THE PREPARATION OF EDUCATIONAL FILMS
Although animated photography is regarded popularly as an amusement,
and the picture palace is maintained to be the poor man's theatre,
efforts are being made to lift the invention into a higher and more
useful plane. It is sought to adapt it to the schoolroom, the college
and the technical institute. Up to the present, however, little headway
has been made in this direction, though the market is flooded with
so-called educational films.
Unfortunately the attitude of the responsible authorities is lukewarm,
somewhat to the chagrin of those who are specializing in the
preparation of these films. The authorities are said to be prejudiced
against the invention, and no doubt the impression still lingers that
the cinematograph is an instrument of frivolity.
Up to a point the authorities are correct in their attitude. It is the
producer who is at fault. The former recognise the many advantages
arising from the appeal to the eye, but unfortunately the producer
looks at the question from the showman's point of view. He is not
content to prepare a subject which shall appeal only to pupils as such,
but is always trying to introduce an element which shall make the film
popular with adults as well. He seeks to arouse the enthusiasm of the
schoolroom and of the picture palace at one and the same time, though
the two are as widely apart as the two poles, and what is suited to one
is by no means adapted to the other. The patron of the picture palace
must be entertained only. Education, if any, must be unconscious.
On the other hand, the essential consideration in the school is the
training and teaching of the young mind. If amusement is introduced the
educational value of the film is liable to be small.
In this attempt to supply two different markets simultaneously many
producers over-reach themselves. They fail to realise that a schoolroom
film must be absolutely natural, that there must be no trickery or
faking. There are several films on the market to-day, aiming at the
requirements of education, wherein the most attractive incidents
are nothing more nor less than examples of fake photography. The
educational authorities are only too well aware that trickery is one
of the cinematographer's most useful tools, and accordingly many films
of an apparently astonishing character are regarded with suspicion.
Until all traces of faking and chicanery are abandoned the authorities
are certain to look coolly on the suggestion of teaching by the
cinematograph.
Nevertheless the film must be prepared in such a manner that the pupil
is not bored. It must be rendered interesting and fascinating or it
will be no better than the old Dry-as-dust teaching. And the infusion
of interest is by no means difficult. Every branch of science, every
item in the curriculum, can be taught by motion pictures. One producer
has prepared a novel and interesting film for teaching the alphabet and
the spelling of simple words with the aid of a troupe of acrobats. The
acrobats contort themselves into the shapes of letters upon the screen
before the children's eyes. The children naturally follow the process
with interest, and the finished letter at once impresses itself upon
their minds. The spelling of the words is carried out in the same way.
Another producer has a novel idea for explaining the principles of
addition, subtraction, multiplication, and division. He has devised
animated scenes with teddy bears and oranges, and the setting itself is
a schoolroom. The actors, who are children, are dressed in bear skins,
and they behave in a truly grizzly manner. The very fact that this
favourite toy is introduced rivets the attention of young children,
and they follow the arithmetical adventures of the oranges with the
utmost fascination. The bears themselves perform their parts most
decorously, without any horseplay or clowning. The youngsters following
the incidents upon the screen are induced to regard the projection
seriously, and it has been found that afterwards, in their leisure
hours, they reconstruct the incidents with their own toys. In this way
they show that they have grasped the idea that was to be conveyed.
In dealing with the sciences similar methods must be practised.
Suppose, for instance, that it is intended to teach physics, chemistry,
or electricity with the aid of moving-pictures. The film must commence
at the very beginning of the subject. The text-book should be taken
as a model. The producer of the film, if he is well acquainted with
his subject, can devise experiments to suit any stage of knowledge.
He can vary the experiment so as to bring the pupil face to face with
something which has never been illustrated by diagram in the text-book.
He can lead the pupil on step by step, and the more deeply he plunges
into a particular science the wider is his scope for the portrayal of
fascinating experiments.
[Illustration: (1) MOORHEN SITTING ON HER NEST.]
[Illustration: (2) THE YOUNG CHICK PIERCES THE SHELL.]
[Illustration: (3) THE CHICK EMERGING FROM THE SHELL.]
[Illustration: (4) THE NEWLY-HATCHED CHICK STRUGGLING TO ITS
FEET.]
The preparation of films of this character offer attractive
possibilities to the independent worker, especially if he is familiar
with teaching methods. The professional producer is often unable to
reduce his subjects to the requisite simplicity. As a rule he knows
little or nothing about a schoolroom, and the result is that he
confines himself to the preparation of extremely fascinating films of
a very advanced type, suited to the student in the secondary school
or to one who has mastered the rudiments of the science. But it is in
the laying of a solid foundation that the teacher finds his greatest
difficulty. As a rule he has to go over the ground repeatedly before
the elementary points sink into the pupil's mind. This drudgery can
be greatly reduced by use of the moving-pictures, if only the right
type of film is shown. The professional producer maintains that such
an elementary film is useless, merely because he looks at it from the
showman's point of view.
Another reason why the independent cinematographer should embark upon
this field is that he is generally more ingenious and fertile in the
preparation of experiments to suit the limitations of a lesson. He will
know how to be simple, so that the pupil, after the demonstration, can
go into the laboratory and repeat the experiments with a knowledge of
what he is doing.
As the pupil advances the films may be varied. For instance, in the
experiments with sulphur he can be shown how sulphur is obtained.
Views can be introduced of the mines and processes as practised in
Sicily or Louisiana, and in this case the difference between ancient
and modern methods can be brought home to him. Similarly in regard to
the subject of common table salt it is possible to show the various
methods of extraction, from the solar evaporating system practised in
the Caucasus and California, and the excavation of rock salt as in
Galicia, to the pumping of brine and forced evaporation common to the
"Wiches" of England. The film may be "lightened" by glimpses of bathing
in the Great Salt Lake or the brine baths of England in order to convey
pictorially the difference in the density of salt and fresh water. In
many cases it is possible to reproduce upon the screen the processes of
Nature, the character of the experiment varying with the stage of the
pupil's knowledge.
Attempts are being made to teach geography by moving-pictures, but
here again the same defects appear. Most of the so-called geographical
films are merely the "Travel Subjects" of the picture palace,--another
attempt to make a subject fit both the theatre and the schoolroom. Such
films are useless except to form a pictorial interlude in text-book
explanation. Yet there is a remarkable scope for geographical films.
Let it be assumed that the lesson is about the birth of a river.
The teacher dwells at length upon the possible sources, upon the
tributaries that increase the volume of water during its journey, upon
the navigable reaches and the traffic, and lastly upon the discharge of
the waters into the ocean.
[Illustration: (5) EXHAUSTED BY ITS STRUGGLES THE CHICK RESTS IN
THE SUN.]
[Illustration: (6) A FEW HOURS LATER THE CHICK TAKES TO THE
WATER.
The "Birth of a Moorhen." A wonderful series of moving-pictures taken
by an amateur lady cinematographer.
_From the "Cinema College," by permission of the Motograph Co._]
[Illustration: FIGHT BETWEEN A LOBSTER AND AN OCTOPUS.]
[Illustration:
_By permission of Pathé Frères._
THE STORY OF THE WATER-SNAIL.]
Cinematographically the rise and growth of the river may be shown far
more graphically and attractively. The pupil can see every phase.
The source may be an insignificant spring, the outflow from a lake,
or the melting ice of a glacier. Its rapid growth can be depicted by
showing the inflow of its tributaries and the many sudden changes
through which it passes, its rapids and its falls, while the fact
that water follows the path of least resistance may be illustrated by
showing the evidences of erosion and the manner in which the river has
cut its channel through friable soil, or taken advantage of a breach
in a rocky rampart. At the same time the pupil can be introduced to
the utility of the waterway, especially upon its upper reaches, by
pictures of the craft found thereon and the traffic in which they are
engaged. The varying force of the current can be illustrated, and also
the flotsam and jetsam that has been brought down. Finally, gaining
the lower reaches, steam and motor navigation begins, with towns and
cities on the banks, and in conclusion the pupil may be given an idea
of the immensity of the estuary together with the life and industry at
this point. In addition some impression of the delta can be conveyed
with moving-pictures of the way in which the detritus brought down
from the upper reaches, is deposited at the mouth, forming islands and
sand-banks, clothed with vegetation, and, if not developed, inhabited
by wild fowl.
The preparation of such a film is certain to occupy a long time, and
is somewhat expensive, but these items must be disregarded if the
schoolroom is to have what it requires. A film of this character would
have to be divided into certain lengths, each of which would correspond
with a lesson, for the subject is too vast to be assimilated in a few
minutes. Cramming by the aid of moving-pictures would be worse than
under present conditions. In many cases the camera will show that
existing text-book teachings are erroneous or need modification. Some
idea of the utility of the cinematograph in this one particular field
has been revealed by the films of the Shackleton and Scott Antarctic
expeditions. They have brought home more vividly than anything else the
meaning of the eternal snow, ice and cold, associated with the Polar
regions, and they have served to dispel many false ideas.
So far the greatest success achieved by the motion-pictures in
the field of education is in connection with natural history. Many
wonderful films bearing upon animal life have been prepared and have
created sensations. The text-books tell much about the life and
habits of the various members of the animal kingdom, but in this case
the text-book often happens to be wrong. Mr. Frank A. Newman, an
industrious animal photographer, devoted months to the preparation
of a film 5,500 feet in length dealing with certain phases of animal
life. He confined his efforts to the study of those creatures which
are familiar to all. Incidentally, he proved the value that a highly
instructive film possesses in the market, for within sixty days of its
first appearance upon the screen, over £8,000 or $40,000 was realised
from the disposal of the rights to exploit the film in different
countries.
Pictures dealing with animal, bird, fish or reptile life never fail
to command high prices. Indescribable patience is demanded in their
preparation. Months may pass and yield only a few hundred feet
of suitable material, and the photographer has to resort to the
most extraordinary devices to take the subjects in their natural
environment. One worker, who set himself the task of filming the
kingfisher, discovered the haunts of his quarry, and then quietly
commenced to establish himself in its vicinity. He had to be
exceedingly cunning in his movements, masking the position he had
assumed in four feet of water, with a clump of tree boughs. Concealed
in this ambuscade he approached the bird, moving with extreme care,
so as to convey the impression that the boughs were drifting with the
stream. Behind this ambush he placed his camera, clamping it to a heavy
floating base, which was anchored. In this way he was able to move
undetected. When he thought that the time had come for an exposure, he
commenced to turn the handle, but the whirr of the mechanism scared the
bird, and he was forced to wait some time, until its courage revived
and it came back. He then mounted a second camera on the floating
base, and this, being empty of film, was set in motion every time the
bird returned, until it grew accustomed to the unusual noise. After a
few days the bird took no further notice of the sound, and then the
pictures could be taken with comparative ease. Altogether some seven
weeks were occupied in obtaining about 200 feet of film, during which
time the operator had often to stand for hours at a time in four feet
of water, awaiting his opportunities. How completely his strategy
and patience were rewarded may be gathered from the fact that in one
incident, where the bird is shown devouring a fish it has caught, it
perched upon a branch of the ambuscade, barely four feet from the lens,
completely unaware of the fact that its actions were being recorded.
[Illustration: THE HEAD OF THE TORTOISE.]
[Illustration:
_By permission of Pathé Frères._
THE HAWK MOTH.]
[Illustration: SNAKE SHEDDING ITS SKIN OR "SLOUGH."]
[Illustration:
_From the "Cinema College," by permission of the Motograph Co._
THE SNAKE AND ITS SHED SLOUGH.]
Another indefatigable worker is Mr. J. C. Bee Mason, whose speciality
is the filming of insect life. He has produced four films depicting the
honey bee. As studies they are intensely interesting, and they bring
out the characteristics of the subject in a most attractive manner. The
average worker might hesitate to film such a subject at close quarters.
The bee is very quick to resent intrusion and disturbance in a way
peculiarly its own. Mr. Mason himself admits that in the early days he
received very severe punishment, but he stuck to his camera and his
work with the result that in the course of time he became accustomed
to the attacks of the bees and to-day a sting has no more effect upon
him than upon a deal board. The result of this patience is reflected
in the excellence of his films which bring bee life most intimately
before the spectator. The bee is always an object of interest, and in
this particular case his films have brought Mr. Mason over £2,000, or
$10,000.
Although here and there one comes upon a film which exactly meets with
the requirements of the schoolroom, the majority can make no such
claim. They are merely instructive, in an amusing kind of way, and in
the picture palace they come as a welcome relief from transpontine
drama and buffoonery. Fortunately, at the present moment, there is a
growing tendency to make films which the schools will really welcome.
One concern is studying the situation very closely. This is the
Motograph Film Company of London, which has completed contracts with
the most prominent European scientific cinematographers for their
entire output of educational, scientific and natural history subjects.
It is also endeavouring to persuade the eminent teachers of certain
subjects to commit their work to the celluloid film instead of to
printed books. It is a difficult quest because the professors are apt
to regard the cinematograph as a joke. At the same time, once the
development becomes started upon the correct lines, it cannot fail to
meet with success.
The independent worker also is being encouraged by the Motograph Film
Company, and the cinematographic student of scientific subjects has
a very profitable market open to him. The prices paid for the films
naturally vary according to their merit, but this company is prepared
to pay from 2_s._ 6_d._ to 21_s._--from 60 cents to $5--per foot
of film for subjects which meet with its approval. The lengths may
range from 50 to 6,000 feet. Recently, an independent lady worker,
who in her spare time had given attention to filming the "Life of
a Moorhen," showing the building of the nest, laying of the eggs,
hatching and rearing of the young, submitted her film to this concern.
Some two-and-a-half years had been expended upon this subject, but
the quality and the incidents depicted were so excellent that the
1,000 feet of film was bought for £650 ($3,250). This film has proved
that the highest class of work must be obtained from the independent
worker, or amateur, if that word is preferred, for the simple reason
that time is no object, the task is not hurried, and no effort is
spared to obtain the finest results. Another instructive film bought by
this concern shows "Big Game Hunting in the North Pole Icefields." It
introduces one to the polar bear. Altogether this subject extends over
8,000 feet, but for a selected length of 1,900 feet the sum of £2,000
($10,000) was paid. In the case of another celebrated Arctic film,
taken during the two years' imprisonment of the Whitney expedition in
the frozen zone, and about 6,000 feet in length, the same company gave
£3,000 ($15,000) for the English rights alone.
Although the cinematograph has failed to make a very pronounced advance
among our educational institutions, it has proved a striking success
in education of another kind. This is in regard to the propaganda for
improving health and hygiene. This movement has reached its highest
stage of development in the United States. The "Swat the Fly" movement,
which declared a relentless war against the common house-fly, was
powerfully assisted by the exhibition of films depicting the fly at
work in the dissemination of disease. Free exhibitions have been given
throughout the United States for the purpose of bringing home to the
public the serious menace that this insect offers to the welfare of the
community. One or two of the films used for the purpose were bought
from England, where they had been used in the picture palaces. But the
organisation pledged to the extermination of the fly turned them to a
far more serious purpose, and its work has met with remarkable success.
Another series of health films bear upon the "Great White Scourge."
They are being exhibited freely and are bringing home to the public
the terrible ravages wrought by tuberculosis. The dreaded bacillus is
shown at its fell work, and the different stages of the disease are
pictorially represented. Then follow a series of photographs showing
how it is transmitted, and lastly some pictorial suggestions as to how
it may be combated, at least in its early stages, by fresh air and
sanatorium treatment.
The success of the fly and White Scourge campaigns has resulted in the
preparation of other films dealing with the public health, while many
local authorities have taken up the idea for the purpose of improving
the conditions of their localities. Many of the films used for the
purpose are prepared by amateur workers, especially when the subject is
of local importance, and their ventures are proving highly profitable.
Experience has proved in no uncertain manner that moving-pictures will
soon be the world's most powerful educator.