Reel 1 under Portugal.

Reel 2, Palma de Majorca: the capital of the Balearic Islands —
senoritas wearing the "Rebozillo" — motoring in Majorca — views of
natives, convents, old olive groves — a she-goat suckling a baby.

Reel 3, In New Madrid: views of the modern city — the post office —
the Square of Puerta del Sol, the center of the city — monuments and
military display.

Reel 4, Spanish Children: Children of the cities of Seville and Granada

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and the villages of Andalusia — peasant children — the costumed children
of the plutocracy at the Feria.

Reel 5, In Barcelona: views of the harbor and city — the Columbus
Column — a religious procession — the Rambla promenade.

Reel 6, Spanish Holiday®: A county fair in Seville showing the pic-
turesque costumes and prize cattle — a royal birthday celebration in
Madrid — Spanish notables.

Reel 7, Toledo and Segovia: views of the great Roman Aqueduct at
Toledo — monuments, streets, churches of both cities.

Reel 8, Seville in Fair Time: burial place of Columbus — the present
Queen of Spain — the bull-ring and other points of interest — Spanish
girls dancing, donning the mantillas, etc.

Reel 9, In Old Granada: the old Moorish city with views of Alhambra
Hill — cave dwellings of the gypsies — the River Darro and the Court of
Myrtles and Zions.

A Trip up the Seine — 1 reel — Society for Visual Education,
Inc., 327 S. LaSalle St., Chicago, III.
Viewi of the industries lining the great waterway, the Cathedral
of Notre Dame, bridges, government buildings and markets of Paris
as seen from the river.

RED CROSS FILMS

Society for Visual Education, Inc., 327 S. LaSalle St.,
Chicago, 111.

School Correspondence.

Florence, Italy — Rome — Naples — Sezze Romano — Greece — Constanti-
nople — Venice — Roumania — In Prague — France — Belgium — Czecho -
Slovakia — Albania — Montenegro — France — The Sahara — Italy's Sons of
the Sea — America Junior (2 reels).

Little Journeys Through Other Lands.

Normandy — Tatra — Brittany — Poland — Zuider Zee — Venice — Riviera
— Marseilles — Quaint Rouen, France.

miscellaneous red cross films

Amid Archangel Snows — The Balkans — Queen of Roumania
— Heroes All — Serbia — Fall of Kiev — Over the Soviet Line —

346 MOTION PICTURES FOR INSTRUCTION

Czechoslovakia — Spirit of Service — Mrs. Brovrn versus the
High Cost of Living — Every Swimmer a Life Saver — Voca-
tional Training for Blind Soldiers — Russia — The Boy Scout
and His Uniform.

POST TRAVEL PICTURES

Chadwick Pictures Corporation, 729 7th Ave., New York
City.

Children of Other Lands.

Children of Holland — Children of Serbia — Children of
Poland — Children of Scandanavia — Children of Bohemia —
Children of Hungary — Children of The Balkans — Children of
Germany — Children of Roumania.

In Other Lands.

Hungary — Lapland — Norway — Greece — Southern Europe —
Roumania — Bohemia — Sweden — Poland — Serbia — Holland —
The Balkans — Austria — Germany — Italy — French Riviera.

WEST INDIES

Bermuda — 2 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Reel 1, Beautiful Bermuda: the city of Hamilton and its environs
from an airplane — tent pegging at Government House.

Keel 2, A Little Atlantis: the Bermudas and their submerged coral
reefs from the air — St. George Frascati — Racing dinghys.

Cuba — 2 reels— Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, Xature's Contrasts: a comparison of New England snow scenes
and tropic Cuban scenes, titled with verse.

Reel 2, Under Cuban Skies: Havana — its harbor, boulevards, clubs,
palaces and cathedral.

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347

St. Thomas, Uncle Sam's New Ward — 1 reel — American Mo-
tion Picture Corp., 126 W. 46th St., New York City.
The Caribbean Island and the changes made in it since under United
States protection.

Toilers of the Equator — (Coffee and Hemp) — Fox Film
Corporation, 10th Ave., and 55th St., New York City, and
910 S. Wabash Ave., Chicago, III.
The growing of coffee and hemp and their preparation for shipment,

in the Kenva colony.

West Indies — 1 reel — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.
Tropical Nassau : glimpses of Port of Spain in Trinidad and of Bar-
bados— fashions and dancing in Nassau — opening palm buds — pelicans
at play.

OTHER ISLANDS

Australia — 9 reels — Burton Holmes Lectures, Inc., 7510 N.

Ashland Ave., Chicago, III.

Reel 1, Sydney, the Antipodean Metropolis : Sydney Harbor and Syd-
ney Head — the Circular Quay — Australian skyscrapers and parks.

Reel 2, A Trip to the Jenolan Caves of Australia: by rail to Hawkes-
bury Agricultural College — the Grand Canyon of Katoomba — the Great
Arch in the Caverns — views of Sydney.

Reel 3, Melbourne, the Magnificent: the people, buildings, streets,
and parks of the capital city of New South Wales.

Reel 4, Round About Melbourne: interesting scenes showing the Cup,
Sports, a Dog Show, Tag Day, and Mme. Melba at home at Coombe
Cottage.

Reel 5, Adelaide, Capital of South Australia: the third largest city —
views and up-to-date items — Australian volunteers.

Reel 6, Round About Adelaide: young Australians and Australian
swimmers — homes and vineyards — the seashore and the races — eucalyp-
tus and sheep.

Reel 7, Hunting Kangaroos from Motor Cars: kangaroo close-Ups in
the Zoo — the emu bird — exciting motor pursuit of wild kangaroos —
baby kangaroos in the pouch — Australian swimmers.

Reel 8, Along the Queensland Coast: Sydney to Brisbane by sea —

348 MOTION PICTURES FOR INSTRUCTION

Towusville — a "Blackfellow" camp — the Aboriginal Australians and the
stolid blacks of the Never-Never Land.

Reel 9, The Cruise of the Aki Maru: a trip from China to Australia —
ship life and the ingenious ways of the Jap tars — crossing the Equator
— Father Neptune comes aboard — good comedy at sea.

Fiji Islands — 5 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Reel 1. Sailing the South Seas to Fiji: aboard the Niagara — Suva
the capital — faces and figure? of the islanders — sports and dancing the
Meke-meke for Mine. Melba on the deck.

Reel 2, Sights of S>n;a: life and labor in Suva — giant turtles — the
constabulary — church parade — tropical scenery.

Reel 3, Methodized Cannibals: along the tropic rivers — converted
native children — a Methodist mission — the ,,Lali'" as a church bell — a
native village.

Reel 4, Fiji Does Its Bit : the rubber and banana industries — native
labor corps starting for France — farewell ceremony at Suva and ashore
at Honolulu.

Reel 5, Fire Walkers at Beqa : unique pictures of an ancient and
rarely performed sacred rite of the Fiji Islanders — terrifying war
dance — actual walking upon superheated stones.

New Zealand — 5 reels — Burton Holmes Lectures, Inc., 7510
X. Ashland Ave., Chicago, III.

Reel 1, Aukland, the Metropolis of New Zealand: views of the city —
the Grafton Bridge — Mount Eden — Ellerslie race course — boat-races —
beside the silver sea.

Reel 2, Rotorua. the Yellowstone of the Antipodes in Neto Zealand:
the Government baths — Wakarewarewa — hot springs and geysers —
Maori children — Wairaki — the great Waimangu geyser — after the out-
burst— a unique inn.

Reel 3, Among the Maoris of Xew Zealand: the Polynesian population
— Maori art and architecture — the ancient native fort — tattooed heads
— the "tiki'' — rubbing noses — the poi dance — the haka-haka.

Reel 4, Wellingioyi and the Xorth Island of yew Zealand: views of
Napier— New Plymouth — Mount Edmont — the Wanganui River — kauri
trees — apples — tomatoes — prize cattle on parade.

Reel 5, Doicn South in yew Zealand: the city of Christchurch in the
South Island — Scottish dances in Dunedin — mid-winter seaside resorts
— Lake Wakatipu — Skipper's Gorge — Maori sports — hurdling in canoes.

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Samoa — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, Today in Samoa : the harbor at 'Apia — Vailinia; Stevenson's
home — tomb of Tusitala — Samoan cocoanuts — making copra — dancing
the siva-siva.

Reel 2, Yesterdays in Samoa: pictures of old Samoan life that cannot
be duplicated today — a "king's kava ceremony" — the taupa girls —
ancient war dance — Ella Wheeler Wilcox distributing leis.

Moana of the South Seas — 6 reels — Famous Players-Lasky,
485 Fifth Ave., New York City.
Not primarily designed for the classroom, but one of the greatest
geographical films ever produced.

Tasmania — 1 reel — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Cape Raoul — the Tasman Peninsula — Hobart, the capital — seeing the
town by tram — a country school — the Russell Falls — the Tamar River.

Tonga Islands — 1 reel — Burton Holmes Lectures, Inc., 7510
N. Ashland Ave., Chicago, III.
Cave of the Swallows — Vavau — Haapai — Nukualofa — making tapa
— the King of Tonga — dancing the laka-laka — South Sea surf.

EAST INDIES

Dutch East Indies — 9 reels — Burton Holmes Lectures, Inc.,
7510 N. Ashland Ave., Chicago, III.

Reel 1, Batavia, the Javanese Capital: landing at Tandjong Priok —
the Dutch army — the "rice table" — life and customs of the Dutch and
J avanese.

Reel 2, A Journey through Java: by rail to Solo — in the Kraton of
Soesoehoenan — the royal ballet — a serio-comic military review.

Reel 3, Surabaya, the Busy Burg of Java: the commercial metropolis
of the Dutch East Indies.

Reel 4, In the Garden of the East: glimpses of the Island of Java —
Batavia — gardens of Buitenzorg — sugar fields — strolling entertainers.

Reel 5, A Polynesian Odyssey : unusual pictures of Bali and its people.

Reel 6, Boro-Bodor and the Bromo: the great carved pyramid of Boro-
Bodor and active volcanic crater of Bromo, smoking in the "Sand Sea."

350 MOTION PICTURES FOR INSTRUCTION

Reel 7, In Batik Land: life, customs and industries of the people where
the waxing and dyeing of Batiks originated.

Reel 8, Rural Java: farming and gathering of Kapok — cultivation of
chinchona trees — rice cultivation.

Reel 9, Watching the Wayangs: town of Djokgakarta — the filmless
movies of the Orient, shadow pictures — the archery of aristocrats —
town of Surabaya.

Philippines — 31 reels — Burton Holmes Lectures, Inc., 7510
N. Ashland Ave., Chicago, III.

Reel 1, Old and New Manila: the Manila of 1913 — the New Luneta —
Rizal Monument — Army and Navy Club — Ernita Y. M. C. A. — old walled
city.

Reel 2, Bilibid, the Sing Sing of the Philippines: a model prison in
Manila — the military drill — how the prisoners are fed — the Bilibid
band.

Reel 3, The Pasig River: the waterfront in Manila and the suburbs —
the upper portion of the river and beautiful scenery.

Reel 4, The Lowlands of Luzon: country life in the Philippines —
peculiar fruits and hemp — industry and natives.

Reel 5, The Dog Eaters of Benguet: at Baguio, the summer capital —
the Benguet Road — school for Igorot girls.

Reel 6, Hiking with the Igorots: over the trails of the mountainous
province of Luzon, from Baguio to Bontoc.

Reel 7, Among the Head Hunters: an Igorot canayo at Bontoc — the
Constabulary — the Ifugao Country — Banaue — the Rice Terraces.

Reel 8, Cruising Through the Philippines : on a Coast Guard cutter —
Romblon — Leyte — Iloilo — Cebu — Zamboanga — San Romon Prison.

Reel 9, The Moros of Mindanao : scenes at Lake Lanao at the gathering
of the Moro Dattos and Sultans.

Reel 10, Visiting the Sultan of Sulu: Jolo, chief city of the Sulu
Islands — views of the Sultan and curious customs.

Reel 11, The Penal Colony of Palawan: views of the penal colony and
along the uncharted coast to the Underground River on the Governor-
General's yacht.

Reel 12, Our Filipino Fightmg Forces: with a mountain battery of the
Philippine scouts— the military play ball and a senator throws the
first ball.

Reel 13, The Philippine National Guard: A cantonment near Manila —
the modern city — students at drill — Red Cross Filipinas.

Reel 14, The Belgian Sisters of Luzon: teaching tiny Filipinas to

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make lace — Red Cross work in Manila — the annual carnival and chil-
dren's day — the candidates for the queenship.

Reel 15, Two Ends of a Rope: the complete rope industry through
the cutting of the "abaca," preparation and manufacture, to the ship-
ment of the finished product.

Keel 16, The Gorge of Pagsanjan: Santa Cruz near Manila — Lake
Laguna covered with lotus — rafts of cocoanuts — going up the gorge
against the rapids — the dash down the river.

Reel 17, In a Manila Wrapper: the tobacco industry — cigars and ciga-
rettes in the making.

Reel 18, Cane Fields of Colamba: Sugar industry — old and new meth-
ods— picturesque plantation lands and workers.

Reel 19, Canning Scenery: Herford T. Cowling photographing Phil-
ippine scenery for Burton Holmes — his field dark room and native
helpers.

Reel 20, Making Summer Sombreros in Manila: the hat industry —
panamas made of buri palm fibre — Lukban, the hatter's town — the toil-
ers and the exquisite headgear they produce.

Reel 21, Zamboanga, General Pershing's Headquarters in the Philip-
pines: the chief city of Mindanao — modern Zambo — plazas and boule-
vards— Mayor Brown and his Orangoutang.

Reel 22, Filipino School Days: Aguinaldo in his town home — high
school cadets — a field day — dances of the nations — drills and exercises.

Reel 23, Tagalog Toilers: the rice industry — the salt industry —
cacao — breadfruit — papayas.

Reel 24, Frocks and Frills of the Filipinas: costumes of the young
women of Manila — social amenities of the Tagalog upper classes —
— heiresses of Philippine culture.

Reel 25, Up-to-date Manila: the modernized capital — clubs — high
buildings — rapid transit — fire tugs in action — a Manila sunset.

Reel 26, Lawmakers of the Philippines: Jose Rizal — Manual Quezon
— Moro Senators — Speaker Osmena — the Constabulary — Don Emilio
Aguinaldo — Moro Dattos — the Sultan of Sulu — the American Governor-
General — Filipino West Pointers — at a grand reception in Manila.

Reel 27, Oriental College Boys and Co-eds: college life — glee club —
dramatic club — cadet drill — co-eds playing ball — arts and crafts — weav-
ing baskets and chinelas — an excursion to the Taal Volcano.

Reel 28, An Oriental Sing Sing: the Bilibid Prison and the inmates at
work — making Philippine wicker chairs — artistic furniture — the daily
retreat — the honor battalion — the calisthenic drill — in the women's ward.

Reel 29. Cocoanuts and Copra: the most picturesque industry in the

352 MOTION PICTURES FOR INSTRUCTION

Philippines — palm groves and cocoanut rafts — cracking and drying the
meat — how to eat a mango.

Reel 30, Luzon Lingerie: designing and making exquisite under-
garments— in a Manila factory — in Bilibid Prison — at Louise Browu's
country training school for needle-workers.

Reel 31, Around About Manila: passing the island of Corregidor —
carnival crowds — pilgrimage to Antipolo — the miraculous image — na-
tive troops at Fort McKinley — Aguinaldo — Cavite.

HAWAII

Commercial Geography of Hawaii — 1 reel — General Vision
Co., 104 W. 42nd St., New York City.
Hawaii is usually thought of as a playground, but this reel ex-
hibits the islands as a commercial entity, giving it its place in the
world of industry.

Physical Character and Political Geography of Hawaii
— 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Famous seacoasts, volcanos and rivers of these interesting islands
are presented in this reel as a geographical study for use in schools.

Everlasting Fire — 1 reel — Carter Cinema Producing Cor-
poration, c/o Evans Film Laboratories, 1476 Broadway,
New York City.
The volcano of Kilauea, with a close-up of the crater.

Hawaiian Glimpses — 1 reel — Carter Cinema Producing Cor-
poration, c/o Evans Film Laboratories, 1476 Broadway,
New York City.

The grass hut home of a Hawaiian family — natives at work and play
— men making and mending nets — women weaving leaves of the Lauhala
tree into mats and hats — making poi, the favorite native food — Hawaiian
scenery.

Hawaii — 5 reels — Burton Holmes Lectures, Inc., 7\510 N. Ash-
land Ave., Chicago, III.
Reel 1, In Happy Honolulu: Decoration Day — the hula-traffic-cop —

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349

Samoa — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.
Reel 1, Today in Samoa : the harbor at Apia — Vailima; Stevenson's
home — tomb of Tusitala — Samoan cocoanuts — making copra — dancing
the siva-siva.

Reel 2, Yesterdays in Samoa: pictures of old Samoan life that cannot
be duplicated today — a "king's kava ceremony" — the taupa girls —
ancient war dance — Ella Wheeler Wilcox distributing leis.

Moana of the South Seas — 6 reels — Famous Players-Lasky,
485 Fifth Ave., New York City.
Not primarily designed for the classroom, but one of the greatest
geographical films ever produced.

Tasmania — 1 reel — Burton Holmes Lectures, Inc., 7610 N.
Ashland Ave., Chicago, III.

Cape Raoul — the Tasman Peninsula — Hobart, the capital — seeing the
town by tram — a country school — the Russell Falls — the Tamar River.

Tonga Islands — 1 reel — Burton Holmes Lectures, Inc., 7510
N. Ashland Ave., Chicago, III.
Cave of the Swallows — Vavau — Haapai — Nukualofa — making tapa
— the King of Tonga — dancing the laka-laka — South Sea surf.

EAST INDIES

Dutch East Indies — 9 reels — Burton Holmes Lectures, Inc.,
7510 N. Ashland Ave., Chicago, III.
Reel 1, Batavia, the Javanese Capital: landing at Tandjong Priok —
the Dutch army — the "rice table" — life and customs of the Dutch and
Javanese.

Reel 2, A Journey through Java: by rail to Soh> — in the Kraton of
Soesoehoenan — the royal ballet — a serio-comic military review.

Reel 3, Surabaya, the Busy Burg of Java: the commercial metropolis
of the Dutch East Indies.

Reel 4, In the Garden of the East: glimpses of the Island of Java—
Batavia — gardens of Buitenzorg— sugar fields— strolling entertainers.

Reel 5, A Polynesian Odyssey : unusual pictures of Bali and its people.

Reel 6, Boro-Bodor and the Bromo : the great carved pyramid of Boro-
Bodor and active volcanic crater of Bromo, smoking in the "Sand Sea."

350 MOTION PICTURES FOE INSTRUCTION

Reel 7, In Batik Land: life, customs and industries of the people where
the waxing and dyeing of Batiks originated.

Reel 8, Rural Java: farming and gathering of Kapok — cultivation of
chinchona trees — rice cultivation.

Reel 9, Watching the Wayangs: town of Djokgakarta — the filniless
movies of the Orient, shadow pictures — the archery of aristocrats —
town of Surabaya.

Philippines — 31 reels — Burton Holmes Lectures, Inc., 7510
N. Ashland Ave., Chicago, III.

Reel 1, Old and New Manila: the Manila of 1913 — the Xew Luneta —
Rizal Monument — Army and Navy Club — Ernita Y. M. C. A. — old walled
city.

Reel 2, Bilibid, the Sing Sing of the Philippines: a model prison in
Manila — the military drill — how the prisoners are fed — the Bilibid
band.

Reel 3, The Pasig River: the waterfront in Manila and the suburbs —
the upper portion of the river and beautiful scenery.

Reel 4, The Lowlands of Luzon: country life in the Philippines —
peculiar fruits and hemp — industry and natives.

Reel 5, The Dog Eaters of Benguet: at Baguio, the summer capital —
the Benguet Road — school for Igorot girls.

Reel 6, Hiking with the Igorots: over the trails of the mountainous
province of Luzon, from Baguio to Bontoc.

Reel 7, Among the Bead Hunters: an Igorot canayo at Bontoc — the
Constabulary — the Ifugao Country — Banaue — the Rice Terraces.

Reel 8, Cruising Through the Philippines : on a Coast Guard cutter —
Romblon — Leyte — Iloilo — Cebu — Zamboanga — San Romon Prison.

Reel 9, The Moros of Mindanao: scenes at Lake Lanao at the gathering
of the Moro Dattos and Sultans.

Reel 10, Visiting the Sultan of Sulu: Jolo, chief city of the Sulu
Islands — views of the Sultan and curious customs.

Reel 11, The Penal Colony of Palawan: views of the penal colony and
along the uncharted coast to the LTnderground River on the Governor-
General's yacht.

Reel 12, Our Filipino Fighting Forces: with a mountain battery of the
Philippine scouts— the military play ball and a senator throws the
first ball.

Reel 13, The Philippine National Guard: A cantonment near Manila—
the modern city — students at drill — Red Cross Filipinas.

Reel 14, The Belgian Sisters of Lu^on: teaching tiny Filipinas to

RENTAL FILMS

351

make lace — Red Cross work in Manila — the annual carnival and chil-
dren's day — the candidates for the queenship.

Reel 15, Two Ends of a Rope: the complete rope industry through
the cutting of the "abaca," preparation and manufacture, to the ship-
ment of the finished product.

Reel 16, The Gorge of Pagsanjan: Santa Cruz near Manila — Lake
Laguna covered with lotus — rafts of cocoanuts — going up the gorge
against the rapids — the dash down the river.

Reel 17, In a Manila Wrapper: the tobacco industry — cigars and ciga-
rettes in the making.

Reel 18, Cane Fields of Colamba: Sugar industry — old and new meth-
ods— picturesque plantation lands and workers.

Reel 19, Canning Scenery: Herford T. Cowling photographing Phil-
ippine scenery for Burton Holmes — his field dark room and native
helpers.

Reel 20, Making Summer Sombreros in Manila: the hat industry —
panamas made of buri palm fibre — Lukban, the hatter's town — the toil-
ers and the exquisite headgear they produce.

Reel 21, Zamboanga, General Pershing's Headquarters in the Philip-
pines: the chief city of Mindanao — modern Zambo — plazas and boule-
vards— Mayor Brown and his Orangoutang.

Reel 22, Filipino School Days: Aguinaldo in his town home — high
school cadets — a field day — dances of the nations — drills and exercises.

Reel 23, Tagalog Toilers: the rice industry — the salt industry —
cacao — breadfruit — papayas.

Reel 24, Frocks and Frills of the Filipinas : costumes of the young
women of Manila — social amenities of the Tagalog upper classes —
— heiresses of Philippine culture.

Reel 25, Up-to-date Manila: the modernized capital — clubs — high
buildings — rapid transit — fire tugs in action — a Manila sunset.

Reel 26, Lawmakers of the Philippines: Jose Rizal — Manual Quezon
— Moro Senators — Speaker Osmena — the Constabulary — Don Emilio
Aguinaldo — Moro Dattos — the Sultan of Sulu — the American Governor-
General — Filipino West Pointers — at a grand reception in Manila.

Reel 27, Oriental College Boys and Co-eds: college life — glee club —
dramatic club — cadet drill — co-eds playing ball — arts and crafts — weav-
ing baskets and chinelas — an excursion to the Taal Volcano.

Reel 28, An Oriental Sing Sing: the Bilibid Prison and the inmates at
work — making Philippine wicker chairs — artistic furniture — the daily
retreat — the honor battalion — the calisthenic drill — in the women's ward.

Reel 29. Cocoanuts and Copra: the most picturesque industry in the

352 MOTION PICTURES FOR INSTRUCTION

Philippines — palm groves and cocoanut rafts — cracking and drying the
meat— how to eat a mango.

Reel 30, Luzon Lingerie: designing and making exquisite under-
garments— in a Manila factory — in Bilibid Prison — at Louise Brown's
country training school for needle-workers.

Reel 31, Around About Manila: passing the island of Corregidor —
carnival crowds — pilgrimage to Antipolo — the miraculous image — na-
tive troops at Fort McKinley — Aguinaldo — Cavite.

HAWAII

Commercial Geography of Hawaii — 1 reel — General Vision
Co., 104 W. 42nd St., New York City.
Hawaii is usually thought of as a playground, but this reel ex-
hibits the islands as a commercial entity, giving it its place in the
world of industry.

Physical Character and Political Geography of Hawaii
— 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Famous seacoasts, volcanos and rivers of these interesting islands
are presented in this reel as a geographical study for use in schools.

Everlasting Fire — 1 reel — Carter Cinema Producing Cor-
poration, c/o Evans Film Laboratories, 1476 Broadway,
New York City.
The volcano of Kilauea, with a close-up of the crater.

Hawaiian Glimpses — 1 reel — Carter Cinema Producing Cor-
poration, c/o Evans Film Laboratories, 1476 Broadway,
New York City.

The grass hut home of a Hawaiian family — natives at work and play
— men making and mending nets — women weaving leaves of the Lauhala
tree into mats and hats — making poi, the favorite native food — Hawaiian
scenery.

HAWAn — 5 reels — Burton Holmes Lectures, Inc., 7\510 N. Ash-
land Ave., Chicago, III.
Reel 1, In Happy Honolulu: Decoration Day — the hula-traffic-cop —

RENTAL FILMS

345

and the villages of Andalusia — peasant children — the costumed children
of the plutocracy at the Feria.

Reel 5, In Barcelona: views of the harbor and city — the Columbus
Column — a religious procession — the Rambla promenade.

Reel 6, Spanish Holidays?: A county fair in Seville showing the pic-
turesque costumes and prize cattle — a royal birthday celebration in
Madrid — Spanish notables.

Reel 7, Toledo and Segovia: views of the great Roman Aqueduct at
Toledo — monuments, streets, churches of both cities.

Reel 8, Seville in Fair Time: burial place of Columbus — the present
Queen of Spain — the bull-ring and other points of interest — Spanish
girls dancing, donning the mantillas, etc.

Reel 9, In Old Granada: the old Moorish city with views of Alhambra
Hill — cave dwellings of the gypsies — the River Darro and the Court of
Myrtles and Zions.

A Trip up the Seine — 1 reel — Society for Visual Education,
Inc., 327 S. LaSalle St., Chicago, III.
Viewg of the industries lining the great waterway, the Cathedral
of Notre Dame, bridges, government buildings and markets of Paris
as seen from the river.

RED CROSS FILMS

Society for Visual Education, Inc., 327 S. LaSalle St.,
Chicago, 111.

School Correspondence.

Florence, Italy — Rome — Naples — Sezze Romano — Greece — Constanti-
nople — Venice — Roumania — In Prague — France — Belgium — Czecho -
Slovakia — Albania — Montenegro — France — The Sahara — Italy's Sons of
the Sea — America Junior (2 reels).

Little Journeys Through Other Lands.

Normandy — Tatra — Brittany — Poland — Zuider Zee — Venice — Riviera
— Marseilles — Quaint Rouen, France.

MISCELLANEOUS RED CROSS FILMS

Amid Archangel Snows — The Balkans — Queen of Roumania
— Heroes All — Serbia — Fall of Kiev — Over the Soviet Line —

346 MOTION PICTURES FOR INSTRUCTION

Czechoslovakia — Spirit of Service — Mrs. Brown versus the
High Cost of Living — Every Swimmer a Life Saver — Voca-
tional Training for Blind Soldiers — Russia — The Boy Scout
and His Uniform.

POST TRAVEL PICTURES

Chadwick Pictures Corporation, 729 7th Ave., New York
City.

Children of Other Lands.

Children of Holland — Children of Serbia — Children of
Poland — Children of Scandanavia — Children of Bohemia —
Children of Hungary — Children of The Balkans — Children of
Germany — Children of Roumania.

In Other Lands.

Hungary — Lapland — Norway — Greece — Southern Europe —
Roumania — Bohemia — Sweden — Poland — Serbia — Holland —
The Balkans — Austria — Germany — Italy — French Riviera.

WEST INDIES

Bermuda — 2 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Reel 1, Beautiful Bermuda: the city of Hamilton and its environs
from an airplane — tent pegging at Government House.

Reel 2, A Little Atlantis: the Bermudas and their submerged coral
reefs from the air—St. George Frascati — Racing dinghys.

Cuba — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, Nature's Contrasts: a comparison of New' England snow scenes
and tropic Cuban scenes, titled with verse.

Reel 2, Under Cuban Skies: Havana — its harbor, boulevards, clubs,
palaces and cathedral.

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347

St. Thomas, Uncle Sam's New Ward — 1 reel — American Mo-
tion Picture Carp., 126 W. 46th St., New York City.
The Caribbean Island and the changes made in it since under United
States protection.

Toilers of the Equator— (Coffee and Hemp) — Fox Film
Corporation, 10th Ave., and 55th St., New York City, and
910 S. Wabash Ave., Chicago, III.
The growing of coffee and hemp and their preparation for shipment,

in the Kenva colony.

West Indies — 1 reel — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.
Tropical Nassau: glimpses of Port of Spain in Trinidad and of Bar-
bados— fashions and dancing in Nassau — opening palm buds — pelicans
at play.

OTHER ISLANDS

Australia — 9 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Eeel 1, Sydney, the Antipodean Metropolis : Sydney Harbor and Syd-
ney Head — the Circular Quay — Australian skyscrapers and parks.

Reel 2, A Trip to the Jenolan Caves of Australia: by rail to Hawkes-
bury Agricultural College — the Grand Canyon of Katoomba — the Great
Arch in the Caverns — views of Sydney.

Reel 3, Melbourne, the Magnificent : the people, buildings, streets,
and parks of the capital city of New South Wales.

Reel 4, Round About Melbourne : interesting scenes showing the Cup,
Sports, a Dog Show, Tag Day, and Mme. Melba at home at Coombe
Cottage.

Reel 5, Adelaide, Capital of South Australia: the third largest city —
views and up-to-date items — Australian volunteers.

Reel 6, Round About Adelaide: young Australians and Australian
swimmers — homes and vineyards — the seashore and the races — eucalyp-
tus and sheep.

Reel 7, Hunting Kangaroos from Motor Cars: kangaroo close-ups in
the Zoo — the emu bird — exciting motor pursuit of wild kangaroos —
baby kangaroos in the pouch — Australian swimmers.

Reel 8, Along the Queensland Coast: Sydney to Brisbane by sea —

348 MOTION PICTURES FOR INSTRUCTION

Townsville — a "Blackfellow" camp — the Aboriginal Australians and the
stolid blacks of the Never -Never Land.

Reel 9, The Cruise of the Aki Maru: a trip from China to Australia —
ship life and the ingenious ways of the Jap tars — crossing the Equator
— Father Neptune comes aboard — good comedy at sea.

Fiji Islands — 5 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Reel 1, Sailing the South Seas to Fiji: aboard the Niagara — Suva
the capital — faces and figures of the islanders — sports and dancing the
Meke-meke for Mme. Melba on the deck.

Reel 2, Sights of Suva: life and labor in Suva — giant turtles — the
constabulary — church parade — tropical scenery.

Reel 3, Methodized Cannibals: along the tropic rivers — converted
native children — a Methodist mission — the "Lali" as a church bell — a
native village.

Reel 4, Fiji Does Its Bit: the rubber and banana industries — native
labor corps starting for France — farewell ceremony at Suva and ashore
at Honolulu.

Reel 5, Fire Walkers at Beqa: unique pictures of an ancient and
rarely performed sacred rite of the Fiji Islanders — terrifying war
dance — actual walking upon superheated stones.

New Zealand — 5 reels — Burton Holmes Lectures, Inc., 7510
N. Ashland Ave., Chicago, III.

Reel 1, Aukland, the Metropolis of New Zealand: views of the city —
the Grafton Bridge — Mount Eden — Ellerslie race course — boat-races —
beside the silver sea.

Reel 2, Rotorua, the Yellowstone of the Antipodes in New Zealand:
the Government baths — Wakarewarewa — hot springs and geysers —
Maori children — Wairaki — the great Waimangu geyser — after the out-
burst— a unique inn.

Reel 3, Among the Maoris of New Zealand: the Polynesian population
— Maori art and architecture — the ancient native fort — tattooed heads
— the "tiki" — rubbing noses — the poi dance — the haka-haka.

Reel 4, Wellington and the North Island of New Zealand: views of
Napier — New Plymouth — Mount Edmont — the Wanganui River — kauri
trees — apples — tomatoes — prize cattle on parade.

Reel 5, Down South in New Zealand: the city of Christchurch in the
South Island — Scottish dances in Dunedin — mid-winter seaside resorts
— Lake Wakatipu — Skipper's Gorge — Maori sports — hurdling in canoes.

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341

Thierry — Belleau Wood — the Village of Vaux — the Argonne — 22,000
crosses in the American Cemetery at Romagne.

Reel 19, Parisian Holidays: the 14th of July in Paris, 1918 and 1919,
and the transition from despair to victory— the 4th of July in the
Pershing Stadium.

Reel 20, The Land of Pardons: scenes in Brittany — curious costumes
and caps — making wooden shoes — the pardon of St. Anne of Auray —
four Bishops in procession.

Reel 21, Pyrenean Perspectives: penetrating the Pyrenees by trolley —
mountain hamlets and holy places — valleys and peaks.

Reel 22, In Finistere: the Sardine Fleet — the pilgrimage to St.
Roman's phrine — the pardon of St. John of the Finger — Brittany cos-
tumes and bridal gowns.

Reel 23, The Snow-Bound Pyrenees: midwinter scenes in the moun-
tains— hiking in a storm — the Cirque of Gavarnie.

Reel 24, Bordeaux to Lourdes: a rainy day in Bordeaux — fox hunting
in the sunshine — the basilica and the grotto of Bernadette at Lourdes.

Reel 25, Along the Riviera: roads and beaches and cities of the
Azure Coast of France.

Reel 26, Monte Carlo: the principality of Monaco — the castle of the
Prince — Street scenes — pigeon shooting — the great pleasure houses — the
Casino — its gaming tables and the terraces and gardens.

Reel 27, Marseilles : France's great Mediterranean seaport — views of
the harbor and Cannebiere — the "Transbordeur" Bridge and the Funi-
cular to Notre Dame de la Garde.

Reel 28, ~Sice and Cannes: pleasure cities of the Riviera showing the
Casinos, Cafes, Parks, Gardens and the "Battle of Flowers."

From London to Paris by Air — Society for Visual Educa-
tion, Inc., 327 8. LaSalle St., Chicago, III.
Unusual photographs of the English Channel and the cities and towns,
as well as natural scenery, en route from London to Paris.

Germany — 10 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

Reel 1, Imperial Berlin: a voyage from Hoboken, U. S. A., to the
harbor and to the City of Berlin — famous streets — buildings — gardens —
monuments — the soldiers and the emperor.

Reel 2, The Spreewald near Berlin: life on the River Spree — quaint
costumes of the people of the forest — Nuremberg — an English boat-race
at old Heidelberg.

342

MOTION PICTURES FOR INSTRUCTION

Keel 3, Munich, the Magnificent : views of the streets and buildings of
the Bavarian capital — women laborers and children playing among flocks
of tame pigeons — the Izar River and the Corpus Christi procession —
King of Bavaria.

Reel 4, In Beautiful Bavaria: quaint peasants — tourists in the salt
mine — the River of Acke and the Koenigs See — Germany's most beauti-
ful lake — the Austrian Tirol.

Reel 5, Mirrors of Nature: described as Reel 1 under Belgium.

Reel 6, Yankee Watch on the Rhine: the American occupation of Cob-
lenz — the Flag on Castle Ehrenbreitstein — the bridge of boats — U. S.
troops on parade.

Reel 7, The Franco-British Rhine: the Rhine Bridge at Worms — the
Senegalese Watch on the Rhine at Mainz — Rudesheim — the Germania
monument — British soldiers at Cologne and the great cathedral.

Reel 8, The Lure of the Lorelei: the Rhine from Bonn to Bingen —
Drachenfels — Andernach — castles of the Rhine and the Rock of the
Lorelei — the Pfalz and Rhein stein.

Reel 9, The Sentence of the Sarre: Described as Reel 5 under France.

Reel 10, Moselle Memories : the Moselle River from Treves to Cochem;
vertical vineyards; views of the valleys and hills; American graves
in the churchyard at Cochem.

Greece — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, In Classic Greece: Patras — Eleusis — through the Corinthian
Canal — Piraeus — Athens — the Acropolis — Evzones on parade — high div-
ing at Phaleron.

Reel 2, In Modem Athens: the great Stadium — the Olympic Games and
the Marathon Race.

Hampton Court Palace — 1 reel — Carter Cinema Producing
Corporation, % Evans Film Laboratories, 1476 Broad-
way, New York City.
Views of the historic structures; great chambers of the palace; the

grounds, vine arbor, lily ponds, and old English gardens.

In Old England — George Eleine Motion Picture Films, 49
W. 45th St., New York City.
Views of the populous island where every foot of soil is cultivated and
landscaped — English roads and quaint houses — the banks of the Thames
and its bridges and locks.

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343

Ireland — 3 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, A Scotch-Irish Reel: shearing Cheviot sheep — a school in the
Selkirk hills — Crinan Canal — the Isle of Skye — Staffa — Gingal's Cave —
Iona — Belfast Volunteers.

Reel 2, In Old Ireland: Belfast and Dublin — the Horse Show — Glen-
dalough — Achill Island — the Ballybunion Mono Railway.

Reel 3, From Blarney to Broadstairs : described as Reel 11 under Eng-
land.

Italy — 7 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, Southern Italy: Naples — pilgrims from Monte Vergine — Sor-
rento— the Tarantella — Corpus Christi in Amalfi.

Reel 2, The Island of Capri : famous dancers — festival of San Costanzo
— the Blue Grotto — warnings from Vesuvius.

Reel 3, Vesuvius in Eruption: actual volcanic activity — rains of ashes
and cinders — rivers of Lava — crushed villages — refugees — Pompeii.

Reel 4, From the Tiber to the Piave : St. Peter's — Castle of St. Angelo
— The Coliseum — the Forum — scenes of Rome — front line trenches.

Reel 5, A Day in Florence: Along the Arno — the Duomo — the Ponte
Vecchio — physical exercises of the war-wounded soldiers.

Reel 6, All Aboard for Brindisi: Egypt to Italy — leaving Alexandria
— interesting fellow passengers — Brindisi — the terminal pillars of the
Appian Way — up the Adriatic.

Reel 7, Lake Maggiore: views of northern Italy and the Alps — hang-
ing gardens — Borromean archipelago — Arona — Castle of Borromean.

Norway — 1 reel — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.
Bergen — by cariole through the Romsdal — a canal boat in the Tele-
marken Canal — the Great Fjords — Hammerfest — Bird Rock — natives of
Lapland.

Old London — 1 reel — Carter Cinema Producing Corporation,
c/o Evans Film Laboratories, 1476 Broadway, New York
City.

Mansion House — Guildhall — Bank of England — Ludgate Circus — St.
Paul's Cathedral.

Old Spain — Fox Film Corporation, 10th Ave. and 55th St.,

344 MOTION PICTURES FOR INSTRUCTION

New York City, and 910 S. Wabash Ave, Chicago, III.

Beautiful and historic points in Granada and scenes showing the life
and customs of the natives.

Paris the Beautiful — 1 reel — Pictorial Clubs, Inc., 350 Mad-
ison Ave., New York City,
Views of the buildings, monuments, boulevards, and parks of Paris,

Portugal — 1 reel — Burton Holmes Lectures, Inc., 7510 N,
Ashland Ave., Chicago, III.
Madrid to Madeira: life in the Spanish capital and in Lisbon — a
bloodless Portuguese bullfight — Funchal in Madeira — coasting in the

tropics.

Scotland — 3 reels — Burton Holmes Lectures, Inc., 7610 N.

Ashland Ave., Chicago, III.
Reel 1, Glasgow to Edinboro: the Clyde River — the Trossachs — Loch
Lomond — Edinboro Castle — Prince's Street — the arrival of the King and
Queen.

Reel 2, Bonnie Scotland: the Forth Bridge — Aberdeen — through the
Caledonian Canal — the Locks of Fort Augustus.

Reel 3, A Scotch-Irish Reel : described as Reel 1 under Ireland.

Sculptor's Paradise, A — Carrara, Italy — Fox Film Cor-
poration, 10th Ave. and 55th St., New York City, and
910 8. Wabash Ave., Chicago, III.

The marble quarries of Carrara, the village, the workers — views of
famous masterpieces of architecture, memorials, etc., made of Carrara
marble. An unusually beautiful and instructive picture.

Spain — 9 reels — Burton Holmes Lectures, Inc., 7510 N. Ash-
land Ave., Chicago, III.

Reel 1, Madrid to Madeira : described as Reel 1 under Portugal.

Reel 2, Palma de Majorca: the capital of the Balearic Islands —
senoritas wearing the ^^Rebozillo,' — motoring in Majorca — views of
natives, convents, old olive groves — a she-goat suckling a baby.

Reel 3, In Xew Madrid: views of the modern city — the post office —
the Square of Puerta del Sol, the center of the city — monuments and
military display.

Reel 4, Spanish Children : Children of the cities of Seville and Granada

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teresting native life — buildings and parks of the city and the sur-
rounding mountains — a procession of honor — folk dances.

Reel 3, In South Tirol: Lake Garda and its lemon orchards — proces-
sion of Corpus Christi — a mountain railway and Stelvio, the highest
crossroads of the Alps — the meeting point of Italy, Austria and Switzer-
land, 12,000 feet high— Ortler Peak.

Reel 4, Climbing the Austrian Alps: the dangers as well as the joys
of mountain climbing; the city of Salzburg.

Belgium — 9 reels — Burton Holmes Lectures, Inc., 7-510 N.
Ashland Ave., Chicago, III.
Reel 1, Mirrors of Nature: artistic and beautiful scenes reflected in
the calm waters of famous rivers and canals in Belgium, France, and
Germany.

Reel 2, Belgium Smiles Again : views of the ruined city of Dinant on
the Meuse — unharmed Ostende and its beach, one of the world's great
resorts.

Reel 3, Bustling Brussels: the Royal Palace — the Bourse and Boule-
vard life — the making of fine lace — views of the Palace of Justice —
guild houses — the city hall.

Reel 4, Martyred Cities: showing the devastation of war in the French
and Belgian cities of Ypres, Arras, Verdun, and Rheims.

Reel 5, Artistic Antwerp : the Cathedral and boulevards — Brabo Foun-
tain and Rubens' Monument — art galleries and parks — harbor works
along the Scheldt and the funeral cortege of a city councilor.

Reel 6, Beautiful Bruges: the beautiful canals and bridges of the
Flemish Venice — the German submarine base — the belfry and city hall.

Reel 7, In Flanders: ineradicable marks left by the war — Flanders
Fields — ruined Dixmude and scenes along the Yser — Ghent and the
room where the treaty of the War of 1812 was signed — the Grand
Beguinage of Ghent.

Reel 8, Heroic Liege: where the World War began — the River Meuse
— the devastation caused by the great guns — the shattered Fort of
Loncin — Malines and the Cathedral of Cardinal Mercier.

Reel 9, In Rural Belgium: Views of a country that is still like a child's
picture book — dogcarts — windmills — wooden shoes — strange costumes —
the village of Wortel — a picturesque festival for returning soldiers.

Chase, The — (Ski Sunning in the Alps) — Educational
Film Exchanges, Inc. 729 7th Avenue, New York City.
Fifty of the world's champion ski-jumpers, performing their greatest

338 MOTION PICTURES FOR INSTRUCTION

feats of skill and daring, make this film a thrilling one. Photographed
near St. Moritz in the Alps.

Chateaux of France — Society for Visual Educational, Inc.,
327 S. LaSalle St., Chicago, III.
Views of some of the beautiful and historic castles of France — a
Moravian wedding and celebration are included.

Cheddar and Glastonbury — 1 red — Carter Cinema Produc-
ing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.
A pilgrimage to Glastonbury and is ancient abbey, the cradle of

Christianity in England — the village of Cheddar, the home of Cheddar

Cheese.

Coaching Through Conway in Wales — 1 reel — Carter
Cinema Producing Corporation, c/o Evans Film Labora-
tories, 1476 Broadway, New York City.
A beautiful scenic of the Welsh country.

Czechoslovakia — 5 reels — Burton Holmes Lectures, Inc.,
7510 N. Ashland Ave., Chicago, III.

Reel 1, The Real Bohemia: the Sokols or great gymnastic meets — the
home of Kubelik — peasant life and native dances.

Reel 2, In Picturesque Prague: views in the old city with the narrow
streets and the Rathouse and the 15th century clock — the great buildings
of the new city — where the famous Bohemian glass is made — laborers
and soldiery — scenes along the Vetava River and the mountains outside
the city.

Reel 3, From Carlsbad to Moravia: the great health wells at Carlsbad
and Marienbad — dog-drawn carts — the life, costumes and dances of the
peasants.

Reel 4, Present-Day Prague: the Hradsany — the Tyn Church — the Na-
tional Theatre — the Charles Bridge — the Cathedral of St. Vitus and the
River Vetava.

Reel 5, Country Life in Bohemia: scenic beauty and the rich, cul-
tivated lands — cattle and crops — villagers at work and play — native
dances.

England — 12 reels — Burton Holmes Lectures, Inc., 7510 N.
Ashland Ave., Chicago, III.

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339

Reel 1, The Sunny South of England: Land's End — Ilfracombe — Fal-
mouth— Looe — Torquay — Weymouth — Bournemouth.

Reel 2, Glimpses of English Town and Country: Stonehenge — Wells
Cathedral — Salisbury — Oxford — Cambridge — Stratford.

Reel 3, With the American Y. M. C. A. in London: American soldiers
in England — Eagle Hut and the Washington Inn which was opened by
the Duke of Connaught — Fourth of July in London.

Reel 4, St. Dunstan's Happy Blind: the university for the sightless in
London — Otto Kahn's mansion turned into a training school for
blinded soldiers — work of the blind.

Reel 5, The War Women of England: Trafalgar Square — Florence
Nightingale — Army Service Corps — window washers — bus and aero
workers — 3,000 war workers at Buckingham Palace.

Reel 6, London Plays Ball: British Royalty and nobility witness a
game of baseball between the U. S. Army and Navy.

Reel 7, Seeing Sights in London: Westminster Abbey — Houses of
Parliament — the Horse Guards — No. 10 Downing Street — the Catholic
Cathedral — Whitehall — Admiralty Arch — Fire Monument — Guildhall —
St. Mary-le-Bow— St. Paul's.

Reel 8, Some British Bits Well Done: a school for Army Cooks — an
aviation camp — a tank garage — a war-dog college.

Reel 9, With Uncle Sam's Submarine Chasers: whence the Mayflower
sailed — Francis Drake and the Bowling Green — submarine chasers drop-
ping depth bombs — sea geysers — Admiral Sims.

Reel 10, Around About London: the Thames at Richmond — Windsor
Castle — Hampton Court — Aboard a Houseboat — the Thames in London
— Houses of Parliament — Lambeth — the Embankment — Street traffic,
1902 to 1918.

Reel 11, From Blarney to Broadstairs: the feat of kissing the famous
stone — Queenstown — the Lusitania graves — a Ford for cranking aero-
planes— in Plymouth Harbor — Lord NorthclifTe.

Reel 12, A Fairy Foreland: a picturization of Tennyson's poem "The
Brook."

France — 28 reels — Burton Holmes Lectures, Inc., 7610 N.
Ashland Ave., Chicago, III.

Reel 1, Gay Paree in Wartime: the Paris Opera—the Champs Elysees
— Arch of Triumph — Notre Dame- — the Hotel des Xnvalides— Guynemer's
plane — Napoleon's tomb — the Louvre.

Reel 2, Glorious Versailles : the palace and gardens of the home of the
Bourbon Kings — the Grand Trianon — L^ Petit Trianon — the 14th of
July in Paris. 1918 (Bastille Day).

340 MOTION PICTURES FOR INSTRUCTION

Reel 3, With the Yanks in France: Crusaders in Orleans — Joan of
Arc — aviators at Issoudun — American locomotives — the S. 0. S. at
Tours and the Cathedral — army bakery at Dijon.

Reel 4, Across France with the Yankee "Gas Hounds" : St. Xazaire —
Saumur — the Castle of Angers — the ancient drawbridge — The Loire River
— Amboise — Bloise — the Chateau — convoys to the front.

Reel 5, Chateau-Thierry and Beyond: with the Yanks near the front
in July 1918 — German loot — the berth of a Big Bertha — -artillery in ac-
tion— camouflage and filmed history.

Reel 6, American Women in France: American fund for French woun-
ded— American Hospitals at Neuilly — tent hospital at Auteuil — nurses
— Young Women's Christian Association — Aix-les-Bains — "Y" Girls.

Reel 7, The Miracle of Montoir: the building of the supply depot near
St. Nazaire — a polyglot army of laborers — the service of supply.

Reel 8, Salvation Army on the Job: Commander Evangeline Booth —
the passage and in the War Zone — the McAllister Sisters — opening a
canteen — meetings near the front — on the edge of the Argonne.

Reel 9, Paris, the Magnificent : the Eiffel Tower — Arch of Triumph —
Alexander Bridge — the art palaces and the Place de la Concorde
Madeleine — the Opera — Cafe de la Paix — the Boulevards and the Seine —
Notre Dame — Cluny — Luxembourg — Pantheon — Sacre Cceur.

Reel 10, The Doughnut That Did It : the war service of the doughnut —
the epidemic — a doughnut factory at the front.

Reel 11, Uncle Sam, Salvager: the great salvage plant of the A. E. F.
at Tours — salving 100 million dollars worth of materials — mountains of
clothing — the world's biggest tailor shop — millions of socks and shoes.

Reel 12, In the Basque Country: the French slopes of the Pyrenees
— the land of Loyola and Francis Xavier — the game of pelota — the
world's smallest republic, Andorra, and its president — mountain scenery
and waterfalls.

Reel 13, In Brittany: the land of sincere piety — the Fair at La
Faouet — the Pardon of Ste. Barbe — the Pardon of Our Lady of Baud —
Pont Aven.

Reel 14, Mirrors of Nature: described as Reel 1 under Belgium.

Reel 15, Parisian Faces and Figures: striking studies of French
physiognomies; superb panoramas from the Eiffel Tower.

Reel 16, Martyred Cities: described as Reel 4 under Belgium.

Reel 17, Battlefields of France: the ruined coal mines of the Lens
Basin — Chinese Labor Corps at play — Fort of La Pompelle near Rheims
— a tank in a trench; German prisoners at work.

Reel 18, A Gold Star Pilgrimage: to the battlefields of Chateau-

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369

"Hats Off" — X reel — Society for Visual Education, Inc., 327
S. LaSalle St., Chicago, III.

A story of the flag.

Making of An American — 1 reel — Carter Cinema Produc-
ing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.
The part that night schools play in the work of Americanization and

the story of an immigrant's rise.

Old Glory — World Educational Film Co., 732 S. Wabash
Ave., Chicago, III.
A color picture of the story of the flag, with interesting historical
events connected with its evolution.

Origin of Capital — 1 reel — American Motion Picture Cor-
poration, 126 W. 46th St., New York City.
An interesting reel which would serve as an introduction to a study
of economics.

Our New President — 1 reel — Fox Film Corporation, 10th
Ave. and 55th St., New York City, and 910 S. Wabash
Ave., Chicago, III.

Romance of the Republic — XI reels — General Vision Co.,
104 W. 42nd St., New York City.

Department of Treasury

Department of State

Department of War

Department of Navy

Department of Justice

Department of Labor

Department of Post Office

Department of Agriculture

Department of Interior and Commerce

Note: See description of this series on Page 63.

The Roosevelt Series — $8.00 for two reels — $5.00 for one
reel — Y. M. C. A. Motion Picture Bureau, 120 W. 41st

370 MOTION PICTURES FOR INSTRUCTION

Street, New York, N. Y., and 1111 Center Street, Chicago ,
111.

No. 1, T. R. Himself— 1 reel.

No. 2, Roosevtlt, Friend of the Birds — 1 reel.

No. 3, Roosevelt, the Great Scout — 2 reels.

No. 4, The Roosevelt Dam — 1 reel.

No. 5, The Panama Canal — 2 reels.

No. 6, Roosevelt at Home — 1 reel.

No. 7, Roosevelt, Big Game Hunter — 1 reel.

No. 8, Roosevelt's Return Through Europe — 1 reel.

No. 9, T. R. Comes Back— 1 reel.

No, 10, The River of Doubt— 2 reels.

No. 11, Theodore Roosevelt, President — 2 reels.

No. 12, Roosevelt in the Great War — 1 reel.

Pictures Suitable For Special Showing:
No. 13, A Report of the Work of the Roosevelt Memorial
Association (Memorializing Roosevelt) — 2 reels.
No. 14, Cuba Remembers T. R. — 2 reels.

Scouting with Dan Beard — 2 reels — Pictorial Clubs, Inc.,
350 Madison Ave., New York City.

A dramatization of the famous Indian legend of "The Four Winds"
and containing a great deal of useful scout information.

Spirit of Lafayette — 6 reels — Monogram Corporation, 512
Fifth Ave., New York City.

Telling a double story of the heroism and aid of Lafayette in the
Revolution, and a Captain Stanton in the World War.

Nature Study and Zoology

Ancestry and Classification of Soil — 1 reel — American
Motion Picture Corporation, 126 W. 46th St., New York
City.

Cele Mitosis — 1 reel — Carter Cinema Producing Corporation,
c/o Evans Film Laboratories, 1476 Broadway, New York
City.

The process of reproduction and growth of the human somatic cell is
here shown by animated diagrams.

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371

Living World, The — 4 reels — Carter Cinema Producing Cor-
poration, c/o Evans Film Laboratories, 1476 Broadway,
New York City.

A microscopic biological motion picture showing the essential differ-
ences between living and non-living matter.

Africa — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.
Studies of the wild life of Africa.

Angling for Trout — X reel — George Kleine Motion Picture
Films, 49 W. 45th St., New York City.
A picturization of the thrilling sport of trout fishing.

As Bruin, Jr., Sees It — 1 reel — American Motion Picture
Corporation, 126 W. 46th St., Neiv York City.
A study of the beaver, his life, habits and building methods.

Bees — 4 reels — Society for Visual Education, Inc., 327 S.
LaSalle St., Chicago, III.

The Italian Honey Bee — life in the hive — the manufacture of honey —
proper care and management of the bees and arrangement of hives.

Bird Life — 1 reel — Fox Film Corporation, 10th Ave. and 55th
St., New York City, and 910 S. Wabash Ave., Chicago, III.

Birds of the Farallones — 1 reel — Carter Cinema Produc-
ing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.

A study of the wild birds of the Pacific Coast, showing their com-
munity life, the care of the young, and with interesting views of birds
in flight.

Birds of a Far-off Sea — 460 ft. — George Kleine Motion Pic-
ture Films, 49 W. 45th St., Ne'w York City.
Intimate studies of strange birds 'that inhabit the bird island off the
southern tip of Africa.

Black-and-Orange Garden Spider— 1 reel — Society for
Visual Education, Inc., 327 S. LaSalle St., Chicago, III.

372 MOTION PICTURES FOR INSTRUCTION

An interesting reel showing the life of the familiar spider — spinning
a web — capturing and devouring her prey — laying her eggs — the hatch-
ing of the young.

Blue Fly, The — 1 reel — Non-Theatrical Motion Picture Serv-
ice, 159 E. Elizabeth Street, Detroit, Mich.
An interesting picture of the entire life history of the fly. Ex-
cellent micro-photography.

Bumble Bee — 1 reel — Carter Cirfema Producing Corporation,
c/o Evans Film Laboratories, 1476 Broadway, New York
City.

The value of bee produce in the United States is approximately $60,-
000,000 annually. This reel shows how the tiny insects amass this
wealth.

Canadian Lynx, The — 1 reel — Pathe Excliange, Inc., 35 W.
45th St, New York City and 418 S. Wabash Ave., Chicago,
III

Channel Bass Fishing off the Virginia Coast — 1 reel —
Field and Stream, 45 W. 45th Si, New York City.

Chicks — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Photographed in the Kerr Chickeries in New Jersey, showing the
modern methods of poultry raising on a large scale.

Dangerous Trails — Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.

Day in the Wilds, A — Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.

Evolution — 5 reels — Red Seal Pictures Corporation, 729

Seventh Ave., New York City.
An excellent picture exposition of the Darwinian theory of the
origin of species.

Field and Wayside — 1 reel — Society for Visual Education,
Inc., 327 S. LaSalle St., Chicago, III

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373

An interesting reel showing the struggle for existence between plants
and insects — different varieties of insects.

Fish Hawk in America, The — 1 reel — General Vision Co.,
104 W. 42nd St., New York City.

Fortune Builders — 1 reel — Pictorial Clubs, Inc., 350 Madi-
son Ave., New York City.

The life story of the silk moth.

Fleeced for Gold — X reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago,
111.

A romance is interwoven with the story of the sheep industry on one
of the largest ranches in the Northwest.

Getting Acquainted with Bees — 1 reel — George Kleine Mo-
Hon Picture Films, 49 W. 45th St., New York City.
A study in the life of the bee and food conservation.

Giants of Industry — 1 reel — Pictorial Clubs, Inc., 350
Madison Ave., New York City.
A study of bees and ants.

Goose Safari on the Lower Mississippi, A — Field and
Stream, 45 W. 45th St., New York City.

Greenbottle Fly, The — 1 reel — Society for Visual Educa-
tion, Inc., 327 S. LaSalle St., Chicago, III.
The life history and work of the greenbottle fly, one of nature's
scavengers.

Hawaiian Fishing — 1 reel — Carter Cinema Producing Cor-
poration, c/o Evans Film Laboratories, 1476 Broadway,
New York City.
An interesting reel on the fish of these islands with underwater views

of various species, including the octopus — fishing boats and fish markets.

Industrious Ants — 1 reel — Pictorial Clubs, Inc., 350 Madi-
son Ave., New York City.
Their work, habitations, and mode of living.

374 MOTION PICTURES FOR INSTRUCTION

Johanna — 1 reel — Pictorial Clubs, Inc., 350 Madison Ave.,
Neiv York City.
An interesting study of the imitative exploits and mentality of an

untrained chimpanzee.

Joy Rider of the Ocean, A — 320 ft. — George Klcine Motion
Picture Films, 49 W. 45th St., New York City.
A study of the remora, or shark-sucker, an unusual fish of the warm
seas, which is provided with a suctional disc on the top of its head by
which it attaches itself to the bodies of other larger fishes and is trans-
ported under borrowed power.

Lacewing Fly, The — 1 reel — Society for Visual Education,
Inc., 327 S. LaSalle St., Chicago, 111.

A study of an interesting and useful fly which destroys the tiny in-
sects which live on plants.

Life History of Frogs and Toa^i — 1 reel — Pictorial Clubs,
Inc., 350 Madison Ave., New York City.

A detailed study from the spawn through the various stages of the
tadpole and small toad to the full growth.

Life History of the Monarch Butterfly — 1 reel — Society

for Visual Education, Inc., 327 S. LaSalle St., Chicago,
III

A detailed record of the evolution of the butterfly from the larva,
showing the spinning of the chrysalis, the caterpillar shedding its skin,
the development of the butterfly within the chrysalis, and finally the
emerging of the butterfly.

Malaria and the Mosquito — 2 reels — Carter Cinema Pro-
ducing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.
A microscopic motion picture which shows the development of the

malaria parasite in the human body and in the body of the mosquito.

An unusually interesting presentation of an educational subject.

Main Street in Nature's Wonderland — 1 reel — Bray Pro-
ductions, Inc., 130 W. 46th St., New York City.
Life, breeding, and methods of obtaining food of prairie dogs, bees,
and ant lions.

RENTAL FILMS

375

Microscopic Pond Life — 350 ft. — George Kleine Motion Pic-
ture Films, 49 W. 45th St., New York City.
A microscopic study of the infinitesimal life in a small pond.

Mosquito, The — 1 reel — Society for Visual Education, Inc.,
327 8. LaSalle St., Chicago, III

The plan of this reel is the same as that of the Life History of the
Monarch Butterfly; it deals with the development of the mosquito
through the periods of hatching from the egg, the larva and its method
of feeding and moulting, the pupa and how it splits to let the mosquito
emerge.

Nature's Perfect Thread Spinner — 450 ft. — George Kleine
Motion Picture Films, 49 W. 45th St., New York City.
The cultivation and care of the silkworm.

Ocean Recluse, An — 175 ft. — George Kleine Motion Picture
Films, 49 W. 45th St., New York City.
An interesting reel on the hermit crab and its strange habit of using
untenanted shells of other crustaceans.

Our Common Enemy — X reel — Pictorial Clubs, Inc., 350

Madison Ave., Chicago, III.
A microscopic study of the house fly and its menace to health.

Our Four-Footed Pals — 1 reel — American Motion Picture
Corp., 126 W. 46th St., New York City.
An entertaining and interesting reel on cubs at play.

Peter the Raven — 1 reel — Bray Productions, Inc., 130 W.
46th St., New York City.
The history of the hatching and early life of a raven, its capture by
some hunters and its life in captivity — the tricks it learns.

Pond and Stream Life — 2 reels — Society for Visual Educa-
tion, Inc., 327 S. LaSalle St., Chicago, III.

Microscopic studies of the development of a dragon-fly — embryo snails
in their eggs — turtles, frogs and toads and their methods of capturing
and devouring food — a "horse-hair" snake — a fight between a baby
crawfish and a waterbug — the "water tiger."

376 MOTION PICTURES FOR INSTRUCTION

Practical Workings op the Shell Game — JL reel — Carter
Cinema Producing Corporation, c/o Evans Film Labora-
tories, 1476 Broadway, New York City.
The development of the chicken in the egg and its hatching.

Raising Ostriches in South Africa — 350 ft. — George Eleine
Motion Picture Films, 49 W. 45th St., New York City.

The habits of ostriches and the methods of raising them.

Royal Chinook, The — 2 reels — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave.,
Chicago, III.

An extensive and detailed story of the raising of salmons from the
eggs to the time they return to the streams to spawn and die.

Samia Secropia, the Giant American Silkworm — 1 reel —
Society for Visual Education, Inc., 327 S. LaSalle St.,
Chicago, III.

The plan of this film is the same as that followed in the treatment of
Life Eistory of the Monarch Butterfly and The Mosquito; the life cycle
of the moth is shown from the egg to the moth.

Secrets of Life Series — 12 reels — Educational Film Cor-
poration, 729 7th Ave., New York City.

Reel 1, The Ant

Keel 2, The Bee

Reel 3, The Spider

Reel 4, The Butterfly

Reel 5, The Ant Lion

Reel 6, The Fly

Reel 7, The Ladybug

Reel 8, In a Drop of Water

Reel 9, The Mosquito

Reel 10, Little People of the World

Reel 11, Little People of the Sea

Reel 12, Our Six-Legged Friends

Note: See description of this series on p. 64.

Silkworm, The — 1 reel — General Vision Co., 104 W. 42nd
St., New York City.

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377

History, life and habits of the various moths, together with interesting
views of them.

Spiders and Their Victims — JL reel — Pictorial Clubs, Inc., 350

Madison Ave., New Yorh City.
A study of the spider and his methods of obtaining food.

Sponge Fishing and Industry — 1 reel — Carter Cinema Pro-
ducing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.
A study of aquatic plants and animals.

Strange Caterpillars — 1 reel — Pictorial Clubs, Inc., 350
Madison Ave., New York City.
Their means of sustenance; collecting and preserving butterflies.

Toads — 1 reel — Society for Visual Education, Inc., 327 S.

LaSalle St., Chicago, III.
Complete life cycle of the garden and tree toads.

Trapping the Weasel — X reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave.,
Chicago, III.

Turtles and Birds — 1 reel — Carter Cinema Producing Cor-
poration, c/o Evans Film Laboratories, 1476 Broadway,
New York City.
Interesting views of green turtles, humming birds, and the American
eagle at home.

Visit to a Birdshop — 1 reel — Pictorial Clubs, Inc., 350 Madi-
son Ave., New York City.
Birds and animals found in a birdshop.

The Voice of the Nightingale — Educational Film Ex-
changes, 370 7th Ave., New York City.
This unusual one reel subject won the Riesenfeld Gold Medal for
1925. It is a charming blend of nature and aesthetics. Not a text
film, but highly educational nevertheless, and will be of special interest
to all bird lovers, both juvenile and adult.

378 MOTION PICTURES FOR INSTRUCTION

Wasps — 1 reel — Society for Visual Education, Inc., 327 S.
LaSalle St., Chicago, III.

The life history of the mud-dauber and Polistes wasps — the hatching
of the eggs — the building of their houses and storing food.

Where Plants Live — 1 reel — Society for Visual Education,
Inc., 327 S. LaSalle St., Chicago, III.

The prime requisites of plant life are soil, moisture, air and light.
This reel shows the variations of these elements which are required for
different groups of plants.

Why Elephants Leave Home — 2 reels — Pathe Exchange,
Inc., 35 W. 45th St., New York City, and 418 S. Wabash
Ave., Chicago, III.

This film shows the labor of the elephant in Ceylon where he is a
beast of burden, means of transportation, a derrick, and day laborer.
The titles tend to make this more of an entertainment film than an
educational.

Wild Animal Life in the United States — 1 reel — Carter
Cinema Producing Corporation, c/o Evans Film Labora-
tories, 1476 Broadway, New York City.
Educational nature studies — an unusual revue of the passing wild life

of America.

Wild Life in North America — 2 reels — General Vision Co.,
104 W. 42nd St., New York City.

Wild Animals and Their Young — 1 reel — General Vision Co.,
104 W. 42nd St., New York City.

Wild Flowers — 1 reel — General Vision Co., 104 W. 42nd St.,
New York City.

With Bob White in the Sedge of Pine Woods of Missis-
sippi— Field and Stream, 45 W. 45th St., New York City.

Woodcraft for Boys — 370 ft. — George Kleine Motion Pic-
ture Films, 49 W. 45th St., New York City.
The outdoor training given boys at one of America's military schools.

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379

Language and Literature

Purporting to represent the works of standard authors,
most of these films are of theatrical origin, too long for class-
room presentations, and of varying degrees of faithfulness to
the original. They are included here, without recommenda-
tion or comment, because some teachers of literature want to
know where to obtain them. See discussion of relation of
motion pictures to literature in Chapter III under Literature.

While this book is concerned primarily with the educational
film for classroom use (text film), and not for school entertain-
ment, it is realized that there are community situations where
the school film entertainment has a place. Some notable films
are included, not made directly from standard literature.

Adams Children, The — James W. Foley — Gibson Studio,
Casselton, N. Dak.

America — 14 reels — Bolt. W. Chambers — D. TP. Griffith, 1476
Broadway, New York City.

And Women Must Weep (The Three Fishers) — 2 reels —
Charles Kingsley — Educational Film Exchange, 370
Seventh Ave., Neiv York City.

Aunt Tabitha — Oliver W. Holmes — Gibson Studio, Casselton,
N. Dak.

Barbara Frietchie — Clyde Fitch — Producers Distributing
Corporation, 469 Fifth Ave., New York City.

Babbitt — 8 reels — Sinclair Lewis — Warner Bros., 1600
Broadway, New York City.

Beau Brummel — 10 reels — Clyde Fitch — Warner Bros.,
1600 Broadway, New York City.

380 MOTION PICTURES FOR INSTRUCTION

Ben Hub — General Lew Wallace — Metro-Goldwyn-Mayer
Distributing Corporation, 729 7th Ave., New York City.

Bill (Crainquebille) — 4 reels — Anatole France — Red Seal
Pictures Corporation, 1600 Broadway, New York City.

Black Beauty — 7 reels — Anne Sewell — Vitagraph, Inc.,
1400 Locust Ave., Brooklyn, N. Y.

Boy of Flanders {A Dog of Flanders) — 7 reels — Ouida —
Metro-Goldwyn-Mayer Distributing Corp., 540 Broadway,
New York City.

Brook, The — Tennyson — George Kleine Motion Picture
Films, 49 W. 45th St., New York City.

Call op the Wild, The — 6 reels — Jack London — Pathe Ex-
change, Inc., 104 W. 42nd S., New York City, and 418 S.
Wabash Ave., Chicago, III.

Captain January — 6 reels — Laura E. Richards — Principal
Pictures, 1540 Broadway, New York City.

The Christian — 9 reels — Hall Caine — Metro-Goldwyn-Mayer
Distributing Corporation, 729 7th Ave., New York City.

Connecticut Yankee in King Arthur's Court — Mark
Twain — Fox Corporation, 10th Ave., and 55th St., New
York City.

Covered Wagon — 10 reels — Emerson Hough — Famous
Players-Lasky Corp., 485 5th Ave., New York City.

Courtship of Myles Standish — -5 reels — Pathe Exchange,
Inc., 35 W. 45th St., N. Y. C, and 418 S. Wabash Ave.,
Chicago.

Cricket on the Hearth — 6 reels — Charles Dickens — Pathe
Exchange, Inc., 35 W. 45th St., N. Y. C, and 418 S. Wab-

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381

ash Ave., Chicago, III. Also 7 reels — Selznick (Universal
Pictures Corp. Successors), 730 5th Ave., New York City.

David Copperfield — 7 reels — Charles Dickens — Pathe Ex-
change, Inc., 35 W. 45th St., New York City, and 418 S.
Wabash Ave., Chicago, III., and Associated Exhibitors,
Inc., 35 W. 45th St., New York City.

David Copperfield — 5 reels — Charles Dickens — General
Vision Co., 104 W. 42nd St., New York City.

David Garrick — General Vision Co., 104 W. 42nd St., New
York City.

Dickery, Dickery, Dock — y% reel — General Vision Co., 104
W. 42nd St., New York City.

Dombey and Son — 6 reels — Charles Dickens — General Vision
Co., 104 W. 42nd St., New York City.

Dorothy Vernon of Haddon Hall — 10 reels — Charles Major
— United Artists Corporation, 729 7th Ave., New York
City.

Ebb Tide — 7 reels — Robert Louis Stevenson — Famous Play-
ers-Lasky Corp., 2017 3rd Ave., New York City.

The Eternal City — 8 reels — Hall Caine — First National
Pictures, Inc., 383 Madison Ave., New York City.

Fagin (Oliver Twist) — Charles Dickens — General Vision Co.,
104 W. 42nd St., New York City.

Fairy Wood — General Vision Co., 104 W. 42nd St., New Yonk
City.

Fatal Marriage, The — Enoch Arden — 5 reels — Alfred
Tennyson — Film Booking Offices of America, 723 7th Ave.,
New York City.

382 MOTION PICTURES FOR INSTRUCTION

Girl of Oz, The — 5 reels — General Vision Co., 104 W. 42nd
St., New York City.

Great Expectations — 6 reels — Charles Dickens — Nuart Pic-
tures, 116 W. 39th St., New York City.

Hamlet — 7 reels — William Shakespeare — General Vision Co.,
104 W. 42nd. St., New York City.

Hansel and Gretel — 2 reels — Fairy Story — Universal Pic-
tures Corp., 1935 5th Ave., New York City.

Headless Horseman (Legend of Sleepy Hollow) — 7 reels —
Washington Irving — Film Distributing Corporation, New
York City.

Hey Diddle Diddle — % reel — General Vision Co., 104 W.
42nd St., New York City.

Holmes, Oliver Wendell — Pictorial Clubs, Inc., 350 Madi-
son Ave., New York City.

Hoosier Romance, A — 5 reels — James Whit comb Riley —
General Vision Co., 104 W. 42nd St., New York City.

Hoosier Schoolmaster — 6 reels — Edward Eggleston — Ameri-
can Motion Pictures Corporation, 126 W. 46th St., New
York City, and Producers Distributing Corp., 469 5th
Ave., New York City.

Home Sweet Home — General Vision Co., 104 W. 42nd St.,
New York City.

Huckleberry Finn — Mark Twain — Paramount Pictures, 485
Fifth Ave., New York City.

Hunchback of Notre Dame — 12 reels — Victor Hugo — Uni-
versal Pictures Corporation, 1600 Broadway, New York-
City.

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383

Humpty Dumpty — % reel — General Vision Co., 104 W. 42nd
St., New York City.

In the Palace of the King — 8 reels — F. Marion C?*awford
— Metro-Goldwyn-Ma yer Distributing Corporation, 729
7th Ave., New York City.

Iron Horse, The — 11 reels — Fox Film Corporation, 10th
Ave. and 55th St., New York City.

Irving, Washington — Pictorial Clubs, Inc., 350 Madison Ave.,
New York City.

Ivanhoe — 5 reels — General Vision Co., 104 W. 42nd St., New
York City.

Jack and the Beanstalk — 2 reels — General Vision Co., 104
W. 42nd St., New York City, and Universal Pictures
Corp., 1600 Broadway, New York City.

Janice Meredith — 12 reels — Paul Leicester Ford — Metro-
Goldwyn-Mayer Distributing Corp., 2018 3rd Ave., New
York City.

Kipling's Mandalay — 4 reels — American Motion Picture
Corp., 126 W. 46 St., New York City.

Kiss for Cinderella, A — Sir James M. Barrie — Paramount
Pictures, 485 Fifth Ave., New York City.

Les Miserables — 12 reels — Victor Hugo — General Vision Co.,
104 W. 42nd St., New York City, and Fox Film Corpora-
tion, 10th Ave. and 55th St., New York City.

Light That Failed, The — 7 reels — Budyard Kipling — Fa-
mous Players-Lasky Corporation, 2017 3rd Ave., New
York City.

Little Minister, The — 6 reels — Sir James M. Barrie — Vita
graph Inc., 1400 Locust Ave., Brooklyn, New York.

384 MOTION PICTURES FOR INSTRUCTION

Little Lord Fauntleroy — 10 reels — Frances Hodgson Bur-
nett— Undted Artist }s Corporation, 729 7th Ave., New
York City.

Little Red Riding Hood — 2 reels — Fairy Story — Universal
Pictures Corporation, 1600 Broadway, New York City.

Little Red Riding Hood — George Kleine Motion Picture
Films, 49 W. 45th St., Neiv York City.

Little Red Riding Hood — 2 reels — General Vision Co., 104
W. 42nd St., New York City.

Longfellow, Henry W. — Pictorial Clubs, Inc., 350 Madison
Ave., New York City.

Macbeth — William Shakespeare — General Vision Co., 104 W.
42nd St., New York Cty.

Main Street — 7 reels — Sinclair Lewis — Warner Bros., 1600
Broadway, New York City.

Man Without a Country — 6 reels — Edward Everett Hale
— Universal Pictures Corporation, 1600 Broadway, New
York City. Also an eleven reel version by Fox Film
Corp.

Maude Muller — 2 reels — John Greenleaf Whittier — Pathe
Exchange, Inc., 35 W. 45th St., New York City.

Mark Twain — Pictorial Clubs, Inc., 350 Madison Ave., New
York City.

Memories — Carter Cinema Producing Corporation, % Evans
Laboratories, 1476 Broadway, New York City.

Merchant of Venice — William Shakespeare — General Vision
Co., 104 W. 42nd St., New York City.

Milady — {Twenty Years Aftdn) — 8 reels — Alexander Dumas

RENTAL FILMS

385

— Selznick (Universal Pictures Corporation, Successors),
730 5th Ave., New York City.

Mo ana of South Seas — 6 reels — Famous Players-Lasky Cor-
poration, 485 Fifth Ave., New York City.

Monsieur Beaucaire — Booth Tarkington — Famous Players-
Lasky Corporation, 485 Fifth Ave., New York City.

Monte Christo — Alexandre Dumas — Fox Film Corporation,
10 Ave., & 55th St., New York City, and 910 S. Wabash
Ave., Chicago, III.

Nancy (Oliver Twist) — General Vision Co., 104 W. 42nd St.,
New York City.

Ne'er Do Well — 8 reels — Rex Beach — Famous Players-Lasky
Corporation, 2017 3rd Ave., New York City.

New Wizard of Oz — 5 reels — General Vision Co., 104 W. 42nd
St., New York City.

Odyssey — 3 and 5 reels — Homer — General Vision Co., 104
W. 42nd St., New York City.

Old Curiosity Shop — 6 reels — Charles Dickens — American
Motion Picture Corporation, 126 W. 46th St., New York
City.

Old Oaken Bucket — General Vision Co., 104 W. 42nd St.,
New York City.

Old Scrooge — 4 reels — From Charles Dickens — Pictorial
Clubs, Inc., 350 Madison Ave., New York City.

Oliver Twist — 8 reels — Charles Dickens — First National, 729
7th Ave., New York City.

Our Mutual Friend — 8 reels — Charles Dickens — Film Book-
ing Offices of America, 723 7th Ave., New York City.

386 MOTION PICTURES FOR INSTRUCTION

Quincy Adams Sawyer — 8 reels — Charles Felton Pidgin —
Metro-Goldwyn-Mayer, 729 7th Ave., New York City.

Quo Vadis — 6 reels — Henryk Sienlciewicz — George Kleine, 49
W. 45th St., New York City.

Penrod — 8 reels — Booth Tarkington — First National Pictures
729 7th Ave., New York City.

Penrod and Sam — 7 reels — Booth Tarkington — First National
Pictures, 729 7th Ave., New York City.

Peter Pan — Sir James M. Barrie — Paramount Pictures, 485
Fifth Ave., New York City.

Pony Express, The — Paramount Pictures, 485 Fifth Ave.,
New York City.

Power of a Lie — 5 reels — Johann Bojer — Universal Pictures
Corporation, 1600 Broadway, New York City.

Prince and the Pauper — 6 reels — Mark Twain — Selznick
(Universal Pictures Corporation, Successors), 730 5th
Ave., New York City.

Pied Piper of Hamlin — George Kleine Motion Picture Films,
49 W. 45th St., New York City.

Richard the Lion Hearted — 8 reels — Sir Walter Scott —
United Artists Corporation, 729 7th Ave., New York City.

Ride of Paul Revere — Henry Wadsworth Longfellow —
George Kleine Motion Picture Films — 49 W. 45th St.,
New York City.

Rip Van Winkle— 7 reels — Washington Irving — Producers
Distributing Corporation 469 Fifth Ave., New York City.

Robin Hood — 11 reels — United Artists Corporation, 729
Seventh Ave., New York City.

RENTAL FILMS

387

Romeo and Juliet — Fox Film Corporation, 10th Ave., and
55th St., New York City, and 910 8. Wabash Ave., Chi-
cago, III.

Scrooge — From Christmas Carol by Charles Dickens — Gen-
eral Vision Co., 104 W. 42nd St., New York City.

Sentimental Tommy — Sir James M. Barrie — Paramount Pic-
tures, 485 Fifth Ave., New York City.

Sherlock Holmes — 9 reels — A Conan Doyle — Metro-
Goldwyn-Mayer, 729 7th Ave., New York City.

Silas Marner — 7 reels — George Eliot — Associated Exhibi-
tors, 35 W. 45th St., New York City.

Snow White — General Vision Co., 104 W. 42nd St., New
York City.

Spoilers, The — 8 reels — Rex Beach — Metro-Goldwyn-Mayer,
729 7th Ave., New York City.

Story of Plymouth Rock, The — Gearge Eleine Motion Pic-
iw\e Films, 49 W. 45th St., New York City.

Stranger, The {The First and Last) — 7) reels — John Gals-
worthy — Famous Players-Laskey Corporation, 2017 3rd
Ave., New York City.

Tale of Two Cities — Charles Dickens — General Vision Co.,
104 W. 42nd St., New York City.

Tess of the D 'Urbervilles — 8 reels — Thomas Hardy — Metro-
Goldwtyn-Mayer , 729 7th Ave., New York City.

Thief of Bagdad — 14 reels — Arabian Nights— United Art-
ists Corporation, 729 7th Ave., New York City.

Three Muskeeters — 10 reels — Alexandre Dumas — United
Artists Corporation, 729 7th Ave., New York City.

388 MOTION PICTURES FOR INSTRUCTION

Timothy's Quest — 6 reels — Kate Douglas Wiggin — Selznick
(Universal Pictures Corporation, Successors) , 730 5th
Ave., New York City.

Treasure Island — 6 reels — Robert Louis Stevenson — Fox
Film Corporation, 10th Ave. & 55th St., New York City,
and 910 S. Wabash Ave., Chicago, III.

Under Two Flags — 8 reels — Ouida — Universal Pictures Cor-
poration, 1600 Broadway, New York City.

Vanity Fair — 8 reels — William Makepeace Thackeray — Gen-
eral Vision Co., 104 W. 42nd St., New York City, and
Metro-Goldwyn-Mayer, 729 7th Ave., New York City.

Vicar of Wakefield — 7 reels — Oliver Goldsmith — Pathe Ex-
change, Inc., 35 W. 45th St., New York City, and 418 S.
Wabash Ave., Chicago, III.

Village Blacksmith — Henry Wadsivorth Longfellow — Gen-
eral Vision Co., 104 W. 42nd St., New York City.

Virginian, The — 8 reels — Owen Wister — B. P. Schulbcrj
Productions, 1650 Broadway. Xew York City.

Volga Boatman, The — Feature length — Berkovici Producers
Distributing Corporation, 469 Fifth Ave., Xew York
City.

When Knighthood Was in Flower — 12 reels — Charles Ma-
jor— Famous Players-Laskey Corporation. 2017 3rd Ave.,
New York City.

Whittier, John Greenleaf — Pictorial Clubs, Inc., 350 Madi-
son Ave., New York City.

Without Benefit of Clergy — 6 reels — Eudyard Kipling —
Pathe Exchange, Inc., 35 IT. 45th St., New York City, and
418 S. Wabash Ave., Chicago, III.

RENTAL FILMS

389

Your Flag and My Flag — Wilbur D. Nesbit — George Kleine
Motion Picture Films, 49 W. 45th St., New York City.
New York City.

Vocational

DOMESTIC SCIENCE

Cocoanuts — 1 reel — General Vision Co., 104 W. 42nd St.,
New York City.

Coffee — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Copra — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Dairy — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Lesson in Cooking, A — Gibson Studios, Casselton, N. Dak.

How to make an Omelet taught so perfectly in the film that classes
have made excellent omelets without a word from the teacher.

Oyster Industry, The — 1 reel — Carter Cinema Producing
Corporation, c/o Evans Film Laboratories, 1476 Broad-
way, New York City.
A reel on the Chesapeake Bay oyster industry.

Pineapples — 1 reel — General Vision Co., 104 W. 42nd St.,
New York City.

Salt — 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Sugar — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

390 MOTION PICTURES FOR INSTRUCTION

Rice — 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Wheat — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Wheat Industry — Gibson Studios, Casselton, N. Dale.

The complete process as carried out in the famous Red River Valley
— highly educational.

AGRICULTURE

Agriculture — 1 reel — General Vision Co., 104 TT. 42nd St.,
New York City.

America's Granary — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave., Chi-
cago, III.

Showing the evolution of farming machinery and the planting, culti-
vating and harvesting of corn, rice and wheat.

Central Plains — 2 reels — Society for Visual Education, Inc.,
327 S. LaSalle St., Chicago, III
A study of the industries of the central plains which are dependent
primarily upon natural resources — farming methods — stock raising —
dairying — poultry farming — coal and copper mines — ore boats — lumber-
ing in Wisconsin, Michigan and Minnesota — limestone quarries in
Indiana — power house at Niagara.

Dairy Cattle — Types, Breeds and Characteristics — Society
for Visual Education, Inc., 327 S. LaSalle St., Chicago, III.
A short history of the five chief dairy breeds, Holstein, Jersey,
Guernsey, Ayrshire, and Brown Swiss, with an explanation of their
characteristics.

Dairy Cattle and Their Selection — Society for Visual Edu-
cation Inc., 327\ S. LaSalle St., Chicago, III.

A comprehensive reel on the subject, in which is explained the es-
sential differences between different types of dairy cows, why some pro-
duce more and with greater economy, physical characteristics and the

RENTAL FILMS

391

importance in milk production of constitution, feeding capacity, forma-
tion of milking organs, etc.

Dairy Management — 2 reels — Society for Visual Education,
Inc., 327 S. LaSalle St., Chicago, III.
Proper methods of dairy management — feeding and milking cows —
weighing milk — the milk station — water supply — machinery.

Dairy Tales — 1 reel — Pictorial Clubs, Inc., 350 Madison Ave.,
New YopJc City.
Interesting details in the processes of butter and cheese manufacture.

Homestead, The — 3 reels — American Farm Bureau Federa-
tion, 58 E. Washington St., Chicago, III.

Horse Sense — 2 reels — American Farm Bureau Federation,
58 E. Washington St., Chicago, III.

Spring Valley — 5 reels — American Farm Bureau Federation,
58 E. Washington St., Chicago, III.

MANUFACTURING

Building Materials

Lumbering — 1 reel — General Vision Co., 104 W. 42nd St.,
New York City.

Price of Progress — 2 reels — Bathe Exchange, Inc., 35 W.
45th St., New Ymk City, and 418 S. Wabash Ave., Chi-
cago, III.

Cloths and Coverings

Batik — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Cloth— 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

392 MOTION PICTURES FOR INSTRUCTION

Hats — 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Hemp — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Lace — 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Silk — 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Electricity

Captured Electricity — Bray Productions, Inc., 130 W. 46th
St., New York City.

The search for the power substitute for coal, including attempts to
harness the waves of the ocean and to extract the free electricity from
the air.

Electricity — 4 reels — Carter Cinema Producing Corpora-
tion, % Evans Laboratories, 1476 Broadway , New York
City.

Its generation and control and manifold application to our daily needs
in power plants, telegraphy, etc.

Mining

Gold Mining — 1 reel — General Vision Co., 104 W. 42nd St.,
New York City.

One of the General Vision Company's series on industries, edited for
schools.

OiLr—1 reel— General Vision Co., 104 W. 42nd St., New York
City.

One of the General Vision Company's series of industries edited for
schools.

Romance of Oil — Bray Productions, Inc., 130 W. 46th St.,
New York City.

RENTAL FILMS

393

Sixty years ago whale oil was the only illuminant and the reel opens
with scenes from the great whaling industry, followed by views of
oil gushers and modern oil industry of Texas.

Turning out Silver Bullets — George Kleine Motion Picture
Films, 49 W. 45th St., New York City.
Taken at the Philadelphia Mint by permission of the U. S. Treasury
Department. Transformation of the ore into liquid silver. Casting of
the ingots. Pressure in the rolling mills, where it under goes the 28
different operations needed for the production of silver coins.

Metals

Beaten Gold — Fox Film Corp., 10th Ave. and 55th St., Neiv
York City, and 910 S. Wabash Ave., Chicago, III.
An unusually interesting film on an industry of which little is known.
The film shows how the gold is rolled between steel rollers and then
beaten by hand to a thickness of one-two-hundred-thousandth of an
inch.

Engine Lathe and its Operation, The — 7 reels — Society for
Visual Education, Inc., 327 S. LaSalle St., Chicago, III.

A highly technical study of this important tool for students of
mechanical and shop operations.

Tin — 1 reel — General Vision Co., 104 W. 42nd St., New York
City.

Universal Milling Machine and its Operation — 8 reels —
Society for Visual Education, Inc., 327 S. LaSalle St.,
Chicago, III.
A similar study of another important machine.

Pottery

Pottery — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

394 MOTION PICTURES FOR INSTRUCTION

Woodland Potter, The — Pictorial Clubs, Inc., 350 Madison
Ave., New York City.

A potter in the backwoods of Maine models beautiful objects of art
out of clay.

Physiology and Health

Getting Acquainted with Bacteria — Society for Visual
Education, Inc., 327 S. LaSalle Street, Chicago, III.

The microscope reveals to the motion picture camera harmless and
harmful bacteria. The several types are clearly demonstrated; sup-
plied with diagrams that appeal to the child mind.

Making Milk Safe — Pictorial Clubs, Inc., 350 Madison Ave.,
New York City.
The important subject of milk testing clearly illustrated.

Pasteur — 2 reels — American Motion Pictures Corp., 126
W. 46th St., New York City.

Romance of a White Bottle — 1 reel — Carter Cinema Pro-
ducing Corporation, c/o Evans Film Laboratories, 1476
Broadway, New York City.

A film on the value of milk which has been made famous through
its distribution by one of the great milk distributing corporations of
America.

Anatomy and Physiology — 2 reels — General Vision Co., 104
W. 42nd St., New York City.
A two reel subject from the biology series of the General Vision Com-
pany produced for classroom work.

Aquatic Life — General Vision Co., 104 W. 42nd St., New
York City.

Another reel from, the biology series of the General Vision Company.

* For more technical films on this subject see The Human Body Series,
Bray Productions, Inc., 120 W. 42nd St., New York City; the list of
American Medical Films, Inc., 350 Madison Ave., New York City;
Samuel A. Block, 152 W. 42nd St., New York City; Ford Motion Pic-
ture Laboratories, Detroit, Mich.; and The American Social Science
Association, 370 Seventh Ave., New York City.

RENTAL FILMS

395

Blood Circulation — 2 rteels — General Vision Co., 104 W. 42nd
St., New York City.
Both one and two reel versions of the subject from the biology series
of text films.

Circulation of the Blood — 2 reels — Carter Cinema Produc-
ing Corporation, c/o Evans Laboratories, 1476 Broadway,
New York City.

See Blood Circulation.

Blood Vessels, The — General Vision Co., 104 W. 42nd St.,
New York City.

Digestive System — General Vision Co., 104 W. 42nd St., New
York City.

Heart and How it Works, The — General Vision Co., 104 W.
42nd St., New York City.

How the Fires of the Body Are Fed — Pictorial Clubs, Inc.,
350 Madison Ave., New York City.

The mechanical processes from the chewing of the food through the
stomach and intestines into the blood circulatory system. Striking com-
parisons between other engines and the human body. X-ray photographs
of the stomach in action.

Microscope and Beyond, The — 1 reel — General Vision Co.,
104 W. 42nd St., New Yoiik City.
One of the best of the biology text films of the General Vision Com-
pany, giving magnified views of protozoa, algae, and marine plankton.

Reproductive System — General Vision Co., 104 W. 42nd St.,
New York City.

Respiratory and Urinary Systems — General Vision Co., 104
W. 42nd St., New York City.

Safeguarding the Nation — 5 reels — Carter Cinema Produc-
ing Corporation, c/o Evans Laboratories, 147€ Broadway,
New York City.

396 MOTION PICTURES FOR INSTRUCTION

Physiological and Psychological effects of small amounts of alcohol
upon the structure and functions of the human body. Liberal use is
made of microscopic photographs and animated diagrams.

T-C, Your Sixth Sense — 1 reel — Picture Service Corporation,
71 W. 23rd St., New York City.

An interesting film on temperature, atmospheric and body, showing
the uses of the thermometer. The invention of the thermometer by
Galileo in 1621, and the modern methods of manufacture are shown.

Welfare

Comrades of Success — 2 reels — Carter Cinema Producing
Corporation, c/o Evans Laboratories, 1476 Broadway,
New York City.
Three little gnomes impersonate safety, courtesy and loyalty in in-
dividual lives.

Cost of Carelessness — 1 reel — Carter Cinema Producing
Corporation, c/o Evans Laboratories, 1476 Broadway,
New York City.

High Cost of Hurry — 2 reels — Carter Cinema Producing
Corporation, c/o Evans Laboratories, 1476 Broadway,

New York City.
The most frequent accidents in the home, on the street and on the
cars and how they may be avoided.

Our Children — 1 reel — Carter Cinema Producing Corpora-
tion, % Evans Laboratories, 1476 Broadway, New York
City.

Athletics and Sports

Athletic Movements Analyzed — 2 reels — Pathe Exchange,
Inc., 35 W. 45th St., New York City, and 415 S. Wabash
Ave., Chicago, III.

Various athletic movements are slowed down to eight times less than
normal speed, an unusual study in the muscular action involved in

RENTAL FILMS

397

physical training. Especially valuable to show "form" as exhibited by
champion athletes. Syllabus by physical training staff, Board of Edu-
cation, New York City.

Back to Nature — Pictorial Clubs, Inc., 350 Madison Ave.,
New York City.

Life in a girls' camp. Diving, swimming, aquaplaning, canoeing and
other outdoor sports in both slow and normal motion.

Animal Athletes — Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.
The play of wild and domesticated animals. A liberal number of slow
motion views.

Baseball Slow Motion Pictures — 1 reel — American Motion
Picture Coiip., 126 W. 46th St., New York City.
Babe Ruth making a home run and other baseball champions in action.

Boxing — 2 reels — General Vision Co., 104 W. 42nd St., New
York City.

An instructional film from the LT. S. Naval Academy Series.

Building Winners — Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.
Training for track and football with slow motion photography. How
Jack Dempsey keeps fit.

Brain and Brawn — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.

Interesting contrast between the old-time school with all study and
no play and the modern school exemplified by the Culver Military
Academy with its wealth of physical training features, such as drills,
horse-back riding, tennis and other sports.

By Hook or Crook — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.
An amusing reel of which the producer says "Fred Stone and Rex
Beach go fishing together. The well known comedian does not fish
scientifically while the eminent author does, but results show that
sometimes luck is better than science/5

398 MOTION PICTURES FOR INSTRUCTION

Call of the Game, The — 1 reel — Pathe Exchange, Inc., 35
W. 45th St., New York City, and 418 S. Wabash Ave.,
Chicago, III.

The outdoor sports of hunting deer and mountain climbing compared
with the more popular sports of football and baseball.

Champions — 1 reel — Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.

Championship form in golf, tennis, sprinting, baseball, diving, swim-
ming and crew work. Includes some excellent slow motion photography.

Day with the Circus, A — 2 reels — Carter Cinema Produc-
ing Corporation, c/o Evans Laboratories, 1476 Broadway,
New York City.
All the delights of the circus — bare-back riding, chariot racing, trained
horses, ponies, dogs and monkeys.

Desha's Tryst with the Moon — y2 reel — Pictorial Clubs,
Inc., 350 Madison Ave., New York City.

An artistic reel of a dancer in a moonlit vale. Slow motion pictures
show the details of the graceful movements.

Danger Lure, The — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.

The thrills and risks of motor-boat racing, wrestling, pole vaulting,
jumping, hurdling and sprinting.

Fields of Glory — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.
The wholesome rivalry of sports such as polo, tennis and boxing be-
tween the various countries.

Fishing Fever — 1 reel — Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.
All forms of an ancient sport from trout fishing in a mountain stream
to trolling for bluefish from the deck of an ocean-going ship.

Four R's — George Kleine Motion Picture Films, 49 W. 45th
St., New York City.
In the picture of the exceptional training given at Culver Military

RENTAL FILMS

399

Academy, the three R's, "readin," "ritin," and "rithmetic" have been
supplanted by a fourth, riding. Inspiriting views of Culver's cavalry
troop.

Future Greats — Pictorial Clubs, Inc., 350 Madison Ave., New
York City.

Slow motion pictures of the younger generation getting their start at
baseball, tennis, golf and polo.

Golfing with Jess Sweetser — % reel — Pictorial Clubs, Inc.,

350 Madison Ave., New York City.
Yale's winner of the American and British Amateur Gold Champion-
ships. Slow motion views permit close study of the various shots.

Girls and Records — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave., Chi-
cago, III.

The producer says, "This picture contrasts the simple sport of cutting
roses indulged in by the girl of fifty years ago and the kind of sports
girls go in for today." Mrs. Clayton's form in golf, Helen Wills' skill
in tennis and Eileen Riggin's perfect diving are shown in normal and
slow motion.

Golf in Slow Motion — Pictorial Clubs, Inc., 350 Madison
Ave., New York City.

Two great women champions, Cecil Leitch and Alexa Sterling, at both
normal and slow motion.

Grace in Slow Motion — Pictorial Clubs, Inc., 350 Madison
Ave., New York City.
Classic dancing in slow motion. The petal dance, the garland dance,
and American Indian dances, all done with a setting of beautiful spring
landscapes.

Hobbies— \1 reel— Pathe Exchange, Inc., 35 W. 45th St., New
York City, and 418 S. Wabash Ave., Chicago, III.
Playing poker and playing fish are contrasted in this reel.

Hoofbeats — 1 reel— Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.

400 MOTION PICTURES FOR INSTRUCTION

"The daily routine life of race horses. What they eat and drink, and
how they exercise." Some good slow motion photography, exciting races
and jumps.

Happy Years, The — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.
The old swimming hole and the juvenile baseball fields that we all
love.

Invaders — 1 reel — Pathe Exchange, Inc., 35 W. 45th St., New
York City, and 418 S. Wabash Ave., Chicago, III.

International sporting events including tennis, cricket, polo, racing,
golf and yachting.

National Rash, The — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave., Chi-
cago, III.

The evolution of the game of golf.

Nature's Rouge — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.

Girls at the summer camp of the Sargent School. Swimming, basket
ball and canoeing.

On Guard — 1 reel — Pathe Exchange, Inc., 35 W. 45th St.,
New York City, and 418 S. Wabash Ave., Chicago, III.

Evolution of the art of self-defense. Reel includes dueling, fencing
and boxing.

Olympic Mermaids — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave., Chi-
cago, III.

Four women champions swimmers — Gertrude Ederle, Eileen Riggin,
Helen Meany and Doris O'Meara.

Our Defenders — 1 neel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.
Training and sports at Annapolis and West Point, with emphasis on
the points developed especially at each academy.

RENTAL FILMS

401

Pheasant Hunting at the Famous Blooming Grove Club—
1 reel — Carter Cinema Producing Corporation, c/o Evans
Film Laboratories, 41?'€ Broadway, New York City.
Spirited illustrations of an interesting sport.

Rescued — Pictorial Clubs, Inc., 350 Madison Ave., New York
City.

Showing the coast guard and the rescue of a girl.

Rough and Tumble — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., Xew York City, and 418 S. Wabash Ave., Chi-
cago, III.

Bronco busting, push ball, football, wrestling and field hockey.

Star Pitcher, A — Pictorial Clubs, Inc., 350 Madison Ave.,
Xew York City.

The secret of Alexander's pitching shown by means of the slow
motion camera. Action of a pitching machine.

Swimming — 1 reel — General Vision Co., 104 W. 42nd St., Xew
York City.

One of the U. S. Naval Academy Series made for instructional pur-
poses.

Swimming and Diving — 2 reels — Society for> Visual Education,
Inc., 327 S. LaSalle Street, Ch icago. III.
Produced by Dr. White at the University of Chicago. Presents such
stars as Johnny Weissmueller in both slow motion and normal photog-
raphy, the emphasis being on correct form in each event.

Sun and Snow — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.
Contrasting scenes of winter and summer sports at Lake Placid and
down in Florida.

Solitude and Fame — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave., Chi-
cago, III.

The sports of the city contrasted with the pleasures of the country.
Some interesting slow motion photography.

402 MOTION PICTURES FOR INSTRUCTION

Stunts — 1 reel — Pathe Exchange, Inc., 35 W. 45th St., New
York City, and 418 S. Wabash Ave., Chicago, III.
The hard work necessary to attain skill in athletics. Stunts of Bird
Millman, the tight-rope walker, and Johnny Weissmueller, trick swim-
mer.

Spikes and Bloomers — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave., Chi-
cago, III.

Sports of the modern girl contrasted with those of the girls of former
days — running, jumping, diving, throwing the discus and javelin, base-
ball, and basket ball. Some excellent slow motion photography.

Sporting Speed — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.

Exciting races among men and dogs — ice skating, ice boating, motor
boating. All require a high degree of speed.

Sporting Armor — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.

The armor of the middle ages contrasted with the sturdy bodies
acquired in the games of football, ice hockey, etc., of modern
times.

Tennis in Slow Motion — Pictorial Clubs, Inc., 350 Madison
Ave., New York City.

A match game between Johnston of California and Patterson, the
Australian Champion.

Taking a Chance — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.
The hazards of cross country riding, jumping, football, baseball.
Hazardous riding by the mounted police.

Sporting Rhythm — 1 reel — Pathe Exchange, Inc., 35 W. 45th
St. New York City, and 418 S. Wabash Ave., Chicago, III.
Dancing, ball playing and boxing demonstrating rhythm of move-
ment in athletics.

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What Form Means to ax Athlete — George Kleine Motion
Picture Films, 49 W. 45th St., New York City.
By a series of animated illustrations with the camera designed to re-
tard the action, the important movements of the athlete's body are
shown from start to finish in the different events of a track meet.

Silvery Art — 1 reel — Bed Seal Pictures Corporation, 729
Seventh Ave., New York City.
An interesting reel depicting the art of skiing, also beautiful scenes
among the highest peaks of the Swiss Alps.

Flirting with Death — 2 reels — Red Seal Pictures Corpora-
tion, 729 Seventh Ave., New York City.

Dangers and thrills of skiing among the highest peaks of the Alps.

Wrestling — 1 reel — General Vision Co., 104 W. 42nd St., New
York City.

Another of the instructive U. S. Naval Academy Series.

Wild and Western — 1 reel — Pathe Exchange, Inc., 35 W.
45th St., New York City, and 418 S. Wabash Ave., Chi-
cago, III.

A rodeo in Calgary, Canada — expert riding, steer roping and other
sports of the frontier. A thrilling picture of a great western round-up.

Chemistry

Chemistry of Combustion — Pictorial Clubs, Inc., 350 Madi-
son Ave., New York City.
Experiments to show chemical combinations which produce combus-
tion.

Crystals in Formation — George Kleine Motion Picture
Films— 49 W. 45th St., New York City.
Unusual pictures of crystal formations in the chemical world.

Experiments with Sulphur — Pictorial Clubs, Inc., 729 7th
Ave., New York City.
Chemical processes and commercial applications.

404 MOTION PICTURES FOR INSTRUCTION

Physics

Einstein Theory of Relativity — i reels — Bed Seal Pictures
Corporation, 729 Seventh Ave., New York City.
A highly commended film on a subject which has engaged the public
as well as scientific interest of the world for several years.

Electricity and Magnetism

Electro-magnetic Induction — Electro-magnetism (2 reels)
— Electrostatics — High Frequency Currents — Mag-
netism— Six Reels by Professor H. B. Lemon — Society
for Visual Education, Inc., 327 S. LaSalle St., Cfiicago, III.

Miscellaneous

Camphor — Fox Film Corporation, 10th Ave. and 55th St.,
New York City, and 910 S. TV abash Ave., Chicago, III.

Correct Position and Movement for "Writing — United Cin-
ema Co., 120 W. 41st St., New York City.
A demonstration of the arm-movement principles of penmanship.

Cube and Square Root — 1 reel — Carter Cinema Producing
Corporation, c/o Evans Film Laboratories, 1476 Broad-
way, New York City.
An attempt to objectify the study of cube and square root by means of
photography and animated diagrams. A type of film concerning which
the author has elsewhere expressed doubt as to the appropriateness of
the motion picture as a medium of instruction (see p. 82).

It is listed here in order that teachers may form their own opinion of
the value of the motion picture in the teaching of mathematics.

Death Ray, The— 2 reels— Pathe Exchange, Inc., 35 TT. 45th

St., New York City, and 418 S. Wabash Ave., Chicago, III.
The producer says. "H. Grindell Mathews, English scientist and in-
ventor of a 'death ray/ shows some of the machinery he uses in casting

RENTAL FILMS

405

the mysterious beam, which is said to be capable of destroying life and
matter at great distances. The two reels were made with the assistance
of the French Government/''

Famous Melody Series — Pathe Exchange, Inc., 35 W. 45th
St., New York City, and 418 S. Wabash Ave., Chicago, III.
Single reel subjects presenting musical picturizations of songs of dif-
ferent countries. The first release is "Songs of Ireland," which will be
followed by twelve other subjects, all of which can be obtained through
the Pathe Exchange.

Is Conan Doyle Eight ? — 2 reels — Pathe Exchange, Inc., 35
W. 45th St., New York City, and 418 8. Wabash Ave.,
Chicago, III.

An expose of the tricks used by fake spiritualists in their alleged
communications with the dead. Shows the value of research by serious
students and scientists.

My Lady's Perfume — Fox Film Corporation, 10th Ave. and
55th St., New York City, and 910 S. Wabash Ave., Chi-
cago, III.

Entertaining and instructive, showing the perfume industry in the
town of Grasse on the Riviera, where the world's finest perfume is made.

Eambles of a Raindrop — Fox Film Corporation, 10th Ave.
and 55th St., New York City, and 910 S. Wabash Ave.,
Chicago, III.

The experiences of a raindrop in geyser, cloud, waterfall, lakes, rivers
and ocean.

Rembrandt — 7f reels — Pictorial Clubs, Inc., 729 7th Ave.,
New York City.

Birthplace and love story of the great painter. Years of success
and then poverty and misery of old age. Striking reproductions of
some of Rembrandt's famous paintings including "The Xight Watch,"
"The Man with the Golden Helmet" and the artist's son, ''Titus."

An original music score furnished with this film.

Salt of the Earth — Fox Film Corporation, 10th Ave. and

406 MOTION PICTURES FOR INSTRUCTION

55th St., New York City, and 910 S. Wabash Ave., Chi-
cago, III.

A story introduces and forms the vehicle for the exposition of the
mining and refining of salt.

Story of the Lucifer Match, The — Pictorial Clubs, Inc.,
7U9 7th Ave., New York City.
A complete story of the manufacture of a match.

Winter's Gift to Summer — Pictorial Clubs, Inc., 7\29 7th
Ave., New Yark City.
The process of modern ice harvesting.

Young Salts — % reel — George Kleine Motion Picture Films,
49 W. 45th St., New York City.
Work and play at the Culver Military Academy.

PURCHASE FILMS

It is against the policy of the principal motion picture pro-
ducing corporations to sell prints, as their business is built
on rentals to theaters. Such films as are available for sale to
schools are made by welfare and industrial organizations, or
by the non-theatrical agencies or individuals that have had
the capital and experience to attempt production. As these
are comparatively few, it will be more convenient to list these
under the firm names, rather than by subjects.

Films listed in the three Libraries of Part I (Chapters II
and III) are not relisted in Part II.

List of Principal Firms Having Educational Films For Sale

Bray Productions, Inc., 120 W. 42nd St., New York City.
Visual Text Sales Co., 1268 So. Grenshaw Blvd., Los An-
geles, Calif.

Carlyle Ellis, 220 W. 42nd S., New York City.

Raymond L. Ditmars, New York Zoological Society,

Borough of Bronx, New York City.
The DeVry Corporation, Portable Motion Picture Projector

Manufacturers, 1111 Center St., Chicago, 111.
The Ford Motion Picture Laboratories of the Ford Motor

Company, Detroit, Mich.
Apollo Film Company, (Beseler Films), 286 Market St.,

Newark, New Jersey.
Urban-Kineto Corporation,* Irvington-on-the-Hudson, New

York.

* Xame changed, as we go to press, to Spiro Film Corporation,
Irvington-on-the-Hudson, New York.

407

408 MOTION PICTURES FOR INSTRUCTION

Reels issued by the United States Government Departments below
are listed under the proper subject-matter classification in the list of
Free Films (Comprehensive List of Educational Films). These are
also sold to schools at cost.

Office of Motion Pictures, United States Department of

Agriculture, Washington, D. C.
Department of the Interior, Bureau of Mines, Pittsburgh,

Pa.

United States Department of Labor, Children's Bureau,
Washington, D. C.

United States Department of Public Health Service, Wash-
ington, D. C.

Pathe Exchange, Inc. (Long Term Lease) — 35 W. 45th St.,
New York City.

The Pathe Films are listed under Rental Films in Chapter VI, except
those already listed in the Film Libraries in Chapter III.

Most of the industrial firms (like the International Har-
vester Company and General Electric Company) which have
films listed under Free Films in the Comprehensive List,
will sell prints at cost to educational institutions.

Schools starting to form permanent film libraries would do
well to write any of the firms or exchanges mentioned in this
book, as many of them will make up prints to order, even
though they do not advertise prints for sale.

BRAY PRODUCTIONS INC.
120 W. 42nd St., New York City.

DAYPHO-BRAY LIBRARY OF FILMS

(Mostly on General Science Subjects)

The reels are of the short lengths so desirable for class use.
They vary from 150 feet to a full 1000 foot reel. The catalog
is too extensive for our reprinting and contains nearly a thou-

PURCHASE FILMS

409

sand titles on school topics, classified by the Dewey decimal
system, used by most libraries for book classification.

The group in General Science has been especially edited for
school use and is summarized as follows :

1. Air and Water — Eleven Subjects, 6 Reels

2. Energy — Twelve Subjects, 7 Reels

3. The Earth — Fourteen Subjects, 5 Reels

4. Life — Thirty-two Subjects, 16 Reels

5. The Universe — Eight Subjects, 6 Reels

In addition to the General Science films, the following
series on The Science of Life was made under direction of the
Surgeon General in the U. S. Public Health Service. The
series established a new high standard in instructional films :

Part I — General Biology

Protoplasm. The Beginning of Life
Reproduction in Lower Forms of Life
Reproduction in Higher Forms
Interdependence of Living Things

Part II — Communicable Diseases

How Plants and Animals Cause Disease
How Disease is Spread
How to Prevent Disease
How the Mosquito Spreads Disease
The Fly as a Disease Carrier

Part III — Personal Hygiene

Reel 10. Personal Hygiene for Young Women
Reel 11. Personal Hygiene for Young Men
Reel 12. General Personal Hygiene

Of the same high quality is a Bray series on "Elements of
the Automobile" produced for the XL S. Army:

Reel 1 — The Running Gear and Differential

Reel 2 — The Running Gear and Differential (Concluded)

Reel 1.
Reel 2.
Reel 3.
Reel 4.

Reel 5.
Reel 6.
Reel 7.
Reel 8.
Reel 9.

410 MOTION PICTURES FOR INSTRUCTION

Reel 3 — The Engine

Reel 4 — The Engine (Concluded)

Reel 5 — The Carburetor

THE HUMAN BODY
Statement (Condensed) from the Producers

"The Human Body" prepared by Jacob Sarnoff, M.D.,
associate in the Department of Anatomy in the Long Island
Medical College. Made originally in connection with Dr.
Sarnoff 's work at the Long Island Medical College, the pic-
tures were prepared for specific educational purposes. As
their success in classroom work was demonstrated, they were
reedited and enlarged for general educational use.

"For the first time the attempt is made to utilize human
dissection for general anatomical and physiological instruc-
tion. This would be obviously impossible in any other way
than through the motion pictures. Dissection is supplemented
by animated drawings to reveal hidden processes and func-
tions and by mammalian organs functioning in actual ]if e. By
the Pneumo-Viscera method, originated by the author to de-
monstrate the organs of the body by inflating them with air,
much that is obscure even in ordinary laboratory dissection is
made plain."

A brief synopsis from the producers of this five reel series
follows :

Reel 1 — The Digestive Tract. Animated drawings portray the entire
digestive tract, and the relation of the different organs to each other.
Actual dissection of the human abdomen shows the anatomical ar-
rangements of these organs. Then animation demonstrates the passage
of food from the mouth through the gullet, stomach and small and large
intestines.

Reel 2 — A Respiratory System. Animated drawings first show the
location and inter-relation of the respiratory organs. Then dissection
and demonstration by the Pneumo-Viscera method of the lungs as they

PURCHASE FILMS

411

appear in the body. Animated drawings reveal the passage of the air
through the lungs and its distribution by the blood to all parts of the
body.

B. Urinary System. The entire urinary system is dissected and as-
sembled outside the body so that its important functions can be studied
in themselves as well as the relation of the urinary tract to the cir-
culatory and other systems.

Reel 3 — The Heart and How It Works. Presents actual dissection of
the human heart, demonstrating in detail the construction of its cham-
bers, partitions, valves and cords. The mechanism and action of the
valves of the heart are presented by actual specimens and animated
drawings. The action of the real living heart is seen at normal rate and
in a slow motion picture.

Reel 4 — The Blood Vessels and Their Functions. The vascular sys-
tem is illustrated by actual dissections of the main blood vessels and by
animated drawings. The course of the blood flow is illustrated by
animation. The cycle of a drop of blood is seen from its starting point,
the heart, until its return. Actual flow of blood is seen through a micro-
scope.

Reel 5 — Human Development. The reel is a careful yet frankly
treated analysis of the human reproduction. The biology and physiol-
ogy of reproduction is touched upon through the use of animated draw-
ings sufficiently to make clear the fertilization of the ovum. Then are
shown in succession an unusual series of pictures revealing the develop-
ment of the ovum through its various stages of embryo, fetus and in-
fancy. Charts carry this development forward from infancy to maturi-
ty. The treatment of this whole subject is simple, direct and purely
scientific.

Reel 6 — The Fuel System and Ignition.

Reel 7 — Ignition (Continued).

Reel 8 — Ignition (Concluded).

Reel 9 — The Cooling System and the Clutch.

Reel 10 — The Transmission.

Reel 11 — The Transmission (Concluded).

Reel 12— The Brakes.

Mr. J. R. Bray is justified in calling these ' i pedagogical mo-
tion pictures.' ' They utilize animated technical drawings,
" phantom drawings" for seeing the invisible; and using the
well known principle of " divide and conquer/ ' he has made

412 MOTION PICTURES FOR INSTRUCTION

each step so short and so richly illustrated that what seemed
difficult as a whole, seems easy when separated into part s.
Repetition is used for recall at critical points in taking a new
step. The two series here mentioned are the best illustrations
at hand of the author's contention in Chapter X, that ample
capital as well as technical direction is needed for the
production of films designed for class instruction — two
qualifications seldom found together in non-theatrical pro-
duction.

These groups may be rented from The University of "Wis-
consin. Prints from the whole library may be purchased
from The Bray Productions, Inc., 120 W. 42nd St., New York
City, at 11 cents a foot.

VISUAL TEXT SALES CO

1268 South Crenshaw Blvd., Los Angeles, Calif.
(Mostly on Athletic Subjects — $60 per reel)
Volume I

MARCHING

This film shows gymnastic marching, covering some eighteen move-
ments analyzed with the slow speed camera. Military marching, squad
and company movements and comparisons with gymnastic marching.
Novelty marching; figure marching, etc.

Volume II

FORMAL GYMNASTIC DRILLS

Methods of giving commands and the execution thereof. Sample

developmental drills with and without hand apparatus. Various

methods of forming the class on the floor. Emphasis on correct form
in fundamental and derived positions.

PURCHASE FILMS

413

Volume III

CORRECTIVE GYMNASTICS

Illustrates correct and incorrect postures. Posture tests.

Shows common postural defects, such as spinal curvature, sloping
neck, round shoulders, hollow back, and the corrective procedure for each
type.

Illustrates common arch defects, the treatment of broken arches, with
illustrations of interesting corrective games.

Defects of heart and lungs, with exercises for various types.

Nutrition cases, showing means of recognizing cases and illustrating
the treatment.

Volume IV

COMBATIVE ACTIVITIES

The fundamental principles of hand to hand fighting. Boxing
and wrestling, illustrating the various holds and positions for offensive
and defensive work. Rules and procedure in conducting amateur
bouts.

Volume V — Part I

TUMBLING — ELEMENTARY INDIVIDUAL

This shows preliminary exercises leading up to and including simple
tumbling stunts, somersaults, etc., that any child can do without equip-
ment, and their value in physical development.

Volume V — Part II

TUMBLING ADVANCED INDIVIDUAL

This reel covers advanced forms of tumbling. The work is analyzed
by the slow speed camera and suspended animations. Shows clearly the
muscles brought into play in such stunts as handsprings, round-off s,
forward and back somersaults, etc.

416 MOTION PICTURES FOR INSTRUCTION

clearly illustrated and analyzed with the slow speed camera. All the
standard swimming strokes covered in detail.

Volume XI — Part II
Life Saving and diving

Elementary and advanced standard and fancy diving analyzed with
slow speed camera and suspended animation. Depicts very clearly the
approach to a drowning person, breaking holds, methods of towing and
artificial respiration.

Fundamentals of Football — (2 reels)
By Knute Rockne, famous coach of Notre Dame University.

CARLYLE ELLIS
220 W. 42nd St., New York City.
(Mostly on Health and Welfare Subjects)

The prints below may be purchased from the address above, at $100
per reel. They may also be rented or borrowed from the organizations
for whom they were made. Many state boards of health and state
universities have some of these films.

1. A Nurse Among the Tepees — 1 reel.

Records a winter visit to the Arapahoes of Wyoming at forty below
zero. A public health nurse has been working among this unrecon-
structed tribe and the results, like the elements in this picture, are
extraordinary.

2. Pueblos and Pickaninnies — 1 reel.

Through the steaming lowlands of Louisiana, where the population is
almost wholly African, to the Pueblos of New Mexico. Native life is
shown just as it is.

3. The Golden Year — 1 reel.

A retrospect of the war activities of the Y. W. C. A., ending with the
launching of the "Blue Triangle" at Hog Island shipyard.

PURCHASE FILMS

417

4. The Highroad — 3 reels.

A human narrative made to illustrate the most modern ideal of in-
dividual and social health, especially in its application to women. In
this new conception, health includes not only bodily vigor and poise but
a wholesome and vital expression in work, recreation, companionship
and the whole emotional and spiritual life.

(Made for the Bureau of Social Hygiene, Y. W. C. A.)

5. Meeting the Menace of Tuberculosis — 2 reels.

Telling in narrative review what happens to a family attacked by
tuberculosis. Public provisions for reaching, diagnosing and treating
the cases take one through clinic, preventorium, hospital, sanatorium and
occupational reconstruction. Full clinical data are presented in a pop-
ular way.

( Made for the College of Physicians and Surgeons of Columbia Uni-
versity and the New York Tuberculosis Association. Supervised by Dr.
Iago Galdston.)

6. The Kid Comes Through — 1 reel.

A fast-moving little drama of child life in a big city, made with child
players, to be shown to children. The story dramatizes, without preach-
ing, the value of physical fitness derived from fresh air, wholesome food,
cleanliness and right health habits.

(Made for the New York Tuberculosis Association.)

7. Take No Chances — 1 reel.

Distributed by the National Tuberculosis Association.

Made to enlist active public interest in the fight against tuberculosis,
and especially to overcome the prejudice, born of ignorance and fear,
against the public clinic and sanatorium. A brief human narrative in-
troduces the twin institutions, which are seen for what they really are.

(Made for the New Jersey Tuberculosis League.)

8. Our Children — 2 reels.

After three years of active service this picture is still the standard
work on child welfare. It is the authentic story of what happened in
one typical American community when a Children's Bureau health con-
ference woke it up.

(Made for the Children's Bureau, U. S. Dept. of Labor.)

9. Foot Folly — 1 reel.

An unpreachy preachment on right shoes and the care of the feet,

418 MOTION PICTURES FOR INSTRUCTION

especially for girls and young women. Combining lively personal nar-
rative, amusing photographic oddities and practical help, it has been a
marked factor in creating the low-heeled shoes styles.
(Made for Bureau of Social Education, Y. W. C. A.)

10. New Jersey Health Crusaders — 1 reel.

Shows by example how a community may make a winning fight against
tuberculosis by starting with the children and teaching the basis of pre-
vention. An entertaining review of work among New Jersey children
that is readily adaptable, by a few title changes, to extensive use else-
where.

(Made for the Xew Jersey Tuberculosis League.)

11. From Whistle to Whistle — 2 reels.

A pictorial history of the conditions that led to protective legislation
for women in American industry, contrasting good and bad conditions in
various periods to the present.

(Made for the National Board of the Y. W. C. A.)

12. When Women Work — 2 reels.

A dramatization of the Federal standards for working women as to
hours, wages and working conditions in factories, showing the evil ef-
fects of unfair conditions and the restorative effect on individuals and
community of a rise to the accepted standards. The story is woven
around the lives of two girls in strongly contrasted but authentic cir-
cumstances.

(Made for the Women's Bureau, U. S. Department of Labor.)

13. An Equal Chance — 2 reels.

A narrative of the battle with the influenza epidemic in one rural
community that leads into exposition of the value of the public health
nurse everywhere and reviews her varied activities under many strange
circumstances.

(Made for the National Organization for Public Health Nursing.)

14. In Middies and Bloomeks— 1 reel.

A sunny narrative of a city girl worker who went to a Y. W. C. A.
vacation camp near New York, of what sh^ found there and what it did
for her. Emphasis: the spirit of comradeship — body building — love of
outdoor beauty — activity.

(Made for the Y. W. C. A.)

PURCHASE FILMS

419

15. Well Born — 2 reels.

(Made for Children's Bureau.)

16. Big Gains for Little Bodies — 1 reel.

LIVING NATURAL HISTORY

By Raymond L. Ditmars
care of

the New York Zoological Society
Borough of Bronx
New York City

{Biology and Nature Study)

This series is so complete and scientifically listed, that it
is put down here, in abbreviated form, with Mr. Ditmar's
own classifications. Mr. Ditmar's catalog gives contents of
each film and other information of great value to teachers.

Reel 39 Planaria (Shell-less Molluscs) is included in the
One Hundred Twenty Reel Library in Chapter II of this book.
They are sold at about $100 per reel.

Reel 4. Cat Animals.
Reel 5. Bears.

Reel 6. Canines and Smaller Carnivores.

Carnivores (continued). Seals.
Reel 7. Smaller Carnivores; Seals,

MAMMALS

Primates.

Reel 1.
Reel 2.
Reel 3.

Anthropoid Apes.
New World Monkeys.
Old World Monkeys.

Carnivores.

420 MOTION PICTURES FOR INSTRUCTION

Reel 8. Smaller Rodents.

Reel 9. Larger Rodents.

Reel 10. The Prairie "Dog" and Beaver.

Ungulates.

Reel 11. Deer.

Reel 12. Bovines, Sheep, Goats, and Antelopes.
Reel 13. Miscellaneous Ungulates.

Ungulates (continued). Proboscideans.

Reel 14. Odd-toed Ungulates and Elephants.
Reel 15. Bats, Insectivores, Edentates.

Marsupials.
Reel 16. Kangaroos and Opossums.

Marsupials (continued). Monotremes.
Reel 17. Miscellaneous Marsupials.

BIRDS

Various Orders in Each Reel.

Reel 18. Perching Birds and Birds of Prey.

Reel 19. Aquatic Birds.

Reel 20. Miscellaneous Birds.

Reel 21. Various Orders and Wingless Birds.

REPTILES

Serpents.

Reel 22. The Viperine Serpents.

Reel 23. Larger Serpents.

Reel 24. New and Old World Harmless Serpents.

Reel 25. Colubrine Poisonous Serpents.

Lizards.

Reel 26.
Reel 27.

New World Lizards.
Old World Lizards.

PURCHASE FILMS

Chelonians, Croeodilians.
Reel 28. Turtles and Tortoises.

421

AMPHIBIANS

Tailless Amphibians.
Reel 29. Frogs and Toads.

Tailed Amphibians.
Reel 30. Salamanders, Newts and Allies.

INSECTS

Neuroptera, Odonata and Homoptera.

Reel 31. Life Histories.

Hemiptera, Orthoptera.

Reel 32. Insects that Sing; forms of Mimicry.
Reel 33. Beetles; Butterflies and Moths.

Lepidoptera (continued).

Reel 34. Transformations of Butterflies and Moths.
Reel 35. Larger Moths.

Hymenoptera ; Diptera.
Reel 36. Bees, Wasps, Ants and allies.

Additional Arthropods.

Reel 37. Millipedes, Centipedes, Scorpions and Tropical Spiders.
Reel 38. North American Spiders.

MARINE LIFE

(Prepared and arranged under the direction of the scientific
staff of the Marine Biological Station at Naples).

422 MOTION PICTURES FOR INSTRUCTION

Eeel 39. Planaria. Shell-less Mollusks.

Reel 40. Fishes.

Reel 41. Starfishes, Jelly fishes, Anemones.

Reel 42. Crustaceans, including various species of crabs and lobsters.

DeVRY educationals

DeVry Corporation, 1111 Center St., Chicago, 111.

(Mostly on Geography)

The following DeVry Educational reels are available for
purchase. They vary from 600 to 800 feet in length, and are
sold at $65 per reel on non-inflammable stock.

Teachers' leaflets are available for all DeVry Educationals.

1. American Indians and Their Ancestors.

Home life of the Winnebagos of the present day — doing the family
laundry — making moccasins — sewing — hairdressing — an odd mixture of
the modern and the primitive. Hopis of the Pueblo group doing the
Buffalo Dance — ancient cave dwellers — the ruins of Mitla — the buried
City of Mexico built before the time of the cave dwellers.

2. The Life op the Lumberjack.

Lumberjacks in crews in camp in the California forests — Chinese
cook — rolling logs into the water — sawing and squaring up logs — plan-
ing lumber — logging train crossing mountains and valleys — piling lum-
ber on freight cars — hauling lumber by ox team — dam and power house
at Lake Tahoe.

3. Sponging for a Living.

Unusual scenes of a little-known industry.

4. Animal Round-up on Western Cattle Ranches.

Cattle on the ranges in the Southwest — roping steers in the corral —
branding — arrival at the stockyards — a Frontier Day meet — Miss Louise
Thompson, champion cow girl, on a kangaroo — a bad horse — broncho
busting.

5. The Oil Industry.

Boring a well. — putting in the casing — bringing in a gusher — capping

p

PURCHASE FILMS

423

the gusher — piping oil to tanks — escaping gas — an oil well on fire —
derricks and pumps — a boom oil town.

6. Eaising Cash by Raising Poultry.

Embryology of a chick — hatching eggs by hen and by incubator — baby
chicks — pictures of various breeds.

7. Charming Girls and Busy Men op Japan.

The Japanese school girl writes with a brush — ceremonies concerned
with flowers constitute a regular course of study — training geisha
girls — 'chrysanthemum exhibit — the lantern maker — the parasol maker
— the shoemaker — the wood carver — a fisherman — the three wise mon-
keys of the Iyeasu temple at Nikko.

8. Fujiyama and Other Scenic Bits of Japan.

Views of Mount Fujiyama, the sacred mountain of Japan — beautiful
reflections in Lake Shoji and Motoso — Mount Asamayama, active vol-
cano— Miyajima through the Torii — shooting the Fujikawa rapids —
Kirifuri falls and gardens — rustic bridge in the country — Kameido,
famous Wisteria Bridge — home life and cities of Japan.

9. Japan at Work and Play.

Dance of the geisha girls — jiu-jitsu — army setting-up exercises —
the race track at Yokohama — raising rice in Japan — an ancient mill —
a glimpse of the Ainus, the aborigines of Japan.

10. Scenes in Panama.

Map of the Panama Canal Zone — waterfront and street scenes —
a Panama lottery drawing — cock fighting — natives pounding corn —
washing clothes and children — 'native huts in the jungle — cocoanut palms
and banana trees — traveling in a cayuca, native dug-out canoe — Panama
school girls at play.

11. The Panama Canal.

General view showing the Pedro Miguel locks — cranes and shovels
at work — the Culebra Cut — Pacific entrance to the Canal — Canal Zone
fire department — Ancon Hospital and high school — sinking a caisson —
negro laborers at work and play — convicts making roads — Hotel Wash-
ington— the Gatun Locks — electric mules — dredges at work — the great
Spillway at Gatun Dam — Admiral Dewey on a trip through the Canal
Zone — scenes in Colon — ex-President Taft's trip through the Cfemal.

424 MOTION PICTURES FOR INSTRUCTION

12. Scenes in Peru, Bolivia, and Costa Rica.

Governor's Palace at Lima — President's inaugural parade — Tihuanaeo
Inca ruins — Lake Titcaca, the home of the ancient Peruvian civilization
— Llamas — Peruvian Indians. Street scenes in La Paz. Bolivia — In-
dian beasts of burden — views of San Jose, Costa Rica — the volcano,
Asserri — bull carts — Costa Rican homes and women — troops — steam fire
engines.

13. Life in Siam and Tahiti.

Scenes in Bangkok — wharves and market boats on the Menam River
— quarrying coral rock to build a roadway in Tahiti — the upa-upa
dance — Papeete natives in Sunday dress coming out of church — pony
races and native boys racing — panorama of Papeete and ships at anchor.

14. The Girl on Horseback Tours California.

Seeing California on horseback — leaving the pony for a try at moun-
tain sports in wintertime, such as skiing, tobogganing, and dog sledding
— Monterey — the legend of the Monk of Mt. Rubidoux — at El Portal, the
entrance to Yosemite — the Twin Brothers, Half Dome, and Mirror Lake.

15. Picturesque California.

The Golden Gate and a children's party in San Francisco — historic
Monterey — Truckee Valley and Camp Fire Valley — Oakland — a Christ-
mas celebration at Los Angeles — Murphy Dam near San Diego — San
Elijo, reservoir site — San Dequito Dam — Lake Hodges Dam — Burbank's
spineless cactus and a California orange grove.

16. Glimpses of Foreign Cities of the World.

Views of Cairo, Egypt — Canton, Pekin, and Shanghai in China —
Tokio and Yokohama, Japan — Monte Carlo — Rome; Naples — Messina —
Sicilian Cities — Papeete — Seoul, Corea — Jaipur, India.

17. Historic Spots in Washington, D. C, and New York
City.

The Capitol Building — Congressional Library — colonial house where
the Treaty of Ghent was signed — St. John's Church — house where Lin-
coln died — City Hall Park in New York — the end of Brooklyn Bridge —
Sub-Treasury on Wall Street and Trinity Church — panorama of Ellis
Island — Brooklyn Bridge and subway.

18. China and Corea.

Temple sheep and Pagoda Temple — Manchu woman with elaborate

PURCHASE FILMS

425

headdress — camels loaded for the trip across the Gobi desert — Shan Hai
Quan, the end of the Great Wall of China — Chinese sampan — sailing
up the Pearl River — Hongkong— Gates of Seoul — street scene from the
window of a sedan chair — Street of the Pottery Merchants — Corean
farmer plowing — harvesting rice by hand — rice merchant — Corean women
dancing in the open air — a Corean festival.

19. Egypt.

The Street of the Weavers in Cairo — bazaar life — funeral procession
through one of the bazaars — boats on the Nile — Upper Nile River and
scenes of loading grain boats — Assuan Dam and Gates — Temple of
Abydos and hieroglyphics on the walls — Bishareen dance — natives of
the desert, a lion and lioness — sunset on the Libyan Desert.

20. Primitive Industries.

A Corean farmer plowing — Corean washwomen — Chinese blacksmiths
— making soy in China — shepherds of Bethlehem — an Egyptian car-
penter— plowing with a wooden plow and water buffalo in India — primi-
tive Hindu grain mills — driving piles by hand in Japan — Japanese
woman pearl divers — carrying wood and straw — wood carvers and shoe-
makers at work — gathering seaweed — old-fashioned spinning wheel —
Phillipine women weaving cloth, embroidering and making lace — weav-
ing baskets — Phillipine natives carrying and sawing a log for building.

21. Growing Wheat and Corn.

Wheat: plowing with two horses and with several teams — plowing
with a tractor — harrowing with a tractor — seeder drill — binding and
threshing wheat — grain in an elevator. Corn : corn fields in different
parts of the United States — cultivating corn — plucking ears of corn —
the corn harvester.

22. Life of the Bee.

Comb showing cells — bee eggs — queen bee, workers and drone — bee
farm or apiary — opening a hive, showing how the bees live — smoking
the hive — bees working on the comb — artificial combs — removing a bee
swarm from a tree branch — bee sting magnified — putting the swarm
into the hive — building the comb — feeding the grubs — the maids of
honor for the queen.

23. Fruit Orchards — East and West.

Young orange groves in Florida — close-ups of orange blossoms and
fruit — pineapples, bananas, melons, and cocoanuts grown in Florida —

426 MOTION PICTURES FOR INSTRUCTION

peach orchards in Georgia — picking and packing peaches, a display of
fruit — Southern watermelon fields — Michigan cherry orchards, berry
farm and vineyard — an apple orchard in Michigan — an Idaho irrigated
orchard — growing and picking pears — an irrigated orchard in Montana
— cultivation of grapes in California — an orange grove and banana
trees — California muskmellons.

24. The Livestock Industry — Horses and Mules.

Close-up of a horse's head — views of horses in barns and pastures
in Montana and Alabama — horses on a Texas ranch — horses on exhibi-
tion and at a horse-show — high-jumping on horseback — plowing wheat
in Texas with several teams — mustang pony with twins nursing — bur-
ros in a sheep drive near Phoenix — Indian beasts of burden — views of
mules and colts in barnyards and pastures — pack trains in the moun-
tains of the west.

25. The Livestock Industry — Cattle, Sheep and Goats.

Beef cattle of Texas on the range — champion shorthorns — milk cows
in pasture — favorite breeds and types — modern dairy barns — a mechan-
ical milker — a milking contest in California — a sheep drive near Phoenix.
Arizona — sheep and lambs — shearing sheep, sheep in Australia — goat
ranch — views of long-haired Angora goats — goats and kids playing.

26. Pottery and Statuary.

Pottery as an American industry — throwing a vase on a potter's
wheel — making cast articles in molds — making statuettes — how an
amphora is worked out — carving a statue.

27. Italy, Gibraltar and Monte Carlo.

Italian dances — the road from Castellammare to Sorrento — panorama
of Sorrento — temples of Apollo, Diana, and Juno in Sicily — sunset on
the Bay of Naples — panorama of the Rock of Gibraltar — panorama of
Monte Carlo with a view of the prince's palace.

28. Falls and Rapids.

Niagara, Shoshone and Yosemite Falls — Minnehaha Falls — Kirifuri
Falls of Japan — shooting the Fujikawa Rapids — rapids in swift moun-
tain streams.

29. American Sports.

Flashes of football, basket ball, tennis, golf, and swimming — char-
acteristic groups of the population engaged in typically American
sports.

The Antlers of the Elk Are Shed Each Spring. Scene from
Ditmar's Living Natural History— -p. 419

PURCHASE FILMS

427

30. Children of Many Nations.

A children's fancy dress party — Boy Scouts in summer camps — young
America at marbles — children with their pets—Pueblo woman and child
— Sunday morning bath in Panama — another kind of bath in India —
boy duck drivers in Java — Japanese children in California — feeding the
temple doves in Japan — Igorot children — "Bye-bye, Papa.''

FORD EDUCATIONAL LIBRARY

Order from the Ford Motion Picture Laboratories Detroit, Mich.

(Mostly Geographical and Vocational)

(The following Forty-five subjects are accompanied with Teachers'
Leaflets and are sold at $50 per reel)

Film No. Footage Subject

3.

684

Grand Canyon of the Colorado.

4.

834

Yosemite Valley.

5.

892

Rocky Mountains.

6.

738

Yellowstone Park.

7.

550

Mount Rainier.

8.

769

Niagara Falls.

9.

890

Panama Canal.

10.

822

Washington, D. C.

11.

560

Democracy in Education.

12.

713

Some of Uncle Sam's ^Workshops.

13.

954

Iron and Steel.

14.

865

Making a Rubber Tire.

15.

792

Oyster and Shrimp Fishing.

16.

800

Olives and Oranges.

17.

892

The Honey Bee.

18.

792

Milk as Food (See sample lesson given in Teachers'

Leaflet, Chapter VIII).

19.

662

The Banana.

20.

529

The Date Palm.

21.

640

Making Maple Sugar.

22.

703

Mining Anthracite Coal.

23.

1193

Brain Operation (Surgical).

25.

800

Goitre Operation "

29.

847

Meat Packing.

428 MOTION PICTURES FOR INSTRUCTION

30.

691

OaiLLlUil X1 lo.LlJ.iltf.

31.

7QO

VjcL L Lie JAd-ULH.

XJULXlcr -D III Uclllls..

35.

771

fix

ill LlUil.

36.

1001

RnlnipH r»"f Wilrl Animnla

iJaUica «J1 Willi xjLllllilt&lB.

Of.

1 UUt>

J. lit; vdi uuiciur \6 reels/.

39.

718

T^noViln Tnfliflnc
xt UcUlU XlllllcHio.

40.

952

it jicai cLiiu. i xuui •

41.

452

Rior TVppq nf Oplifnrnifl

JLrXhL JL1 CCO Ul VJtllllUiXllCv*

42.

671

Water Supply of a Great City.

44.

870

"\Tp-m VhtIt Oifv

1>CW V_/ltj'.

47.

945

Modprn Oil RoAninc

XjUIIIUcI lllg 111 XXvlltll VY vUUOi

Sugar.

74-

967

X dUcl IVXcllVlllg .

4 O.

P. n q ri m ti fr L4 iHqq iyi^t* T ociinor
l^ildil^liig xxlUeo 111LU l^crtLIlci.

oU.

om
yui

Pottery.

82,

945

The Great Lakes.

85.

914

Hawaiian Islands.

89.

879

Mexico City.

96.

955

Our Common Birds.

100.

1045

New Orleans.

1921 BELEASES
$25.00 PER REEL

Film No. Footage

1.

800

In Fairyland.

2.

750

The Message.

3.

700

Democracy in Education.

4.

650

In a Palace of Honey (Honey Industry).

5.

700

Hurry Slowly (A Street Safety Picture).

6.

650

Tropical Sons.

7.

700

For Mexico.

8.

1590

Iron and Steel, Part I.

9.

Iron and Steel, Part II.

10.

1000

Presidents of the United States.

11.

700

Where the Columbia River Rises.

PURCHASE FILMS

429

12.

950

Grand Canyon.

13.

963

Lumber Industry.

14.

700

Nassau to Kingston.

15.

1910

Landmarks of the American Revolution, Part I.

1(6.

Landmarks of the American Revolution, Part II.

17.

650

Round-Up on the Bar-U (Cattle Ranch).

18.

725

Yosemite Valley.

19.

800

Old Mexico of Today (Mexico City).

20.

950

Some of Uncle Sam's Workshops.

21.

600

Clear to the Bottom (Silver Springs, Fla.).

22.

495

Big Trees of California.

23.

700

Kingston, Jamaica.

24.

650

Something to Crow About (Poultry Industry).

25.

920

Olive and Orange Growing.

26.

1000

Dynamic Detroit.

27.

800

Good for Thought (Dairy Industry).

28.

850

Yellowstone National Park.

29.

850

Sponging for a Living (Sponge Industry).

30.

700

The Pride of Mexico (Guadalajara).

31.

1199

Landmarks of Early Explorations and Settlements in

North America, Part I.

32.

tf

Landmarks of Early Explorations and Settlements in

North America, Part II.

33.

800

Civil War Period.

34.

650

A Century of Progress, Part I.

35.

700

A Century of Progress, Part II.

36.

800

The Rocky Mountains, Part I.

37.

850

The Rocky Mountains, Part II.

38.

800

Industrial Working Conditions.

39.

750

Niagara Falls.

40.

700

Baltimore and the Oyster Industry.

41.

600

Shrimp Fishing.

42.

700

The Nation's Capital — Washington, D. C.

43.

650

Knights of the Saddle — Agriculture.

44.

600

Mt. Rainier — Regional Geography.

45.

700

Safety in the Mine — Industrial Geography.

46.

850

Fire Prevention.

47.

800

"Oh, For the Life of a Fireman."

48.

750

New York City.

49.

700

Good "Bad Lands."

50.

750

The Good Stream.

430 MOTION PICTURES FOR INSTRUCTION

51. 900 Journeys through the Valley of Heart's Delight.

52. 1000 Playgrounds for the People in Valley of Hearti'

Delight.

1920 RELEASES
$10.00 PER REEL

Film No. Footage

183.

763

Bubbles (Making Soap).

184.

725

Just Kids (Making Gloves).

185.

750

Taken with a Grain of Salt (Rock Salt Mining).

186.

775

The Flowing Road (Evolution of a River).

187.

777

De Light — Making an Electric Light Bulb.

188.

752

In Higher Spheres (Mountain Scenic and Making

Silk Hose).

189.

879

Silverware.

190.

800

Tick Tock (Making Watches and Clocks).

191.

800

Broken Silence — A Visit to a Day School for Deaf

Children.

192.

750

With Every Meal — Dealing with Knives, Forks and

Spoons.

193.

655

The Alligator Hunt.

194.

500

A Pilgrimage — Providence, Newport and Plymouth.

195.

600

Cut and Dried (Activities of a Lumber Camp).

196.

800

From East to West ( Making Wilton Rugs ) .

197.

525

North Wind's Masonry (Winter Scenes of Niagara

Falls).

198.

671

Cherry Blossom Time (Japanese Festival — Rice

Growing).

199.

750

The Reawakening (Physical Reconstruction Work at

Fort Sheridan).

200.

800

See Saw (Making Saws).

201.

800

Make Game (Making Sporting Goods).

202.

850

Home of the Seminole (Seminole Indian Camps).

203.

777

Playthings of Childhood (Making Toys).

204.

730

To "Suit" Man (Making Clothing).

205.

625

Chu Chu (Making Gum).

206.

750

Wickerware (Making Wicker and Reed Furniture).

207.

700

Little Comrades (Open Air School).

209.

750

Water as Power.

Camera Men of the Canadian Government Motion Picture Bu-
reau. Ottawa, Canada — p. 436

A Veritable "Slow Motion" Picture of a Glacier "in Action."
Scene from "Leaves from a Ranger's Notebook," Motion Picture
Bureau of Canadian Government — p. 436

PURCHASE FILMS

431

210.

650

Just "Write" (Making Fountain Pens).

211.

700

Current Occurrences (Making Electric Flat Irons and

Percolators) .

212.

770

Into the Big Cypress (Scenic).

213.

600

Starting Life (Showing Young Life).

214.

850

To Queen's Taste (Making Candy).

215.

605

Aqua ( A City Water System ) .

216.

700

Out of the Woods (Logging).

217.

750

In for a Raise (Making Baking Powder & Macaroni).

219.

580

Airistocracy (Bird Life).

220.

700

In the Glory of the Past (San Antonio).

221.

650

Between Friends (El Paso).

222.

700

For the Future (Michigan State Industrial School).

223.

821

The Way of the West (Prescott: Arizona, Frontier

Days) .

224.

775

Timberlust ( Reforestation ) .

225.

775

What the Ocean "Hides" (The Shark Industry).

226.

671

Nassau (Xassau, Bahama Islands).

227.

700

In Arizona ( Scenic ) .

228.

800

Number, Please (The Telephone).

229.

800

The Banana (Banana Industry).

230.

672

Happy Hours (National Sports).

231.

700

Farm Boys Abroad (Texas Farm Boys' Special

Tour ) .

232.

750

The Wards of a Nation (Indian Convocation).

233.

630

Ocean Tears (Ocean Salt Industry).

234.

855

Christmas Thoughts (A Christmas Picture).

Many of the reels in the Ford 1920 and 1921 lists are de-
posited with Ford dealers in various cities for free loan to
schools and similar organizations, and for these the dealers
should be communicated with. The reels in the Ford Educa-
tional Library, however, are for sale only, and should be
ordered direct from Detroit. These latter are all accompanied
by teachers' leaflets, which are of great help in presenting the
films for teaching purposes.

Mr. Beseler's Educational Library Catalog of Motion Pic-
ture Films, as issued by The American Motion Picture Cor-

432 MOTION PICTURES FOR INSTRUCTION

poration, contains over five hundred excellent subjects in agri-
culture, Americanization, aviation, biography, child welfare,
education, forestry, health and hygiene, history, home eco-
nomics, industries, juvenile, literature, science and travel, but
they are printed on inflammable stock and too widely scattered
for reliable listing. The ownership of the negatives is difficult
to determine. The breaking up of this valuable library is a
striking example of the financial difficulties encountered by
all non-theatrical producers.

Further information may be procured from Thos. A.
Baskerville, Receiver, American Motion Picture Corporation,
126 W. 46th St., N. Y The Apollo Film Co. of Newark, N. J.,
seems to have the greatest number of the prints, for both sale
and rent.

The Library of the Urban Popular Classics was announced
to include educational subjects of more than a thousand reels
in geography, nature study (science), industry, history and
recreation.

A large number of these have been issued, but unfortunately
Mr. Urban 's production plans were interrupted by financial
difficulties. The author 's efforts to trace the possession of the
negatives, and to distinguish those already issued from those
not yet produced have been unavailing. All he can say is that
the Urban Popular Classics are of a very high order, and
prints of them are scattered among a number of non-theatrical
exchanges throughout the country. The best known of these
reels are the Great American Author Series, several of which
are included in the Film Libraries given in Chapter II. This
series can be secured from Pictorial Clubs, Inc., 350 Madison
Ave., New York City. Great American Statesmen is a
companion series. The Urban Popular Classics are handled
by the Spiro Film Corporation, Irvington-on-Hudson,
N. Y.

A SELECTED BIBLIOGRAPHY

(Only recent books and pamphlets are mentioned)

Barnes, Burton — Course of Study in Visual Education. 246
pp., Board of Education Detroit, Mich. 1926.
The latest and "best presentation of the subject. The Educational
Screen says of it: "It should serve as a model of achievement to any
other city that has not yet attained a systematic basis for this all-
important phase of modern teaching."

Dickinson, Sherman — Visual Education for Teachens of Agri-
culture. 66 pp.. University of Missouri Bulletin, October
10th, 1925. Vol. 26, No. 29.

Dorris, Anna V. — The Visual Instruction in the Berkeley
Schools. 112 pp., Educational Screen, Inc., Chicago,
1923.

A compendium of information relating to all types of visual aids,
useful in school subjects with some hints on how to use the material.
A valuable monograph.

Ellis, Don C, and Thornborough, Laura — Motion Pictures on
Education. 275 pp., Thomas Y. Crowell Company, New
York, 1923.

Discusses educational films and their use as well as practical informa-
tion regarding motion picture projectors. One of the latest and best
books on this subject.

Freeman, Frank N. and collaborators — Visual Education.
388 pp., University of Chicago Press, 1924.
The most elaborate record on the experimental phases of the educa-
tional motion pictures yet made; published with the aid of a grant
from the Commonwealth Fund. Reports of experiments by McClusky,
F.C.— James— Reeder— Hollis— Hoefer— Keith— McClusky, H.Y.— Rolfe
— Shaw — Walker — Beglinger and Thomas.

433

434 MOTION PICTURES FOR INSTRUCTION

Film Year Book for 1926 — Dannenberg, Joseph, Editor.
864 pp., Film Daily, 1650 Broadway, New York City.
Replete with information of the film industry, mostly pertaining to
the theatrical phase, but including also much of interest to non-theatrical
film users. The Who's Who of the film world.

Hollis, A. P. — Visual Educational Departments in Educa-
tional Institutions. 36 pp., Bureau of Education Bulle
tin No. 8, 1924.
A late statistical study of the organization and status of visual educa-
tion in universities, colleges and the larger cities.

Mar chant, Sir James (Editor) — The Cinema in Education.

160 pp., George Allen & Unwin, Ltd., London, 1925.
The most recent book on the subject. Recounts and analyzes an ex-
periment in film lessons to groups of children at University College un-
der the direction of S. J. F. Philpott, with Professor Charles Spearman,
Ph.D., psychologist, and Professor Cyril Burt, as Associates.

National Academy of Visual Instruction : Annual Proceedings,
J. V. Ankeney, Sect'y- University of West Virginia,
Morgantown, W. Va.

Norman, H. W. — Visual Education. 30 pp., Bulletin of The
Extension Division, Indiana University, Vol. 10, No. 8,

1925.

Edited from the point of view of a university center for the state-
wide distribution of visual aids.

Rathman; Carl G. — Visual Aids of the St. Louis Museum.
36 pp., Bureau of Education Bulletin No. 39, 1924.

Visual aids in general are discussed, but the emphasis is on the edu-
cational exhibit as contained in and distributed by the Museum.

Visual Instruction Association of America : Vols. 1, 2, and 3
1924, 1925, 1926.
Interesting and informative articles by well-known leaders in visual
education.

Weber, Joseph J. — "Comparative Effectiveness of Some Vis-

A SELECTED BIBLIOGRAPHY 435

ual Aids in Seventh Grade Instruction. 9 9 130 pp., Edu-
cational Screen, Chicago, 1922.
Accepted as a doctor's thesis by Columbia University. The first ex-
tensive research published, using the controls and statistical methods of
the modern university graduate school. It measures the effect of using
motion pictures and other visual aids in various combinations and with
parallel groups, principally in the seventh grade.

Wythe, F. S. — Schedule of film lesson service.

An elaborate schedule of educational films arranged to accompany
typical courses of study in the ordinary American school systems. The
course is outlined in great detail in three Teachers' Manuals for classes
in citizenship, nature study and current events respectively. A thorough-
going and constructive contribution to film pedagogy. The service is
managed by the Neighborhood Motion Picture Service, Inc., 131 W.
42nd St., New York City, and undertakes to take complete charge of
visual education in a city school system, furnishing machines and opera-
tors as well as films, according to the desires and equipment of the
school system. The films are mostly those recommended in the three
film libraries (Chapter II).

Magazine

Educational Screen, 5 S. Wabash Ave., Chicago, 111. (Sub-
scription includes copy of "1001 Films.")

IMPORTANT EDUCATIONAL FILM LISTS

American Motion Picture Corporation (See General Vision

Co., Successors).

Atlas Educational Film Company, Oak Park, HI.

Apollo Film Company, 286 Market Street, Newark, N. J.

Henry Bollman, 19 W. 10th St., New York City.

Bray Productions, Inc., 120 W. 42nd St., New York City.

Beseler Education Film Corporation, 71 W. 23rd St., New
York City.

436 MOTION PICTURES FOR INSTRUCTION

Bureau of Commercial Economics, 1108 16th St., N. W., Wash-
ington, D. C.

Burton Holmes Laboratories, 7510 N. Ashland Ave., Chi-
cago, 111.

The Canadian Government Motion Picture Bureau, Ottawa,
Canada.

Carter Cinema Producing Corp.. 1-476 Broadway, New York
City.

Castle Films, 268 Market Street, San Francisco, Calif.

Community Motion Picture Service Inc., 46 W. 24th St., New
York City.

DeVry Corporation, 1111 Center Street, Chicago, 111.

Edited Pictures System, Inc., 71 W. 23rd St., New York City.

Raymond L. Ditmars, c/o The New York Zoological Society,
Borough of Bronx, New York City.

The Ford Motion Picture Laboratories, Detroit, Mich.

The General Electric Company, Schenectady, New York.

General Vision Company, 104 W. 42nd St., New York City.

The Harcol Motion Picture Industries, 610 Baronne Street,
New Orleans, La.

Homestead Films, Inc., 732 S. Wabash Ave., Chicago, 111.

Illinois Steel Company, Department of Safety and Relief,
208 S. LaSalle Street, Chicago, 111.

International Harvester Company, 606 S. Michigan Ave.,
Chicago, 111.

George Kleine, 49 W. 45th St., New York City.

A Fishing Drama. (1) On the Hcok. Scene from "A Fish and
Bear Tale," Canadian Government Motion Picture Bureau — p. 436

A Fishing Drama. (2) In the Basket. Scene from "A Fish and
Bear Tale/' Canadian Government Motion Picture Bureau — p. 436

A SELECTED BIBLIOGRAPHY 437
Alexander Leggett, 1476 Broadway, New York City.
National Health Council, 370 Seventh Ave., New York City.
The National Cash Register Company, Dayton, Ohio.

The National Board of Review of Motion Pictures, 70 Fifth
Ave., New York City.

Northern Pacific Railway Company, General Passenger De-
partment, St. Paul, Minn.

Neighborhood Motion Picture Service, Inc., 131 W. 42nd

St., New York City.
Pathe Exchange, Inc., Educational Department, 35 W. 45th

St., New York City.

Pictorial Clubs, Inc., 350 Madison Ave., New York City.

Pilgrim Photo Play Exchange, 1150 S. Michigan Ave.,
Chicago 111.

Portland Cement Association, 111 W. Washington Street,
Chicago, 111.

Rothacker Industrial Films, Inc. 7510 N. Ashland Ave.,
Chicago, 111.

Rowland Rogers Studios, 71 W. 23rd St., New York City.

Society for Visual Education, Inc., 327 S. LaSalle Street,
Chicago, 111.

Spiro Film Corporation, Irvington-on-Hudson, New York
City.

Visual Text Book Publishers, 212 W. 11th Street, Los Angeles,
Calif.

Western Electric Co., 120 W. 41st., New York City.

438 MOTION PICTURES FOR INSTRUCTION

Westinghouse Electric Mfg. Co., East Pittsburgh, Penna.

Worcester Film Corporation, Worcester, Mass.

Yale University Press Film Service, Yale University, New
Haven, Conn.

The Y. M. C. A. Motion Picture Bureau, 120 W. 41st St., New
York City, and 1111 Center Street, Chicago, Illinois.

Y. W. C. A. National Board, 600 Lexington Ave., New York
City.

United States Steel Corporation. 71 Broadway, New York
City.

FEDERAL GOVERNMENT

U. S. Department of Agriculture, Washington, D. C.

U. S. Reclamation Service, "Washington, D. C.

U. S. Bureau of Mines, Experiment Station, Pittsburgh, Pa.

U. S. Department of Labor — Women's Bureau and Children's

Bureau, Washington, D. C.
U. S. Public Health Service, Washington, D. C.
U. S. Navy Department, Washington, D. C.

Bulletins of Universities and Cities listed in Chapter VIII.

APPENDIX

Motion picture projectors, screens and accessories are not
discussed in the body of this book.

Portable Projectors

For classroom teaching a portable projector is essential.
Even if the school has already bought a big theater type ma-
chine for permanent installation in an assembly room, the
portable classroom projector is needed for showings in the
several classrooms. A good reliable portable can be had,
weighing only twenty-five pounds. As these are light enough
to be carried easily by a teacher or pupil, and can be attached
to any light socket in the room, they will be used ten times to
every once of the big machines. With these machines and
daylight screens, pictures of professional quality can be shown
in only a semi-darkened room.

A student or teacher can be taught in a half hour to operate
these machines. The projectors should handle film of full
standard professional size (35 millimeters) such as is used in
theaters, so that the whole world of motion pictures may be
available. Off-standard or narrow width machines are limited
to the special films made of that size for those special ma-
chines, or else special production prints from the standard
negatives, and the illumination is insufficient for classrooms
and assembly rooms.

Up-to-date portable and semi-portable projectors are sup-
plied with a stop-on-the-film shutter which, if the shutter is of
the proper kind of glass, permits the teacher to stop on any
picture for several minutes, without danger. Here we have
combined the advantage of the stereopticon and the motion
picture projector. This simple device has doubled the value

439

440

APPENDIX

of the motion picture machine in the school room and removes
the last objection to its installation.

A separate stereopticon is a necessity in any school having
an organized system of visual instruction.

Non-Inflammable Film

Schools should purchase only non-inflammable film of stand-
ard theater width (acetate of cellulose base). This should be
stored in humidor cans to preserve its flexibility, or in humidi-
fied vaults or containers. With this type of film there is no
fire risk whatever involved, and no insurance permits are
required.

Motion Picture Cameras

A motion picture camera using standard width film will be
found a useful adjunct to motion picture equipment. It
should not require a crank, as amateurs find it difficult to turn
the crank of a heavy tripod camera with the proper uniform
speed necessary to good photography. Heretofore, also, stand-
ard motion picture cameras were too expensive for ordinary
school use (they cost from $600 to $5,000) . Excellent cameras,
however, capable of doing professional work are available now
at about $150. As in the case of projectors, narrow width
cameras should be avoided, as their pictures cannot be shown
by ordinary projection machines. The pictures are also too
small to magnify proportionately without grain effect on large
screens, and the small size of the lens opening in sub-standard
projectors reduces the illumination so that it is insufficient for
standard brilliancy, except in the home or smaller classrooms.

THE FILM PRAYER*

I am celluloid, not steel ; 0 god of the machine, have mercy.
I front four great dangers whenever I travel the whirring
wheels of the mechanism.

Over the sprocket wheels, held tight by the idlers, I am
forced by the motor's might. If a careless hand misthreads
me, I have no alternative but to go to my death. If the
springs at the aperture gate are too strong, all my splices pull
apart. If the pull on the take-up reel is too violent, I am
torn to shreds. If dirt collects in the aperture, my film of
beauty is streaked and marred, and I must face my beholders
— a thing ashamed and bespoiled. Please, if I break, fasten
me with clips ; never with pins. Don't rewind me — my owner
wants that privilege, so that he may examine me, heal my
wounds, and send me rejuvenated upon a fresh mission.

I travel many miles in iron cans. I am tossed on heavy
trucks, sideways and upside down. Please see that my own
paper band is wrapped snugly around me on the reel and
fastened with a string, so that my first few coils do not slip
loose in my shipping case, to be bruised and wounded beyond
the power to heal. Put me in my own shipping case. Don't
make me a law-breaker. The law requires a standard can,
two address labels, and a yellow caution label. Scrape off all
old labels so I will not go astray.

Speed me on my way. Others are waiting to see me. The
"next day" is the last day I should be held. Have a heart

* Written by the author in 1920 for the Visual Instruction Service
of the State College, Fargo, N. D. It has been widely used by film ex-
changes.

441

442

THE FILM PRAYER

for the other fellow who is waiting, and for my owner who will
get the blame. Don't humiliate me by sending me back with-
out paying my passage and insuring me against loss or damage.

I am a delicate ribbon of celluloid — misuse me and I dis-
appoint thousands ; cherish me and I delight and instruct the
world.

INDEX

Names of films are in italics. Only films mentioned in the body of
the text of Part I are in this index. Films in the three libraries
(Chapters II and III) are not separately indexed, as these libraries
constitute their own index, being arranged alphabetically under each
subject of study, in the three main groups of Free Films, Rental Films
and Purchase Films.

When looking up a film for a special subject of study, look in both
Index, and in Part II. Films listed in Part I are not repeated in
Part II.

Films listed in Part II are not otherwise indexed, as Part II is itself
an index, where the films are listed alphabetically in three groups:
Free, Rental and Purchase.

Abraham Lincoln, First National

Pictures, Inc., 71.
Abrams, W. W., 199.
Adaptation of Films to Grades,

160.

Advertising Films, 5, 80.

Agriculture Films, 25, 30.

Aiton, Miss M. E., U. S. Govern-
ment Films, 77, 114, 122.

Americanization School, Film Les-
sons for, 110, 156.

American Red Cross, 15.

* American in the Making, An, 73.

American Ideals, Wythe, 73, 136.

Animals, Films on, 74.

Anatomy Films, University of Wis-
consin, 5.

Assembly Room Films, 6.

Athletics, Films on, 26, 31, 35, 82.

Barrows, Parker and, Picture
Study in Geography Texts, 7.
Basil, Switzerland, Conference on

the Cinema in Education, 246,
247.

Bassett, Morton, 202.

Beglinger, Nina Joy, 173.

Bibliography for Films, 148.

Boy Scout Films, 5.

Bray Productions, Inc., Elements
of the Automobile, etc., 5, 12.

Bre'r Rabbit and His Pals (Ro-
dents), 74; Sample Lesson,
88.

Budgets for Visual Instruction, 9,
210.

Burt, Professor Cyril, 191.

California's Wonders, 85, 93.

Call System of Distribution, Vis-
ual Aids, 211.

Cameras, Movie, Standard Width,
13.

Carnegie Trust, Grant to National

Council, 191.
Chapin, Benjamin, Abraham Lin-

* Italics are for film titles referred to in the body of text only (Part
I) . See Part II for main index of films.

443

444

INDEX

coin in Son of Democracy
Films, 71.

Chemistry, Films not appropriate
for, 82, 84.

Chronicles of American Photo-
plays, Yale University Press,
70.

Cinema in Education, The, New

English book edited by Sir

James Marchant, 191.
Circuit System of Distribution,

Visual Aids, 211.
Citizens in the Making, Wythe, 5,

72, 85, 122, 136.
Citizenship, Films on, 22, 28, 33,

72.

Cities, Ten, for Eastman Film Ex-
periments, 13, 14.

City, State and, Centers of Distri-
bution for Educational Films,
208.

Civics, See Citizenship.
Civil War Episodes, Dixie, 71.
Commentary, Effect of, with Films,
195.

Committee on Visual Instruction,
12.

Comparative Effectiveness of Vis-
ual Aids in Seventh Grade In-
struction, Weber, 163.

Comparison of Motion Picture
Film with Other Visual Aids,
Weber, 163; Freeman, 171;
Cinema in Education, 191.

Comprehensive Film List, See Part
II of the Text.

Continuity Film, 147.

Correlated Material, in the Aiton
Lessons, 155.

Correlation of Films with Course
of Study, 211.

Corrective Gymnastics, 82.

Courses of Study, Differences in,
New York City; Columbus,
Ohio; Omaha, Nebraska, 68.

Courses of Visual Education in

Colleges, etc., 212.
Crandall, Ernest, 162.
Curriculum, Three Film Libraries

for, 7.

Daylight Screen, 161.

Department of Superintendence,
National Education Associa-
tion, The Eastman Offer, 13.

Descriptive List of Films in the Li-
braries, 37.

DeVry, Film Negatives for Sale,
12, 19, 160; Library of Film
Negative, 19; Sample Lesson,
93 ; Summer School of Visual
Education, 237.

Director of Visual Education, Du-
ties, Qualifications and Sal-
aries, 11, 209.

Ditmars, R. L., The Four Seasons,
75 ; Living Natural History,
2, 156.

Dixie, Yale Chronicles of America,
71.

Dramatic Films, of Doubtful Edu-
cational Value, 77, 161.

Eastman Film and Projector, Off-
Standard (16 mm.), 13.

Edison and Wells, quoted, 157.

Educational Film Exchanges, Inc.,
a misnomer, 3.

Educational Films, Types and Uses
of, 3 ; Terminology, 3.

Educational Screen, 1, 163, 174,
229.

Eighty Reel Library, 26, 59.

Einstein Theory, 83.

Elements of the Automobile, Bray
Productions, Inc., 2.

Ellis and Thornborough, Motion
Pictures in Education, quota-
tions from, 18, 78, 162, 249.

INDEX

445

English Lessons with Films for

Foreigners, 110, 184.
Entertainment Films, not for

schools, 222.
Essays as Tests for Film Lessons,

Cinema in Education, 193, 196.
Evaluation and Distribution of

Visual Aids, 210.
Eve of the Revolution, The, Yale

Chronicles of America, 70.
Expenditures for Visual Aids, 209,

212.

Experiments with Films, Weber,
163, et seq.; Freeman, 171, et
seq.; Cinema in Education,
191, et. seq.

Extension Departments of Univer-
sities Contain Visual Educa-
tion Departments.

Eye Concentration vs. Mind Con-
centration, 158.

Film:

Abraham Lincoln, First National
Pictures, Inc., 63, 71.

Advertising, 5, 80, 81.

Anatomy, University of Wiscon-
sin, 5.

Assembly Room, Type of (Gen-
eral Education), 6.

Classified as Text {Classroom ) ,
General Educational, Enter-
tainment, 6.

Comprehensive List of, Re-
ferred to on pp. 8, 19, 69, 70,
71, 75, 78, 80, 82 of Part I.
Found in Part II.

Continuity, 147.

Correlations, Partial, p. 12.

Educational, An Essentially New
Product, 154.

Exchanges, Addresses of, 37, 67.

First National Pictures, Inc., 71.

Fitting into Schedule, 16.

Film {continued) :

Follow-up Work with, 151.
Ford Motor Company, 99, 148,

149, 151.
Fortv Reel Library of, 20-26,

37-49.

Four Seasons, The, Ditmars, 64,
75.

Frame, Definition of, 16.

Free, Used as Substitutions, 20,

35; in the Three Libraries, 45,

56, 65.

Fundamentals of Football,
Rockne, 82.

Grading of, 197-207.

Having a Circus, 15.

Inflammable and Non-inflam-
mable, 37, 212, 224, 244.

Length of, for Educational Pur-
poses, 12, 19, 159.

Lessons, Not ON the film, but
WITH the film, 154.

Lessons, Six Sample: Sample
Film Lesson I, Pathe, Bre'r
Rabbit and His Pals, 88-93;
Sample Film Lesson II, De-
Vry, Glimpses of California,
93-99; Sample Film Lesson
III, Ford Educational Library,
Milk as Food, 99-110; Sample
Film Lesson IV, Miss Aiton's
Americanization Lesson, Un-
cle Sam — World Champion
Farmer, 110-122; Film Lesson
V, F. S. Wythe, Immigration,
122-136; Film Lesson VI, F.
S. Wythe, American Ideals,
136-145.

Lesson Plan, Tentative, 146.

Libraries, Three, For Courses of
Study, 7, 8, 9, 10, 20, 26, 31.

Made to Order, 160

Methods of Using, 15, 146.

Nanook of the North, 4.

446

INDEX

Film {continued) :

Negatives for Sale, 12, 19.

Non-Theatrical Market for Edu-
cational, 229, 230.

Off-Standard, 13, 14.

Pedagogy, Discussions of, 15,
16, 17, 77, 79, 82, 85, 86, 87,
146, 220.

Presentations, vs. Oral, Weber,
163; Freeman, 171; Cinema in
Education, 191.

Previews of, 11, 146, 153.

Problems, Unsettled, 86.

Production of Educational, 227.

Propaganda, 5.

Purchase, 18, 37, 50, 60, 226.

Rental, 39, 51, 62, 241, 245.

Rental, An Anomaly in Schools,
226.

Risks of Producing Educational,
222.

Second Showings, 10, 153, 158.
Secrets of Life, Tolhurst, 64, 76.
Short Lengths, 12, 19, 159, 160.
Slides Matched against, Weber,

163; Freeman, 171, Cinema in

Education, 191.
Standard and Off-Standard, 12,

13.

Starting in Life, 15.
Stop-on-Film Shutter, 16.
Subjects of Study in the Three
Libraries of, Geography, 20,

27, 32, 68, 69, 70; History, 22,

28, 33, 70; Citizenship, 22, 28,
33, 72 ; Nature Study-Biology,
23, 29, 34, 74; Language and
Literature, 24, 29, 34, 76; Vo-
cational Subjects, 25, 30, 35,
80; Physiology, Health and
Welfare, 25, 30, 35, 81; Ath-
letics, 26, 31, 35, 82.

Synopses Necessary, 146.
Teacher's Treatment of, 15.

Final Summary and Interpreta-
tions in "Visual Education,"
175.

Freeman, Frank N., Cit., 15, 17,
151, 157, 171-190.

French National Committee on In-
tellectual Cooperation under
League of Nations, 247.

General Educational Films, G.
Generalizations in Film Pedagogv,
154, 175.

Geographv Films, 20, 27, 32, 68,
69, 70.

Golfing Form of Champion, 65.
Goode, Professor J. P., 202.
Gradation of Films, accomplished

more by teacher than by films

themselves, 14.
Grammar and English, 76-79.
G-reat American Authors, Charles

Urban, 77.
Green, Nelson L., quoted, 229-231.
Grosvenor, Dr. Gilbert, 199.
Gymnastics, Corrective, 51, 82.

Hampton Institute, 77.
Hanson, C. H., 199.
Having a Circus, 15.
Hays, Dudley Grant, 199.
Health and Welfare films, 25, 30,
35.

Henderson, Archibald, 78.

Herm, Charles F., Microscopic
Studies, 5, 223.

History Films, 22, 28, 33, 70.

Hoefer, Caroline, 173.

Hollis, A. P., Experiments in "Vis-
ual Education," Freeman,
172; Visual Education De-
partments in Educational In-
stitutions, Bulletin 1924 No.
8, U. S. Bureau of Education,
208.

INDEX

447

How Life Begins, 75.
Hunchback of Notre Dame, 78.
Hygiene, 18, 22, 66.

Immigration Films, 85, 122, 136.
Important Studies, Three, 162.
Industrial Films, 25, 30, 35, 80.
Inflammable Films, 37, 212, 244.
Informational Pictures, Score Card

for, 197.
Institute, Teachers', 233.
International Harvester Company,

5.

Introductions, Oral, for Film Les-
sons, 149.

James, Haddon W., 172.

J ones, Bobby, Golfing with, 65.

Keith, Edna, 173.

Kleine, George, 44, 210, 214.

Language and Literature Films,
24, 29, 34, 76.

League of Nations, French Na-
tional Committee, 247. Legal
Restrictions on Use of Films
and Projectors, 212.

Lesson Plans for Films, 85, 146.

Letter to Dad, A, 73.

Libraries, Forty Reel, 20; Eighty
Reel, 26 ; One-Hundred-and-
Twenty Reel, 31.

Lincoln, Abraham, First National
Pictures, Inc., 71.

Lincoln Cycle, The Son of Democ-
racy, Benjamin Chapin, 71.

Literature Films of doubtful value,
77, 161.

Literature and Language Films,

24, 29, 34, 76.
Living Natural History Series,

Tolhurst, 76, 156.
Los Angeles, Using Neighborhood

Motion Picture Service Films,

241.

Low Cost of Neighborhood Motion
Picture Service, 244.

McClusky, F. Dean, 128, 147, 172,
217^234.

McClusky, H. Y., 172.

McLean County Teachers' Insti-
tute, 234.

Made-to-order Films, 160.

Marchant, Sir James, book by, 191.

Mathematics, films not appropri-
ate for, 82.

Microscopic Studies, Charles F.
Herm, 5, 223.

Milk as Food, 85, 99.

Montessori, 77, 79.

Motion Picture, Projector, 11, 13;
Camera, 13, 228.

Motion Picture Projectors Sold,
221.

Motion Pictures Not Limited to

Action Scenes, 16.
Motion Pictures Superior within

narrow range, 159.
Moulders of Manhood, 73.
Movies the Wrong Instrument, 79.
Museums Distributing Visual Aids

to Schools, 217.

Nanook of the North, 4.

National Academy of Visual In-
struction, 221.

National Cash Register Company
Films, 36.

National Council (Cinema in Edu-
cation), 191.

National Education Association,
Eastman Offer to, 13; Free-
man Report to, 173; Commit-
tee on Visual Education, 13.

National Health Council, 5.

Nature Study, Biology Films, 23,
29, 34, 61, 64, 74.

Negative Catalogs, Bray, DeVry,
12.

448

INDEX

Neighborhood Motion Picture Serv-
ice, Inc., 72, 122, 241.

Non-inflammable film, 37, 244.

Non-Theatrical Motion Picture
Machines, 221.

Off-Standard, 13, 14.
Omaha, Nebraska, Course of Study,
54.

One-Hundred-and-Twenty Reel Li-
brary, 31.

Oral Introductions for Film Les-
sons, 149.

Our Children, 73.

Parallel Film and Slide Lessons,

Weber, 163; Freeman, 171;

Cinema in Education, 191.
Paris, Motion Picture Conference,

auspices League of Nations,

246-247.

Parker, Edith Putnam, Geography,
4; Series of Texts, 199.

Part II, references to, in Part I,
8, 19, 35, 69, 70, 71, 75, 76,
78, 80, 82, 84, 224.

Pathe, Educational Department,
223; Grantland Rice's Sport-
lights, 82; Screen Studies, 42,
43, 74, 85, 88; Weekly News,
73.

Pedagogy of Film Lessons, 86, 146,
162.

Philpott, S. F. J., Psychological

Investigator, 191.
Physics, Films not appropriate for,

82.

Pictures, Trivial Use of, 7.

Plan, Tentative, for a Motion Pic-
ture Lesson, 146.

Plans for Film Lessons, 85.

Portable Motion Picture Machines
for Standard Width Films, 13.

Preview of Film by Teacher, 11,
146, 153.

Problems, Unsettled, 86.

Production of Educational Films,
The, 227.

Professional Status of Visual Edu-
cation Officers, 208.

Project Work, in Wythe Lessons,
154.

Projector, Portable, Operation, vs.

Heavy Theater Machines, 11.
Propaganda Films, 5.
Purchase of Films by Schools, 18,

19, 37, 50, 60, 226.

Reeder, E. H., 172.

Reel Library, forty reel unit, 20;
eighty reel unit, 26; one-
hundred-and-twenty reel unit.
31.

Reels, Free, Rental, Purchase, 9.

References or Bibliography in Film
Lesson Plan, 148.

Refinements in Mathematical Com-
putations Deceptive, 86.

Reflected Light, Screens, 134.

Relation of Films to Great Litera-
ture, 77.

Relative Effectiveness of Verbal
and Visual Instruction, W^eber,
163; Freeman, 171; Cinema in
Education, 191.

Rental, 39, 51, 62, 241, 245.

Rental Film, An Anomaly in
Schools, The, 226.

Repeat Showings of Films in Film
Lesson Plan, 151.

Restraint in Use of Motion Pic-
tures, 157.

Rice, Grantland, Sportlights,
Pathe, 82.

Risks of Educational Film Produc-
tion, The, 222.

Rockefeller Foundation, Educa-
tional Films, 229, 231.

Rockne, Coach, reel, Fundamentals
of Football, 67, 82.

INDEX

449

Rolfe, E. C, 172.

Romance of the Republic Series,
63, 73.

Roosevelt, The Real, 54; Series,
new reels, 54.

Safety Film, 37, 244.
Sample Film Lessons, 85.
Sandburg, Carl, Chicago Daily

News, 3.
Schools of Visual Education, 209.
Schools for Deaf, Use of Film,

77.

Schools Should Purchase Films,
18.

Score Card, for Informational Pic-
tures, 197; for Motion Pic-
tures, Weber, 206.

Screen, Daylight, 161.

Screen Studies, Pathe, 42, 43, 74,
85, 88.

Second Showing of film, 10, 153,
158.

Secrets of Life, Tolhurst, 64, 76.

Self -Activity of Pupils, 151.

Semi-Dramatic Productions, 6.

Shaw, Bernard, 78.

Shaw, Lena A., 172.

Shepherd, J. W., Thesis University
of Wisconsin, 162.

Short Length Films, 12, 19, 157.

Six Sample Film Lessons, 85.

Slides, One to a Lesson, 158; Key-
stone View Company, 600;
Sets, 159; Use of, 17.

Society of Motion Picture Engi-
neers, 13.

Society of Visual Education, firm
for production and sale of edu-
cational films and projectors,
53, 62.

Son of Democracy, The, 53.
Spearman, Professor Charles, book,
191.

Sportlights, Grantland Rice, 82.

Standard Width, Films, 13; Cam-
eras, 12, 13; Projectors, 13.

State and City Centers of Distri-
bution for Educational Films,
208.

State Laws and Regulations, 212.
Steps Toward American Ideals, 85,
136.

Stereographs, 159.

Stereopticon, Use of, 17.

Stills, Sometimes Valuable in Mo-
tion Pictures, 16, 17.

Stone, George E., How Life Be-
gins, 75; Article, 229.

Stop-on-Film Shutter, 16.

Studies, Three Important, on Value
and Use of Educational Films,
162.

Studio Equipment at University of
Nebraska and at U. S. De-
partment of Agriculture, 228.

Suggestive Questions in Film Les-
son Plan, 148.

Summer School of Visual Educa-
tion DeVrv Corporation, 237,
240.

Supplementary Facts, Statement

of, in Film Lesson Plan, 147.
Synopses, Film, Necessary, 146.

Talking with Film, in Film Lesson
Plan, 149.

Teachers' Institutes and Visual
Education, McLean County, Il-
linois, 233.

Teachers' Manuals, Neighborhood
Motion Picture Service, 122,
136, 244.

Teachers' Treatment of Film, 14.

Teachers' Use of Films, 14, 79, 146.

Teaching English to Foreigners
with Films, 110, 184.

Tentative Film Lesson Plan, 146.

Tests for Pupils after Film Les-
sons, 153; Various Ones Used,

450

INDEX

Weber, 163, et seq.; Freeman,
171, et seq.; Cinema in Edu-
cation, 191, et seq.

Three Important Studies, 162.

Time Allotment for Film Showings,
159.

Titles, with Stereopticon, 17.

Tolhurst, Secrets of Life, 64, 76.

Training Teachers for Visual Ed-
ucation, 233.

Trivial Use of Pictures, 7.

Tuskegee Institute, 77.

Twentieth Century Pilgrims, Im-
migration, 85, 122.

Uncle Sam, The World Champion
Farmer, 85, 114.

U. S. Bureau of Education, Bul-
letin, 1924, No. 8, on Visual
Educational Departments in
Educational Institutions, 208.

U. S. Department of Agriculture,
58, 110, 228.

U. S. Labor Bureau, Our Children,
58.

Universities Distributing Films,
208.

University College, London, 191.
University of Wisconsin, 2, 209.
Unsettled Problems, 86.
Urban, Charles, Great American

Authors, 77.
Urban-Kineto Company, 223.

Verbal Instruction, Contrasted
with Visual, Weber, 165, et
seq.; Freeman, 171, et seq.;
Cinema in Education, 191, et
seq..

Visual Aids, Evaluation and Dis-
tribution, 210.

"Visual Education," Professor
Freeman's Volumne, 10, 171.

Visual Education, College Credit
in, 208; Committee of Na-
tional Education Association,
13; Departments in Edu-
cational Institutions, 208; Vi-
sual Education, Ltd., London,
152, 245, 246; Organization
and Plans, 9, 11; Director, 11,
27.

Visual Instruction Association of

America, 221.
Visual Instruction Handbook, 163.
Vocabulary Building with Films,

114.

Vocational Subjects, Films on, 25,
30, 35, 80.

Walker, D. E., 172.

Weber, Dr. Joseph J., 84, 122;
"Comparative Effectiveness of
Visual Aids in Seventh Grade
Instruction," 163; Score Card,
206.

Welfare and Health, Films, 25, 30,

35.

Wells, quoted, 157.

Wythe's, Citizens in the Making,
2; Immigration, 1, 122; Amer-
ican Ideals, 136; Neighbor-
hood Motion Picture Service,
241.

Yale University Press, Photo-
Plays, 70, 71; Dixie, 52; Eve
of the Revolution, 42.

Y. M. C. A., Motion Picture Bu-
reau of National Council, Dis-
tribution of Free Films, 20, 46,
54, 58, 59, 65, 67.

Y. W. C. A. Films, 5.

1927

LIBRARY OF CONGRESS

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