By Geoff Alexander

Exploring a realm of movie usually pushed aside as campy or contrived, this booklet lines the heritage of lecture room academic motion pictures from the silent period in the course of the Nineteen Eighties, whilst movie ultimately started to lose flooring to video-based and electronic media. It profiles 35 person educational filmmakers who performed a job in bringing those approximately 110,000 16mm movies to study rooms throughout North the United States, paying specific realization to auteur John Barnes and his mostly ignored physique of labor. different themes contain: the construction businesses contributing to the expansion and improvement of the tutorial movie style; the complicated background of post-Sputnik, federally-funded academic tasks which prompted the expansion of the educational movie style; and the denouement of the style in school rooms and its resurgence on the net.

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Extra resources for Academic Films for the Classroom: A History

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How effective were military training films? Researchers Charles Hoban and Edward van Ormer compared more than 200 efficacy studies made over 30 years, many of which were conducted during the war years. 25 Perhaps the greatest contribution of World War II military training films to the business of education was to reinforce the increasing feeling among educators that the medium had survived its infancy and grown into a powerfully effective and accepted means of delivering information. 26 Hundreds of filmmakers who were soon to become significant players in the 16mm educational film business either returned to or entered the world of classroom film directly from the military.

Since previous research had suggested that people responded better to an “I” perspective than to “you,” the elements of first-person narration and point-of-view camera shooting from the eyes of the learner became the preferred treatment. Between its inception in 1941 and June 1945, the Division made more than 450 films. S. ” This syndrome is a result of storage in adverse temperature and humidity conditions, accelerating a chemical reaction within the film itself, and causing the base layer to separate from the emulsion.

In budgeting a film, Daly “would ask Stanley carefully how much time at the most he felt he needed for his commentary to work. Then I’d double it without telling him.... ”67 Things at Unit B didn’t go smoothly at first, as Daly’s early management style tended toward gentle but emphatic criticism. An early attempt by Verrall, Low, Kroitor, and Koenig to have him removed failed, as Mulholland recognized the value of the team as a whole, which now included, informally, composer Eldon Rathburn. The magic created by Unit B was due to its collaborative and insular nature: If they possessed the requisite drive and imagination ...

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