Motion Pictures - Not for Theaters by David Pierce

June, 1936

Page 167

Educational Screen Combined

iditoria

Visual

with

News

Instruction

W/K WISH

to ask particular attention our readers to the article in

issue entitled "A Quarter Century Non-Theatrical Films," by Arthur E. rows. It was written for the St. Louis ogram, listed there, but not delivered, is the merest skeleton outline of the author's elaborate history of the non-

JUNE, 1936

VOLUME XV

NUMBER

(from

from the lowliest beginHis manuscript for an book of over 500 pages is completed and THE EDUCA-

theatrical

field

nings to

date.

illustrated

practically

TIONAL SCREEN

considering publicaThe book will cover

completely and authoritatively the whole past of the non-theatrical and educationknow of no man al motion picture.

America so

qualified

story in final

complex

present this

form for perma-

preservation and reference. appreciate the reaction of our readers on the desirability and importance of such an addition to the literature of the

nent

shall

visual field.

same.

tion

CONTENTS A

Quarter-Century of Non-Theatrical Arthur Edwin Krows Visit to the

New

An Aid

Distribution

book

needed and that Arthur Edwin Krows has written it. His previous books, "Play Production in for America", Profit", "Playwriting "The Talkies", and numerous articles in is

mm.

Film

Among

Lorraine Noble

to Visual Aids.

69 73

and Projectors.

The Film Estimates

75 76 78

the Magazines and Books.

Conducted by

believe such a

Paul T. Williams......

England Capes.

Suggestions on the Care of H. L. Kooser

Films.

Stella Evelyn

Myers

Department of Visual Instruction. Conducted by E. C. Waggoner.. Program of National Conference on and Film Exhibition

I8I

Visual Education 1

magazines and encyclopedias, have long

him

since established

as a writer.

In his

amazingly wide experience in the field of stage and screen, he has been and done the

following

Ames

in the

associate

famous

Little

Winthrop

Theatre

pubwith old Triangle Films, then Goldwyn Pictures on original staff of "The Film Daily" a director and Seclicity

;

man

News and Notes.

Conducted by Josephine Hoffman

Film Production

the Educational Field.

Conducted by

Davis.

School Department.

Conducted by

Dean McClusky

;

retary

America

;

Educational Film Activities--

Yale

Chronicles of on scenario staff of Famous original

Players-Lasky and Vitagraph Company production manager of scores of nontheatrical films with Ellis, Carlyle Screen Wythe's Companion, Eastern ;

Films Corporation and many of Erpi's known educational talkies on Reading, Infant Behavior, Geometry, Choice

Among

the Producers

A Trade

Here They Are!

of Vocation and

him.

made by Krows became Man"The New Outlook." others were

In 1934 Mr.

Contents of previous issues

listed

Education Index.

aging Editor of

Out of such experience Mr. Krows has written his

history,

rich

Published

Inc.

Screen,

Single Copies, 25 cts.

THE EDUCATIONAL SCREEN,

Inc.

DIRECTORATE AND STAFF Herbert Nelson

Mary

GREENE

every month except July and August.

(Canada, $2.75; Foreign, $3.00)

Evelyn

opinions are urgently invited. L.

cational

detail,

comprehensive in range, vivid with firsthand knowledge. He has called it "Motion Pictures Your not for Theatre."

NELSON

General and Editorial Offices, 64 East Lake St., Chicago, Illinois. Office Entered at the Post Office at Morton, of Publication, Morton, Illinois. Class Matter. Illinois, as Second Copyright, June, I936 by the Edu$2.00 a Year

E. L.

Slaught, Pres.

Greene, Editor Baker

Directory for the Visual Field. ...1 96

;

well

92-

Stanley R. Greene

Josephine Hoffman F.

Dean McClusky

Beattie Brady

Stella

Davis

Evelyn Myers C. Waggoner

Page 169

June, 1936

A Quarter-Century

of Non-Theatrical Films By ARTHUR EDWIN KROWS Formerly Managing Editor, The

THE

theatrical motion spectacular rise of the of the century, it start the since picture industry IXprobably is not surprising that the dazzling surhave made it difficult to see the face

really significant

Historically

now rounded The divisions

developments

within

trends

lesser

particularly

the

continuous

motion pictures in and steady growth and Even amid education. developments so origins the world is which of be lessons recent, there may

now

fully conscious.

their better evaluations

in a longer perspective,

establish the original

they off.

some

effort

made

may Thomas A. Edison

gone

to preserve them,

also,

have been added to that same depressing section

may we

have, from what on they have done. precious testimony

our visual

their lips,

statistics.

longer

Giving serious attention to the matter, one

naturally, easily

and coincidentally

producers

the time of the first vigorous rise of making material exclusively for this field.

Fourth

the impetus given to school pictures by the

years. Third

George Eastman,

Charles Urban, George Kleine, Thomas Finegan. Just Rufus recently the names of George A. Skinner and Steele

fall

cantonments and behind the lines, and so, when the War is over, constitute a source of supply for the users who have multiplied with the non-theatrical

the witnesses are dying

be irretrievably lost

speaking, the period of establishment out may be divided into seven parts.

the second phase, in product. Wartime represents which the isolated pictures developed to serve in the in first, are brought together for emergency showings

facts while

be captured. It is worth mentioning that many probably useful records of fact in the history of "non-theatrical films," are even now fading from our grasp. Unless

developments to come.

that proper films for churches, clubs and schools are entertainment peculiarly different from the sheerly

may

they

York City

occupied with the branching of the non-theatrical bough from the main theatrical trunk the realization

and

Anent the time, then, when historians may make at least helpful

New

Outlook,

with chapters of our national progress in the same dozen years period. The first division covers the half the World into our War, entry immediately preceding

of the use of

not

New

sur-

start of the visual education

users

the

movement. Fifth

non-theatrical

films

when

decide

specialized that they are more competent than any uninitiated outsiders to provide what they need, and undertake to

produce their own pictures. Sixth

the result of the

prised and somewhat disturbed to discover that the history is possibly not so recent. Since motion pictures were first introduced importantly as classroom apparatus in the United States, a quarter of a century has

discovery that there is little use in making pictures of restricted appeal if there is no efficient, dependable or-

To be exact, twenty-five years plus one have come and gone since a collection of one thousand films, grouped under such headings as Geography, Physics, Literature and Natural Science, was made available to That event the New York City Board of Education.

tem of

elapsed

occurred as long ago as an evening in February, 1910,

meaning that one year ago, this month, might have been observed the silver wedding anniversary of school and film.* The quarter century interval has been occupied mainly in developing the instrument, rather than in applying it. The latter, obviously, is the great work of the future. It was, of course, necessary, first of

all,

practical

remain

make and

still

the instrument mechanically efficient, and while some phases

feasible to use

to be perfected

;

notably color and stereo-

scopy most of the work has been done far enough to assure smooth operation if one will just take the known principles. Consequently, one trouble to

apply

may

think of this

first

quarter century of non-theatrical

films as establishing the great material basis

for the

The above was prepared as an address to be given by Mr. Krows at the Department meeting in St. Louis last February. was one of two papers on the program, writers of which were not present to deliver them personally, which had to be omitted because of Editor's

Note

overcrowded schedule. Further reference to this article will be found on page 167 of this issue.

ganization of places in which to show them in other words, the preliminary steps toward a national sysdistribution. Seventh,

and

last, is

the revolution

in all departments wrought by the coming of sound. In each of these links with the present there is an un-

human

suspected richness of romance,

interest, heroic

example and suggestive experiment. The retrospect shows a record in which the "great man" and "social-and-economic-trend" theories of history are about equally demonstrated. Casual attention and naturally goes first to the human interest aspect, there are

many glamorous

but the social and

figures to carry on the story

economic

trends

are

;

engrossing

because, remember, all of this occurs since the start of the century that has brought, to mold its swiftly changing life, the automobile, the airplane,

enough, too

the incandescent light, the dynamo-motor, the radio, the talking picture and many other magical inventions that, while originating earlier, perhaps, did not into full play until this kaleidoscopic time.

Motion

pictures,

come

date back to the were being shown in the They

course,

and eighties. theatres, along with vaudeville turns, in the nineties. seventies

about the end of the first decade of the present century, there were no recognizable subdivisions

But

until

;

thev were

all

theatrical subjects.

Anything that had the

The Educational

Page 170

movement on the screen, within the limitanew medium, qualified as proper enterand consequently a vast amount of what

illusion of

tions of the

tainment

would now be disdained by the theatrical exhibitor as "educational" (he uses the term slightingly), comprised the early programs.

Preliminary Stage Reference has been made to seven stages of development but those all came after non-theatricals have veered away as a separate branch of the tree. If one wants to think of this very early period as an ;

eighth, preliminary stage, dominant figures later to be of great non-theatrical importance are still easily to be

The redoubtable Lyman Howe, of Wilkeswas then in his heydey with his

found.

Barre, for instance, travelling

lyceum

motion picture shows, exhibited over the He presented them frequently on Sun-

circuits.

days as refined educational entertainment, not for an instant to be classed with the "sinful, shameless" stage plays which were obliged to close each a burst of glory on Saturday night.

week

the historic thousand,

being printed for distributor

to teachers, surely helped to pave the ture services that now flourish.

Another reason for

1910 the starting dat

calling

of the non-theatrical field in America,

graphing and exhibiting films in ths

showing of

another story.

The

of what

outj.

we now

consider

mation, along with

much more

of distinct teaching

educational

was probably much greater than it is today, for a very popular number then on the theatrical program was what was known

film material, in those early years

as the "split" reel.

One

reel,

running about

fifteen

minutes, was then the usual extreme limit of any subject and the split consisted of one-half story and the ;

other half an "educational" item. Another place for documentary material was the newsreel unknown in this

country as a regular release until 1910, when the

of non-theatrical growing pains.

in a few seconds, pictures of microscopic life, a wealth of color films, and what we now know as scientific ani-

forbade

in any advertising publicly ban but that's theatres disregarded this

The

theatre.

this country,

films

non-theatricals almost until the advent of the talking picture, was Charles Urban, a naturalized Englishman.

educators, encouraged the production of those timelapse miracles of flowers that bud, bloom and wither

that in

year the Motion Picture Patents Company, that for a while monopolized the essential devices for photc

"Pathe News" was brought from Paris.

began that influence on America long before coming to it. In the first few years of the century, as probably the foremost motion picture producer and exhibitor in Great Britain, Urban, cooperating with

for the pic-

way

far greater figure of that early time, destined to wield a benign, powerful influence over American

Scree

course,

the date

when begin

And 1910, of the seven stages proper

First Period

George Kleine's interesting pioneer

effort to or-

ganize the non-theatrical field was based on a sincere but now outworn conception of the church or school

show

as a

form of salvage for

Nevertheless,

old theatrical films.

served through the

first period to stimulate the manufacture of lower-priced, non-professional projection equipment, and to provide a bounit

tiful supply of the sort of pictures mentioned.

that

have

been

Second Period

value.

While Urban was London, engaging the interest of school administrators there in the facilities

In the second period, that of the World War, began the needed coordination. Simultaneously with the call

and treasures of his "Urbanoria House", as he called his main enterprise, George Kleine, the most successful American film distributor of his time, was acting as Urban's representative over here and it was Kleine who combined the Urban output with used films of the leading New York and Chicago theatrical producers, to make the thousand subjects offered in. 1910

for troops, the

still

;

New York City Board of Education. The educator chiefly concerned on this occasion was William H. Maxwell, superintendent of the Board, and a favto the

contemporaneous newspaper cartoonand This earnest gentleelementary teachng.

orite target for ists

and

editorial writers for his so-called "fads

fancies" in

man and

was a pioneer in visual edudid not live to witness the presUnhappily he ent fruition he has been gone from our midst for scholar thus also

cation.

;

upwards of twenty years. For various reasons Maxwell and his associates were unable to avail themselves quickly of the Kleine proposal to supply the schools no doubt largely because the pictures were not really

entertainment of

all approved shots for the camps. Motion pictures, obviously, were in especial demand. They were needed not only for the American soliders

but for those of the Allies, because in the countries

abroad the prosecution of the war since two years before the United States came into it, had virtually ended the production there of entertainment subjects. ican producers, who therefore dominated the

Amerworld

wanted to cooperate with the United State?. Government in this matter, although, at the same time, it was neither practicable nor advisable for them to turn over at once to Uncle Sam the product currently emerging from their studios. The older films, that already had served the theatrical purpose for which they had been designed, were another matter and as these survived most conveniently in the unorganized and rather chaotic non-theatrical field, that was the supply garnered in the main for this emergency need. industry

;

but the circumstance was wide-

time was a young Bostonian, a former teacher. Warren D. Foster. He

and favorably reported, and the Kleine catalogue of

had a small business of supplying non-theatrical films

pedagogically suitable ly

Government declared a sore need of

;

The dominating

figure at

this

Page 171

June, 1936

from an office in Boston not far from Copley Square. But he also had an idea, and executive capacity for carrying it out. He undertook for the Government the huge work of assembling the needed material and of forming and operating the vast machine required to

"snapper-up of unconsidered

trifles" is the type.

much aware

of exclusive technical requirements for churches and schools and advertising departis

not so

ments, as he

and schools and ad-

that the churches

distribute, exhibit

vertising departments are willing to spend small sums for making pictures accounts so trivial that the reg-

years escaped his collection. Statistics in the sad spring

ular theatrical producers disdain to touch them. The pictures that he turns out are honest if not inspired,

and to care for it. Scarcely any film of non-theatrical value in existence in those troubled

show

of 1918

reau

this

that

Community Motion

being the general

name

Pictures Bu-

of his division

was providing 7,000 thousand- foot reels weekly to the S. cantonments, and 100 reels every seven days to the camps in France, which were already served the same through agency by 1,500 reels in constant circulation. Provision was made also for the ships and

;

still

other stocks gave the Allied armies most of their

really remarkably good when one takes into account the hectic circumstances of their being.

and

The human

interest

War

;

but this quick sketch, fascinating zone of

this

and the time

ment of several concluding aspects is

nearing

al-

its close.

Fourth Period

Third Period \Yhen the

other people's experience has to offer to the more leisurely investigator, is incomplete in even casual treatlotted for this narrative

picture supplies.

so strong in this place that

one is tempted to linger over which merely suggests what

Section four, which

mercifully ended, the overseas pro-

momentous

really just a small part of

movement

jection equipment was in large part returned to America. Much of it was put on public sale at junk prices in an abandoned New York department store. Many a church and many a school in America, therefore, that previously had been unable to consider this most

the

luxurious

at Chicago in 1919. This was made possible the fine by cooperation of the public utilities magnate, L. Clarke. Although the undertaking was Harley

factor

visual

clumsy old projector cheaply shopping rotunda of what

education,

obtained

its

from that source in the remained of Siegel and

Cooper.

So the inventory days, when Uncle

Sam

began tak-

ing stock for a return to peacetime problems, found the Government with about 4,000 reels of usable nontheatrical material. But,

with the drain on the Treas-

ury for so

many rehabilitation projects, it became quite impossible to secure a Congressional appropriation for

its

care and active distribution.

until

1920.

Then a happy

The

solution

difficulty lingered

was found when

seventy-five extension departments of State universities, normal schools and other reputable educational institutions,

agreed each to take a share of the store

of films, and to

make them

available to the public in

accordance wth the approved Government plan of service. A hundred and thirty-five reels was the average original lot received by each

their respective areas in

center.

The

established,

local bases of

other film

supply thus authoritatively

collections,

rental

and

free,

came into their hands for distribution. Warren Foster tried valiantly to carry Community Motion Picture Bureau over into civilian life but its

rise of the visual

America, overlaps

respects

parallels

the

and

education

in point of time in

section

just

described.

many Its

largest concerted effort to develop the school use of motion pictures, was the Society for Visual Education,

founded

avowedly a commercial undertaking, intended to earn own way, Clarke and his first associates at the University of Chicago, arranged for a directorate composed of leading educators throughout the nation, and gave the Society an altruistic character which it truly deserved. Incidentally, the monthly magazine, "Visual its

Education", that was issued briefly as part of the enterprise, was the direct parent of "The Educational Screen," the service of which to the field, in the years may be left to its many incorrigible readers to

since,

describe.

Probably the most important contribution of the Society for Visual Education has been its insistence that a motion picture for the classroom

is inherently a different product from that made to be shown for purposes of entertainment. From today's standpoint, it

that to imagine that so self-evident a fact an effective school film is no more pretentious than a is difficult

activities

school textbook, that the theatre is not the school could possibly require statement but away from the halls of education there are still plenty of intelligent persons who carelessly believe that "a good picture is

present indefatigable head, George J. Zehrung, in cooperation with Foster.

good anywhere." At the same time, in the years since Thomas A. Edison honestly but unthinkingly prophesied that the day would come when the motion picture would displace the teacher, much progress has

rapidly

;

dwindled away. Out of the wartime structure, however, emerged and flourished the Y. M. C. A. Motion Picture Bureau which had worked, under its

The conspicuous development

in the third period is of the small producer specializing in productions made expressly to serve the non-theatrical in the rise

history shows him then, he is usually a picturesque, rough-and-ready and somewhat irresponsible fellow. There are cultured exceptions but this

market.

;

been made to disprove the fallacy. Fifth Period

There is sensible continuity leading from this into Phase Number Five, where the non-professional users of non-theatrical pictures, dispairing of finding

a sufficient supply of properly

made

film,

organize to

The Educational Scree

Page 172

make

own. Here again

their

but the consideration

is a paralleling in time clearly a separate one. It is the

;

period of the Chronicles of America, produced under of the Religious Film

the auspices of Yale University

;

Foundation of William E. Harmon of the University Film Foundation of Harvard of the remarkable ven;

;

Eastman Teaching Films, under the

ture called

fine

supervision of the lamented Dr. Thomas Finegan, and of the widespread establishment, in the realm of big business, of industrial film departments such as those

maintained by the American Telephone and Telegraph Company, The International Harvester Company, the

General Electric Company, the Metropolitan Life, and others. The period is, of course, defined by the limits of the trend as a whole, the stirring of the entire mass not by isolated examples that extend beyond. The

National Cash Register Company, of Dayton, for in-

had a motion picture section so long ago that

stance,

establishment almost coincides with that

the date of

its

of the

educational films of Charles

markable, however, for such large, ambitious and independent business ventures as the Pictorial Glut project, made possible in 1923 by William Wallac

Kincaid

the Screen

Companion, organized by Fredand financed Wythe briefly by Alfred Krif of the and American Motion PicCincinnati, pendorf tures Corporation, headed by Paul Smith and backed principally by William Barr. Each of these undertak;

erick S.

ings, now reposing in the pathetic graveyard of worth} but premature endeavor, has a lesser history fascinating in detail but to go into it here would be only tc ;

destroy the broad view that

now

sought.

Seventh Period When talking pictures became commercially practicable, the history that had been splitting itself up intr parallel phases since the World War, suddenly fuse again into a single line. The question then became nc whether or not this was a school picture, or a churc? picture or any other narrowly specialized sort it was ;

first

Urban

Eng-

land, at the start of the century.

The

Sixth Period and penultimate step in the intriguing reveals what happened when those who were

sixth

history,

"Has

sound, or has it not?" The convuls effect of the ing coming of sound so sharply defines the end of one phase in the non-theatrical field, anc this picture

beginning of the new order, that one must

the

sensible at this point, of having entered the seventh anc

laboring so earnestly for the full development of this non-theatrical field, realized that specialized pictures,

last section

requiring audiences with particular bent of mind and deficient in qualities prescribed in the current enter-

proper epithets for the change. The users of picture in all places, once hearing the new miracle of science

tainment formula, were not the complete answer. Such films could never hope to pay for themselves without

The recording equipment were expensive and utterly unfamiliar; for a tir they were not available even to many of those whc had the means to pay for them. The small non-theatrical producer of silents, living his hand-to-mouth

an organized system of exhibition.

The time this need.

is rich in examples of the attempt to meet Churches of many sects and denominations

of this hasty survey.

Convulsing, volcanic, cataclysmic

- -

all

these ar

repudiated the silent film.

had

doubled their labors to provide outlets for religious The Masons, the Modern Woodmen, the the farm groups and many more with clubs, sporting

existence,

focalized interests, endeavored

merged, the individuals concerned, cut loose from their old obligations, frequently arise to the surface. Heaven

subjects.

exclusive

services. In the case of the agriculturists, the

American

Farm Bureau

set

Federation went so far that in 1925

had approximately one thousand projectors in as many of its county centers, chiefly in the great Midwest.

The

efforts of this sort best calculated to survive,

virtually

his old devices.

under.

Still,

no hope of meeting this deluge often than not it carried him

when independent

be praised that when the trying time, many thus responded.

Broadly viewed,

businesses

was

roll

are

called after that

of the non-theatrical pioneers

sub-

was fortunate indeed

still

that the

however, were the broader ones, intended to serve the non-theatrical field as a whole establishing more or less regional libraries, from which church, school, farm and club might obtain reels for satisfaction for their narrower requirements, and that performed impartially the common functions of supplying, storing and conditioning prints, and otherwise maintained the physical mechanism of the so-called film exchange. The backbone of this service need was already met

power on this tidal wave organizations that swept were essentially enlightened and benevolent in their attitude toward non-theatricals. In command of the of patent situation, which was the immediate proof TeleAmerican the strength, there were primarily two, phone and Telegraph Company and the General Elec-

by the Y. M. C. A., by the regional centers instituted by breaking up the Government's wartime supply, and by some scattered commercial concerns that had been founded on the old idea of also by manufaccirculating used theatrical films turers of non-theatrical cameras and projectors who had assembled rental libraries of miscellaneous material for promotion purposes. The phase is more re-

pany of

to a large extent

into

tric

Company. By agreement the

latter restricted itself

non-theatrically to the division of home movies so by the same process of elimination that reduced the com;

this

little

Indians on the fence, there was

present history, just one.

left,

exploit the educa-

and industrial ends, then, the A. T. & T., through the Western Electric Company and its subtional

sidiary, Electrical

Research Products,

Inc.,

organized

an elaborate department under the executive control of Col. Frederick L. Devereux, a thirty-five-year honor man in the Bell System. Possessing in unusual measure

June, 1936

Page 173

the understanding of

what educators were

striving to

accomplish, this gentleman promptly threw his newly acquired strength into a realization of the great opportunity. What he, and the doctors of philosophy who

have accomplished with of educational talking pictures pro-

were brought

as also with the films prowill cer-

duced there for the University of Chicago

many

show a constructive

influence in this field

for

gave a further demonstration

stormy quarter.

in to assist him,

the generous lot duced for their program

tainly

for Visual Education

of his practical views as long as it was able to maintain an educational talking picture department in that

Seven stages of progress, as a result of which there have been placed in the hands of the educator a visual aid, extensive and varied, which moves not only into

which talks and sings and harmonizes that condenses, expands and rearranges time and space which has to a considerable extent been measured and made to conform with mental levels and attitudes the realm of the seen but of the unseen

;

years to come.

Another steadying force, the excellent results of which must appear increasingly as time goes on, arose the early battles over sound patents, giving Fox Films a temporarily independent position. Fox Films, under the presidency of

;

out of the circumstances in

Harley Clarke the same who so long before had proved his interest by helping to found the Society

A A

New

Visit to the

Unit of Study

May

Recitation Period

told

cation of the capes of Massachusetts.

showed

a physical map which more detail and traced

would be taken

New England

this

next used

this information in

map

the route that

going from Ballston Spa to the

He showed

capes.

a slide of

"The

Harbor from East Gloucester," and talked about the geography of this section and how it has influenced the people to live as they do. The recitation was now continued by a group of four pupils who traced the development of the main industries of the

New

England capes. The first become an impor-

speaker showed

how

tant industry in

America even before the permanent He told of how European

fishing had

settlements were made.

fishermen had journeyed across the Atlantic each^ year for the fishing season. He next showed a picture of the early colonists

which carefully portrayed their simple life. From this picture he briefly traced the history of agriculture from the early settlers who had their own farms and raised their own food supplies.

The next speaker showed a picture of the early welcoming the incoming fishermen with

settlers

their haul.

along

the

New

no mean achievement.

nifies that its

in passing,

stands,

And

that fact alone sighistory, instead of being seen just idly

should be placed on record while

may

be.

Capes

PAUL

Instructor,

Social Studies,

issue)

what they are and how they are used a slide showing a map of the Xc\v England States and reviewed carefully the lo-

He THE formed.

further to go; but as

has much,

England

speaker talked about capes in general.

first

much

Economic Geography

(Concluded from Lesson V-VII

discussed the rich fishing grounds England coast which naturally

turned the attention of the colonists to fishing.

This industry of fishing naturally brought about the need for fishing boats. The forests of New Eng-

WILLIAMS

High School,

Ballston Spa,

New

York

land grew close to the sea and out of the timber from these forests the ships were built. The stu-

dent showed a picture which he had sketched himself, of a sawmill which was built in Dorchester in 1628.

This was the

first in

America and was the

basis of the large ship building industry of today.

The students having sketched the basic industries upon which the progress of these people depended now turned their attention to a study of the present industries of the section. The next speaker showed a slide of the harbor at Gloucester. This slide gave each pupil a picture of a typical shipyard scene which we would see today at almost every inlet from Maine to Massachusetts. He emphasized the important influence fishing has had on the settlement and history of our country. The student displayed an exhibit showing the various steps taken in the preparation of the fish for market. He emphasized the minute care and under which this food is so careconditions sanitary fully prepared.

The

slide,

"Packing Codfish," gave the pupils

definite picture of the interior of a codfish plant. It showed girls at work sorting and packing the

codfish in boxes for final shipment to the consumer. As a final step in the discussion of the present

New England capes one of the pugave a description of the chief historic and geographic points of interest of this section. These reflected the charm and quaint hospitality of the Old Cape to the visitor of today. Besides the natural beauty of the surrounding industries of the

pils

country this cape offers a fascination for the visitor

September, 19)8

Chapter 1 The State of Nature #

"*'.

$++

CT*

The opening installment of a 210.0OO-tcord history of non-theatrical enterprises told connectedly for the first

time and covering ticentyfire years of educational,

and films in

industrial

ice

social

serv-

CHARLES UKBAPi TIUDMC CD LTD ^ *i. VAUXXX STRUT. LONDON. V

America.

the second edition of what was probably the world's first published educational film catalogue. The first edition was about 1903.

From

Not For Theaters

Motion Pictures OTHER amples IFthan are

histories

show

on the age of industrials with Edison's

better ex-

heroism and martyrdom

ARTHUR EDWIN KROWS

here presented, this strange story of pioneering will still be worth the telling as a revelation of human persistency in battling great odds. It has an

deliberately

especial claim for attention, too, in that

pressed.

apparently this particular story never has been told before save in a magazine sketch

was

which

really

advance

synopsis of these pages, published in \\-iOutlook in 1935, and in another of the

same sort printed by the EDUCATION-.M. SCKEEX in 1936.

motion pictures as being "not for theatres" surely is a roundabout way label

of designating films exhibited in churches, schools, clubs, factories and so on; but motion pictures, like the personally re-

produced drama, clearly belong to the theatre first of

where may be acknowledging

all

and their use

are

oi't

of place, or. in

less

important place.

pedagogical

else-

specified, it seems, only by that in strict sense they

pictures,

propaganda pictures

events,

religious

more comes

convenient groupings; but. when it to a name which embraces all to be seen outside the playhouses, the best that human ingenuity has been able to devise is "non-theatrical."

That It

not

speaking merely of the name. wish to enter upon a con-

troversy as to whether theatrical pictures should or should not come first. But, because some reader may object to my statement that they do take precedence saying, perhaps, that it is like pretending that books are first for vacationists and I submit that in the last for scholars

amusement theatre the medium

the

motion picture receives its fullest exercise, whereas, in non-theatrical use, some of the most potent powers of the film are

and no doubt properly sup-

Subordination

non-theatrical

sort

films

the unquestionably a strong reason for their long obscurity. More active reasons probably have been theatrical

getting at (or 1905

that,

let

say

long ago as to be quite

safe) motion pictures were all theatrical all good to look at for the sheer

pleasure of seeing a magical invention; and nobody thought, for more than a few minutes at a time, about narrow classifications. After all. that invention was then

their

extremely young. Even the use of subtitles had barely begun.

And yet it is surprising that a quarter century of non-theatrical activity, as recorded in what follows, could have

showing of Thomas Annat's

modest financing, haphazard production and still more uncertain distribution.

transpired with so

edge about

it.

That

little

popular knowl-

this particular quar-

ter-century has been occupied with matters overwhelmingly more important than non-theatrical films seems small excuse for such

pictures,

and others

York City

1904

a course, there are all

New

Editor of "The Spur,"

picture of Dr. Colton's tooth extraction with laughing gas in 1893. But what I

THE

complete indifference.

START OF THE CEXTURY

IN the beginning to follow the always admirable plan of the Book of Genesis there were just motion pictures. There weren't church, school or industrial pictures, although that statement will bring immediate challenge. Someone will recall those ten negatives of scenes in the municipal schools of France, shown at the Paris Exposition of Instruction in 1900. and declare that there were school

pictures; someone else will remember that in 1897 Richard Hollaman, of the

Eden Musee in Xew York, supervised the three-reel production of "The Passion Play'' (purporting it to be a record of

Oberammergau when it actually was made on the roof of Grand Central Palace, which he also managed, and thereupon a claim for films in the church field a third objector will confound me

justify :

In 1896, the year of the

initial

public

first

prac-

"Vitascope" projector at Koster & Bial's Music Hall in New York Gty, the

tical

motion picture emerged from

its

earliest

status as a scientific toy and. for a fourteen years thereafter, audiences

good were

hugely satisfied just to see the pictures move. That brings one to the year 1910.

which is a very good place to start examining the first signs of the branching of the tree. Although by that time it was estimated that there were already upwards of nine thousand film theatres in the United States, almost any film which was made still sufficed to thrill spectators of all ages and conditions. So,

way to consider nonduring the entire first decade of the present century- >s to view the field broadly, never forgetting the public state the only reasonable theatricals,

of mind which as yet could see no esdifference between "The Great Robbery" and "A Trip to the Moon." With our superior knowledge of

sential

Train

what has transpired since, we may look back and say that that was a classroom picture, and that an employee training film, or that designed expressly for a church to show at Christian Endeavor meeting: but nobody could be quite certain of

then.

There were no precedents.

The Educational Screen About six years thereafter, he was to achieve a larger fame as the scenarist Half my of "The Birth of a Nation." working week was devoted to seeing new advance of public release and writing digests tailed with a few words of opinion. At least one of the three days that devoted to screenings of the in

films

"Independent" output obliged me to review some 24,000 feet. It may be men-

man-

years afterward, to become general ager of Universal City.

can never repay their debt A portrait made in 1916. to Charles Urban.

STORIES AND SPLITS

THE

You have my

smart length of a feature

film

Only a short time previously it had been one. Indeed, single reel "features" continued in production

was two

until the

Many more

end of 1913.

offer-

ings were classed as "splits," meaning individual reels, each holding two or more separate subjects. Of course, in the very,

will now and then and, I hope, pardonably, slip into autobiographical passages which may supply first-hand

very beginning when any subject whatever was only about fifty feet long all reels were split reels but I am speaking now of the time when the American film industry had really gained momentum. At first the features were almost invar-

1933 assigns it to 1904; but that later date probably belongs to a known American imitation of Lumiere's French original. The place was Keith's vaudeville theatre in 14th Street, New York City and the picture showed a negress wash;

Also represented was a (accompanied military band marvelously by the orchestra), and a mock prize fight in which one pug struck a

ing

baby.

marching

the other so forcibly that he exploded.

wonder if this item could have been the same as the burlesque bout listed on the first movie program of Koster & Bial April 23, 1896. The dismembered I

body

falling into the

came together

ring,

miraculously

and the touchy fellow continued fighting from where he left off. It may seem that only a love of quaintness would lead me to remember that of

;

again,

yet, I recall that these curious bits

celluloid

won

quite as

much

excited

blackface comedians, Mclntyre and Heath, who, in person, were on the same "continuous" bill. In 1911 (or 1912), circumstances made me one of the pioneer critics of the film. It was on the staff of the old New York Dramatic Mirror, following the lead of

attention

that

those

veteran of the industry,

Frank E.

Woods. For

that publication he lately May 30, 1908 had founded what is believed to have been the first regular

motion picture department on any paper.

illustrate

the

and American naval

differences

training.

course, these are the merest random instances. In point of footage, the output of

one

month, thirteen per cent, and industrial subjects. Earlier that year, George Kleine of Chicago, had issued a catalogue of so-called that

were

scenic

EARLY "EDUCATIONAL" CATALOGUES

reels.

portance of events than did most of my associates who were themselves too much occupied as actors on the busy scenes

irs" in

Gallic

"educationals" then available, running to 336 closely printed pages and listing more than one thousand items.

''Non-theatricals"

Excluding the Zoetrope or "wheel of which in a fairly late copy was one of my childhood toys and which is now a revered ancestor of the screen drama, my first clear recollection of a motion picture is dated about 1898. However, a revival in Paramount's "Screen Souven-

edited

timated that out of a total of 140 releases

magazines, while Robert Emmet Welsh, brought in a little later to command the rewrite desk, was destined,

life,"

of those

attention, along with the

writer and editor of motion pic-

rity as

information.

which commanded respectsplits mentioned, were "Modern Fire Fighting" and pictures of a French battleship review ful

young whose desk adjoined mine and whose work, still earlier begun, was of much the same sort, was Frederick James Smith, little dreaming of his later celebture

this narrative

Two

what would now be called educational material was possibly more extended then than it is now. In August, 1910, Frank Woods, writing under his soubriquet, "The Spectator," in the New York Dramatic Mirror, es-

fellow

tioned, incidentally, that the

assurance of that. And what good is my assurance? Well, I was there. And because I was there, a close witness although at that time I probably had no more sense of the historical im-

of this so-called "educational" character.

;

In the dramas, that is. occurred most of the "educational"

THE nature and implications of this catalogue in that period make it worth more than a passing attention. It was to addressed "Universities, Colleges, Scientific and Literary Institutions and Traveling Lecturers." Strangely enough, churches were not named in that super-

although the pages proper aca religious group. Introduced with a brief panegyric of school films written by Professor Fred-

scription,

included

tually

erick

Starr

the

University

ani-

Chicago, and copyrighted by the Chicago producers Kleine, Selig and George K. Spoor, together with a couple of anonymous sub-introductions calling attention to the advantages of the screen as a

mated cartoons and travelogues as split reels as late as the fall of 1916. For that

teaching instrument, it launched into the The listing was confined, list proper.

matter, many split reels are to be seen today; but "split" in those early years, was a particular term, implying that one of the items on the "spool" was a story

however, to subjects licensed by the Motion Picture Patents Company. The Patents Company had been organized in 1908. and Kleine, Selig and Spoor were even then veteran producers, having embarked upon their film careers in 18%,

stories

iably splits

items; and this arrangement persisted well into the World War period. Gaufor

mont,

instance,

was

releasing

picture.

"Selig Split" for the second week 1912 to give an idea of what a split really was offered a short drama. "The Little Match Seller" and,

The

February,

on the same

"The Taos InMexico at Home." The

reel

New

dians of

with

it,

Imp (Independent Motion urday

Split"

about

Picture) "Satthe same date,

Tea Industry Kalem had an item

included "The

in the

States."

called

United "Flow-

ers for the 400"; Eclipse advertised "Pottery Making," and Eclair, in Sep-

tember

the

same

year,

announced a

of story and color,

"making your theatre the advanced school for public learning." Siegmund Lubin, head of split

reel

the Philadelphia-Betzwood film company bearing his name, was an enthusiast for subjects of this sort. To his particular interest in natural science we owe some of

crab, like

camera studies the oyster and the sardine

the

earliest

that.

Many

the

oddities

of these subjects were

released in series

"Sight Seeing Trips to the Principal Cities of the World" and "Trips to the Homes of Famous People." To be sure, there were longer subjects :

the birth year of the Armat Vitascope. Each item in the catalogue, with a very

few exceptions, was accompanied by a code

word

subjects.

system then

used

ordering,

vogue even for

theatrical

description given, many of the being earlier fifty-foot

scene-by-scene

was almost invariably doubtless

scenes

The productions now spliced together. footage was specified in every instance, giving an average subject length of from 300 to 500 feet, from which it is clearly to be inferred that even the more recent material had been originally in the

splits.

early group comon surgery, pictures

The most impressive

sixty films chiefly of tumor operations by Dr. although no film producer, Dr.

prised

Doyen Doyen

anybody else, is named anywhere. I were not in fashion then. identify Dr. Doyen's work from the 1915 or

Credits

Kleine catalogue wherein same films are offered again with reference to their maker. The classification of subjects in the older list started off bravely, but soon edition of the

some

these

September, 1938

Page 213

broke down as though the arranger gave np trying: and "How Glue is Made," for instance, occurred desperately between "Northern Venice" and "Jerusalem.'" to the volume grouped over again and much

However, an index the

contents

all

more reasonably. In addition to the

surgical

chiefly

set

there

It was issued by the Charles Urban Trading Company, Ltd., of London; and it happened that many of the subjects therein described, were to be obtained also in America from Kleine, who released them under the brand name "Ur-

The

ban-Eclipse."

book

is entitled

stout

explains that "Urbanora"

were drawn

and protected name

English note inside

little

Urbanora.

a fancied rele-

"a registered

"The Legend of and "The Salvation

(200

ft.).

(654 ft.), Lass" 926 ft.), the last-named attractively described as a "beautiful story

of the battle between Good and Evil": but it is hardly in keeping with standard

pedagogy to present "A Bullfight in Mex.vhich shows "three bulls killed before your eyes and five or six horses disemboweled and killed" and it surely is ;

straining a point to expect any elementary school to order "The Distillation of Spirits"

and two other choice items from

France.

"Cigar- Butt

Paris" and "The Garbage of Paris"

Pickers

Army maneuvers occurred aplenty from Egypt. England. Germany. Russia, France and the United States. But, without moralizing on that, I find room for more interesting immediate speculation in the travel subjects, scattered in blocks

throughout the catalogue, as though the arranger did not want the reader to suspect the disproportionate number of such films which he had. There was an especially heavy supply of items on remote parts of the world those sections which

were popularly supposed by the stay-athomes with their parlor stereoscopes to be richest in picturesqueness, charm and

Films

bear

Charles

the

'only

facsimile

Urban on the

of announce-

signature

title

ment"

that made, apparently,

jungle

Wombwell

beasts

by photographing the

Circus. Travel

Bostock

well covered, particularly so for the countries of the Old World; and there are interesting current-event items views of airplanes, is

visiting fleets, excursions of royalty, and so on along with subjects of reconstructed history. Medical films are impressive in titles and number: and there is

an admirable section devoted to inrailroads and fisheries, notably.

dustrials

Most

surprising, perhaps, are the presentations of microscopic life produced with

"the Urban Micro-Kinematograph." and examples of "time-lapse" photography showing growing plants and one extraordinary picture of the rising and falling tides in compressed action. But the introduction explains all this by references to "the Charles Urban Trading Company's Scientific Expert, Mr. F. P. Smith," and elsewhere, to the qualified

romance.

American scenes furnished more had suspected

but

films

and

FOR LITERARY COURSES TO

fictional

material in

drew and without scruple upon the films of the period, that

ury- of

bygone

American principally rich treas-

With no

literature.

espe-

regard for anything but the salient outlines of a rapidly moving, strongly visual story, there was taken into the open hopper of that early factory system

from Homer's Iliad and Odyssey to Hawthorne's House of the Seven Gables. The concerns which delved deepest into a musty past were, perhaps, the Lubin Film Company of Betzwood, outlying Philadelphia, and the later Thanhauser Company of New Rochdle, outlying New York not to forget most of those ambitious new companies such as the 6clair, across from Manhattan in even-thing

New

Jersey, atop the Palisades. Shakespeare's plays were done over and over again, and generally in pretty

shabby fashion skeleton of

for to use just the bare in Shakespeare is to

story

without his immortal poetry and imagery. Charles Dickens was a favorite recourse, and so was Victor Hugo. familiar item was the episode of the

Bishop and the Candlesticks from Lcs Misalways has had a fascination for persons of the theatre. In 1926, when George Abbott was conducting his initial experiments in the new art of talking pictures, one of his most interesting demonstrations was with the Bishop and the erable*. This

Of dramatized European sibly

the most

provided

striking the Great

literature, pos-

examples were Northern Film

\ordisk of Copenhagen. This concern, which opened its American in office New York about 1908, is sometimes credited with having introduced multiple reel subjects to the United

Company

that situation, for those were days when there was difficulty in obtaining proper

camera equipment and raw

of nature.

Candlesticks.

quickly became apparent that cooperation of the railroads was chiefly responsible for that. Scenes in Yellowstone Park, the Canadian Rockies, the Grand Canyon of the Colorado that sort of thing. In other words, virtually nothing off the main line. But simple choice could not have altered I

spent "the past five

cial

Subjects listed are nicely grouped, nature study predominating, and much of the

Company has

that the

years" in equipping a qualified staff to provide animated films depicting various manifestations, transformations and phe-

reconstruct the general

Midas"

than

Trading Company, Ltd., entitled The Cinematograph in Science, Education and Matters of State, and written by Charles Urban. F.Z.S. In this text it is stated

Trading Company, Ltd." The reader is further told that, "all genuine Urbanora

into

Army

ft.),

Chicago Tribune of

departments during the past seven years." The very first Urban catalogue, of theatrical films, which I have seen, is dated 1903. Attention should be called also to an undated pamphlet issued quite certainly not later than 1907 by the Charles Urban

which names "Napoleon and

the Sentry"

(361 (407

in the 1909.

maintained "in our educational and

scientific

nomena

One may

reasoning

staff

used in connection with educational and scientific subjects published by the Charles Urban

vance to history courses that line.

first

printed

February

were examples of microscopic photography, animal subjects, a few items on physics, a great deal on travel, some topicals such as views of McKinley's funeral and short scenes from the Boer and Spanish -American Wars, and quite a number of pictures which, lor one reason or another

bered 320. It was prefaced, moreover, by the same panegyric of school films written by Professor Starr and copyrighted by Kleine, Selig and Spoor, and which is now revealed as having been

States. In its tiny projection

room

I re-

seeing an Tolstoy's "The

call

service laboratory the cities of the middle Atlantic seaboard.

impressive version of Living Corpse," in a length which I seem to remember curiously as three reels. The reluctance to

Kleine's catalogue has been called th of its kind ever to be published but

have multiple reel subjects was only because the ordinary film theatre had but

have held

one projection machine and could not change from reel to reel without a wait

finding

film,

dependable

away from

first [

only

;

earlier,

hands one which not but which refers to more

truly educational films and the items of which are far better classified. The copy which I examined was dated August 1909; and it was described as "the second and enlarged edition." Its pages num-

between.

George

Kleine,

theatrical

magnate

urged films in churches and schools.

Until about 1912, the year in which the Authors' League of America was formed, ready-made plots were still too easily obtainable to warrant such serious writ-

Page 214

The Educational Screen

ing for the screen. D'Annunzio's "Cabiria" and Hauptmann's "Atlantis," both

composed expressly for filming, were still to come. At the same time, there were some highly promising efforts in that Pathe's

direction.

conventional

farces,

featuring the clever Max Linder, on the life of the Parisian bachelor, were at least expressly written for him.

In this

country some amusing skits, rooted in actual life, were being produced to exploit John Bunny and to provide parts of varying avoirdupois for Flora Finch and

Kate Prince in his support. Some dramas of contemporaneous business were made by the Edison Company in the Bronx.

Above

Company

the Vitagraph

all,

incorporated in 1900, was sponsoring, in addition to the John Bunny pictures, those memorable comedies of human frailty, the vehicles of Mr. and Mrs. Sydney Drew. Many of those were composed by William Basil in

America,

Flatbush,

now an

double parts simultaneously.

The English

pioneer, Robert and Georges Melies of France, and proprietor of the Theatre

Paul,

manager Houdin,

are said to have been responsible in the main for the trick devices, with which this

array of screen magic was produced, although most of it was merely an application of long familiar tricks of the still camera. Don't you remember, in the

windows, those photographs of

optician's

man holding his own head on his knee? One Sunday afternoon, about

the

should say, I saw one of the Melies efforts at the old Eden Musee on 23rd Street in New York. It 1903,

early

presented two grotesque bicyclists in silhouette, who apparently rode up the sides of the building and ventured skyward for a turn around the ring of Saturn. I

remember, too, about 1913, the incredible adventures of the celebrated French character

Fantomas

on a large cigar.

But the and her flattered expression changed to one of disgust. This effort was possibly the first American animated cartoon in the sense which we now understand. In late years I have seen, draped around satisfaction

especially one in

which

smoke blew over

in the girl's

face,

the inside of a case in the Conservatoire

des Arts et Metiers at Paris, the actual broad film upon which fimile Reynaud had painted a little fantasy about Pierrot, Harlequin and Columbine. That marvel in colors, too was exhibited to an ad-

miring French public in 1892. Strongly resembling the Blackton work, just mentioned, were specimens of the later sketches of Hy Mayer, the international caricaturist. He, from 1904 to 1914, did an entire page of "Impressions of the Passing Show" every Sunday for the New York Times, and about 1912,

was providing weekly

film

releases

for

Mayer claims to have been draw under the motion picture

Universal.

and

he suddenly escaped his pursuers by turn-

"first

feature writer of Collier's.

The George Ade "Fables in Slang" and the O. Henry stories came later the former made by

ing into a strip of paper, rolling up and

camera

qualify that statement, for he gave "chalk talks" before the early Vitagraph cam-

Essanay in 1917, and the latter beginning same year, by Vitagraph. Out on the Pacific Coast, on the newly

blowing away. This was the sort of thing which a few years earlier had so intrigued J. Stuart Blackton, one of the founders of Vitagraph, and had led to his own startling

Courtney,

associate

editor

the

settled

Universal

lot,

there

was another

for

self-expression by Lois her husband, Phillips Smalley, both players from the stage, and Miss

struggle

Weber and Weber

once favorably

cert pianist. in

offerings

as a con-

She wrote and directed the which they appeared under

mark

the trade

known

Rex

Films, standing

contributions

the

aforesaid

toys and hammers. He it was who produced the famous "Princess Nicotine." The best trick picture of the whole period, however, as far as American audiences were concerned, was held to

"The Dream of the Rarebit Fiend," based on the newspaper comic strip by be

almost alone at that particular time, in

Winsor

the constructive, radical effort to show upon the screen the spiritual values in serious drama.

rected and produced by

They kept up a remarkable pace at this summer of 1914, when they joined the Bosworth Company and started releasing through

sort of thing until about the

Had lately organized Paramount. Miss Weber been given the same opportunity a few years later, when the the

was readier to understand, she would now be occupying a larger niche in the Hollywood hall of public

probably fame.

McCay and

although

photographed, diEdwin S. Porter

myself, didn't like it nearly as well as some other imaginative shad-

ow adventures of the day, the titles of which unhappily have left me. Then there were those pioneer souls who, in addition to Blackton, were experimenting with animated drawings, the oldest

moving pictures of all the same, indeed, as those which children used to fit so happily to the inside curve of the Zoetrops. My recollections of these very early experiments have only one extended story in animated drawings to mention and I'm not at all sure of the date of ;

CAMERA MAGIC

WHEN

animated

one realizes that the new cen-

tury was playing with a new toy it is not surprising that the mechanical features of that toy engaged most of the attention. That is undoubtedly why there were so

many

pictures featuring tricks of the camera. Children's playthings coming to

hammers driving nails without any apparent human agency, ghosts and vilife,

were veritable commonplaces in a steady stream along with those examples of early time-lapse photography in which flowers were seen to bud, bloom and fade in a few seconds. William Fox has resions,

called out of this time for the biography written for him by Upton Sinclair, that

one of the

impressive films he ever saw was of a pair of shoes lacing themselves. Then, of course, there was a first

troop of photoplays in which actors played

that.

was

cartoon presentation of Edwin Thayer's celebrated Casey at the Bat one version with which De Wolf It

Hopper apparently had nothing to do. My outstanding impression of it was that the wavered backgrounds fearfully, caused, no doubt, by the fact that every individual picture had to be drawn in full, there being then no known economies of time and effort such as are to be found

everywhere today on the animator's table. That was an animated story. But I

remember, importance, Phases of J.

too,

what

historic

one of the "Humorous Funny Faces." produced by

Stuart Blackton and released by Vita-

This was accompanied graph in 1906. by several similar items; and I suppose that the one which I particularly recall

was really representative. It showed a silk-hatted swell rolling his eyes at a pretty girl while he puffed with great

Blackton might

for the screen."

eras, even,

seems, for one of the

made by Edison

ten pictures

for

first

public

showing on the Vitascope. However, Mayer's claim means literally what it says. He actually drew pen sketches while the camera photographed in closeup what

he did while he was doing it, a tour de force which an average audience would scarcely appreciate. Of course, he was not the first animation artist and, of course, he did not say that he was.

;

Nevertheless, and despite an expressed

contempt for

artists

who wasted

precious

making thousands of drawings to imitate a single, simple movement, Mayer did use camera tricks to mystify the spectalent

tricks such as having his drawing appear to create itself after his hand and

tators

pen had visibly started it, or by "jumping" or "dissolving in" whole sections drawn while the camera was not looking. Yet,

; '

those results obviously were not animated cartoons in the generally accepted, highly

developed sense of today. A medal for pioneer animation should go to an artist who possibly has forge it ten his

real effort in

first

that direction.

mean George McManus and his contribution in question was produced for ;

j ]

Universal in 1912 or 1913, shortly after! he had left the staff of the New York

World and

joined that of the His then current

New York

American. newspaper comic strip, "The Newlyweds Their Baby," had merely paved the way for his coming success, "Bringing Up Father." For Universal Film Manufacturing Company he made this one extra-

] '

a veritable exploration strange medium. Starting on I the screen with a dot, he caused it to

ordinary

reel,

into

trip

develop into more astonishing things than the famous hat of Tabarin. There was no story and a continuity merely of line but it registered a mind of great ;

imagination tialities

McManus's

trying a

new

the

opportunity.

cartoons

through Pathe.

find

were

1 j

potenIn 1916

released

Page 215

September, 1938

One

was

of the earliest animators

films in January, 1911, the work requiring 4,000 separate drawings. This was doubtless what lent point to the expressed contempt of Hy Mayer. However,

and he went on in that same year to produce what became one of the great favorites of the time, "How a Mosquito Operates."

work never discouraged McCay

But Kinemacolor, although

the

celebrated newspaper artist, Winsor McCay, who died in 1934. With Blackton to guide him, he introduced his beloved cartoon character "Little Xemo," to the

;

sensation while

was

lasted,

The

triumph.

passing

Prizma was soon

overtake

was a

ton

it.

February, 1917, only six years distant from Kinemacolor's American debut, Dr. H. T. Kalmus. of the Massachusetts In-

So, within a month after the start of the fashion project, Kinemacolor frankly announced that it would make especial ef-

Technology, showed the American Institute of Mining Engineers a form stitute of

new process which was to rule next in succession under the name Tech-

of the

forts to

MENTION

mont and Pathe Freres, all of France. The color was synthetic, using aniline as had long been favored for

si:ch

dye*

but here applied through which had been hand-cut under magnifying glasses, by prodigious, almost

lantern

slides,

stencils

separate stencils for each color and frame. While the resultant imitation of natural hues was not as corlabor

incredible

Kinemacolor

the

length because of the especial influence it exerted then on non-

might demand, the

Pathe examples were exceedingly pleasThe colors appeared on the more -lificant dramas and frequently on the dramatized fain- tales but their lasting use was on the travelogues. Lovely reels :

of jaunts in foreign lands colored by this method are still on view from time to

our best theatres. 1912 Gaumont. alone, was issuing

time

the exhibitors of the time referred to a particular kind of theatrical attraction, just as they would have said "comedy" or

greater obstacle in the fact that the film at twice the normal speed to give the effect of color superimposi-

"drama." Probably not one showman of that day had any serious thought of an "educational" subject being shown profitably in a school until after it had completely exhausted its theatrical useful-

tion and only a few theatres were equipThis seriously handiped to do that. capped the company's promotion.

from tour

to six hand-colored subjects per month. Gaumont also had a "natural method, said by experts even yet

ave been very beautiful in its results, but too expensive to produce commerIn the summer of 1913 it was cially. process had been purchased Cand retired for experiment and re search i. by the Eastman Kodak

announced

that

Yitagraph was shown to interested English public in .tly 1908. and. excepting a trade showing at AllenViwii. Pennsylvania, in December. 1910. first released to an attentive American audience at Xew York, in May. 1911. The head nf the concern presenting it then was Charles Urban. In looking over my notes on that second "first night," I am disposed to moralize on the fact that on the 17th of the preceding month. William Friese-Greene, of

ill-starred

early

English

devices

inventor

motion

(To be continued)

some of

photography

A PPROXIMATELY ** IONAL SCREEN

two years ago the Editor of THE discovered by chance the existence of

prising narrative which

was then incomplete.

of a national

magazine published

New

Its

York,

his inventions, including in natural colors. This last-

this sur-

author was the Editor

who had been

close to

non-theatrical film endeavors virtually from their beginning.

With pioneers to

newer leaders

the author felt

in the field

many

in visual education

whose names are today unknown off unhonored and unsung,

dying

incumbent on him to record the facts which he had

intimately known, and therefore began this history. entire

work

Now,

at last, the

ready and will be published as rapidly as possible

these pages.

At the author's request we make no present comment on his record

prefers that this account stand by

story

itself.

However, as

his personal

necessarily interwoven in the events he describes, his identity will

become more clearly established as the successive installments appear.

invention employed the principle patented by Kinemacolor in 1906 but

demonstrated by Friese-Greene before the Royal Photographic Society of Great

motion picture service or his various widely-used books on the theatre.

named

Britain in 1900.

EDUCA-

picture

production and projection, was scheduled to appear at the opening of the new Highway Theatre in Brooklyn, to deliver a short lecture on the film industry, and to exhibit

Almost coincidently with the Washing-

called '"Kinemacolor." in-

vented by Albert Smith of London who is not to be confused with A. E. Smith,

many

schools.

York.

The process

the

New

tation where Kinemacolor found its warmest welcome, were distinctly away from theatres, and just one step from

for the public at

program

the

the stricter definition, for the lyceum circuits, and other especial places of presen-

National

Geographic Society at Washington and, at the end of December, these same films, supplemented with others of the Balkan War, Carnegie Lyceum

was

this

Company.

president

1912 their pictures of the Panama Canal were shown to President Taft and

constituted a

confident that this

real

able equipment, independently of theatres on a '"road show" basis. In the autumn

the

view of Kinemacolor officials when they declared that they were going to concentrate on production of films of this type. But it happened that, in their peculiar situation, they might have used

went on, toward "educational" items which might be shown with port-

ness.

Its officers inclined strongly, therefore,

as time

members

in mind carefully that was only a name whereby

must be borne

"educational"

had to be run

ing

probably better qualified to inaugurate a real educational film program than anyone else then alive.

Kinemacolor development. film, being actually black and white, required in projecton a compensating mechanism of revolving red and green filters, to supply the color. This, however, was not difficult to provide. There was a theatrical

;

rect as the physicists

films.

issued that pioneer educational film cataOut of his experience he was logue.

situa-

some

produce "educational"

was an interesting declaration in more ways than one, for Charles Urban, head of the parent company in England, was the same who headed that Charles Urban Trading Company of London, which had

nicolor.

tion

Company

this still failed to convert the exhibitors.

XON-THEATRICAL EFFECTS

I there were pictures in color. already have mentioned those of feclair; but the most familiar were those of Gau-

Kinemacolor

theatres again by announcing the regular release of a "fashion weekly" which, in the autumn of 1913, presented even the popular designs of Poiret; but

FILMS IN COLOR

THEN

the

event,

wooed the

to have only process of

NELSON

GREENE

October, 1938

Page 249

Motion Pictures Not for Theatres

Part Tiro of the first detailed and complete history of non-theatrical films in America recalls events of nearly thirty years ago when such pictures were first officially recognized as belonging to a distinct, independent field tcith separate problems.

ARTHUR EDWIN KROWS

Editor of "The Spur,"

New

York City

audience have to be supplied, but theatres had to be erected studios were still to be built systems of distribution awaited or-

purposes, leaving the field to the upstart rebels. The judicial order to dissolve was

ganization and there was too much basic activity for those concerned to pause for

decision

ed; and, although in October, 1912, Charles Urban was preparing a studio near Waterloo, in England, to engage

dreamers such as non-theatrical specialists would have been considered. For the dreamers to break in took not

April, 1917.

and were

only their progressive ideas but a high form of courage and an ability to go

THERE tion to

was

still

another considera-

keep Kinemacolor out of the theatres. Thrust suddenly upon the London market in 1908, its patent claims, granted in 1906. were promptly challeng-

in production

on an extended scale

same time his American allies operating another new plant among the of establishments pioneer production Hollywood the British Patent Office ultimately decided that the process was insufficiently defined in the application for

at the

rights, and so virtually the free use of anyone

take

threw

open to who wanted to it

it.

The Hollywood

studio

was closed

1913, although another Eastern studio, in addition to one at Whitestone,

Jur.e,

was opened

October of Here, the same year at Lowville, N. Y. in lovely Lewis County, in the western foothills of the Adirondack?. American Kinemacolor vainly hoped to produce

Long

Island,

"educationals" in a big way. There were many other evidences of

;

down

Even

fighting.

warnings against unauthorized license likely

am unaware

of their existence or

The purintend to ignore them. pose in this introductory section is merely to remark that, while the non-theatrical field

had no

separate recognition

official,

at the start of the century, the

and

the

materials

When we come

promise were already there.

to that place in the chron-

ological narrative in the direction

where a concerted move of

non-theatricals

clearly to be seen, we may look upon some of these other important beginnings in the light of their subsequent meanings

and so reach a fairer evaluation.

the

was

Not

dually

had

defend

indivito

tried

their

An Early Portable Projector Devised by Francis B. Cannock at the old Eden Musee about 1908 and called the Edengraph. From it he and Edwin S. Porter developed the Simplex used today in theatres.

alleged

by injunctions and prosecutions.

rights

Their position was consolidated by the formation of an allied attempt at monopoly, the General Film Company, which

bought and operated most of the important film exchanges in the United States and Canada. The immediate result in the camp of the unlicensed producers and distributors

on a

was

that

scale large

they also organized

enough to give

battle.

1913 they had two powerful groups actively fighting the "trust" Universal In

Perhaps they do. The public pays for them handsomely; and, their sponsors being accordingly rich and powerful, the playhouse films take precedence whether

became

they deserve to or not

rivals luring away their best players, writers and directors, and developing new

in the

Theatrical pic-

vanguard also during

this rapidly shifting period at the start of

the twentieth century in America. There was no place then for a non-theatrical field. Xot only did an eager, growing

suits

that

they

didn't

alleged

The sudden development

of Hollywood so largely by the Independent companies was probably at first less because of advantages of sunshine than because it put so many miles between them and prosecu-

by the Eastern powers. It must be remembered, however, that it was a Patents Company, Selig director, Francis tion

Boggs, who filmed the first dramatic scene in Los Angeles, about 1907. Horsley had been put to some trouble by the tightening claims of the Patents Company that

cameras such as his

in the controversy, that the

Independents,

striving desperately to gain the favor of the public arbitrarily claimed by their

genius in their own ranks were offering better entertainment. So about 1916, the Patents group and the old General Film departed this life to all intents and

fre-

brated "mystery box" "wonder box," (or as some preferred to call the camera it), with which he produced literally miles of unlicensed films, and with which he set himself up. in October, 1911. as one of the earliest film producers in Hollywood.

and

their

There was the late Dave Horsley's cele-

soon

bitter indeed; but

They

quently used the patented methods of the vested powers without so much as by-your leave, and left those presumed masters of the situation to wonder how they did it.

clear, to audiences not interested

The war was

and

infringement.

reputations.

vices

This was after about a dozen years during

McManus.

outlaws they sometimes found merit in

1908,

which they conunder the name of the Motion Picture

the experi-

George

Independents could find a new line of endeavor, a fresh trail to blaze, they were that much freer of in-

leading producers pooled the essential de-

they

infringe.

to become a corporation as the advantage of that form became evident.

were

Weber and

of the

In December.

Universal, for

which to such as the thoughtful

intensified.

which

why

junctions

THIS record began with an express explanation that films for theatres comes first in any broad picture consideration.

tures

see

nearer,

bitterness

conflict

Supreme Court

likely place in

living

came

cision

the

for

Film Manufacturing Company and the Mrtual Film Company, each presently

OBSTACLES

the time for ultimate de-

Patents Company.

easy to was a find innovations dramas of Lois mental cartoon Every time the It

instance,

the

in terpretation courts. And, as

;

against the Patents Company and in favor of the Independents, came in

presently be outlawed by a new patent in-

cineslow-motion, microscopic matography, undersea views and views from the sky, and more. Because I do not detail them now does not mean either

that

use, while

issued in 1915

to operate, as as not, would

trolled,

that

camera

was fraught with danger. Every gadget on it bristled with patent notices and

the processes later to become so important in the production of non-theatrical films

to touch a

first

situation

his were violations, was neither new nor

unique. In the beginning the Independents had thought themselves secure in using the Gaumont camera which was

supposed to be non-infringing but, in January, 1911, the higher courts had decided adversely. ,

But Horsley had not been caught then, and he did not purpose to be caught now. As he preferred not to pay royalties on

Page 250 his

The Educational Screen

camera,

closed

was

much less damages, he ena huge, curious housing which

turn shielded from official inspecby day and night guards. I remember the weird speculations over the "wonder box" very well, indeed and, in later years I became intimately acquainted with Walter T. Pritchard, the cameraman in

tion

were to learn presently to do even that, and to span also the distances between New York and the other cities across the wide spaces of North America. In 1912 the Edison Company of New York sent what is said to have been the first

;

who

operated

it.

note a contradiction,

Walter Pritchard, from 1929 to 1933, was in charge of some of the most highly protected talking picture cameras in the world those of the Bell Telephone Laboratories in New York.

NEWSREELS AND MAGAZINES

THE we

second considerable source of what now think of as non-theatrical ma-

was the newsreel.

terial,

The

earliest

newsreel in this country is said to have been photographed by J. Stuart Blackton for William A. Brady and Proctor's Theatre in New York in 1898. The earliest newsreel issued was regularly "Pathe's Weekly," released first in Paris as a novelty at a theatre called the "Pathe Journal" about 1906, and brought to New York in 1910 at the instance of Jacques A. Berst, American manager for Pathe

newsreel expedition of its kind, into the high Sierras to photograph the Forest Rangers fighting timber fires. Harry Gant was the cameraman; and he was accompanied, while in Madera County, CaHornia, by Forest Ranger Paul Redlater

ington,

become

chief

summer

the

monthly release of

1911

issuing

topical subjects.

Smith of Vitagraph, photographing some models and calling the result "The Battle of Manila Bay." They tell stories today about contemporaneous audiences being completely hoodwinked by this; but I do not believe that they could have been really. I saw the subject some years later, privately, as a curiosity. It

was brazenly crude

the

Bureau of Biological Survey of the United States Department of Agriculture. Vitagraph made a compromise start in

hours after the race had been run at And then, of course, there was the notorious hoax by A. E.

Epsom Downs.

Then

the

dauntless Col. Selig, of Chicago, opined that the persons who knew most

about news were newspapermen; and he allied himself with an ever ambitious

The newsreel

even for then.

as an institution clicked

into instant popularity some of the theatrical

much

men

so that

tried to eli-

it. It had an exceedingly short compared with the endurance of other offerings, and an extraordinary number of prints had to be made to serve

minate as

life

the

all

theatres

requiring

simultane-

But at the first omission the public protest became an ugly growl of warnThe exhibitors heard and so did ing. the producers and the public still has ously.

newsreels.

its

FIELD PHOTOGRAPHERS

NEWSREEL organization obviously required the stationing of cameramen over the country at strategic points. Competent operators were therefore so placed. Pathe, with international cen-

Freres. Bert Hoagland was its first American editor. In January, 1914, when William P. Helm, Jr., former city editor of the Newark Star, was appointed to command it, this release was admitted to an especial arrangement with the As-

could central such workers.

ters,

news

did

But,

not

always "break" in supposed vantage areas and it would have been grossly impractical to try to maintain salaried photographers This was especially true everywhere. in the United States, where laboratory centers were few and far between. Conobviously

again,

;

sociated Press.

Before the newsreel, dependence for "educationals" has been almost altogether on the splits; but this release was all news, and was so advertised. Timeliness was made a particular aim. To differentiate

this

was

presently

News."

clearly,

Weekly" "The Pathe

renamed

same

title

the accent aigu long since abolished), flourishes.

policy of issuing until

begun 1914,

met

(although with

Long may it

live!

The

week was not

and in June, growing and cutthroat

June, its

twice a

1913;

competition with a daily release. Cutthroat competition had promptly become a common experience in films as in most other new industries. No sooner did Pathe prove the profit in this venture than other companies hastened to collect

Stuart Blackton

In 1897, with William T. Rock and A. E. Smith, he founded the Vitagraph Company of America. There he proved many possibilities

camera,

the

including

motion

cartoon

picture animation.

the

newsreel

organizations,

opened a market free-lance contributors, offering to pay

scarcely necessary to add

that under that

still

sequently,

"Pathe's

newspaper

services,

theirs was used. cameramen sent in was not always news. However, the material frequently was interesting in

for just

what footage of

What

these volunteer

other directions, even if it did not meet the definition of timeliness. Oddities, human interest subjects, revelations of

were these how-things-are-done all needed for the "educational" half of the

Then Hearst transferred his inNew York and, in January,

split, especially now that the short story portion was being lifted out of such cramped quarters for an easier release on its own merits. The initial success of

1916, began a fresh but brief alliance in the "Hearst- Vitagraph News." Another short association, a year later, was the

the split had proved there was a public for such things it was continued actually into 1916 and, the unit now being more

came

"Hearst-Pathe News," and, later still, the Hearst "International News-

generally understood to mean a the "educational" hodge-podge

reel."

same year, 1914, it opened additional plants in Germany and the United States. Unlike its competitors, it could

Selig consoled himself by tying in with the Chicago Tribune to release

that length, too, and was dignified with the generic title of "screen magazine."

"The World's Greatest News Film," whether it was or not. There were, of

Hence the "Pathe News" and the "Gaumont News" were followed speedily

afford

course,

appeal

"Mutual Weekly" and the "Universal Animated Weekly" which was started in

later

but other histories, with more interest in the theatrical phase of motion pictures, may be consulted for details about those. There had been previous, successful efforts to present news events on the screen, one as early as 1896, when Robert Paul showed the Derby at the Al-

Gaumont represented the conservative or Mutual camp of the two Independent factions. Of course the extreme Inde-

route. With fewer facilities, however, they were obliged to proceed more cautiously. Pathe Freres was possibly the largest motion picture concern in the world. It had studios in France, Russia and Spain. In the spring

by the same

of this

to support a newsreel of wide which required merely a change of title from the "Pathe Gazette" of Paris, to become the "Pathe News" of and the "Pathe England America, Giornale" of Italy and to be known by some other designations in Russia and Germany. Moreover, it was easier, from

the standpoint of sheer mileage to encompass from Paris the leading cities of Europe than link them from New York.

Nevertheless, the American companies

publisher to issue the "Hearst-Selig News Pictorial." This lasted until December, 1915. terest

1912

other

newsreels,

including

the

;

hambra Theatre

London, twenty-four

old

full reel,

became

"Pathe Argus-Pictorial" and "Pathe Review," and "Reel the "Gaumont Film Magazine."

the

Life,"

the

pendents had to have theirs, too, so to the great indignation of the old guard, the "Universal Animated Weekly" and a companion "magazine" Jack Cohn the

came into existence. "Kinofirst editor grams," founded by Charles Urban and

Page 251

October, 19) S George McLeod Baynes, did not appear

World War, while the "M.G.M. News" was much, much later. after

until

the

One may not positively accuse the large production companies of taking money from industrial clients for making such

contributors Two dollars

gazine

had

saturation

a foot for usable negative became the average top price; and such large quantities of material poured into the newsreel headquarters for examination that the buyers became point.

half-reel

much

be impugned for producing a film on the dannot so

"The Man

gers of impure milk, entitled

Who

Learned" and endorsed by health leaders in Washington, Milwaukee and

Nor was

San Francisco. sured for

issuing

it to be cena few months later,

"The Red Cross Seal," approved by the American Red Cross and the National Association for the Prevention and Cure of Tuberculosis. But "King Cotton" as

("advertised

having

forty

scenes),

under the Edison same year and tracing cotton goods manufacture from boll to bedsheet (a formula which was into the light trade mark that

emerging

reared

film

lecture

Wahtoke

the

industry,

type

wine industry' was produced

Company was

the mysteries of the profession ceased to be the exclusive possession of the cities of the Eastern seaboard, spreading generally over the national map through the efforts of the new practitioners. The market for the newsreel and ma-

head.

this

near Fresno, at

film stock

and the increasing availability worthwhile equipment at reasonable prices, had much to do, as one may readily imagine, with the encouragement and rise of small, local producers. Soon

future leading

films

Patents situation, the greater provision of more dependable, properly-perforated

of a

for

and also from theatrical exhibitors showing them; but the suspicion that they "worked both ends against the middle" seems confirmed in noticing events as the years go on. In 1910 the Edison

rapidly expanding market for lance photographers, the settling

This free

tives

motion picture of

its

on the

in that year vineyard, under

the personal direction of Horatio Stoll, secretary of the Grape Growers of Cali-

Possibly the Selig unit, which was investigating the picture possibilities of the State at that time, and which profornia.

duced the "Industries of California" mentioned a paragraph or two back, supplied the equipment and the techni-

Odd coincidence, though, that the honorable secretary should bear a sur-

que.

name

later

become so celebrated

English filmdom

"Film equal

suffrage

would have

Girl

and

1914 for producassociation with the

tion in ten reels in

National American

"semiSelig's

"Your

film.

Mine," announced

than fitted

rather

editorials,"

educationals,"

Woman

"choosey" and individual purchases were The independent local cameraman, who no doubt had envisioned a rosy

to become standard for factory pictures for many years thereafter), smacks strongly of commercial propaganda.

Suffrage Asby Mrs. Medill McCormick and half by Selig, himself. Giles Warren directed that one. It would have applied even better to the same

future and who perhaps was trying to pay for his camera and other equipment out of non-existent profits, began to look around for other sources of income.

In 1914 to 1915 the mask is surely off, then Edison announces a study of the silk industry made at the plants of

producer's "The City of Boys," concerning a Michigan summer camp maintained for wayward lads, and to Vita-

Skinner's Silks and Satins and the Cor-

\\~hat better than to persuade the local factory people to make a picture? There

ticelli

graph's earlier "safety first" film, "The Price of Thoughtlessness," directed by

small.

the proud manufacturer, thinking of his prosperity as due wholly to his own ef-

and in no way to the changing economic conditions of the country, readThus impetus was given to ily agreed. forts

the production of industrial films. In a contributed to Charles Davy's

for

Thread Company; and an Edison film, called "The Making of a Shoe," is shown by the United Shoe Machinery

Company

the

Panama-Pacific

Ex-

position.

Lest it be thought that Edison stood alone in such American ventures, behold the Lubin Company's 1910 study en-

"Marble Quarrying," and

"To-

chapter,

titled

Footnotes to the Film. John Grierson has characterized such subjects, in a memorable phrase, as "Sponsored in pride and

bacco Industry" in October. 1911; Selig's "Industries of California," a "1,000 foot

produced

contempt."

THE SPEAK

FIRST INDUSTRIALS

the industrial division as

The early Patents companies had tried to force that phase at the very outset, being anxious to develop already started.

many

sible,

but

potential lines of profit as posthey did not earn,- it much

beyond the studio

vicinities.

The

direc-

of the old Edison Company, for example, had been obliged in their scant spare time, to make commercial pictures for outsiders willing to pay for them. I have been reminded of this by the late Ben Turbett, then a member of the Edison production staff. He personally made a number of factory subjects of that sort between theatrical releases. tors

-,vas

this

cooperative spirit peculiar to America. In the early Urban catalogue one may read of a film showing the arts of editing, printing and publishing as practiced by the Toiler and the Scotsman, of another illustrating

"The Tweed

Industry-

the

Isle

and of others which imply tradesmen willing to pay in one way or another for screen publicity. And, in America, the habit was not exclusively Harris,"

that of the Patents companies. Witness, as one of a host of Independent industrials, Carl Laemmle's IMP film of 1911

on the cotton industry.

its

educational item of rare value," dealing with pigeons, alligators and ostriches, that the exhibitor could order, in accordance with the Patents custom of the

by the Kalem's 1915

time,

code

word

with the Ladies' World to produce a two-reeler on impure foods quaintly entitled "Poison"; Essanay's 1915 ten-reel film on

watch-making for the Elgin Company; Kinemacolor's open bids for commercial pictures to be made by that process in 1911, accepted by several railroads and cereal companies and by the National Cash Register Company, whose $30,000 contract called for a view of its main plant from a balloon! But what will the purists say upon so, that

promis-

ing young director, David Wark Griffith, produced for Biograph "The Story of Coal." "The Story of Wheat" and so forth subjects which dear, Io5~al Frank

Woods

over

glossed

"film editorials"

Ned Finley who did also "The Price of Thrift" for the United States Bankers' Association. In 1914 Finley was making still another under the mark of Vitagraph, a fire prevention film for the New York Fire Department Today we group under

the

heading

pictures of that sort of Social Service,

Some recalcitrant soul probably would wish to classify under the same heading, the films on beer-making, shown in Texas in 1911, to counter the then-rising forces of Prohibition.

THE FORK

IN THE ROAD

"Animals";

collaboration

hearing that in 1909 or

half financed

sociation

calling

them

AXYWAY. somewhere in the four-year period from 1910 to 1914, there was discernible to persons living then and with no precise information concerning what the future was to bring, a definite trend toward a non-theatrical field. Frank Woods, writing in the New York Dramatic Mirror of July 9, 1910, remarked

He said flatly that the motion picture theatre could not subsist on educationals it

alone, answering the prophecy which had been uttered here and there that educa-

subjects would ultimately be the chief fare to be offered by the theatres. tional

"The primary purpose of the said, "is

But there was no single produced

theatre," he

entertainment" the

change.

effort

which

was brought

about, rather, by an accumulation of many minor happenings, such as the desire of

Of course, one is not to assume that the pressure to make sponsored subjects came all from the motion picture men.

the factory owner to see his own achievements on the screen, the wish of the local cameraman to augment his income, the

There were plenty of eager would-be propose the doing and, no doubt,

hope of the minister to regain the wand-

clients to

frequently to insist upon it In

all events,

wherever production men were available, was to be found. Even in California, which in 1909 had barely been touched by the advance representathe practice

ering attention of his flock, the more convenient and cheaper supply of film stock, and other conditions, a few of which

have been indicated. I have fixed on the year 1910 rather arbitrarily, perhaps, as the approximate

The Educational Screen

Page 252 date of the

full start

of the non-theatrical

sharp separation from

certainly the the theatrical side

came somewhere

this

field

America.

Quite in

period.

The

favored largely because of two pointing circumstances which are at The least symptomatic of the change. first is that, in June, 1910, the Patents Company issued a bulletin warning ex-

year 1910

that

hibitors

"advertising

pictures

sup-

by others than licensed exchanges

plied

are not licensed for use in public exhibitions," and saying further that, "advertis-

1896, his projector then

Amet Magni-

scope (developed for George K. Spoor by E. H. Amet of Waukegan), he had been presenting his pictures as a vaudebut now ville turn, as the custom was he couldn't obtain theatres for his new Consequently he used churches. project. ;

They had

on the Pond circuit became very first picture play, "Miss Jerry," was widely described in the newspaper press, and Scribner's Magazine

;

himself

ingratiating

by lending his and soloist

conducted

some of

his

pictures

to a church before he

show

there for himself.

Shepard had no

the advertiser and his

heart

such associates pictures may not be a during displayed

but

this

non-theatrical It

was

real

uphill, field.

but

stephis

performance."

ping-stone,

The second circum-

estimation,

larger

and

1910,

do with the

and in that connection, on a tional

films;

later page,

mark

it.

will

There

even

This

toward

that.

aim was

full-length

tertainment

re-

en-

picture in

programs

regular

theatres.

stage

a he

incessantly

ultimate

book

an excellent third reason, which is that in 1910 was founded the first

goal,

worked

dis-

educa-

tribution

Even-

tually he persuaded the

& Grant circuit New England to let

Cahn

exclusively indus-

Dr. William

production company but for the present we may ignore

Henry Maxwell

him play

New York school superintendent who

trial

its

Sundays

supported classroom films in 1910.

;

otherwise closed.

that, too.

houses on

when they would be

His great suc-

Issuance of the warning bulletin immore than plied that there must have been

cess at this, and in subsequent tours of the smaller cities, took him permanently

out of non-theatricals but, in 1904, he was

So came

said undoubtedly to be "the largest single exhibitor of motion pictures in the world." It has been supposed that Shepard may

academic

objection

the

showing advertising films there was.

Some

practice

in theatres.

of the opposition

undoubtedly from regular producers; but the disfavor of exhibitors

who

protested

subjects presence of adevrtising among the regular releases from the ex-

the

changes was more

serious.

mention

am looking again at an especially strenuous note of condemnation written by a theatrical exhibitor to the Moving Picture World, published in the issue

this I

dated September 10, 1910. It was part of a discussion started in the spring when the well known writer on "big business" subjects,

James H.

Collins,

had an

article

in the paper profanely as "the advertising man's bible" Printer's Ink.

concerning

the

situation

known commonly and So THE PICTURES

WENT

CHURCH

THE it

interest of the church, strange as seems, was one of the first to win re-

sults. I say "strange as it seems" merely because of the church's traditional distrust of the theatre; but, as a matter of fact, first modest circuit of places for the exhibition of motion pictures, unsupported by jugglers and clog dancers was a chain

the

Houses

of the Lord. 1900 one Archie L. Shepard, exploiting the first movies to be seen in the smaller communities of the midwest and northeast, used them to make up a complete evening's entertainment. Since of

an especially quick change gave startling illusions of movement. An "effect" show-

His film subjects must have permission. been particularly immune to moral criticism and then, it is said, he had a way

ed in private only for the convenience of

also

the changing slides were

so slight in their differences of scene that

ing President Cleveland pounding a table was especially sensational. Black's novel-

The wonder

pianist,

stance, had to

moments when

the only available halls large is that he obtained

enough.

ing pictures made by a licensed manufacturer, may be display-

regular

with an accompanying minimum amount of lecture spoken by himself. In the course of the presentation he had

have derived

from matic

his idea of

all-film

show

management of the draClara Louise Thompson.

his earlier

reader,

She had appeared on the lyceum circuits in what she called a "picture play," a four-act drama entitled "The Chinook," the text of which she read while slides were presented in fairly rapid succession on a screen. There is question, to be sure, whether or not one needs to trace any such precise inspiration for Shepard. Lantern slide narratives were old enough

proof taken at ranMadame de Graffigny in which she tells of her visit to Voltaire at Circy, when he showed lantern slides while he made daring and witAnd ty comments on foibles of the day.

in all conscience.

dom

that letter of

was, in many respects, a radically different form. Actually there were several attractions of the Thompson sort simultaneously on the lecture routes. They were all inspired, yet, the illustrated story

have no doubt, by the popular and pleasant experiments of Alexander Black, New York author and newspaperman and of more recent years one of the editors of King Features Syndicate. Black, an enthusiastic amateur photographer, had I

tried his

hand

cessive,

closely

at building

a story in suclantern

slides,

ty act

well known. His

published it in full, helping imitators to plays" of their own.

all

of course, out "picture

this,

work

The appearance of two "Passion Plays" about 1897 or 1898, both given considerable publicity, must have aroused great interest in the church field, surely suggesting

proselyting

medium.

possibilities

One was

the

aforementioned production by Richard Hollaman, and the other was an authentic reproduction of a real

passion

the

made

play,

with the theatrical firm of

cooperation

Klaw & Er-

langer at Horitz, Germany, the potential profits of

which Hollaman had been

try-

ing to anticipate. Ironically enough, the greater success was won by the spurious version.

A print of the Hollaman play made from the negative produced in 1897 and controlled by Edison, was acquired in 1898 by the evangelist Henry H. Hadley. He took it for exhibition at the Methodist convention ground at Asbury Park, N. J., and thence on the road for a highly remunerative tour. In the meanwhile, in 1898, Edison's pioneer cameraman, William K. L. Dickson, had stirred the ecclesiastical world anew by producing, with Mutoscope and Bioscope, the first motion pictures to be

made

ject the gentle

in the

Vatican, his sub-

and much interested Pope

Leo X. In 1910 the place of motion pictures in church work was so widely admitted that the Moving Picture World maintained the Rev. W. H. Jackson on its editorial staff to review new films suitable to churches, while, through the same columns, W. Stephen Bush, a lecturer residing in Philadelphia, volunteered repeatedly to show clergymen how they

might present movies to their congregations.

Numerous

trials of the

new medi-

churches were eagerly reported, including enthusiastic demonstrations by ministers at Pasadena, California Appleton, Wisconsin, and Brooklyn, New York where films were shown twice a in

;

week in the Church At New Britain,

Our Lady.

Connecticut,

Pastor

Herbert A. Jump, who had wished for motion picture equipment and had had it

amply supplied by a well-to-do friend of South Congregationalist Church for a test of thirty

evenings during the

summer

of 1910, was so elated by his experience that he printed an elaborate account in the following year to guide the brethren of the cloth

who might wish

to emulate

him.

course,

the

churchmen were not

wholly in ignorance of what religious pictures might do for them. They already

October, 1938

Page 253

Xew York

optical manufacturer who had substituted the calcium light for the old

lamp in magic lantern projection and was selling his improved, duplex, dissolv-

purpose chiefly of inspecting and buy-

oil

ing for his programs all the likely film material in the market At that time his organization consisted of two parts. One was the production division, called the Lyman H. Howe Films Company, with studio and laboratories at WilkesBarre, and the other was Lyman Howe

ing stereopticons widely, had encouraged the idea. Also, there may have been more than chance in the fact that Mr. Kleine's son George who, by taking an

important part in developing exhibition -:ems, had become the world's largest film distributor, imported from Italy, in the season of 1912 to 1913, the "stupen-

dous"

Cines

Societa

Italians

same name.

This venture

said to have

brought the younger Mr. Kleine a half million dollars in the first twelve months of his management. But George Kleine's most outstanding religious importation, exhibited soon after by arrangement with Klaw & Erlanger, owners of the stage rights was the Ital-

made

ian version,

Rome,

Attractions,

Lew Wal-

lace's story of the Christians of the first

Kleine was opening the church or unwittingly, by the showman's angle, another pioneer was wittingly

by a different route. This was Lyman H. Howe, of Wilkes-Barre, Pennsylvania. Howe had begun his adult penetrating

career by working for the railroad, progressing as far as the post of baggagemaster. From here, in March. 1890, he

ped forth as a lecturer with traveling shows to introduce the lately-invent-

ed phonograph. He had distinguished company. Bernard Shaw did the same thing from a cart-tail in London. In

Howe's case

made him particunews of new Edison

larly susceptible to

achievements and six years found through that interest his ladder to fame. Gathering all able motion pictures to be :

later

celluloid

the suit-

make

full

evening's entertainment the average length of a film subject then was finy feet and exhibiting it.

met with immediate

Howe

and

success.

movie shows

his

for

the

lyceum ture

circuits.

company opened 1910.

20,

His

with

the

motion

fifth

in Cincinnati

pic-

May

announcement that

would play only "large city time" of one to six weeks in each place. I find newspaper references to the popularity of his shows in Xew York City in 1911. Also in January. 1914. when he put on a Sunday performance there it

The circumstances then local

newspaper

ingly

did

impressed who seem-

reporters not realize that Sunday was the practical time for a poor proprietor of a peep-show to hire a regular theatre

and that sanctity had nothing to do

with

"the

Reverend"

that

they

to him as Howe. Only

referred

Lyman

he formed the J. Hite Moving Picture Company to supply the lyceums already served in other ways by his bureau. Nevertheless, he used that success merely as a steppingstone to more profitable branches of the business. When an automobile accident cut short his career in the summer of 1914. most of the city newspaper obituaries observed that he probably had been the first person to use the cinematograph

before the

ing discarded theatrical films, rented from a showman who carried his machine and screen with him and operated the projec-

Studio before he went in for production on his own account, he had dialogue spoken in the wings by actors who attempted to synchronize what they said

tor

lips of the actors in the silent picture. Howe didn't like silent screen entertainment at any time. Even in his travel subjects he worked studiously to do without subtitles. One of his most success-

them, to give

LeRoy in

ed,

who

early

age

three

What

Howe

died,

have

been for the modern !

March was said

died.

30,

1923, that he

accumulated

out

of this business a for-

tune lion

mil-

half

dollars.

million dollars,

will

be observed from two

November's installment

his is

the

story of New York's 1910 plan to use 1,000 classroom reels of-

enterprises cease with of

the

did

not death

the

founder.

The

Wilkes-Barre, in

tapering

November,

field

which he

even

served reguwith theatrical

larly features

never

solve

deserted

lems.

projector and film probIf you did not begin this

important history with the installment,

first

new

still

subscriptions

accepted to with Part

One

start in

gradually

will

on request,

the September

number.

business continued from the now-historic headquarters until,

atrical

time,

Howe

the

directed the the-

own

ure of a successful life

However,

the

his

amount, seems to have been the current meas-

attention

mainly

fered by theatrical distributors, and describes early attempts to

you may procure back numbers by remittance with order. For a limited

references

May, 1913. and in capacity had

that

Next Month

a support

talking picture \\~hen he, himself,

had

much-lament-

thirty-

would

have seen that there

Although Kleine subsequently became one of the successive "executive vicepresidents and general managers" of the General Film Company, from April, 1910,

the

1910.

trying to see his way to an organized, national non-theatrical distribution.

"imitators," he called to the pictures" was

life

Carleton,

himself.

was plenty of used "educational" movie material and at least two outstanding, aggressive managers of road shows, Howe and Shepard, with that splendid character, George Kleine, better situated and

with the moving

men"

course,

writers

greatest triumphs were in smaller towns. The non-theatrical motion picture show of the pre-war days was typically one us-

pictures he used sound effects from behind the screen and that in certain comic interludes produced for him at the Lubin

"effects

lyceum bureau.

of those notices probably never had heard of Lyman Howe, whose

One is interested now Mississippi. that in the presentation of his

ful

through the

know

speedily developed others soon became familiar attractions on the church and

just

lar attractions that

outbreak of the World War, that the name of Lyman H. Howe had become known in every city and town east of

obtained

through the thrifty application of his modest resources, he joined the pieces

1914,

Mutual

Originally a school teacher in FairCounty, Ohio, he became interested in organizing shows for lycenms. By 1906 he had found films to be such popu-

material constantly. in

vice-president of

field

M. Walkinshaw, also an early associate; and under him was a corps of cameramen and animation artists, turning out new said

first

Films.

New

was

and

tion

travel-

years Hadley became an exhibitor himself. Howe's general manager was S.

WHILE

field,

the

In the early days, at least, Howe's chief projectionist was Edward Hadley, who had operated the Lumiere cinematograph at the Union Square Theatre in York in 1894. In later

century, "Ben-Hur."'

LVMAX HOWE

operating

Inc.,

ture-making, their goal became the theatre Take the case of Charles J. Hite who, at the age of thirty-eight became president of the Thanhauser Corpora-

ing companies which for twenty years had been exhibiting in about five hundred American cities twice each season.

eight-or

nine-reel production "Quo Vadis," based on the powerful Sienkiewicz novel of the

equipment was sold by the trustees. There probably were others beside Lyman Howe who presented picture shows on the lecture circuits in the very earlydays, but certainly there were few who were content to remain there and develop the work. Once they had won a foothold in the glamorous world of pic-

"sacred" and "educational" performances were lawful in New York on Sunday in those early years. In June, 1917, Howe opened Xew York offices at 729 Seventh Avenue, for the

had provisions in many places for showing lantern slides illustrating bible stories. No doubt Mr. Charles B. Kleine, a

produced by organization,

completely non-theatri-

cals. after Indeed, leaving General Films

he seems to have spent most of the time permitted him by broken health, developing the lesser market. From his

case

and that of

Charles Urban notably, one may see how is that once a person has glimpsed these it

opportunities for servat

off

1935, the remaining

motion pictures, it is almost imposever to foreswear the vision. (To be continued)

ice in

sible

November, 193*

Page 291

Motion Pictures ARTHUR EDWIN KROWS

By HAVE seen also that was an am-

Not For Theatres Editor

cal field definitely opens.

stan at indus-

bitious

production and, at a glance, it would appear that here was the beginning of film

specialized

system

moTement The group,

licensees of

themselves,

openly

it.

.rthelesi.

remained a flaw

there still would have in the assumption of a

considerable non-theatrical field for advertisers, for these industrial pictures were not, as far as may be determined now, made with any reasonable sense of how

they were to be used.

They were

just

pictures of factories and processes; and their exhibition was thought of vaguely as an event to take place some time, to

happen

some hall where they might have a projector for some

somehow,

KLEINE TEMPTS THE SCHOOLS

HAVE here

remark

second rea-

son for selecting 1910 as the real start of the separation of the non-theatrical field.

Before 1910. George Kleine, with a suf-

number of

reasons

who never knew

the

man

will

recognize first, undertook the promotion of a school film service. His plan of attack was well conceived. He knew that

New York

Board of Education was headed by one of the most proand he gressive schoolmen of his time City the

reasoned that

if he could persuade that gentleman. \Villiam H. Maxwell, to supplement his regular courses with motion pictures, he would have minimum

trouble rental

the

which became the

State,

first

nicipality of record to

Rochester,

American mu-

adopt motion pic-

tures for regular use in

its public schools. Rochester's claim was noted in the Moving Picture World of July 9, 1910, and no doubt in many other contemporaneous

publications. Rochester, the home city of the

course,

large

concerns, used to rich placer mining, in a manner of speaking, were to

Eastman Kodak

Company. took no profound thinking to see that one of the chief handicaps was the lack of a low-priced, portable projector. Kleine had learned that lesson. Still, When he printed his catalogue, he had used an entire page to describe and laud a projector of this sort, called the Edenpurchasable at $225. Also to an the need was being otherwise

anticipated.

When

the sale of theatrical equipment its peak in this period, the manufacturers who held the basic licenses began to think of new uses for their

had reached

machines. The churches, schools and clubs looked promising but, of course, it was impracticable to use there the heavy professional equipment, even if the prospects were willing to pay for it and

unwilling to combination.

LAXTEKXS TO SEE BY 1908

who had been operator for Hollaman of the pretended Lumiere Cinematograph at the Eden Musee

Forgotten

home

the

films of the

and Edwin S.

buck

also

the

Optiscope,

marketed by Sears, RoeDon Bell, a projectionist George Spoor, used the

projector, in 1898.

for

working

Optiscope as his basis for developing still another 'lost" projector called the Kinedrone. In having the parts manufactured at a Chicago machine shop, he man who was to become his partner in the now celebrated firm of Bell & Howell founded on New did business with a

Day. first

"portable"

1907.

small projector to attain what

manufactured

the

but

today:

was very

lighter than the theatrical type, and had a "throw" of arc- or oxy-hydrogen

whkh

sent a brilliant picture across old lodge hall, or Y.M.C.A. auditorium, or entertainment room in the parish house, or even in the open at night, across the picnic grounds. It used regular 35-millimeter theatrical light

the

make a ten-hour show.

ready and waiting. This was 336-page catalogue which be pub-

1899,

much

through the Patents had with him, in reserve,

more than a thousand

since

Porter who, in 1903, produced the memorable "Great Train Robbery" for Edison. In 1909 these two inventors also evolved the Simplex professional projector, which still retains its high favor in theatrical service, while only grubbing historians recall the Edengraph.

Nicholas Power Company of New York. It was still a rather heavy machine as compared with the average standard-film

available

sort,

developed about

by Francis B. Cannock,

Cameragraph,

The

same

the

may be called enduring non-theatrical celebrity seems to have been the Power

Park Avenue and 59th Street, a select few pictures taken from an enormous mass of supposed educational

work along without

THE Edengraph was

The

cation at

unwilling just yet for additional profits. the non-theatrical users responded

pooh-poohed whole scheme as not worth their while, and returned to their theatrical iterests. They wanted quantity production and quantity sale; and they were

Year's

one Saturday night toward the dose of February. 1910. he screened, at the headquarter- of the New York Board of Edu-

dig

When

was

Accordingly. George Kleine obtained the active cooperation of the People's New York City, the powerful group which under John Collier had created the highly useful National Board and. under its auspices

large audience of school officials was gri-atly interested if not precipitate in its response. He submitted also a manuscript

manufacturing

the

tity

extending his proposed film to other school systems

the

But behind this sensible effort there was insufficient driving power. The

the country over.

ny.

another

service

material

was a notable example.

plant,

by purchasing only a few projectors at a time, the sales executives

graph

Home Kinetoscope, the production of which was discontinued after a disastrous son's

and redounded greatly to the credit of the gentleman whose vision and perseverance had brought it about; but there remained that obstacle to further achievement which neither he nor anyone else could surmount on the spur of that moment. Consequently it was not New York, bat

extent

altruistic

pretty generally were So the manufacturers put

forth projectors more in line the requirements. Edi-

skeptics

notice,

York City

with

and inventors work

lished in April, 1910, for general use. The affair was surely impressive

addition to the commercial motives which

ficient

large school

purpose.

not.

picture-making

vertising subjects with their regular programs, had not been authoritative enough

flouted

takes

New they

on safety film and better projectors.

apart from the theatres. The symptoms were vigorous. Even the quoted warning to exhibitors not to show ad-

to check the the Patents

Spur".

Port Three begins in 1910. The non-theatri-

there

trial

of The

roomy

film. Photo by Hal Phrf e

Alexander F. Victor's 1909 Animatograph combined camera and projector and had pictures spirally on a disc.

recollection

that

was

orig-

inally cranked

by hand in the same manner as had been done not long before with the

first theatrical

projectors.

stere-

opticon slides were still shown commonly, even in theatres, there was an attachment

Page 292 to

The Educational Screen

meet that need. The machine actually

was

just a light, modified edition of the regular theatrical Cameragraph but, con-

Herman

A. De Vry, born in Germany had been a traveling prestidigitator and builder of magical illusions. His in 1877,

the circumstances of the time, an excellent contribution. Some

eventual

early specimens of it may be seen even yet in creditable service here and there.

He was

sidering

was

Power was somewhat of a

Nicholas

Apart from the basicprojector which he manu-

public benefactor. ally

efficient

factured,

with the

accredited

development of the fireproof magazine, the automatic fire shutter and the flame importance to the developing non-theatrical field with its profusion of fire hazards. But, if Power expected that field to return him a profit shield, all of great

in his lifetime,

he died in sore disappoint-

He worked

have not seen by any means all of his enthusiastic announcements of such sales as they came along, I have read a

number

sufficient

those

largest for the sixty

was

atrical order

believe

to his

years

early

that

1900.

the century, his outfit comprised a Lubin camera, an Edison projector and a Gaumont slot-machine. He began working on his own portable device in 1912, and the following year he had his

"E"

original

Model

"suitcase"

fac-

tory production. At about the same time another pioneer, in Davenport, Iowa, was evolving a

tograph.

es-

ticular task, too. He used to show pride his installations outside theatres and,

while

the

exceedingly enterprising and he prospered. His first film world experience seems to have been with motion pictures for the penny arcades and, at the start

suitcase

grew out of

which he founded

tablishment

earnestly at that par-

ment.

business

chine

projector

now known

with the maas the Victor Anima-

along

Alexander E. the Victor, incorrigible inventor of this and many other film devices, was born in Sweden

they

Kinetoscopes.

problem

fully by apparatus for than by it,

H. A. DeVry and Lubin Camera in 1910. His suitcase projector started 1912. and had recently come from no less a remote place than India, where he is said to have been the first exhibitor of motion picture films. in

1878,

non-theatrical

time was essentially to amateurs. Hence the making of the Edison Home

Whereas the "suitcase" would then serve audiences of only two hundred to three

this

been

well-advised

hundred persons could

a machine

much

along was destined

and it required lines and to sustain a high popularity for ten years to come. It was a so-called ;

to gain

tractiveness

threaded

same way

was it

points of atthat the film could be

its

chief

quite simply, in a theatrical

De Vry

much

the

projector.

on the other hand, the full and takeup reels were mounted side by side on the same arbor, necessitating a twist in the film and a In the

slightly

threading.

projector,

complicated

system

efficiently,

care

the Grapho-

for

five

scope upward hundred, and therefore was favored in lodges, granges and so forth, for semiinstallation.

permanent

America

new

history in this

was

there, also, that one of had chanced to hear of

men film

The

Club has been the

much important It

Allison.

Wesley

made by Eastman, and had

first

report of

to his chief

Pathescope only. Theatrical subjects, in now standard 35-millimeter theatrical width, could be reduced optically for the required 28-millimeter size, but only on the equipment maintained by the PatheDifficulties in the way of obtaining and perforating the narrow guage film were easily met, for Pathe Freres were not

only makers of cameras and projectors and producers of photoplays, but they actually

manufactured

film.

Indeed,

they

prominently in about every department of the industry. figured

SAFETY FILM

As manufacturers

of raw stock, Pathe Freres provided the Pathescope with one of its most appealing and remarkable features. The narrow width film could not catch fire. The magic was not in the narrowness, of course it was in the fact that the base was acetate of cellulose instead of nitrate of cellulose. But what they presently succeeded in doing was to ;

FOREIGN PROJECTORS

"suitcase" projector, with shorter "throw" than the Power, but costing only half as

One

called the Pathescope.

first

the

So had portability. So did greater simplicity of operation for the novice, that is, because, remember, the appeal this.

much.

was

important demonstration in seems to have been at the Camera Club, in New York City, in December, 1913, an explanatory talk being Its

arrangement of sprocket-holes which fit the cogs of the Pathescope and of the

projector which, in point of portability, stood midway between the professional type and the suitcase machine, was the Graphoscope.

the

use. It

scope Company. projector

expressly designed "junior models" of the professional equipment. Price had something to do with

The Acme was

;

keep all of its future business in the owner's hands, including an especial type of film, much narrower than the theatrical sort, and with a peculiar, patented

Kinetoscope.

Kinetoscope move.

although

which resulted in the proper birth of motion pictures. This Pathescope projector had a number of cunning peculiarities calculated to

approved by the Board, and for installations of the non-

had

Film,

for some years but they had a small projector, developed abroad, which seemed well adapted to non-theatrical

dios

given the

many church

Company and General

the dependable Pathe camera retained a kind of supremacy in the American stu-

Edison's

with the Edison Company for the purchase of Edison films on religious sub-

be met

World War,

were

sponsors. Pathe theatrical projectors had not been able to hold the market against the native product favored by the Patents

the

non-theatrical

be recalled that,

the

extensively exhibited in this country, with the powerful Pathe Freres preeminent among the pictures

scene of

November, 1913, of the Presbyterian Board of Publications, which contracted

The was to

French

It will

before

shortly

industry.

theatrical

until

New York Camera

do with the accretion of such business may have been the action,

jects

French invasion.

given then by

are, rather, that

Home

were Edison

Something

;

Camera-

distributor for the Patents group; so this did not necessarily mean sales of his own

The chances

and

non-the-

graphs which he had sold to the U. S. Army and Navy up to October, 1914. Nevertheless, there seems to have been a kind of non-theatrical projector boom in 1914, because the Kleine Optical Company reported in July a remarkable rush of church orders for film machines in the Middle West. Kleine was the Chicago

projectors.

made by Ernemann at Dresden, used in Europe by salesmen for pictorial demonstrations of their wares but nothing much seems to have resulted from it in the United States. The story was very different with the jector

AMERICAN sional film

manufacturers of profesequipment were not alone in

trying to develop the non-theatrical in

this

Germany had

field

way. One might have expected to

never

come in here; but Germany managed to cut profitably

even into the theatrical picture field in America. I note, however, that in August,

associate in the public mind the idea of safety with the form with their peculiar

form.

This

fact acquired especial significance

news of film fires involving theatrical stock came increasingly to public atten-

1914, of

Smallwood Film Corporation York, had taken over the Ameri-

the

New

can agency for the Kinox, a small pro-

tion.

Laws

requiring fireproof projection booths, "fire gates" to cut off the heat of the projection light when the film

November, 19 )S

Page 293

came

to rest, and metal enclosures for spinning reels were not made to apply to the Pathescope because it used

the

"non-inflammable"

so-called

this

only

month. Fire Commissioner Adamson of Xew York, had raided violating local film producing companies and laborator-

to prevent the commercial film laboratories from buying stock other than his

evicting the personnel in then that year, 1914, had been

cordingly, with the cooperation of Jules Brulatour who in the Patents war had persuaded him to sell also to the Inde-

actually

ies,

eight But

film.

American producers and distributors interested in the French mar-

heavy in film fires. The Edison Company had one in April Lubin had had a blaze in June, and Edison had had another in December. I believe it was this lastnamed fire which discouraged further manufacture of the Home Kinetoscopes. These happenings, and pertinent others, impressed the public again and again with

together with those of other counprotested loudly, so. about the

the fact that the nitrate base of all regular theatrical film is gun-cotton.

The Paris announced

laboratories

their

Pathe had

perfection

non-

inflammable stock in October, 1913; and the Prefecture of Police there had almost immediately ruled that there should be no combustible film in the city after De-

cember

ket, tries,

;

middle of November, the enforcement of

new law was The outbreak of

the

of any possible long time thereafter. care It

World War took resumption

was commercially

for

wise, of coarse,

especially

many were new

all

developments lacking precedent, and one should be able to expand rapidly without being handicapped by the others. Therefore there

were separate

sales of

"Ameri-

can rights" to individual products, and the American rights to Pathescope consequently were bought in as an item apart, by Willard B. Cook of New York.

The machine

hand

United

the

States.

and

brought

Cook worked

improve it while he began an intelligent and well-organized campaign to develop

He started early to advertise to sales. the public the dangers of toy machines which

used inflammable film, as compared with the merits of his own improved projector and one of his reported achievements was to secure passage of a ;

law

in the State of Nfaine. prohibiting the use of any projector whatever save the Pathescope, without a booth. Xontheatrical exhibitors generally in the Pine

Tree State could not afford to supply booths and their choice of machines was obvious and profitable to Cook. :

The a

consideration

safer)-

strong

point.

constituted

Cook reaped

the

first

was not long before imitators sprang up. Their combined force gave impetus to a movement and, in a few years, film narrower than 35 millimeters meant non-inflammable stock harvest, but

THE Eastman Kodak Company was

for Pathe Freres to separate their properties,

EASTMAN KEEPS His CUSTOMERS

indefinitely postponed.

the

offender.

Lumiere

to negotiate large quantities and to undercut heavily in price. Eastman, especially, was ready to market any new type of film provided only that buyers might be found for it; so he placed on sale, along with

35-millimeter

his

output,

new non-

theatrical standard in 16-millimeter width

"slow-burning," of course. It was not exactly unexpected, for toward the end of

December, 1914. it had been quietly stated Eastman had purchased a license from the Chemical Products Company for the manufacture of acetate stock.

The Eastman "non-flam" stock was undoubtedly admirable for its safety properties. It burned about as deliberately as a piece of wrapping paper, as contrasted with the precipitancy of nitrate film but my recollection of the old Pathe non-flam is that it was even slower. In :

have a conviction that, when it was lighted, it would promptly put itself out I seem to remember that the Pathescope reels, stored on the library" shelves on the eighteenth floor of the old Aeolian Building, used each to have an end of the fact,

rolled film sticking out for the inspecting fireman to test with a match if he so

phase of competition.

interesting

story may be told of the manufacturing

how Eastman met

had determined

motion picture exhibitions in

schools, declaring as one of their reasons that films were a fire menace.

autumn

of 1913,

when

cer-

tain

safety precautions had been taken, did the Xew York City Board of Education permit its free lecture bureau to install film projectors, and then only

four such machines were allowed. Asbestos projection booths were advertised extensively in 1912. In June, 1914, the Interstate Commerce Commission required all films to be shipped in metal containers instead of the then customary

wooden and

fibre cases and. in that

same

Eastman Lee, N.

Hudson

best equipped laboratory possible to erect at that time

When

Part Four (December) come records of the principal lecture films of the period just before the outbreak

visual education.

not too late to date new subfrom the September issue which contained the first installment. is still

scriptions

was completed, Brulatour

and

detailed inspection trip

in-

.then

seated

banquet. With that ended, arose to address them, and spoke

fine

Eastman them

somewhat

fashion:

this

have no intention of going into the processing end of the business unless I am obliged to do so to pro"Gentlemen,

As long as mv paproper attention in your establishments, not a wheel will be permitted to turn here. But should this laboratory become the only one where prints may be made on Eastman stock, I shall be compelled to set it in operation."

tect

customers.

may

trons

The

receive

guests

for they

saw the

light,

of course,

wanted no such powerful com-

petitor in their

own

line.

The Brulatour

laboratory consequently was never opened as such, although it still stands, after all these years, well kept and probably to do business. To any man who wonders if the imthreat is still potent, may be re-

still

equipped

laboratory plied

turned the answer given to that visitor to Fort Gunnybags. in San Francisco, who

wanted to know what had become of the who had formerly manned it bell, and you'll see." But returning to the main line of consideration, there probably was no orVigilantes "Ring the

ganization actively engaged in the motion picture industry of the days before the War. the heads of which saw the

opening non-theatrical field so clearly as those of Pathe Freres. Others were to respond when the need was forced on them: but Pathe anticipated the needs.

Willard Cook, taking over the Pathescope, had somehow also taken over some of the same vision. The Pathescope

user was offered with his machine the opportunity to rent films from a library of popular subjects reduced to size and printed on non-flam stock. So, also, the

large quantities of regular 35-millimeter films retired from service in the theatres for non-theatrical exhibition.

World War. These celebrated

entertainment features powerfully stimulated the dawning consciousness of what motion pictures might be

made

vited the heads of the commercial laboratories to join him there. After they had

Pathe theatrical exchanges, throughout United States, were ready to rent

of the

agent he built at Fort atop the Palisades, across the River from Xew York City, the sales

J.,

the

Next Month

dry

until the

pendents and in 1911 had repudiated his contract with Lumiere to become the

that

witness a couple of news items of the time. In the late winter of 1910 to 1911, the Boston School Committee had voted

Not

exporting

American agent. There were arising Goerz of Belgium, Agfa of Germany and Dupont and Bay State of America,

desired.

the

not

heavily from the same country, and the indefatigable Jules E. Brulatour was his

everywhere in America. To prove that the fire hazard offered an excellent campaign platform for Cook,

to bar all

was

Ac-

assembled, the guests were taken on a

unmindful of the inroads being made into its business by competitive film manufacturers. Pathe of France was not the sole

own, for any purpose whatsoever.

STEADY SUPPLY OF PICTURES

may have

appeared at

first that the

coming of a low-priced portable projector would meet the only serious need of the non-theatrical

user of films

but

had become clear now that the user needed also a guarantee that his film supply would be dependable and steady. It

was

all

very well to

sell

to a church

The Educational Screen

Page 294 "show" purposes demanded assurance he might obtain new subjects when-

or a club a machine for

the

but that

;

purchaser

wanted them. And the large catalogues of Urban and Kleine to the contrary notwithstanding, there was not much which was strictly suitable for a he

ever

school or a church. If

was not

just a matter of having

ordinary films, there were, of course, sources of supply. Many theatre employees were bribed to send their pictures around to the neighborhood clubs be-

illicit

shows

tween

and, too frequently, the the non-theatrical pro-

man who brought the

for

jector

entertainment

evening's

screened stolen prints on the same ocMany a devout church pastor

casion.

would have been shocked to know that he had been party to some such rascally deal as this when showing films in his church on terms which he had every reason to believe were those of legitimate business. Exhibiting rented films in more places, than had been contracted for by the theatrical exchanges, was an offense called "bicycling" in reference to the usual manner of conveyance. However, it was a practice not confined to non-theatrical

The smaller

exploitation.

theatres prof-

ited

from

hugely

which was much

it,

worse, because the exhibitors there fully

understood what they were doing. As to "stolen" as distinguished from "borrowed," prints, these were rarely the original prints legitimately released by the ex-

They

changes.

were,

rather,

copies made with astonishing by dishonest laboratory workers to "borrow" an hour or two.

managed

the

"duped" rapidity

who had for

original

said that they could print a duped negative from a positive print in the time It is

unsuspecting owner was being

the

that

held in conversation. Just back of Times Square in New York, there used to be

a regular market for trafficking in stolen

goods of this sort. I remember the story emanating from that quarter, that duped prints of Douglas Fairbanks's "Robin Hood" were being spread over the counwhile

try

starting

the

its

was week on Broadway.

picture

first

proper

just

But, in referring to non-theatrical film I am trenching on another libraries,

of 1910, photographed by the swashbuckling Cherry Kearton, were released by the General Film only as a pictures

"program feature"

The Rainey

Chapter

the while that the force of cir-

ALL

cumstances was opening the nontheatrical field, more and more films befitting its first needs were being produced. It therefore took but a few seasons to outmode,

technical

improve-

ment, at least, nearly everything in the Urban and Kleine catalogues, although the items there listed went on and on, pioneering where the better values had

dare say that

not yet been appreciated. some of those quaint releases are I

after

service

upwards

still

twenty-five

years.

The most familiar single "educational" subject of the period before the World War was geography. In the Kleine catalogue of 1915, some 56 pages out of 162 are devoted to listings

travel

films.

Travel pictures were comparatively easy and inexpensive to make, and the American public was generally eager to see them. Outlying districts, just beginning telephone and the automobile, showed so keen a hunger for knowledge about distant lands, that inhabitants would gather just to hear the to

respond

the

globe-trotting lectures of Stoddard and Dwight Elmendorf read to them by one of their own number. Remember, less recent

homes

were the more or

of millions of natural-

who

still had homesickIn all events, the audience for such ness. films was then surely ready-made.

ized United States citizens

occasional

their

moments

course, the travel subjects of three to five hundred feet apiece half a reel, that

were common in the theatrical and had been so for a long time.

is-

splits,

reels.

just a glimpse generally unfamiliar part of the world, but it was highly attractive in representing strange beasts, or anyway, beasts in surroundings more exciting than in a zoo. As an entirely independent pro-

gram it ran for sixteen weeks at the Lyceum Theatre in New York, at a time when to book films into a so-called "legitimate" playhouse was considered downright vandalism. In the spring of 1913 the Rainey pictures had a command presentation before the King and Queen of England at Buckingham Palace. Their general distribution on a "state rights" basis, which means rental by territorial jobbers instead of through central booking offices, was handled with marked success by Carl Laemmle.

has

The purpose of this present one been just to sketch the situation which finally caused the separation of social service, educational and industrial motion pictures, from those dedicated to

Rainey was described for the benefit the curious as a wealthy Cleveland man, high official in a large coke-distribHis uting concern, out for recreation. ostensible purpose was to hunt lions with dogs, a bid for notoriety to be matched in later expeditions by men who visited

sheer entertainment.

the

chapter.

Dark Continent to kill inoffensive wild beasts with bow and arrow and with

Inventory Gaumont and Pathe Freres had provided most of these naturally the scenes were Swiss chiefly of French, Italian and ;

localities.

England,

was rather

neglected.

curiously enough, As the Pathe or-

ganization spread during the peak of

its

greatest prosperity, and opened studios in other countries, the scenes included also Germany, Spain and, sparingly, Russia.

these

began printing travelogues with its interesting stencil colors at a very early date. I seem to recall the stencilled ones as early as 1904 and if the colors were not absolutely true

lecturers' lantern slides being shown monly on the old lyceum circuits.

were interesting

comThey

in subject matter, well-

photographed and generally presented in good taste. It is not surprising that they held their places on the standard theatri-

programs

until

well

into

the

In later years,

when

Rainey was president of the National Foxhound Club, he kept a pack of 150 prize dogs of that breed at his Mississippi plantation, and gave an annual barbecue there to his neighbors, with sometimes 5,000 guests

present.

During his lifetime of 46 years, ending in 1923 on his estate in Nairobi when he died on his birthday, he hunted big game

many remote

British

Africa,

places, including Borneo,

the

Malay Archipelago first serious mo-

did his

little

to nature, they were, at least, as genuinely pleasing as the synthetic hues of the

cal

Howevar, Rainey was rather given

extravagances.

and India.

Pathe

war

period.

tion picture making in 1910 with Captain Bartlett in the Arctic. His last im-

Bob

portant opportunity to shoot was during the World War, when, as a captain in the British Army, he saw service against

Germans in East The expedition for

the

Africa.

his African pictures, according to a statistical press agent, cost a quarter of a million dollars and lasted

one year. Concerned in it were 35 white men, 325 blacks, 135 camels, 40 horses, 60 dogs, 54 oxen and 150 sheep on the

was photographed mainly from

hoof.

blind

setups

near

watcrholcs.

quite possible that the picture returns defrayed the cost, depending, of course, on the contract which Rainey made with

PAUL RAINEV'S HUNT

printed

too, that distant lands

in two was not

lasso.

film

Laemmle. There were no doubt produced many films which would fall into the broad

1913 the

Anyway, in the autumn of management claimed in its ad-

category of geography long before 1911 when Paul J. Rainey went on his expedi-

vertising that the attraction had played to "more than a million dollars at one dollar prices" and the lesser theatres

resulting in "The Paul J. Rainey African Hunt Pictures" but that effort, in five reels with a lecture, was probably

had not yet been permitted to book it. It is interesting to add that before Paul Rainey died, he endowed a large tract

outstanding real-adventure movie the first to be an entire show

of land in Louisiana to be kept as a bird

tion

;

the

first

ever

made

in itself.

was surely the

first of that

sort to attain widespread popularity.

The

Theodore Roosevelt African Expedition

and animal sanctuary under supervision of the

American Association

Societies.

(To be continued)

Audubon

December, 1938

Page 325

became eager to learn of the outside world. Lecture films became increasingly popular and gave impetus to the visual education movement. Part Four of the new history.

ARTHUR EDWIN KROWS

Editor of "The Spur,"

New

USEFUL member of the party which made

York City

times.

1915

a rising Machine Age teas forcing American standards of living rapidly uptcard. From that height the entire nation

Motion Pictures Not For Theatres

1926

famous film was

the

the Rainey pictures had been Edmund Heller, naturalist of the Smithsonian Institution and just the year previously in the same capacity with the

placed on sale; and Ponting is said to have declined an American museum's offer of quarter of a million dollars for it,

Smithsonian African Expedition headed by the redoubtable Theodore Roosevelt. This already much-traveled scientist who, although still in his mid-thirties, had distinguished himself in professional surveys in the Galapagos Islands, Alaska, Mexico, Guatemala and some other out-ofthe-way places, was not only to adorn his subsequent record with studies for Yale and California Universities, the Na-

from his own countrymen that it might become the permanent property of the

Geographic Society and the American Museum of Natural History in Peru, Burma. Tibet and down to the mouth of the Amazon, but he was to rejoin Rainey in Siberia in 1918 as a member of the photographic staff of the Czechoslovakian army. Today. I believe, he is director of the Milwaukee Zoological Gardens. There must be many other survivors of that African safari who reminisce about their experiences with Rainey for

ing the following season, by the addition of two reels of new material. One of Scott's chief

tional

the entertainment of the young. It was a highly pretentious expedition for its day. and must have literally teemed with small adventures of the sort which makes ideal stuff for a grandfather's fireside tales.

THE

second notable real-adventure picture to catch public fancy was "The Undying Story of Captain Scott and in the

Antarctic," released

by Gaumont and shown in New York at the Lyric Theatre in 1913. It was "shot"' by the explorer, war correspondent and travel photographer, Robert George Ponting, F.R.G.S.; and he, himgiven the responsibility of exhibition because Scott was gone, received the distinction, then rare for cameramen, of credit on the screen. At that time even stars and authors were only just beginning to be identified in self,

being

the opening tides.

This picture was a record of one of the most dramatic stories in all the history of exploration Commander Robert Falcon Scott's personally promoted, fatal, 1911-1912 trip to the Antarctic. Scott had made an earlier trip in 1901-1902 for the Royal Society and the Royal Geographical Society, at which time he had discovered and named King Edward Land.

When

Ponting died

in 1935, aged 65, had lectured on the Scott expedition more than a thousand

was

said that he

much lower

figure

English nation.

The

films

made on

the Antarctic ex-

pedition of Douglas Mawson. who had assisted in locating the south magnetic pole, were exhibited in New York during the winter of 1914-1915 at $1.50 "top," public interest in them being stimulated on their reopen-

pictures being shown in successive issues of the "Mutual Weekly" in April, 1914. This was at about the same time that

that

courageous leader, with two com-

panions,

was

600-mile

sledge

his remarkable, journey over broken, shifting ice from the mainland of Alaska

making

beyond Banks Island

;

see more, about a fivereeler called "Hunting I

Big

Game

in the Arc-

made by "Lucky" Scott and Harry Whitney (the same who in tic,"

on his first had been Ernest H. Shackleton and

assistants visit

1909 and 1910 had be-

;

Shackleton subsequently, in 1908-1909, made a

come involved

personally financed voyage to the same inhospitable region, with re-

discovery of the north for a concern pole), called

sults so notable that the

tures, Ltd.,

British

for in

his

Government con20,000 toward expenses and gave

Ernest conducted

Sir the

state rights

Gregory,

who has gone way through

dition in 1914, to the South polar coun-

this

try again in the autumn of 1921. this time to lose

tographer

and

technician

these

nefarious business as writer, director, pho-

Bnrton Holmes, noted lecturer, cranked the first travel film cameras in the Orient

life.

In the meantime, pictures of one of his in-

remember

aright,

"With

Shackleton at the Bottom of the World."

They were first shown publicly in New York in May. 1920; and they were still on view there when the world was shocked by news of the explorer's death. Frank Hurley, who was the official photographer of the Shackleton expedition,

had exhibited his own films of Australia's hardly known "Never-Never Land" in

New York Of

in January, 1916.

motion pictures of this character were the occasional geographical films resulting from combinations of circumstances in which photography was not the prime purpose. But virtually course,

major exploration party going from any civilized country, from about 1910 on, had a cinematographer inevery

forth

camera

years, "has

many made a 9,000-

mile

through

trip

West,

tervening trips became a popular theatrical attraction. They were called,

release

spring of 1913. On a date close by says that Carl M. the

his kindly

Expeand went

own

the

Northern Venand offered

Trans-Antarctic

his

Peary-Cook dispute over

tributed

him a knighthood. SCOTT PICTUBES

THE

Animal Life

accepting instead a

eluded as member. I doubt not in the slightest that the chief producing causes of all this anxiety to make expedition films were the outstanding successes of the Rainey and the Scott pictures. I see before me references to Yilhjalmur Stefansson's Arctic exploration

making

the

scenics

Majestic Comproposes to send him to South America for the same sort of thing"; in December, 1913, word leaked to the press that J. C. Hemment, a New York photographer, was en route to Africa to make wild animal films; and in the same month, motion pictures of "Around the World in the Steamship Cleveland" opened at Carnegie Lyceum for the

pany, which

now

New York, Elmer Dwiggins lecturing. In January, 1914, the feature at a banquet given by the New York Zoological Society at the Waldorf, was the film taken by the Society's expedition to in

Cape Hatteras; April, 1914, brought exhibitors the privilege of booking Worcester's "Native Life in the Philippines" through a concern called the Pan-American Film Company, it being stated that Mr. Worcester, the bearded gentleman

The Educational Screen

Page 326 face appeared on the trade mark, intended to make more films in that

whose

lately-troubled and much-publicized part of the world; in August, 1913, Beverly B. Dobbs, "who obtained the first motion

life

Alaska"

World

Motion,"

wild

pictures

"The Top of

called

the

announced that he had established a film studio and laboratory at Seattle, on the shores of Lake Washington. In the winter of 1913, a certain Robert

unknown to fame, had begun photographing some 30,000 Flaherty, then quite

Land, which he was to bring back to civilization and lose feet of scenics in Baffin

accidentally in a fire; in the summer of 1913 another unknown, a small rancher in the State of

ert

Washington, named Rob-

Cameron Bruce,

failing

his

in scenic

photography. September, 1913, saw the return of a

Emerson Hough, the Milwaukee scien-

including

novelist; E. K. Miller,

and explorer A. Lupetrie, Essanay cameraman from Chicago; George Eraser, newspaperman, and James K. Cornwall, president of the Northern Transportation Company and leader of the expedition, from a trip of 4,000 miles into the wild parts of upper Canada with films depicting native flora and fauna November, 1913, George J. Gould is remarked as "another millionaire" who is taking a motion picture cameraman with him on his fishing and hunting trips and in the spring of the following year, Arthur Payne, wealthy San Franciscoan, confirmed the habit by employing film men on his Oregon hunt. Theodore Roosevelt's South American expedition, one of the more sensational results of which was the tireless exPresident's discovery of the "River of Doubt," set forth from New York in October, 1913, with one of the most pictist

;

published.

official

This plan, of financing a celebrated lecturer to produce theatrical travelogues,

had long been an accepted practice. William L. Selig thus had backed, in 1905-1906, an expedition led by Frederick K. Starr of the University of Chicago the same who shortly afterward wrote that glowing tribute to films in education to the interior of Africa, Korea, Japan, Philippines, and the interior of Af-

the

rica; also another commanded by Dr. B. McDowell, to India and China and, in 1912, the trip of Emmett O'Neill to the

Amazon. In the spring of 1915 came the films of MacKenzie's big game hunt in Africa, ballyhooed, of course, as "the saga of a modern Diana" and in December, 1915, there were Roy Chandler's pictures of life in the Argentine, with a

Lady

;

lecture

;

been

photographer for Ziegler Polar Expedition

December

New

1914,

Baldwin-

the

in 1901-1902.

Casino Film Cor-

the

York, World William A. Brady-Shubert organization, presented Edward S. CurTheatre,

poration, the tis's

"In the Land of the Hunters," a remarkable four-reel

Indian

Head

film,

on the was the being accompanied by

presentation of aboriginal life shores of the North Pacific. It

more notable

recordings of actual tribal music. Curtis had spent three years producing this film, but twenty-five years studying the red men.

phonograph

He was author

already celebrated as the a monumental ethnological

work, The North American Indian, for which the elder J. P. Morgan had finanand million-dollar ced the research, Theodore Roosevelt had written the introduction. Eighteen volumes of it have

modern

the

lantern-slide

Mrs.

Spring

Byington

cestors in the direct line of

many

present

day non-theatrical gatherings. George C. Edwards, Canadian-born

of Chautauqua's origin, editor of The American Projectionist from 1923 to 1929, and lately a master screenman for Warner Brothers, claims to have introduced motion pictures to travel lectures for the first time. Whoever did it, the practice spread rapidly.

One

of the the nottoo-impressive novelty vaudeville act of the "protean actor," Henry Lee, in 1910. Lee impersonated various historical characters and, while he made up for each appearance in full view of the audience as was his wont, he lectured with lantern first

examples

remember was

and motion picture illustrations showing the countries where the char-

slide

acters belonged. recollection is that the primary trouble was too much mixing of the media. But that's something else again.

LECTURERS I

REMEMBER Frederick T. Burlingham, Alpinist who was the first to film the

Chandler.

the

This history cannot hope, nor does it intend, to name all of the contemporaneous motion picture expeditions any more than it may list all of the pioneers

Matterhorn from near the summit, but not as much for his achievement, at first, as for his fantastic red beard which in 1914 or thereabouts, made him conspicuous in the Times Square crowd as he

any other department of non-theatrical But, if some young Master of Arts, aspiring to become a Ph. D., wishes to undertake this labor for his thesis, his in

supply.

best beginning will be to note those museums and educational institutions most

generously supported by wealthy sportsmen, and then to find those lecturers on the church, chautauqua and lyceum circuits who previously had depended on lantern slides to illustrate their talks for these

men (and

into

women), had

still

was only a

step further to the

initiate

the art of it

a few

themselves quickly photography, from

been obliged to

The

official

old

Clubs. Certainly picture shows, so

the year

theatrical

Fiala and the films brought back were released theatrically the following February as a three-reel feature by the Mutual Company. Fiala, by the way, had

the

stature

Women's

release; and he duly returned with those in the autumn of 1916. for

which

figures

and

start

Federation of

popular on the chautauqua and lyceum circuits and in the churches, were an-

modern exploration photographer, Anthony

turesque

real

great public interest in "The Land of the Head Hunters" induced the International Screen Service to commission Curtis at once to make some travel pictures of the Yellowstone and Yosemite

first

plan to bring dudes to his ranch and deciding in some way to bring his ranch to the dudes, was climbing Mount Adams to find the idea which was, a few years later, to make him one of the notables

party

Curtis had been the photographer for the E. H. Harriman-Alaska expedition in 1898. Proof of

been

mysteries of the spinning

reel.

complete, will cover an unexpectedly large mass of material. I believe that there are a couple of thoussurvey,

if it is

and important museums in America, and many more small ones not listed in the membership rolls of the national organization and the lecture centers, temchecked in their flourishing porarily ;

quantity by the World War, are springing to life again in these days of encouragement to adult education.

The

first

American lyceum is supposed by Joseph Hoi-

passed

from booking

office

booking

search of a theatrical release for his pictures. Doubtless in the same concourse of people were many other traveloffice in

ing lecturers, less easily noticed, trying to do the same thing.

Certainly among the established lecturers caught in the new enthusiasm for motion pictures was the New Englander, Dwight L. Elmendorf, an acknowledged authority on the

making of lantern slides. His new picture material was so attractive that A. H. Woods, the Broadway theatrical producer at whose Eltinge Theatre Elmendorf was lecturing, undertook to manage him and, in the spring of 1917, engaged other speakers to tour with additional prints. But, even more than the Broadway managers, the picture distributors were on the lookout for travel films. That situation was what suddenly made a Broadway personage of Dr. George Amos Dorsey, curator of the Field Museum and aslikely

sociate professor of anthropology at the His films of University of Chicago. India,

China

much

and

Japan were released by Universal as a series

to have been established

with

Derby, Connecticut, in 1826 only eight years, the number the Sunday School totaled a thousand Teachers' Assembly organized by John Heyl Vincent and Lewis Miller at Lake

of split reels, beginning in 1916. One lecture specialist, who let no grass grow under his feet in keeping up with

brook and,

;

the summer of idea which grew, partly from within and more by imitation, to approximately 13,000 "chautau-

Chautauqua, N. Y., 1874, implanted an

quas" before the circuits were the

events

Students of have seen in

at precipitated the chautauqua its

"reading

stifled

by Sarajevo.

movement circles"

the

eclat

times, was Ernest M. Newman of Chicago. In 1908 he had been a member of Theodore Roosevelt's party in Africa a distinction which no doubt helped

the

greatly to develop his long-maintained personal lecture circuits in fifteen leading American cities, and to establish the

Newman

Lecture

Company

home number of

in his

metropolis. He produced a one-reel tourist films called

"Newman

December, 1938

Page 327 The raising was to settle a moot question as to whether the fatal explosion had occurred from within or without, thereby

They were extensively shown in theatres and, in amplified form, were presented by himself on the speakTraveltalks."

er's

rostrum

slides.

But

interspersed

still,

with

lantern

in respect to that

attempting to establish responsibility for the war; but the picture left it to audiences to determine for themselves.

which

most concerns us here, Newman scarcely met with the success of his fellow-townsman Elias Burton Holmes.

However, that war, although it had won Uncle Sam his place among the world powers for the first time, was in 1911

In the spring of 1909 Burton Holmes started on lectures illustrated with motion pictures, that he was remarked as a shining example in the L'rbanora catalogue issued in August of that year. It is said that Holmes cranked the first travel cameras in^ Italy

losing interest in favor of larger happenings. Greater troubles were brewing overseas.

was already so well

1897,

showing the

;

result at a lecture

New York

before the year was out Hawaii in 1898, and in China, Japan and the Philippines in 1899 and he has cranked them consistently ever since. His rmal lecture was at Chicago in 1890, and soon after that debut he became in

Besides, the United States already had, a small, annoying way, a new war zone of its own and motion picture producers wanted to capitalize public curin

iosity about that. The matter was of sufficient importance in January, 1914,

;

well

known

an entertaining speaker throughout the country.

in chief cities

quickly

learned

interests

capitalize

photographs he had made in nuhe published his lectures in fifteen generous volumes; he

merous countries theatrical

;

exhibition

rights

the

thousands of feet of motion picture film shot on his unending tours to Paramount, which issued 308 of the "Burton Holmes Travelogues" from 1916 to 1921, personally cutting, assembling and titling the subjects; and I believe that he even invented the word "travelogue" which has been so useful to others despite its exclusion by sensitive etymologists from the recognized dictionaries.

Holmes's film business grew to such proportions that he was able to establish in Chicago, where he was born in 1870. his own film-processing laboratories along with a lantern-slide factory. At the close of 1916 he appointed as his principal cinematographer and technical director. Herford Tynes Cowling, lately and since 1910 chief photographer of the U. S. Reclamation Service, and whose own films on the national parks were even then being released by Gaumont. The Holmes chief of staff at this time was Louis Francis Brown. Holmes and Cowling went off on their first summer tour together, in search of winter lecture terial, in 1917.

ma-

course, there were hasty compilations, too. to catch the awakened public fancy snippets of film originally ex-

posed in places all over the world and spliced end to end to evolve such offerings as the Live." This

H. . Aitken, president of Mutual, contracted with Villa for film rights to a Mexican insurrection

six-reeler

"How

Animals

production, advertised as having been six years in the making, was exhibited in European cities for the first few months of 1913 and, in the autumn.

was brought

to America. Exploitation in this country placed great stress on the educational character of the entertain-

ment, and especial matinees were given for school children, who attended in groups with their teachers. The entire

photograph

all his battles.

It is

said

incidentally, that a clause in the agreement specifying that the battles were all

and

still

sold

Harry E. Aitken, president of Mutual Films, to cross the Mexican border personally, and contract with the picturesque revolutionist Pancho Villa, for the right to place ten cameramen with his army

his

by-products. While disavowing particular talent as a business man averring that "I lecture to travel, not travel to lecture" he found the world of trade quite profitable. He contracted with commercial houses to sell prints of side

for

show was enhanced with a

lecture

Frederick Dean. I did not know Mr. Dean, nor did I hear his lecture; but I strongly suspect, from the obviously miscellaneous character of the film, that he was a late comer on that particular scene that he had had no actual part in the adventures or the studies which he no doubt feelingly described. If that was true, he was at a

marked disadvantage,

for the really suc-

adventure pictures of the day those which were presented as whole programs unto themselves made point cessful

having their narratives spoken authentic parties to the action.

Take, for instance, that robust young man who, in June, 1913, was lecturing at the Criterion Theatre in New York, on "Cannibals of the South Seas," first of the long list of splendid wild life films produced jointly with his wife, Mrs. Martin Johnson.

NEWS

SPECIALS

THE

Scott pictures, apart from their production merit in the light of their period, owed much of their appeal to their

news

value.

The

pedition's leader,

tragic story of the exand of his companions

to occur in the daylight hours when the photographers could benefit from the sun, was scrupulously observed.

Men

this

assignment returned with

some quaint stories. One was to the effect that by reporting a shortage of film, a cameraman, L. M. Burrud, saved the lives of about twenty prisoners who were have been shot simultaneously by the photographer and a firing squad* to help Villa pass an idle morning. On another occasion, Villa turned out his entire force of 20,000 men, and ordered Fritz Wagner, also a Mutual cameraman, to photograph the review just to prove to Villa's enemies that he had an army to

able to fight. Wagner sent in 3,000 feet of this event and a complaint of a sore arm. They didn't use motors to crank the field cameras then.

The bulk of

the film which was reMutual from this fantastic adventure, was released to the public in May, 1914, at the Lyric Theatre in New York, as a double feature entitled "The Battle of Torreon and the Life of Villa," seven reels in all. About two weeks later it was announced that the pictures would be shown at the Teatro des Hereos

turned

at Chihuahua, the so-called Constitutionalist capital of Mexico, for the benefit

who

of the widows

slain soldiers.

perished with him, caught artentien a manner very different from that exercised by the Rainey hunt films. But that

ticular

did kindle interest surprise.

was

was no par-

just

a natural

development of an earlier form of appeal. And besides the accomplishment was already known. The expanded geographical items of the split reel had been matched in the same experimental spirit,

by what may be called expanded newsreels. Before the spring of 1913, "news specials" had been made of "The Death of Madero" and "The Dayton Floods." In

was of

November, 1911, public attention called to a film entitled "The Mystery

the

Maine."

consisted

of about

showing the raising of that ill-fated American battleship which, by being sunk in Santiago Harbor, had precipitated the Spanish-American War. 1,000

feet

News

films

and children of

were

not,

however,

Villa's

all

In November, 1912, Essanay issued "Football Days at Cornell" as a "photoplay de luxe." This was calling it

that

sort.

something highly special, because the Essanay Company, in 1910, had paid Edgar Strakosch of Sacramento, a prize of $100 for the new word "photoplay," trying vainly thereafter to make it ex-

clusive for their product. news special which started a long train of controversy still echoing, was the record of the Jef-

fries-Johnson prizefight for the heavyweight championship of the world, produced in July, 1910. The backers were said to have been the heads of three of the Licensed companies who had formed the J. & J.

Company

to sponsor the pictures.

When

Page 328

The Educational Screen

the storm of protest burst upon them, an anonymous spokesman stated through

the press

the

that

was not

film

shown in regular motion picture theatres, but in vaudeville, burlesque and "comhouses theatres bination" combining films and vaudeville. At the end of July was finally announced that the pictures had been produced by the New York it

Herald.

The cial,

first

really spectacular to fill a full

news

spe-

evening's

amplified

matic shadows of actual world events as

ing to compete

being entertainment. Folly, perhaps entertainment, no Carnegie Lyceum in New York, was a

pictures from abroad and trying, just to be different, to find their scenics at home. Probably there was something here, too, of the awaken-

favorite

starting-place for the authentic expedition films and long topicals of 1910 to 1914 or so. On the face of things they were in the exhibition class of concerts, readings and lectures. Indeed, as we have amply seen, most of the pictures of this extraordinary order depended on lecturers to put

them

over. C.

H. Bolte,

program, was probably the English Kinemacolor reproduction of the Indian

a Cincinnati butcher, apparently also no-

Durbar and George V.

coronation of King was shown to thrilled audiences in England first and, in the spring of 1912, was brought to America.

was giving

The preliminary coronation films had been exhibited independently at the Herald Square Theatre in New York in the summer of 1911 but that was a mere passing wonder with much more to

dignified

the

;

follow.

September 16, 1911, Charles Urban, by his warrant as chief cinematographer to His Majesty and the British Government, had dispatched from

acting

London

to India a company of 125 persons, including 23 cameramen with color cameras, to film the Durbar. What they

brought back was hailed as a photographic marvel, which in many respects it was and Urban's reputation with his government was so enhanced that, when the World War began, he was given charge ;

of the official British pictures.

LYCEUM ATTRACTIONS THROUGHOUT this survey, with

;

on the wane and would

otherwise be demolished

;

may

an out-of-the-way little auditorium such as the old Berkeley Theatre, which was rarely booked by other than "crazy" ventures Arnold Daly's was one of those when he presented there the figurative American bow of George Bernard Shaw in "Candida." Another was when Frederic Burt and Warner Oland braved contemptuous Strindberg's

reviewers by "The Father."

acting

regular

motion picture house would set aside its daily grind of comedies and dramas to make room for one of these "outlandish" productions.

Sundays, when

New York

forbade

"legitimate" performances in theatres, these "educational" pictures crept in, just as they had done in the heyday of Lyman

Howe, because then

manager saw weekday show of

the

no competition with his flesh and blood and could use the extra

while the sanctimonious beside, guardians of public decency never suspected these strange, flickering, undrarent

illustrated

with

theatre

December, 1913, he talks

local

showing cuts

pictures

meat.

noticed

Sunday shows in theatres, one growing suspicion, soon to

into certainty, that

crystallize

films

more enjoyable by far away from the excitement of theatres, in surroundings which promoted thoughtful, not emotional, contemplation. This was those were

another of the many forces heading toward the exclusive non-theatrical show. In remarking the travel pictures, in the 1910 "educational" film of catalogue still

George Kleine, attention was called to the preponderance of subjects on foreign a

with

lands,

American

note

that

many

the

probably had been made in cooperation with the railroads. The same observation may be made substantially about this later group which We has just been brought to view. do know that the railthe

ing national consciousness, the realization that America also has an interest for

Americans. Notice the seeds thus being planted for a non-theatrical harvest in later seasons.

The

their cooperation with are learning what films may do for them and one day very soon they will essay the trick of making them themselves. Before 1913 the Northern Pacific Railway had spent thousands of

the

railroads,

producers,

;

dollars

But, in the lyceums and in the

producing pictures showing the geography, natural resources, industries and other attractive phases of the land it

and in the same year the Great Northern had begun making propaganda

traversed

;

films of the

same

sort.

Scientific institu-

by cooperating with the wealthy sportsmen anxious to give their expensive

tions,

hobbies at least the look of usefulness, are seeing, at

no particular cost

to themselves,

how motion pictures may be made to fit into their own schemes. Exploited areas all are bestates, national parks ginning to understand that films may be more than entertainment and that theatres alone cannot give them their full scope.

cities,

"scenics"

roads cooperated with

our omniscient point of view gained simply by our living a couple of decades later, we detect a host of signs that films in which entertainment is not the chief appeal do not find their highest favor in theatres. Here and there a particularly timely subject, such as the Scott Antarctic pictures, pries its way into a leading Broadway house but it is the start of summer, when that temple of the spoken drama would normally be closed for the season. Or the place is an old theatre which

ticed that fact for, in

with a previously com-

flood of

manding

production

licited such business, as they had long done

with managements of the touring stage comand as they panies, still do today. As early as 1910 the

Canadian Pacific Railprovided the Edison Company with an

there

Uncle

Pacific

were

Sam

in the days before entered the World

War. They were mainly propaganda subjects, but they had their points

ing

service

and rendered passin

AT SAX FRANCISCO

Part Five, the first installment of the New Year, offers an impression of social service films as they

FAIR

doubt as to the accuracy of the immediately preceding statement, observe a pertinent phase of the PanamaIf

Next Month

com-

panies on story locations. Their agents so-

THE WORLD'S

causes such as

Women,

what

later

would be

called

non-

theatrical

films.

In the

the

Railroad,

Northern

especial

for the direc-

guides, tor,

ing

cameraman, actcompany, crew

and

their

nalia, to tic

and

parapher-

make drama-

complete narrative. Back numbers will soon be unavailable. The

first

rhe issue

installment

dated

en route

subjects

from New Vancouver.

York

which helped system Essanay with its expedition from Toronto to Vancouver to make a series of 500transportation

foot scenics. since 1910, the scenics are not all

grouped around the railway lines. We see wealthy sportsmen going with cameramen into the remoter places within the boundaries of the continental United States

;

see

American producers

appeared in September.

aris-

Great

the

Railway,

Trunk

Grand

the

Railway,

Penn-

the

sylvania

Railroad

and the Wells-Fargo Company. The comroster plete also various

named nations,

American American Telephone and Telegraph Company, the National Cash Register Company, the Heinz Company, the United Shoe Machinery Company, the Collective Federaand

cities

States,

A 10,000-ton ocean-going steamship was added. Incidentally, it probably was no coincidence that later that same year, the C.P.R. had nine lecturers in the British Isles to talk with In films on the advantages of Canada. 1915 it no doubt was the same great

Still,

last

ex-

rooms were Canadian Pacific

Sleep, Suppression of Vice and the Making of a Soldier. Subscribe now to obtain this

hotel

such

hibition

Prohibition,

train,

of those

list

maintaining

Votes for

accommodations

de-

many

theatres, voted to

way

Twilight

International

Exposition in 1915. At this great fair there were no fewer than small sixty picture

tion

of Churches, the

the

New York

State

Department of Education, the Wisconsin Schools and various divisions of United States Federal Government. An outstanding

member

the

last-named

group was the newly instituted Bureau of Mines of the Department of Commerce, whose theatre had been built to represent the interior of a mine. Surely there were visitors to that fair who went away pondering the probable usefulness of films in their own activities.

(To be continued)

January, 19)9

Motion Pictures

Not For Theatres By

ARTHUR EDWIN KROWS,

Editor of "The Spur,"

New

York City

It seems that in 1914 fifth Installment. nodal sen-ice and educational agenmany religions, cies irere aicakeninf; tit profri0BM of screen presentation.

//>r<-

tin-

i.s

Tbomas

CnrKSK,

other

less

many

spectacular trade ex films, played a part.

where

hihitions

were

there

recall screenings in improvised, cam arooms at the old projection

drapt-d

Shows

Spoilsman's

New

York's

iarden. Those original Madison Square to be railparticular pictures happened mad him-.: luit then- were many other <

convention circumother subjects. slu .wing lor stances, Him- ni the lumber industry proved drawing cards in 1914, at two Forest u-tImpositions, one in the Chirolisenm and the other in the id 1'entral Palace of New York. \ highly important showing, occurin

.MS.

other

ring in the late spring of 1910, was arthe former National Hoard of li\ ship in St. I. Miiis at the National Conference m" Charities and Corrections. 1

The program there consisted of dims

ive

"edncationals"

reprebut types,

several

were included. To make

the

impression completely satisfactory, the Board also provided charts and statis-

show the motion picture's social and opportunities. The entire program, under the same auspices, was shown again a little later, at Chautautics

t.,

effects

qua. New York. Reverting to the San Francisco Exposjtion. one is curious to know how the exhibitors there came into the use of films at all. Some circumstances enlisting the interest of the railroads have been sketched; but, to go further into

general picture one would have to the ideas of public relations as changed and developed by the public utility corporations over the next suc-

mainly in conduct of the local traction where problems w ere in companies easier perspective, rather than in the r

statewide systems where officials were generally content to say in their propa"Come to astounding ganda pictures :

Yellowstone

Park"

California";

"Come

snake

dances

Board need

Education teaching

this

particular time, in as representative

1915,

the

utilities,

still highly competitive, and had progressed in point of public relations much further than the attitude of the small shopkeeper who tries to persuade his customers that every day is

were

not

For this they were not blame. The whole nation was going through a great, tumultous period of gestation, trying to absorb new inventions and new population and the railroads were too interwoven in the national bargain

much

day.

;

fabric to try dangerous experiments. The significant railroad experiments

with

films

were

to be

found, therefore,

refer

that city on the safety, the Chicago in

it freely in the schools, with projection machine, operator and lecturer. In December, the same year, the Pacific Electric Railway of Los Angeles, was

using films conductors.

train

motormen and

its

while

assigning the progress to the local companies, we must not overlook the use of films at this same time by the Georgia Central Railroad to teach its men the causes of wrecks and safeguards against them.

palm

for

But,

picture

The coming

made mo-

dustry. Patterson is said even to have had a talking picture in his educational demonstrations before 1909, devised expressly for the purpose by his experi-

mental

engineers.

Kettering

and

William Chryst.

WF.U'OMK TO THE CHCRCHKS

the San Francisco Exposition was a projection room for the Federation of Churches. Even bearing in mind the awakened film interest of ecclesiastical institutions in the United States before that time, this seems a bold step. But since 1910 the churches had broadened

view

their

considerably

motion

already has been reported that in 1913 the Presbyterian Board of Publications had arranged with It

picture possibilities.

the Edison jectors,

Company

and that

for films and prothe following year

there is said to have been a heavy increase in projector sales to the churches of the Middle West. Well, the revised and compressed reissue of Kleine's educational catalogue in 1915 throws some

pictures for employee foreshadowed by many small happenings, such as when, in 1915,

on all this. The great spectacles, "Quo Vadis?" "Ben-Hur" and "Cabiria" are now suggested in its pages for many

the executives of the National City Bank of New York decided that it would

congregations.

training

benefit

was

their

workers

thirty-five

railroads,

to present

called,

scarcely

primitive

Hopis."

Railways Company offered to produce an hour's film program on how to avoid street car accidents, and also stood ready

America

sunny

only two of the local traction developments, just to indicate how their forward step was being taken. In the autumn of 1913, when Coroner Hoffman of Chicago conferred with the

mount's

That

specifically

trace

-ury here.

the

that

ceeding twenty years.

"Come

;

A. Edison not only

tion pictures practical, but he was one of the very first in America to produce films expressly for classroom showings.

to reels

view on

ParaSouth

"The Land

of OpporThese particular films, incihad lieen produced by two dentally, cameramen, one H. D. Blauvelt, operating under the supervision of C. L. was former who, himself, Chester, travel lecturer on the Pond circuit and maker of most of the early travel subjects for the Edison Company. Mention of the National Cash Register Company's exhibit at the World's Fair suggests more important symptoms. It may be that employee training pictures began in some place other than Dayton, Ohio; but I doubt that they ever started tunity."

with more vigor than in the plant there situated, of the National Cash Register Company. That concern was headed then

by the doughty John H. Patterson, its founder and probably the greatest exponent of paternalism in American in-

light

Humbler

available

efforts

through

other channels, were: Kalem's "From the Manger to the Cross, or Jesus of Nazareth," five reels produced in Palestine and Egypt a two-reel life of Christ, a two-reel "Story of Esther" and "The Feast of Belshazzar," Gaumont production shown by Elisabeth Marbury as a Holy Week program at the Berkeley Theatre, New York, in 1913: and the Hochstetter-Pierson Company's picture, made in 1912, "Pilgrim's Progress, or the Life of John Bunyan," presented with the inevitable lecture. And, very lovely indeed for the time, was "The Life of Our Saviour," a nine-reel subject in color produced by the Paris ;

Pathe

Company

shown

publicly

Manhattan Opera

Jerusalem.

America House,

first

New

was

the

York,

April. 1914. course, much of this material was of decided interest to the Catholic in

churches: and

many

priests

were asking

The Educational Screen

Page 14 why

was that

lieved

that

theatrical producers be-

was

there

more drama

clumsy "original" plays of contemporanethan in certain stirring biographThose unworked ies out of Holy Writ. possibilities were to be realized in time by Cecil Blount De Mille, although in a manner than those different slightly clergymen had anticipated. Late in 1912

ous

life

appeared an unauthorized, short Catholic subject, legitimate enough in its provocation to interest, but surely distasteful to many churchmen because of the

brazenly advertised circumstances of its An Eclair cameraman had production. smuggled his camera into the Vatican, so 'twas said, and had photographed the new Pope. His Holiness had been com-

unaware of what was going

pletely

on.

in hand, the culprit had his subject by photograph-

This short film

then built up ing the Pontiff's

birthplace and other of his secular life. These, however, were not the first papal pictures; were legitimately produced in those 1898 by William K. L. Dickson, pioneer cameraman for Edison.

scenes

But probably this unhappy incident had much to do with the production of a more up-to-date, authorized picture, "Pope Pius and the Vatican," by James Slevin. This re-

have come from

enterprising film folk church. But, anyway, the company was capitalized at $100,000 and production, scheduled to lie completed in

outside

the

month, was

set

a cost of $30,000.

The

now

evidently was turning early experience to excellent account for himself.

FOR THE ILLS OF SOCIETY RAILROADS

and churches were not using the silver screen for propaganda, which is notoriously hydraheaded. American social service agencies, in another line, were still young and flexible enough to appreciate new avenues of usefulness and they speedily adopted films for their own purposes. In 1912 the New York City Department of Health, in association with the Committee on the Prevention and Cure of Tuberculosis, was showing the public

executives began by taking over a California concern known as the Ellaye (probably "Los Angeles") Moving Picture Company which held the rights to the picture to be made and November 27 word came that direction would be by Norval MacGregor and the well known stage and screen star, Hobart In December, 1912, it was Bosworth. heard that the versatile Nell Shipman was to rewrite the scenario and then to do a few shorter scripts of other Mormon

alone

subjects.

withstand

;

the next date of appears that "One Hundred Years of Mormonism" is being produced along with other films of not too religious a character, by the Golden State Motion Picture Company, headed by H. M. Russell of Los Angeles. The general manager is Ernest Shipman,

September, consequence,

1913,

when

energetic husband of the talented Nell, and the same gentleman who in years

following was film producing

organize

many

local

companies throughout the

;

motion pictures on the best ways to and to remedy the ravages of the White Plague. During the sumfree

mer

of air

open

1913 they presented twenty-four shows in the same number of

metropolitan public parks. The AmeriMuseum of Safety, in its 1913 convention at Grand Central Palace, in New York, exhibited films on the dangers of

can

the city streets. In November, 1912, the Republic Theatre, of New York, gave an especial showing of motion pictures of the Floating Hospital and the Seaside

responsible, also, for two perin announcements tinent August, 1914. One stated that

the

in November Tuberculosis, of that year. And I suppose that one may consistently include under the heading of social service two prison films

had just been incorporated, under the laws of State, the Catholic

capitalized

Association,

National Association for Prevention and Cure of

the

there

Film

benefit

The American Red Cross was using films of its own in 1910. Edison produced "The Red Cross Seal," endorsed by the American Red Cross and

October, 1914. The same circumstances may have been

New York

the

for

John's Guild.

St.

verent film was shown at the

New York Hippodrome

Babies

for

Hospital

show

modern

$500,000, to buy and distribute educational and amusement pictures to Catholic

to designed humanitarian criminals - -

churches. The other said that the Emerson-Currier Cinema-

spring of produced in Feature 1914 by the Abo Films Company at the Illinois State Prison at Joliet, and the picture made by World Film

tograph start

"The

Corporation

would

September 7, Catholic Animated

issuing,

Magazine" for churches, parish houses and schools of that faith.

The

Catholic Film Associa-

From "The Capture of Fort Ticonderoga," Edison reel of 1911. The above "patriotic" scene showed the allegedly scandalous

named, among its direcF. A. Cavanagh, Dr. Conde B. Fallen and Roy L. McCardell,

show

the writer. About a month later the list of new business ventures presented The Religious Pictures Corporation, but in all probability the intention of that one was to serve churches of all faiths and denominations. The Sacred and Historic

Film Company, incorporated April, 1914, was probably of the same sort. I have what seems to be more than faint recollection that the Sacred and Historic Film Company was an enterprise of Eustace Hale Ball, who was editor and publisher of a racy little magazine called

Broadway Buzz. Even the elders

Salt Lake City were stirred to consider the potentialities of the film. In October, 1912, the Utah

Moving Picture Company was announced produce a feature called, "One Hundred Years of Mormonism." The news

report

suggested

that

the

impulse

may

He was

States and Canada. probably the "outside impulse."

In 1914 alone, Ernest Shipman represented no less than seven separate enterprises, including the Colorado Motion Picture Company, the Rocky Mountain Picture Company, Arthur J. Aylesworth Pictures, Ltd., the Pan-American Motion Picture Company and the Capital

the

odd

calling of Ernest Shipman more clearly, are referred to the film trade papers of 1917, where advertisements built around his portrait describe him as a "business

New

much

discussed

pleasanter to note that in September, Wedepict Motion Picture Com-

1913, the

pany was producing at Glen Cove, Long Island, a seven-reeler called

"The Mak-

ing of a Boy Scout," to be used nationally before Boy Scout audiences. Edison dis-

"Edison Pictures."

silence.

In contrast with "The City produced by Selig in 1910 and dealing with a Michigan summer camp for wayward youths, mentioned earlier,

ever, the rest apparently

1915,

of Boys,"

ably

to understand the

four-reeler

Sing Sing Prison to

Film "One Concerning Company. Hundred Years of Mormonism," how-

Those who wish

the the

methods of Warden Thomas Mott Osborne.

tion

United

fall

York's

behavior of the British garrison before the dramatic entrance of Ethan Allen, Jehovah and the Continental Congress.

tors,

the

treatment

tributed

this

early

New York editorial these,

so "Wedepict" probsome anagramatic way,

film,

meant, in

December

28,

1910,

the

Dramatic Mirror published an social service productions like them as powerful instru-

hailing

ments

representative for independent producers," and offer to finance, buy, sell or exploit

in warding off that perpetual bugbear of the film industry, censorship. And, as events of later years amply proved,

pictures. Three years before, he had been in charge of the "Special Feature Book-

so they were markable for

ing

Department"

Universal

;

and he

making

that editorial re-

its

prophetic insight. Social service may be quite sensational

;

January, 19)9 and that quality

Page 15 is

small showman.

tin-

the

used

always attractive to S<> September, 1915. in New York, un-

Park Theatre, for an engagement

German

film entitled

"Twilight Sleep," presented with a lecture by Dr. Kurt E. Schlosof Friehuris and concerning nsed toutnl neu anaesthetic

siiink

much

phase. s<x in tin-

earlier,

the scenario of which was allegedly written by Samuel H. London,

Manhattan newspaperman. started, and not con-

A rumor was

tradicted by the concern, that the undertaking was financed by John D. Rocke-

with the in feller. Jr., cooperation Society for the Suppression of Vice, and that the first showing of the completed picture would be held at Columbia UniThe management sent out a versity. director, Frank Beal, a cameraman and a company of actors, to make certain scenes iii the alleged "red light" district of N'ew Orleans; but being virtually of

out

completed

1'cs.is.

that their this

scandalized city, they "takes" at El Paso, time the notoriety was

too great to be ignored and, in ber,

Mr.

191.?.

denied

that

"traffic"

the

had

Decem-

himself, Rockefeller, of the declared sanction or support in films

his

any way.

The National Government as

interested

Indian

using

films

itself

was

social

service as

any private welfare agency. The Bureau of Mines of the Department of Commerce, and the Department of Agriculture were both very early in production of their own pictures. former, it will be recalled, had its

The own

theatre at the Pan-American Exposition. In the summer of 1913, the latter had

been making a strong drive to educate farmers through motion pictures. In

plant

affairs,

and

road

animal

building,

culture. forestry,

and whaling, customs and revenue

lishing

Now.

same month two years

various Government activities

navy,

services

duction,

run

film the

army.

ill

disi nsseil Rockefeller an extensively Foundation report on American social conditions had been sei/ed upon by a N'ew York concern calling itself the Moral Feature Film Company, and used as a basis for an especially sordid pro-

matter how sacred the the theatre seems to be sex.

parturition. In

Frank 1'eal, announced that had contracted with the National rnment for "the exclusive right" to

direction of

and so forth. this sounded

very impressive; hut on second thought, the very scope of the claim and the limitation of the contract to merely the exclusive "right to photograph" (which is not to say that the departments

named

actually

were

photographed), made the matter seem less important. Besides, there was no single authority with whom Selig could have made a binding contract of this sweeping character, while it had long been the federal custom to give all qualified citizens a chance at public work, with the corollary that the given job should go to the lowest bidder meeting I'c

Whatever the intent specifications. the original arrangement with Selig, his organization played a much smaller part in Government film activities than the of

was

However, in originally indicated. the spring of 1914, his men did produce or

under the aus pices of the War Department, "showing the preparedness of the U. S. Army." It may have been that this Army film was a more practical outcome of the original wishes of the War Department which had led to an arrangement with the Kinemacolor Company in the fall of 1913. Kinemacolor had then announced that it would produce a series entitled "The Making of a U. S. Soldier," starting with the raw recruit and ending with the fully-disciplined man. This company's expressed claim was broad enough, too. It stated that it would make for the same Department a series on the uses of high explosives and on military evolua

three-

tions

four-reeler

reckless claims, indeed, for a color one of the main difficulties of

everywhere

sub-

way

the French

been

1911, the Selig

Company, making a number of

non-theatrical subjects, chiefly under the

in 1912.

Here the prac-

were confronted with pictures of an approaching enemy; and it was their duty to fire upon the foe at the most approved moment. An adaptation of this device was imported to America in 1913 by Al Woods, the stage producer, as a rifle-range novelty called "The Life In this scheme, when a "hit" was made, the picture stopped on the screen and a mark showed where a real bullet would have struck. Progressive American States were becoming more conscious of propaganda values generally; and they soon turned

Target."

films

for

development

sources and markets.

their

re-

number of such

productions was displayed prominently San Francisco Exposition. January, the Seven Hundred Thousand 1914, Booster Club of Southern California had a seven -reel feature on the wonders of the State, said to have been the result at the

two years' incessant work by Fred L. Boruff. In July, 1914, the Industrial Motion Picture Company of Chicago, was

making a World's Fair sub-

engaged

ject illustrating "all important aspects" of

the State of Michigan. In June, 1916, there occurred at the Indianapolis State House the first showing of "Historic Indiana," a ten-reel feature written by Gilson Willetts and

produced by Frank Beal of Selig. Edison made the Exposition pictures for the New York Commission, including two

New York State Department of Health, as well as a series for Massachusetts. In 1914-1915, Vitagraph shot some

American

Films

tourist trade.

and represented, besides, an land of opportunity about which foreign curiosity had been aroused for many years. As long as this situation redounded to the advantage of American tradition,

actual

and

institutions

Sam was

not

Uncle

manufacturers,

disposed to limit

;

but

Europe soon began counterblasts. At Berlin, November, 1913, at a conference

and

fessional assistance.

November,

army

ticing soldiers

originating in the United States, on the other hand, were of a life less bound by

doubt, they found their slender appropriations depleted too soon to include the costs of distribution and general maintenance, obliging them to work the proh lem out for themselves, without pro-

films for military training for some time. of the most ingenious uses was by

One

and American films had begun their ascendency in Europe. The social effects previously had not been noticeable, unless someone had detected that travel films from overseas had stimulated the

from outside. Apparently the officials experimented at first by contracting for commercial production; then, no

which had

but

Kinemacolor did not make it. Other nations had been employing

profitable

industrial

1916;

municipal departments. International trade and social effects of the regular theatrical motion pictures released abroad were quickly remarked as soon as the tide of production shifted

sanitation.

to fall in its

by the U.

April,

New York

second decade of the century was probably when the federal Government really became ambitious to produce films better adapted to its needs than the octheatrical and which might chance

70,000 feet on activities of the various

THE

jects

War Department

for the

DRAFTED BY THE GOVERNMENT

casional

"The Making

which was the unsatisfactory picturization of rapid movement. Kinemacolor already had produced a medical series

nounced that the national Department of Health was making a long series to incitizens

further films of that type. was released

of a Soldier"

process

September, 1911. the Commissioner of Indian Affairs, of the Department of the was planning to save his Interior, charges by showing them films on proper it was anliving. Two months later

struct

which had Keen exhibited successfully at American recruiting stations; and it now announced that the. U. S. Government had contracted with the company for

Alfred H. Saunders believed passionately in school films, but would not compromise in ideas of production and distribution.

steel

representatives of the iron it was decided to start

trades,

a vigorous German motion picture campaign for foreign markets, particularly to overcome the competition of Great Britain and the United States in the Far East.

When

the

World War

began, how-

Page 16

The Educational Screen

ever, European propaganda films changed their attitude toward the United States,

seeking to prove that America should lend its support to one side or the other, or even to remain neutral.

As Uncle Sam's embroilment

Europ-

ean troubles became more and more in-

propaganda became bolder, and the appeal to reason was swept away in the usual wartime circumstances forbidding anything but an exaggerated reevitable,

the

flection

popular sentiment.

The

pic-

ture-makers were generally quite willing to conform with this condition, for it was

extremely profitable to them and looking backward, it is a little appalling to realize ;

how far the film industry was responsible then for stirring up hatreds, despite the fact that it all was done with full Government approval and connivance. In the early years of the century, Calif ornian immigration troubles and repercussions of the Russo-Japanese War had given rise in the United States to fear of a vague but ominous "Yellow

When

that had become very Pathe produced a film called "Patria," in which the villains were Japs. Then we had our troubles with Villa beyond the Rio Grande, and public sentiment put aside the Yellow Peril in favor of a Mexican menace. The proPeril."

positive,

ducers

"Patria," with their ears to the ground for signs of public preference,

ains to "greasers." In the same deplorable finally

became

vill-

when America was

fashion,

clear that

lin." And after the War they just as cheerfully produced features in which the villains were "malefactors of great

wealth" who built fortunes by selling munitions at high prices during the national emergency. But then, most business men are like that it is no exclusive characteristic of traders in motion pictures. In Revolutionary days the Yankee makers of fire-irons profited handsomely ;

from

the popular American desire to spit on the mercenaries sent by George III to conquer the "upstart colonials," by producing fire-dogs in the shapes of

Hessian first

soldiers.

June, official

edited

1915,

war the

Pathe introduced pictures

French

the

from France, Cinematograph

Chamber

of Commerce. In the spring of 1916 Charles Urban arrived at New York with the first official British pictures entitled "How Britain Prepared." Pathe released these also, and a couple of months later they were taken in hand by a new concern called Official Govern-

ment Pictures,

Inc.,

headed by William

K. Vanderbilt. In the autumn of 1919, Count von Bernstoff, one-time German ambassador to the United States, testified before a war inquiry board that, during the period of America's neutrality, he had tried vainly to persuade the

German

officials

to send films to this country to counteract the British efforts. Actually some had

In the summer of 1915, M. E. Claussen, Edward Lyell Fox and some other enterprising New Yorkers, had founded the American Correspondent Film

come.

Part Six

vin

concern early appli-

will

cations of photography made from airplanes and diving-bells, through microscopes and by

means of compressed action. Then the reader is plunged suddenly into the World

War

witness the extraordinary effect of a national emergency in drawing the many non-theatrical loose ends together.

Back issues beginning with Part

One are

in still

the September number available.

Company, arrangements being made with papers in European danger zones, to have photographed and sent to headquarters the newsiest films possible; and this comjournalists

pany's

first

stationed

releases,

their

No-

official

Ger-

appearing

vember, 1915, had included

man and Austrian

pictures.

POLITICS

To film

all

of these proved advantages of political leaders could

propaganda

and there were many attempts to profit from the opportunity. The press, in 1913, carried what surely was an amusing hoax, about a small French politician who obtained votes with a film showing him shaking hands not be indifferent

anti-German, most of the procedure hastened to transform their hateful characters into "Huns" and "Beasts of Ber-

;

Next Month

thereupon obligingly changed their

unending caricatures of his stoutness but a far more pronounced conservative, Cal-

est's

newly- invented Phonofilm.

But then Coolidge, who

is said to have been kept in the presidential seat, first given him by accident, largely because he had taken advantage of the new med-

ium at

of radio to talk intimately to citizens

own

their

would naturally

firesides,

have a high regard for recent inventions. I myself, had a hand in making the Coolidge pictures, having edited the two short subjects which were directed and

produced personally by Frank A. TichThey were called "Visiting 'Round at Coolidge Corners" and "Over the Hills to Plymouth," and they were shown in thousands of theatres over the United States the used prints subsequently being given as souvenirs to faithful Reenor.

publican leaders. One of these subjects contained the much discussed scenes of Calvin pitching hay on his father's farm.

EXPRESSLY FOR SCHOOLS I HAVE remarked that in earlier years the term "educational" indicated to an exhibitor just a kind of theatrical picture, and did not necessarily mean a film for school use. Thomas A. Edison,

however, self-made, self-educated, had a fond vision of his marvelous invention in

;

with all comers, kissing the babies, leaving his auto to assist an old woman with a load of wood, and visiting a bedridden old man; but the underlying thought surely presented a workable formula.

Theodore of managers Moose" party in 1912, arranged with General Film to produce pictures of their candidate. Other films

Compaign

Roosevelt's "Bull

of the strenuous ex-President

apparently

made by Pathe were used by Hiram Johnson, along with his own fiery speeches, to further the cause of the Progressive Party. In that same interesting and tumultous campaign, films not only straight photographs but animated cartoons were used also to elect the winner, Woodrow Wilson. It is said that this was the first national political campaign in which propaganda pictures had been used but there must have been many a collection of newsreel

shots

;

persons, within earshot of the claim, who remembered that in the national election

campaign of 1896 motion pictures entitled "William McKinley at Home" had been widely exhibited.

Coolidge, believed so confidently in

films that he even contemplated the making of campaign speeches over De For-

course, lantern slides like purposes for

had been employed for years.

In January, 1914, when universal female suffrage was still an issue, the Women's Citizenship Committee in Chicago, announced that films would teach members of their sex to vote in the Of late years, to be spring elections. sure, the screen has been used extensively in even small municipal elections. President Taft never strongly favored campaign films, probably because of the

the role of a great educational force. In describing that vision he was extreme,

no doubt, for he repeatedly stated in interviews that films were destined but, apart from replace textbooks ;

his

to his

confusion over the respective functions of a teacher and a textbook, he was really one of the best friends educators have ever had in their work of developing the science of visual education. It was Edison who made some of the very first out-andout school pictures ever to be produced in

this

country.

the

whole, his at-

toward the educational system was forgiving and handsome, for as a lad he was thrown out of school on the ground that he was too stupid to learn. titude

Early in 1911 the Edison Company announced a series of historical films to cover important phases of the American Revolution. The first, released in July, entitled "The Minute Man." NumTwo, soon to follow, was "Ticonderoga." And there were more. The first

was ber

of another series, on natural and physical science, "Crystals Their Making, Habits and Beauty," "produced under the per:

supervision of Mr. Edison," released early in December, 1914. sonal

Others

"The

forthcoming

were

listed

was as,

Cabbage

Cecropia Butterfly," Moth," "Life History of the Silkworm,"

(in four parts), and "Micollection of croscopic Pond Life." negatives under the same working title as the last-named, came into possession of Erpi Picture Consultants, Inc., about 1932; but I was assured then that it was not the Edison production. Six Edison reels, entitled "Magnetism and the Electro-Magnet," were being released by Kleine as late as 1923.

"Magnetism"

(To be continued)

February, 19)9

Page 49

Motion Pictures Twenty to forty years have passed since venturesome photographers began investigating the possibilities of motion pictures made at accelerated and reduced speeds, from the

Not For Theatres ARTHUR EDWIN KROWb

Editor of "The Spur,"

New

York City

beneath

air,

using

lie

many

sure,

historical subjects

had been essayed by regular tlieatrical companies. Vitagraph had made a greatly admired two-reel "Napoleon" about IVllt. with Coney Island serving AS St. lie Una: and there had been a much praised "Washington" about the same- time. These were to be completely overshadowed in production authenticity by the Cines productions, imported from but Italy, "Quo Vadis ?" and the rest the interest inherent in most of these ;

Roman

spectacles was religion, not hisIn tory. September, 1913, Barker & Company of London, were reproducing

with great care, the life of the late Queen Victoria; but this was first of all an alien theatrical venture and, as interesting as the subject would be in the United States, it still was not as close to the hearts of \mericans as a good film made from their own annals might be.

"The Coming of Columbus." In 1893, the year of the Columbian Exposition, which was unavoidably twelve months late, the Spanish Government had sent to Chicago three full-sized, presumed reproductions of the first ships of Columbus. When the fair was over, these

were placed in the Jackson Park where they were to be seen

vessels

lagoon

many

for

years

Col.

thereafter.

Selig

them often as theatrical properties. About 1909 he began his active plans to use them plans which must

have

thought

materialized in a three-reel release, 6,

the

May

1912.

The cost was estimated at $50,000 and, although there was readily available the exhaustive research which had been carried out for the 400th anniversary of the great discovery by such thoughtful students as Paul Leicester Ford and

was the tun

picture

with a recital of "Hiawatha a Picture Masque," four reels accompanying. And here, in the spring of 1914, is a "literature" film presented in more consistent circumstances Scott's "The Lady of the Lake," produced by Giles R. Warren, a

former scenarist, and shown before puof certain schools in the West, pils which were closed that all the youngsters might attend the affair at one time. a

in the "Lady of the I-ake" period he identified himself as director for the Whit-

man Feature Film Company, of Cliffside, N. J., which, judging from the name, had designs on works of the Good Gray Poet. But when it came to verse, the theatres of 1913-1914 were being canvassed for an-

other venture considerably more ambitious that of the Poem-o-

Graph Company of Cleveland, which made films illustrating poems recited by actors. Probably the most persistent early champion of school uses of the cinematograph was Alfred H. Saunders, who had

cooperation with the U. S. Gov-

ernment and released under the title "Indian Wars Re-fought by the U. S. Army." That production was supervised by the old Indian fighter, General Nelson A. Miles. It

employed

than

States troops. there were

t'nited

many Indians

1,000

How is left

to conjecture. "Buffalo Bill

The eager cameraman is F. Percy Smith. In the quartercentury, more or less, since this photograph was made his brilliant pioneer work for education is all but forgotten.

the

appeared prominently. The picture was released on a state rights basis and one buyer, at least, W. H. Bell previously, I believe, a regional representative of Selig and then operating in Ohio, Indiana, Illinois, Michigan and Wisconsin seems to have exhibited it real

one

;

Buffalo Bill received a quite profitably. larger and less divided attention in 1917 when Essanay released his "AdventureIt

Selig

was Selig of

Company, manager and

Polyzcope theatrical

since 1896

pendous"

William Nicholas head of the Selig

Col.

Chicago,

Later in 1914 Warren became feature writer for Selig; al-

though

"Washinu

was made

large stretches of the imagination,

by R. S. Piggot. The preceding spring Mr. Piggot had entertained New Yorkers

Relics," issued by Pathe the end of June, 1911. in

sis-reel

Six.

imported from Germany in November, 1913, a four-reel "Life of Richard Wagner," and presented it in New York with an accompanying lecture

time for July 4, and comprising scenes associated with the life of the Father of His Country. \nother was about 1914 when .1

and

Erlanger

typical item here

single reel,

microscopy Part

present

one may adduce, in the pre-war period, a few films useful in teaching appreciation of music and literature. Klaw &

holidays had given the needed incentive Independence Day,

here

bearing a likeness of His Holiness.

The American group of films in this classification was build11114 up. For some productions,

especially.

sea,

x-rays.

inventor, actor, in the film business

who produced the first "stuAmerican historical picture.

Nester Ponce de Leon celebrated,

detailed

not to forget the

histories

John

Fiske and Washington Irving reprinted for the occasion the Selig publicity department boasted of "three years of laborious

preparation." Unhappily, however, the results did not bear out the claim. One of the most glaring defects (although it is to be found also in a famous painting of the landfall), showed a priest prominently in the party when it is quite certain that there was not one aboard. But, of course, the public did not know and the picture that and cared less ;

was a huge popular tokens

success.

recognition,

Among

Selig

other

received

from the Pope a commemorative medal

been editor successively of the Moving Picture World and of the Motion Picture News. While in these offices he was instrumental is publishing many

columns urging development of this teachOne article on the subject, ing phase. from his own pen, appeared in the Annual Report of the U. S. Commissioner of Education in 1913, and, in 1914, the National Education Association Journal of Proceedings published still another over his name entitled, "Motion Pictures as an Aid to Education." On this last-

named occasion he was identified as Manager of the Educational Department of the Colonial Motion Picture Corporation of New York City.

Information

from other sources

cates that the Colonial

newly formed. G. Law. His

Its

son,

indi-

Corporation was

president Duff C.

was James Law, "in-

Page 50 ventor of

The Educational Screen many improvements,

sound

synchronization

active

and

including

was

color,"

management. Associated with

conducting the educational division was Richard G. Hollaman, president of the Eden Musee and of Grand It was the declared Central Palace.

Saunders

plan of Saunders to produce school and industrial films for the concern under the guidance of a board of college the

early

years

the

century,

to America from England as an expert in the production and distribution of lantern slides, he was About 1907 he already middle-aged. persuaded J. P. Chalmers to begin publishing the Moving Picture World, but

when Saunders came

only a year later left that undertaking to establish the Motion Picture Ncivs selling that to William A. Johnston in 1913. About 1910 he had begun a shortlived periodical devoted to educational films. He lectured extensively on motion pictures, and taught for a time at Columbia University. June 6, 1937, he died suddenly while in Cincinnati as a delegate to a Masonic convention.

When

was reviewing

films

for

the

Dramatic Mirror, about 1913, I used to meet in the screening rooms reporters from other publications in the amusement field. Among them was a quiet little Scotch

who frequently uttered high hopes She the cinematograph in schools. also referred occasionally to the serious and progressive school-films development The rest of us "on the other side." girl

for

understood that she had had some training as a teacher, attributing her interest to that and otherwise giving little thought to the importance of the subject.

She was Margaret

MacDonald

;

and

her effort to further the cause which she

had championed so steadfastly to us, well She deserves mention in this record. became editor of the Educational Department of the Moving Picture World. She

was still serving there loyally when the World War had ended and a chastened generation was seeing the prospect of school films with new eyes. About December 1916 the Moving Picture World under her editorship, a separately published, semi-annual List of Educational and Selected Films.

began

and Philadelphia public "provided that they would open 'photo play' departments, and would use the films for educational purposes only." Of course, the institutions named could not accept, for they had no facilities of Boston

York,

libraries,

the sort demanded. In 1913, when Edison

was making

his

talking pictures, it was announced that those which he had made of

abortive

specialists.

fering free copies of the feature to the Library and the New

Congressional

issuing,

PICTURES BECOME VALUABLE

IN August, 1911, the New York Dramatic Mirror raised the question of what steps should be taken to preserve films of great historical interest, notable either as reproductions of past events or as con-

temporaneous records. No action seems The editorial did to have followed this. not mention the matter remarked casually by Charles Urban in one of his pamphlets, about 1909, that, "the National Library at Washington holds a film collection which is exceedingly large and

would be preserved by an organization known as the Modern Historic Records Association and, in Janliving celebrities

1914, it was reported that "the government film record office in the world had been inaugurated at CopenEdison at once cabled his conhagen."

uary, first

gratulations.

was submitted

Congress in the spring of 1924, requiring the United bill

Government to establish a Bureau Motion Picture History and to make

records of all important current but that undoubtedly was asking Two a little too much for a starter. years later, however, the Smithsonian film

;

Institution at Washington apparently had begun such a library, for Edwin Markham, the poet, was reciting his "The Man With the Hoe" before Phonofilm cameras as a record to go into it. In the fall of the same year, Will Hays, of the Motion Picture Producers and Distributors of America, conferred

with President Coolidge on the preservation of historical films at Washington, But the and reported some progress. matter, as far as America was concerned, was not settled until the summer of 1935, when the passage of Public Law Number 432 authorized the institution of a film library in the new National Archives Building.

NEW

the of

plant

National

the

Cash

Company at Dayton, from a balloon. The history of submarine motion

pic-

tures properly begins early in 1913 when Captain J. H. Williamson, of Norfolk, Va., took his newly-invented, telescopic, which had a windowed

collapsible tube chamber at the

three

men

bottom capable of holding Hampton Roads and

out to

lowered it through his boat, like a centerboard, to a depth of thirty-four feet. In with a camera and four powerful it,

was one of the inventor's John Ernest Williamson, who then

proceeded to photograph his brother, George Williamson, diving in the water outside the window. In the summer of 1914 Thanhauser released scenes taken

by the Williamsons

manner off Bermuda. Then the Williamsons were engaged by Laemmle this

for Universal to make a thrilling version of Jules Verne's Tiventy Thousand Leagues Under the Sea. including Captain

Nemo's

fight

with an ingenious property

From then on they produced octopus. many theatrical and scientific films requiring the tube. John Williamson contracts for such business from

still

his

Nassau, in the Bahamas. The only person to attempt submarine photography previously was said to have been Dr. Francis Ward, of London and he

home

;

merely made aquarium.

still

pictures

home

Motion

POINTS OF VIEW

picture photography through microscope was perfected and possibly originated by Dr. Jean Comandon, the

INSTEAD of trying to group the remaining films of the pre-War days as school subjects, which would be gross misrepresentation of a teaching situation that had barely begun to use pictures of any our sort, it seems more aligned with purpose of studying beginnings to review them merely as applications of new mechanical techniques to new educathat is to say, to enumtional needs erate the ways which had been devised then for cameras to see where the unaided, ordinary human eye had never seen from high in the air, from below the ;

surface of the sea, at retarded and accelerated speeds, by microscopic enlargement and even by super-vision, as with the aid of the mysterious x-ray. Motion pictures in the air were essayed almost from the beginning of modern aviation. In

made air,

December,

1903, the

Hawk

flight films

produced soon

afterward, including some for aviator

my Hale

Wrights

their first successful, heavier-than; passenger flights at Kitty

Blackton

space by of-

forces.

the

course, one recollects the plan of Kinemacolor, in 1911, to photograph the

sons,

Government." Urban may have mistaken the Government's huge collection of still

won some

Austro-German

electric lights,

events

pictures

Army before And then,

States

and there were

the press agent

an airplane, took retreat of the Serbian to

varied/' the subjects "reserved solely for use by the different branches of the

photographs for subjects in motion. When Bernhardt's "Camille" was brought to the United States by the French-American Film Company in 1912,

the surely surprised Statue of Liberty. In April, 1913, Essanay cameramen took pictures from a balloon crossing the In Apennines from Rome to Verona. 1915-1916, a news cameraman strapped

Vitagraph,

Frank Coffyn.

own

direct

Ball, a writer

Stuart

made by the About 1911, to

knowledge,

Eustace

and director for the

Reliance or Majestic Company, staged a scene for one of his own dramas,

old

involving

two

airplanes

circling

about

With the asa Parisian bacteriologist. sistance of technical experts at the studios of Pathe Freres, he constructed an apparatus for the purpose in the very It need not early years of the century. have been a very elaborate

affair,

because

possible to make effective movies of this sort merely by bringing the camera lens close to the eyepiece of it

quite

the microscope. fairly technical microscopic film by Comandon, entitled "Sleeping Sickness,"

was released in public was given

1910.

The American

considerable opportunity to see results of the method its

first

in April, 1911, when Pathe released a It had film called "Boil Your Water." been produced some months before, re-

lease having been delayed to liness of the spring season

meet time-

when bac-

would begin to swarm. Of course, Edison had not gone into production on "Microscopic Pond Life" until 1914, although one would look for photography of this kind in "The Man teriological

life

Who

Learned," a picture dealing with the dangers of impure milk, which the

Edison Company had made about 1908. It was just about 1908 that F. Percy Smith, the young work was already

Englishman distinguished

whose in

the

February, 19)9 rrl'tiiii>ni

Page was

catalogue,

bis

making

magnified picture studies m" tin- housctly. liave been \ i.c\ motion pictures "faked" frequently by making a succession i)f still photographs, and tben recording these mi a moving film after tin- inaiiner of drawings used in animation:

there ha\.

lint

-Ived

obtaining the result. AS understand it, tlir chief difficulty is that x-rays cannot bo made to conof

ways

legitimate I

likr

pietmcs

light

typo art- accroditod to tbo Maroy Institnto

process of animals. In

the

in certain small Ameiicaii \ ia\ specialist, Seth Hirsdi. applied to patent a device

lion

11J for

genuine

first

<if

They showed

Paris.

this

<'aivallo.

.1.

The

rays.

tin

taking

heart

heats

and

internal

hundred

per

the I'nhersal

Xew York

Company, were shown

I-'ihn

and. in

Dr. Coman-

1')20,

the

micro-photographic achievements, appeatod once more in the news, this time as co-inventor with Dr. Lorman, of an x-ray motion picture combination subsequently said to have been used successfully in cancer cases. don,

THE MARKY

superable,

INSTITUTE

IT seems that for

most of the scientific applications of the motion picture camera such as these, the world is indebted to the research laboratory which arose on the foundation laid by the eminent French psychologist, fitienne Jules Marey. In 1883 he established at Paris an atelier for the study of animal motion. of his work there he

In the devised

numerous pieces of apparatus

making

course

for

photographic records. After his death his followers carried on

named in his memory Marey. The evidence shows

the Institut

that they continued worthily

out of

for,

workshop, came what is said to have been the first slow-motion photography, this

the

ultra-rapid photography, the microphotography, the first x-ray photography and the first time-lapse photographyin motion pictures, of course, first

first

not

stills.

About

1904

M. Nogues, an

assistant

at the Institute, built for use in scientific

camera capable of taking 240 pictures per second, the normal rate investigation a

then

being

sixteen.

When

this

high

speed photography was projected at the usual number per second, the recorded action appeared, of course, greatly slowed.

using

principle spark to

intermittent

was of

1,500

sec.. nd. a

The

which the daily newss throughout the world sei/ecl this news as it came from the first

ministrations in

1910

iiber.

initial

a snail and cranking very slowly to increase exposure and so to compensate for a poor

reports

"5,000

had

pictures

1U,

that

he cranked

still

slower

stopped

whole minutes at a time between exposfor

per Pathe

and, in March, the concern gave

private showing to newspapermen of pic-

taken at "1,200

per second," showing a jet of water surmounted by a ball, a bullet fired through a and a few bubble, other interesting items.

The

The name

portant

work

collected subjects entitled "The Analysis of Motion."

were Soon after the enthusiastic opening notices, this novelty was released to the view of a fascinated public in the theatres. Meanwhile, in Germany, Dr. C. Cranz, at the Berlin Military Academy, was developing a camera actually to take the incredible

lately

5,000

pictures

per

second.

But

the standard mentioned, of sixteen.

Amusement

rate,

possibilities of the

camera seem not

to have

already

Nogues

occurred im-

mediately to the theatrical producers who belonged to the Institute. Or they may have been discouraged by problems

George

Zehrung

was November or December,

Pathe issued another group the "ultra-rapid" camera, indicating, I am sure, that such production had plenty of difficulty still to be overcome. As a matter of fact, also, there

his

with

ideas and experi-

ments and Urban helped him to improve his home-made equipment and to explore further. So Smith completed, by

of the Y.M.C.A.

method, two short subjects called "The Birth of a Flower" and "The Germthis

Plants"

ination

each.

feet

approximately

500

But they had been photoblack and white and although

graphed in Urban had another company called Kineto, Ltd., which dealt in monochrome pictures, he wanted this novelty to adorn ;

1915, before

his

made with

He was

were

Urban

Charles

cannot be excluded from any complete reference to the im-

the Scala Theatre.

taking this

playhouse over as

program

first

the future, permanent

home

Kinema-

color.

So Urban purchased

the

two remarkable

comparatively few highspeed movements which could prove of popular interest when slowed in this fashion. Nine years were to elapse before Pathe found that the best slow motion

films as a sort of retainer, and put them aside until Smith had made him a series

for sustained public enjoyment, was photographed at only "eight times faster

ception indeed

than normal," or, by standards then, only 128 pictures per second. The slow-mo-

continue

only

camera accomplishing this result, operated in the United States by C. P. Watson and called the Novograph, began tion

verse discovery, that, by taking pictures very slowly, the action on the screen would be correspondingly accelerated,

many years

a nearby creeper might be seen actually growing over a lattice. He began experimenting and realized that he had stumbled on an effect which was really new. About 1902, Smith caught the interest of ures

tures

him

second" led Freres to examine the matter more attentively

came

light, the idea

the

previously, especially because cameras and projectors both then were cranked by hand, and experimental variations in speed were surely accompanied by the usual grotesque effects on the screen. In fact, Edison's motion picture camera of 1889 made 46 exposures per second, for

instrument. The suggestion being scorned, he resigned and undertook to prove his case with the practical faith of his own small money resources. One day, while he was photographing

to approximately 3,500 per speed still difficult to grasp. with avidity

its

what became

PERCY SMITH

wanted the Education Department to adopt the cinematograph as a teaching

light

The phenomenon must have been known

later being modified to

electric

the object. Thereby he able to obtain exposures at the rate

the laboratory

leisure time

tographic exposure the more light is But, a required to register the images. few years later, I.ucien Bull, a colleague of Nogues, constructed a camera on what was said to be an entirely new

movements

organs at the rate of minute. In January, 1'MS, x-ray motion pictures made by Dr. \'.. I. Cnisitis. in cooperation with :her

Education, F. Percy Smith, who spent Ins making lantern slides of insect life, to discover in this curious result an unending educational miracle.

which then seemed inbecause the shorter the pho-

illumination

work for the newly- founded Pathe Review about 1920. The outstanding first result of the re-

was "The Runaway Train" of Lyman Howe. That was called "slow cranking." stopping indefinitely between exposures, employing "time-lapse photography," as they say, animated cartoons became possible; and so did magical productions, such as the animated toys of J. Stuart

by the Kinemacolor process. They were shewn at the Scala as planned under the Regeneral title, "Bud to Blossom."

assistant in

the

London Department

these

was gratifying Smith wanted to

films

and whether

his herculean labors or not (although happily he did), he found himself launched upon a life work which today ranks him as one of the great

pioneers in visual education. It ranks him as one of the pioneers, but how many are aware of that? And in the universal ignorance, I have known at least three educators who have dabbled in films just since the nineteentwenties, who have had the effrontery to publish claims as the alleged originators of

photography. described in this was a mass of material

time-lapse

Now

Blackton and the trick work of Melies. But it remained for a quiet, unassuming

of ;

here,

surely,

long chapter, in

all

major departments of visual inwhich should have proved ex-

struction cellent

nearly the

for all

non-theatrical it

was

directed

uses. first

Yet,

toward

theatres.

But very much better days were coming.

Page 52

The Educational Screen

Chapter

III

- War-Time

continued manufacture of films, a generous share of the supply of nitric acid which was needed also for high ex-

Rally

plosives.

entrance

into

the

World War AMERICA'S

had a peculiar and profound effect on the non-theatrical picture field in the United States, for it meant tying together all loose ends for the long pull toward victory. Of course, this was no more than was true at that time of any other form of public service. For centuries the necessity of providing amusement for soldiers had been In even so grave a time as recognized.

the

winter

terrible

Valley

Washington had sponsored for

Forge,

his troops

a diversion called "Fort Nonsense." The great Marshal de Saxe included a theatsjspUBij ui S33JOJ siq u; adnoj} reaia When Cortez advanced for the conquest of Mexico, he had tumblers, singers, dancers and musicians in his train. And one may find illustrations of this method of sustaining the morale of fighting men the

all

way back through world history. CAMPS AND CANTONMENTS

IN a sudden roundup, about one and a half million American civilians were

now

placed into sixteen scattered cantonments for military training before boarding the transports for the fighting zones. To insure their social welfare, the Sec-

War

and the Navy, Newton D. Baker and Josephus Daniels, each appointed ~a Commission on Training Camp Activities and both of these commissions were put, in 1917, under the retaries of

;

chairmanship of the well known lawyer,

Raymond B. Fosdick. The Commissions did not at first try to organize new local machinery save in those places where none had previously exjsted. They used, wherever practicable, the facilities already provided by private enterprise, such as the Young Men's Christian Association and the Knights of Columbus, both of which

ports and in the war area overseas, motion pictures naturally took precedence as being more portable and generally easier to manage, although the other

forms, of course, were not neglected. It was quite in keeping, therefore, that the United States Government should now make provision for an extensive use of films. Those in power did not conceive this move as a mere change direction for the motion picture producers and exhibitors. The recognized film people consequently were not exin

pected to give up their existing work of relieving the strained nerves of the public as a whole through the regular civilian theatres. That, in the opinion of the President, himself (although evidently not in the opinion of some others

Frank A. Vanderlip, the

start

to conserve

its

1918, nickels

for instance, who, urged the public

theatre-

less

going), constituted an essential wartime industry.

And it was a very welcome opinion, not only because those were days when every man who did not get into a uniform was expected to identify himself with an occupation which might be construed necessary to winning the War, but because workers in the amusement field were then at the very peak of

prosperity,

hand over

was that

making

money

literally

Another welcome

fist.

was

view

that

the regular grist of theatrical pictures pleasing the civilian public was equally good for the men at the front. it

felt

officially

This opinion was only partially true, because the psychologies of audiences in the

two places were vastly

different

Next Month

had

erected buildings suitable to their work in the various camps. Through the new powers of the Government, however, each cantonment be-

Part Seven follows in March. The time is that of the World War period. The narrative

came, by the end of December, 1917, the possessor of a fully equipped modern theatre, all built from the same plans

traces the amazing story of the Fosters and their Community

already

and each

seating

approximately

Motion

Picture Bureau which supplied the Allied land and sea forces with non-theatrical film entertainment. In those worldshaking days and in such circumstances the non-theatrical

3,000

persons.

the

same

vision of the

time,

under the

New York

super-

theatrical firm

Klaw &

;

Erlanger, volunteer companies vaudevillians and dramatic actors

were organized to play the new circuit. Also presented were amateur entertainments staged by the soldiers themselves, and about an equal number of donated

field

its first

stature and

definition. This unique history

scheduled

run

for

many

months to come. It is important that you subscribe now.

As further picture programs. diversion, but more educational in character, Harry P. Harrison, head of the motion

Redpath Chautauqua System, maintained most of the camps. A very nominal admittance fifteen, charge twenty and twenty-five cents was made for these attractions merely to cover

gained

his tents in

simplify the arrangements, Harrison was given general charge of all the paid entertainments. When it came to recreation on the transthe

actual

costs;

and,

but,

the rough-and-tumble emergency

of 1916-1917, snap judgments had to be the rule. Nevertheless, official belief that the national motion picture industry was

essential

one was

test as quickly as it

put

had to be decided to

severe

1917, when allow, for the

December,

The production might come

specialized

films

For the present the supply of material needed was too vast to be brought into being overnight, and theatrical subjects were nearly enough right to stop the gap. Immediate attention was given, therefore, not to production but to the necessary forms of nontheatrical distribution and exhibition. First

later.

heads was

the

under

considered

those

experience of European nations which had been fighting in the

War

for some two years prior to the participation of the United States. Moreover, there was excellent opportunity for such study for two leading reasons

the American relief organizations, including the Red Cross, the Young Men's Christian Association and the Knights of Columbus operating as neutrals, had one,

had much to do with entertainment behind the lines

and, two, English, French, film production, having been shut down to a mere dribble through the exigencies of war beginning in 1914, the European supply of pictures

had

;

and German

Italian

been

from

coming heaviest

this

country.

The American

own

their

relief organizations

projectors

and

screens

had and,

by and large, were doing a splendid job. To have supplanted their seasoned efforts, which they now were willing and anxious to expand for the benefit of

own

their

country, with those of a new, organization would have been even if this had not been a day

untried folly,

make-the-most-of-what-you-have. In summer of 1917 the Y.M.C.A. was even equipping trucks with projection machines and films to provide entertainments at the remote training places. In the fall of 1917 there was also formed a U. S. Soldiers' Photoplay Association for amusement of the men in camp. Pause for a moment to glance at the the

apprenticeship served by the Y.M.C.A. for its great entertainment work. Its Bureau had been begun about 1914 to provide films to its own Association rooms over the country. In the late summer of 1916, when John J. Pershing

(succeeding Funston) was trying to adjust the bandit difficulties on the Mexican border, the Y.M.C.A. undertook to supply films to the U. S. Army camps

For the purpose thirty projectors were purchased, including a portable unit with its own lighting plant and arrangements were made with the theatrical producers and distributors to lend films.

there.

;

Prior to the organization of this service, Bureau never had had more than thirty reels at any one time to disthe

Headquarters for the new work were established at Dallas, Texas, under the name Y.M.C.A. Border Motion Picture Service; and Russell Binder, son tribute.

W. Binder, executive secretary New York Motion Picture Board

of J. the

Trade,

was

of of

appointed secretary there. was, of course, excellent preliminary experience for the heavy duties to come. All

this

(To be continued)

Page 85

March, 19)9

Motion Pictures Not For Theatres ARTHUR EDWIN KROWS

Editor of "The Spur,"

Seven

Part

being

New

the

principally

York City

story

of Community Motion Picture Bureau, which arose in 1917 to meet constructive entertainment needs of Allied nations at war.

the

Lubin Company The plant at Betzwood and the pictures it owned were

failed.

all

The block. on the auction placed Y.M.t'.A. heard of the situation, obtained an appropriation from the American Red Cross, and bought in the Lubin library It was the organizaSome large stock of films. say that the Y.M.C.A. was made aware of the opportunity by an Iowa State

at a dollar a reel. tion's

first

College

professor, who had produced interesting studies of the Dr. and the crab for Lubin

some of those oyster

Maurice Ricker, who was then living in New York producing more natural history films of the

Some

same

type.

of these later reels Ricker sold

a person than Charles Urban. Ricker was assisted in the production by a young Englishman who lived with him, Walter A. Yorke. Yorke, stirred

men

early thirties, who had dreamed of a peaceable non-theatrical distribution for his own profit and I am quite sure that he was not then proving his point very well for the simple reason that probably nobody whatever at that time

Presiding there was a young man,

of 1917 the

fall

less

Siltnal

his

;

could have done

by that means.

His

struggling film service bureau supplied no actual films. He was just a broker. He merely advised on "planned" nontheatrical programs, leaving the physical handling to those who actually had the films and acted on his order. Fortunately, Warren Dunham Foster this young man was his name did not depend for his

income wholly on this enterprise. For seven years he had been one of the editors of The Youth's Companion. Before that he had been a newspaperman in Chicago, and an instructor in English

Iowa State College.

the

while in his little Boston hideaway, Foster conceived the idea of developing the wartime picture work of the International Y.M.C.A. under his own direction. Being in New York shortly thereafter, he went into the City Club and, on two or three pages of note-

there.

paper, hastily drafted a proposal to supply the International Y.M.C.A. with all the pictures needed. The work was to be done at cost, including Foster's own salary. To be sure, the Y.M.C.A.

by Ricker's enthusiasm, wished to enter

more importantly so, when Y.M.C.A. sought a man to inspect and classify the Lubin reels, Ricker recommended Yorke, and Yorke was In the meantime promptly taken on. Ricker. himself, was sent abroad to organize the Y.M.C.A. exhibition circuit the business

The

;

really

weak

link

the

World

War

motion picture service, at first, was that there was no adequate censorship of the films poured generously into the camps and cantonments by a patriotic Of course, as long as Uncle industry. Sam remained at peace, there could be no such regulation, save by individual nations.

But, the day.

now

that

Uncle

war was

Sam

the order

created a

sort

of clearing-house for films to be shown to the armies and navies of the Allies.

In this country,

was

called the

Com-

munity Motion Picture Service and,

COMMUNITY

SEKVICB

THE Community Motion

Picture Bubecame known then to those obliged to stay at home, had rather a Cinderella start. Only a year or so before, it had been the inconspicuous name on a door leading to a couple of reau, as

offices

Boston, Copley Square.

building

But,

had had a

near

slight apprenticeship in profilms for the soldiers during the

Fox theatre orchestras. now became practicable for the

for the

Community Motion Picture Bureau remove offices

New

York, Foster opening at 71 West 23rd Street, the Mato

Temple Building. The Y.M.C.A. backing, both money and influence, enabled him to begin large scale operations at once. As to obtaining pictures, he was authorized, through the Y.M.C.A. for the Government, to draw upon the theatrical sonic

exchanges. to spread

And

then

word

was simple enough he was in the from other quarters. it

that

market for supplies Then; were many concentrated stocks lying idle, to be had just as cheaply as the Lubin library had been taken over.

of censoring collected mabeing another vital consideration, he summoned his mother, Mrs. Edith Dunham Foster, a truly remarkable woman, and made her chief editor. His father was brought in, too; but the old gentleman was, all and all, rather a vague figure on the scene, making needful speeches now and then on the character of the work, but otherwise not nearly as active as the other members

The matter

terial

of his family. Then there was an efficient and personable young woman named Gladys Whitehill. She found a formidable job awaiting her as secretary and volunteer-at-large.

Henry Bollman was with

the organi-

late

enough

briefly at first, just long to institute a routine in handling

ficials

reels.

Then he

viding

Mexican trouble; but now the ofwere literally swamped by the terrific, unprecedented demands of worldwide war service and Foster had appeared, almost providentially, it seemed, to relieve them of a sizeable mass of

troublesome

detail.

signed his proposal off hand.

Great Britain, Community Service, Ltd.

Corps A.E.F. Photo

Former recreation hall of Krupp employees at Sayn, near Cobwhen lentz, Germany, used to show films to American Soldiers Community contracted to supply the Rhine Army of Occupation.

Consequently, they once and rather

Able now to draw money on vouchers needed, Foster began to build his

Unused to the physical organization. handling of films, he engaged Henry Bollman as one who could care for that phase. Bollman had lately graduated from Harvard and had attended the New

zation

only

enlisted

the

Army,

and went to ReFrance. He was there for a year. turning intact, he was reengaged by Foster and placed in charge of the Navy section, the function of which was to

became a

first

lieutenant,

purvey entertainment films to about a hundred ships. It was after that that he added the romantic touch to the enterprise by persuading the comely Miss become Mrs. Bollman. Whitehill to Together these two subsequently wrote Motion Pictures for Community Needs. one of the first, sizable books on non the "community" of the the general sense, and not referring to Community Motion Pictures

theatricals

England Conservatory of Music in Boston, and, by virtue of that training, was

title

then in New Yorlc, occupied in writing cued scores for Becker, the musical director for Fox Films, and in engaging

Bureau. Also prominent Forrest Izard.

being

among

He had

the aides was served with

Page 86

The Educational Screen WORKING WITH THE FOSTERS

attracted Kleine's attention originally by her marked success as a pioneer in developing Saturday morning movie matinees for children.

One

more active members of the committee was George J. Zehrung, a young Ohioan destined heavily of the

still

to influence the later shaping of the nontheatrical field. Zehrung represented the

Y.M.C.A. International Committee, whicli

Horton

chief importance to Community was his platform eloquence in attesting accomplishments of his wife and son.

William

Foster's

Foster as a staff writer on The Youth's in Boston. Apart from considerations of friendship, there was excellent reason to believe that he was a

Companion

competent judge of dramatic values. A well-received book of his, Heroines of the Modern Stage, had been published in 1915 in a series of which Foster was the general editor; and when Izard was summoned to New York, he left a happy, enviable place as assistant to H. T. P., celebrated dramatic and musical critic of the Boston Transcript. Mr. Parker would not have had Mr. Izard there had Mr. Izard been unable to deliver. The Fosters coaxed and cajoled and possibly browbeat theatrical producers, industrialists, and many others who had made motion pictures, into donating

he had joined in 1916 after thirteen years spent as an instructor in fine and manual

New York City schools. When he first came to the Y.M.C.A. he had been in charge of the stereoptican slides for Association centers and then he perarts in the

;

drew

sonally

posters and charts for the

His presence programs. particular committee indicated

entertainment

this

suaded, as a patriotic duty, to part with and the laboratories made

work

to sit in received films, cutting out all the pretty ladies,

drinking

the to

scenes,

naughty

slips which might soldiers in the trenches.

and similar her,

workers

titles

demoralize

Reporting

her guidance, were division of the Bureau and of the

for

C. A., stationed at many strategic points over the United States and in Europe. But whenever she had a batch

of films satisfactory to herself, she was able to unload the responsibility on a committee of ladies and gentlemen who represented expert knowledge on as many

channels of specialized picture exhibition. It was known as the Motion Picture Division of the War Work Council of the

Y.M.C.A.

Yorke

seen,

had

then, as has been his future in

found

another phase of the business. Maurice Ricker, representing the V. M. C. A. service abroad, had accomplished much since he had first arrived on his European mission. Now he was recalled by the International Y. M. C. A. and placed in charge of the War Work Council film work handling the Allied

Armies and Prisoners of War reels the Fosters had only the American Army and Navy services to consider. Foster probably had known Ricker earlier, because Ricker came from Iowa State College and Foster himself had been connected with the faculty there. But, apart all

personal

considerations.

Ricker

the

spring

representatives,

who was

giving

just such circumCroy, the well known

was Homer and magazine writer of today. The four film distributing posts were established

When Opportunity knocked, Warren Dunham Foster was ready. His Community Motion Picture Bureau was the most striking non-theatrical manifestation of wartime, from 1917 to 1921. despite

the great

new

activity

;

the

Foster's editorial work judgment on the newly-

in that organization.

stances, novelist

was

price, to survive for

an opening at old Vitagraph and, about 1925, had become a star in his own right

Community shows

batant groups to be cheered and educated. At the New York headquarters of the Y. M. C. A. Bureau which, for most of

any

positive schoolings in modern histrionics. Marmont had come to America at about the same time as Yorke did, had found

lesser

better things. Most of Mrs.

Percy Marmont, he had barnstormed English provinces, one of the most

some dangerously within being given range of the big guns, between the first and second-line trenches. One of the

Community, the Y.M.C.A. Motion Picture Bureau had not gone out of existence. The Fosters were engaged primarily in caring for the army and navy and the Y.M.C.A., therefore, aspects had plenty of other deserving non-com-

earnest

regional centers of distribution had been established and that shows were already

that,

such

been

of 1917 to canvass the with twenty-seven assistant investigators. They found that important

;

had

situation

an emergency. Besides, such For opinion is no part of this history. these pages it may be set down, rather, that heavy buying by the Fosters enabled many a little non-theatrical producer who could not otherwise dispose of his

star,

the

special rates to reduce that. doubt, as the inevitable detractors said, the Fosters acquired large stocks but that criticism of useless material might be directed against any group undertaking work on so vast a scale and

Community

field.

In a team, the other member of which had been the present British screen

from

service.

prints at cost

entertainment actor.

was well prepared to receive Foster when that gentleman journeyed to France

Those who simply could not give were per-

war

prints for the great

thereabouts dreamed that Walter Yorke had a larger background in the

else

committee was Mrs. Elizabeth Richey Dessez. For George Kleine she just lately had been promoting church and school support of Edison's "Conquest Pictures," which was the name of Edison's theatrical "family program." And, if this was not recommendation enough, one might point to the fact that she had this

war period was on upper Seventh Avenue, was Dr. Ricker's young friend Walter Yorke, who also was destined to become well-known in the field. Laboring efficiently, in his modest way, Yorke was doing menial operations although, as a matter of fact, even while he then carried reel cans, patched and rewound films and scraped off old labels, he was better informed on what constituted theatrical effectiveness than most of those who gave him orders.

The

front,

was that Walter Yorke was deliberately, and with characteristic thoroughness, learning the business from the bottom upward. The Y. M. C. A. opening had been found for him by his good but probably nobody friend Dr. Ricker ;

central

office

the

When Warren Foster returned to New York, in August, 1918, he told the ship news reporters that not only was Community handling the film service for the American Army, but responsible the British

the

was making

itself

for

two-thirds of that for Army, all for the Canadians.

and

New

Zealanders,

cooperating

with

France

Australians

was

Foyer du

Soldat.

and

through addition, an

especial extension was serving the Chinese, many thousands of whom were

working with the British, French and Americans now that China had entered the War. For the English section there were a London headquarters and five branches in the United Kingdom. Foster's

avowed purpose,

was

to see that even the

units,

as explained then,

small, remote such as those of the Coast Guard,

were served, and, as far as Americans were concerned, to see that the doughboys found motion pictures all along the line,

As that

truth

Ricker's

American headquarters near and at two base ports.

Paris, at

beginning

the cantonments.

May, 1918, it was Community was providing early as

stated

7.000

thousand-foot reels weekly to the United States cantonments and 100 reels a week to the camps in France where 1,500 reels already were in circulation. In the transport service were 900 reels, and the vessels of the Atlantic Fleet were inter-

Page 87

March, 19i9 changing ixili-m

"lore.

I-'?

Ailrr each ihow the

"it-cieati'in

Mn.

rrturii

tin-

iniiiircii

<aiil,"

reporting nature ni thr reception to guide future book: Still, without questioning Warren Fosutterances, it must not be j.ress si/e

lln-

aixlirnrr ami

tin-

.ii

supposed that

(

inntiiiii

W!IM|I-

Aiiii-ru -an

oinmunity stood for the of

artivity

picture

the

lou-rnment.

Many leading ditheir own separate

inaiiilaiiu-d

\isioiis

the

imne nt" them mure or less accidental, as when the Foreign Press c\traordinar\ number MI noted tin iii old. worn-Miit American motion picwhich were being shipped into film contacts,

-,andina\ian countries, anil thereby uncovered the astounding fact that laiicied films were being relayed on into i

into

i-rteil

tion to

base there to be

the celluloid

(ierinany.

guncotton

ammuni-

lor

risking and losobtain scenes of the Moreover, many were veteran

public informed, distributing prints over France, Italy, Portugal, the British Empire and the United States.

(laumont photographers of other wan. had had cameramen with the Allies and And with the opposing Turks in 1912. from the beginning one hears of their daring. The Boer War in the Tians\aal,

fusion over the French pictures in 1917, for "official" prints were being distributed from Xew York and from Chicago by a certain Mrs. M. F. Fulton, who

men bad

m-wsreel their

ing

fighting.

seen

iii

ratified,

ing

lives

IK-CII

retrospect when peace hail Ix-cn had no recollection more strika writer in the staid Onll,n>k

than the cool behavior, at Pretoria, of an unknown photographer with a movie camera. Whoever he was, he probably was tinman who made the Boer films advertised 1II2,

June 7, under lire

..i

'rbanora in 1909.

But, if the war cameramen took chances with the enemy, they were generally welcome to the officers to whose staffs

they had been assigned.

The

hospitality

used against the Allies.

IK-

Pun

.NATIONS AS

KK MAKI-KS

togi.iphers

Navy

.nnl

regularly

making

new

men audited

-.reel

Army

official

".in hive-,"

were, of course,

prinu from the U. S. Government

prints of most of these negatives are obtainable at an approximate cost of ten cents per foot by any citizen re-

such

quiring

material

for

legitimate

When

the

Government made its need known, the Eastman

photographers

Kodak Company assigned a building

Rochester plant for the training of and I'nde Sam's aspiring cameramen there, under some of the finest photoits

;

graphic engineers in the profession, the awkward s<|uads were put through a rigs preparation lasting about three months, after which came a period of further training at the army fields. Columbia University, too, gave courses in that line, with Carl Gregory as "pro-

Edith

Dunham

Foster unquestionably inspired and shaped the powers of her son in consolidating his advantages. A truly remarkable woman.

sometimes seems to have been rather extreme almost as extravagant as that shown by Pancho Villa to the cameramen of Mutual. At least one open charge was made in 1919, by a Lieutenant G. Malins, that a British general had delayed his attack on a German redoubt solely that its capture might be properly filmed.

In the period

War

supervise

their

production.

the pictures showing the American preparations to go overseas in 1917, to i

France to hearten the were photographed by although in the same year

presented in defenders there,

Gaumont.

.nay contracted with the Government film the American Army cantonments throughout the country.

From

the very beginning of hostilities

from 1915

real flood of "official"

abroad began States.

Coast. However, the United States Government was not the first to make American motion pictures of the World

official

1916 the

war

pouring

June,

pictures from the United had come the

into

1915.

French war

films,

first

the Allied pictures of this censored type; and there already has been mentioned the chagrin of Count von Bernstoff at not

having been able to persuade Wilhelmstrasse to provide him with German films to counteract those of the

British.

But

activity

this

time,

was

the

There had been Army pictures made under Government auspices only a few years earlier, and some I have most

prolific.

mentioned

;

but,

the

light

the

experience on the

Allied fronts, most of the existing ideas of what constitutes a good soldier had been scrapped. This was apparent to civilians as well as to those actively in the service but I never did know what became of the recent

first

cific

wilder the war-torn public attention, came the "official" films of the Russian Revolution, different versions appearing va-

field

The broad, calm view

For the United States Government to be in the picture business was not exactly new. Photographers had been officially in its employ for many years. Indeed. when Edward Muyhridge made his first pictures" in 1872 for Leland Stanford, then Governor of California, he was on a leave of absence from the United States service covering the Pa-

"the

Committee on Training Camp Activities. The Signal Corps, by virtue of its wide

lessor."

"motion

Pathe reported that its films had sanction" of the French Government, and declared that "In the Wake of the Hun" was "one of the first," and "we have official credentials to prove this." In the autumn of 1917, further to be-

many.

woodmade

purpose. of

only professed to have "the only" official French war films, but she advertised also a Belgian picture which she asserted had been spirited to America through Ger-

In 1912, for instance, Lieutenant Edward H. Griffith today one of the most esteemed directors in Holly"Fit to Fight," a film on venereal diseases for the War Department

uegati\ci were released for propaganda use to the newsreels. Today, as a result ot legislation obtained by Secretary of War N'cwton D. Baker in the summer '19,

jobbers on a Fulton not

partment.

\als.

Mrs.

basis.

Army Medical Museum of the War Department, and the Recruiting Division and the Marine Corps of the Navy De-

duty.

that time as far as adequate provision i,.r lilmi was concerned. At inter-

inal

to theatrical

rights"

some con-

the

The merely nom-

war

''state

l>een

Then, starting in the fall of 1917, the American Government produced especial wartime pictures for its own study purposes, chiefly through the Signal Corps,

pictures to In itored away in the national archives. These were in addition to the regular units,

them

offered

to have

riously amidst threats of injunction.

TiiKori.non the war period the American (IM\ eminent had its own cinem.i attached

There seems

West Point Film Company, incorporated at Utica, N. Y., in 1917, to film military evolutions.

The Recruiting Division of the Navy made its first really ambitious, modern production for the Government in 1917. when it released "The Life of a Sailor." Intending to keep the making of this from amateur

free

the

defects, naval officials

Hollywood

producer, cooperation. He arranged for them the supervision of Charles Johnson Post, West Coast pub-

approached

Thomas H.

Ince.

for

his

representative of Triangle Film licity Corporation through which Ince features

at that time the British

had not been at very long. However, Charles Urban, with his Kinemacolor experience and his French Government service to provide excellent credentials, had not been precipitate with English propaganda films He had other brought over in 1916. advantages. He stood so well with the

were

but

American Government that Kinemacolor was even making training pictures for the United States Army. And, of course, once the service was started, it was

The result was notable; interesting to observe that Post

released.

was preeminently an Army man, a veteran of the Spanish-American War. "a "charter member." I believe, of Theodore Roosevelt's Rough Riders. Apart from Post's writer

dual

capabilities as a vigorous illustrator, he was

and a gifted

War

Office

In October. 1917. the British proclaimed that it would

then peculiarly in line with the policies of the wartime Democratic President. In 1916 he was a member of the executive campaign committee and chairman of the committee of the Woodrow publicity Wilson Independent League of Southern

issue

films

from the front

California.

continued.

keep the

Page 88

The Educational Screen

COMMITTEE ON PUBLIC INFORMATION IT required no trained eye to see that, in this critical period, the Government

men even more

needed publicity studio

experts

endeavors; that

work

and of

in it

that

its

film

propaganda

was sort

entirely

Next Month

than fitting

came

speedily under the command of a public relations department. One of the early acts of Woodrow Wilson after the declaration of war was the organization of the

American propaganda bureau, called Committee on Public Information. Its

man"

April brings Part Eight. It will describe the dramatic inception of Francis Holley's Bureau of Commercial Economics and the development of some other

consumption, he sought out some jour-

early efforts to supply peacetime audiences with industrial,

nalistic friends of his less turbulent days. One was Rufus Steele, magazine writer,

the

educational and social service

appointed head designated "chairin the spring of 1917, with the

motion pictures. No one interin the broad subject of visual education can afford to

Secretaries of

Navy and War

ested

members

was George markable

miss this unique, first history of the non -theatrical field, which will continue serially in these columns for many months

Creel, a young man reat once for fearlessness, jour-

nalistic skill

and

political prudence.

These

qualifications had manifested themselves in his work as editor of newspapers in

Kansas City and Denver, as

to come.

police chief

the latter city in a turbulent time, and as contributor of alert, penetrating articles on national issues to the fore-

Subscribe now.

frequent

appearances between, George Creel was to be the Democratic candidate for the governorship of Calpublic

ifornia.

In July, 1917, the President specifically asked the National Association of the Motion Picture Industry to cooperate with the new Committee and, the members, responding promptly with a pledge to contribute films for U. S. soldiers

while they were on French soil, appointed them a War Board headed by William A. Brady. This Board continued to act for

its

work throughout the war period the close, was thanked, compli-

useful

and, at

mented and dismissed by the President. During the spring of 1918, Universal Film Company released a picture called "The Yanks are Coming" and, inasmuch as the Wright-Dayton Airplane Company had been financially interested in its production and it was considered commercial propaganda taking advantage of the wartime screens, the Film Board of the Committee on Public Information stopped it.

The Universal Company, through Robert H. Cochrane,

vice-president,

its

once charged the Hearst interests with the move, and gave out a list purporting to show that all members of the Board were former Hearst men. The squabble continued into midsummer, typical of the obstacles put in the way of Creel's performance of duty at a crucial time in the

national welfare.

In November, 1918, chiefly to forestall embarassments of this sort, Creel appointed an experienced newspaperman, Charles S. Hart, war supervisor for the Committee's Division of Films. He was given jurisdiction over all commercial production, leading, of course, to further charges of despotism, suppression of free speech and all the remaining abuse usual in such circumstances. There were a great many other political efforts to "knife" Creel until he announced his resignation, his work done, to take effect in the spring of 1919. Hart worked steadily along with him to the end, his

last big

job

January, 1919, when he the overseas trip of

arranged

film

President Wilson and his party to the Peace Conference at Versailles. In the midsummer of 1919, however, Creel and the other officials of the Committee on Public Information were constrained publicly to relate what they had done to serve their country and to deny film frauds.

One

of the first obviously wise moves making large activities work smoothly is to This merge duplicating efforts. was done in commanding the Allied armies, and it was done by Creel with the foreign propaganda films which were promptly merged and issued for Ameriin

can audiences as the "Allied War Review." The material received from abroad was edited by the dependable Charles Urban, assisted by the ex-

Ray

perienced

L. Hall.

Hall, whose name has not occurred in these pages heretofore, had the journalistic recommendation of having been born a Hoosier, seasoned by various jobs with the International Press Association. After having been successively editor of

the short-lived "Hearst-Selig News Pictorial" and the "Hearst-Vitagraph News Pictorial," he had been called npon to organize the motion picture activities of

the

American

Red

Cross,

juncture, it seems, he for the "Allied War

which

was

requisitioned Review," and to

serve, indeed, as production manager of the entire Creel Division of Films.

There were, film

activities

of of

course, many other the Government over

which the Creel committee had no juristhe secret motion picture work of the Army and the Navy, for example. For another instance, in December, 1918. the Fuel Administration engaged Pathe diction

make a

the coal

film to be used in stimulating

output.

was

story form,

no less a screen favorite than Pearl White, and was directed by George B. Seitz. The scenario was by Bertram Millhatiser. There were also State efforts uncontrolled bv Creel, such as the subject undertaken in 1917 by the Defense Commission of Pennsylvania to urge farmers to increase food producstarred

tion.

finger of political preferment came to preparing films

but, for

when home

Sunday Editor of the San Francisco Chronicle in the time of the great earthquake and fire, and in recent years and until his death in December, 1935, writer of the "March of the Nations" column on the front page of the Christian Science Monitor. Another was Carlyle Ellis, formerly with Theodore Dreiser in the editorial department of the Butterick Publicaand later eastern scenario editor of Triangle Films Corporation, in New York. I well remember the day, early in 1916, when George Creel, a slender, quiet, serious chap, called on my friend Carlyle Ellis, in the open office of Triangle, to obtain dependable, confidential tions,

most magazines. He also enjoyed a reflected fame in being the husband of Blanche Bates, the Belasco stage star. And, many years later, in 1934, with

around these was more than any national Committee on Public Information could hope to do. Creel had many acquaintances in the motion picture field some very eager ones as soon as he was marked by the

build the figurative ring fence

how the film industry was although that was ostensibly for a magazine article. Two years were to elapse before the time was ripe for information on being run

Ellis to join

Creel at the Committee on Public Information. Government appointments do not come about as rapidly as many persons think they do.

Nevertheless, in the interval between Creel's visit and his actual engagement, Ellis was to have some useful experience. Steele was taken on the title Editor of the Films

first,

with

Division,

his work primarily to be the selection, cutting and assembly of American war scenes for propaganda use. When place was made for Ellis, it was as an assistant

who knew to see

actually

how

to handle

film,

through the laboratory, to edit it if need be, to photograph it. Before Ellis had been appointed eastern scenario editor of Triangle, he had been West Coast publicity representative of it

same organization, predecessor in Los Angeles of Charles Johnson Post, spending days and months in close contact with Hollywood and Culver City studios of Ince, Griffith and Sennett, the the

outstanding theatrical film producers of the time. The Eastern studios presently

proved impracticable to maintain, and found himself at liberty. Universal Film Manufacturing Company they were very slow in changing their antiquated name had just opened an industrial production department under Harry Levey, of whom more later; and Ellis joined the staff as scenario writer. This onerous duty expanded and he was made a director, because Levey, with more executive than aspirations learnings toward art, did not wish to direct pictures himself; and in this capacity Ellis produced the second film starring May Ellis

Irwin.

The

first

was

that

notorious

Edison subject, "The Kiss," which she made with John C. Rice in 1896, and which is commonly held to have been the

earliest

provocation

sorship.

(To be continued)

screen cen-

Page 121

April, 1939

Motion Pictures Comes Part Eight. The World War ends and non-theatricals begin their peacetime

Not For Theatres By

was

the third

Ellis

made film which could not find place in Community Service and the International Y. M. C. A., reaching as they

read the

allegation in the paragraph before thi^ that he had done the second, he wrote

me from Hollywood, where

he lives to-

Levey, of course, won, much against my so my gratitude to Rufus Steele ;

me away

for dragging

war work

\\a*

monumental."

same

the

letter

Ellis

presents

in-

teresting sidelights on "The Coming," the Universal film

Yanks Are which was

halted by the Committee on

Public In-

was a commercial for the Dayton-Wright Airplane Company (not the Wright-Dayton Company), and I went out to Dayton to direct it. There was one full reel of flying stuff and the rest was manufacturing. It was formation

"It

down a lot and released awhile; and much of the flying boiled

after stuff

was used.

it.

might well

Also,

had

be. I

my cameraman and

into a DeH. to the first (I think) tailspin from the spinning plane ever photo-

his

camera strapped

shoot

graphed. "But afterwards we found that the Marines were shooting some beautiful air stuff down in Florida at the same time, I think, with Roxy's supervision or something, so there are doubts about several 'firsts.'

Seems

this

stuff

Not so vague, though, race

circumstantial

showed

the

torch

kindles from the information of such an

recollection

admirable

;

tural machinery.

One of America's most interesting pioneers in educational production, distribution and exhibition, Maurice Ricker's work has been all behind the scenes.

start.

For example, when I Frank

Ellis's interesting letter to

was a notable

service to the nonlaid

a founda-

peacetime

activities

theatrical field because

tion

which

upon

might

The

arise.

original intent, to be

had been an emergency structure; but those concerned in it, as in all similar groups, were loath to let it go when the armistice was declared. Nor was their hope of a certain continuance sure,

A. Tichenor,

who

in those

days was the

the General Film Corporation, he remarked that he, himself, was the one who caused the banning of "The Yanks Are Coming." He saw a preview of the film in the office of Charles Hart, he noticing that explains, and, shown the manufacturing processes were all of English DeHavillands, advised that the subject would be found chief of

American acdiscriminatory for ceptance as helpful "preparedness" propaganda. Hart evidently agreed. But our present point is the appropriateness of Ellis for his place with the Committee on Public Information; and enough has been told, I am sure, to

show

that

when

his

name was suggested

Rufus Steele as that of a

possible indicated a man who had had a short but severe schooling in the assistant,

very sort of knockabout, self-sufficient work which was needed. It was Ellis who edited and arranged the material in

two first feature-length pictures by the Government to promote the First Liberty Loan "Pershing's Crusaders" and "America's Answer." "Under Four Flags" was the third long U. S. Government film in this series, released in November, 1918. the

issued

NEW USES

was com-

bined with ours in the final release, but it is all very vague now ..."

welfare world. The by the local

used for teaching English to foreigners casual views of American prosperous farms might become of high importance in backward communities impressing with the efficacy of modern agricul-

too

induced the surviving Wright brother to get out the second Wright plane, had the factory tune it up, and Mr. Wright flew it for us all about the place, making a landing right up to the camera, and a semi-closeup of him stepping down. We also sent it on a sidc-by-side takeoff with the first American DeHavilland, and showed how the warplane could out-climb "It

the

;

went to Universal," he continues, "it was first to work for Jack Cohn as title writer on the Universal Wivkh. I.I-M-V borrowed me to dramatize canned shrimps or something, and then there was a laughable feud between him and Jack for possession of me. will

wartime

recognized throughout

picture made long ago factory owner, to soothe his own vanity, might now be used for broadening knowledge of trades another, made for promotion of a new dentifrice, might become a feature on a health program presented to benighted people in the Far East. The list was long and the applications ingeniously many. The most inept subtitles on the screen could be

that, say according to his recollection the second was really pro"shot with duct-d by J. L. Bernard: portable lights in one of the Universal offices at 1600 Broadway," although he adds, "I did direct her in a bread-making reel for Fleischmann's Yeast.

"When

all

did,

agencies

day,

formed for emergency service.

York City

for

produced

Wlu-n

Uri venal?

New

Irwin film

May

Ellis

Carlyle

tions originally

ARTHUR EDWIN KROWS

Editor of "The Spur,"

that

adjustments in many departments, with strenuous efforts made to salvage organiza-

Bur, as is

FOR OLD FILMS

the

great

service

the

Government during the war period was marshal

miscellaneous

material produced outside the regular studios and to build up an organization to distribute it. There was almost no legitimately

the

for

vain,

the

world

which

dawned

with peace was entirely new and entirely well disposed toward regenerative efforts.

account of the period immediately World War can be comconsidering the changed

following the without plete

economic and social background of the United States. learned Industry had

much about

stangiant organization; dardized products and fairly recent in-

some

ventions in

the

result

patents

late

emergency by rival manufacturers intent upon helping their Government to win had made life comluxurious in even remote paratively pooled

parts of the country;

returning soldiers

had acquired a cosmopolitan point of view they had "seen the world" there was an unprecedented development of women's clubs and Rotary Clubs and ;

Chambers of Commerce. Most of the last-named

activity

was

due to the wartime responsibility when men had joined for Liberty Loan drives and women to roll bandages for the Red Cross. The women, especially, only a short time before admitted to nationwide suffrage,

far as the non-theatrical field

concerned,

appreciated their earned place

new freedom and did not intend The various wartime relinquish it.

groups were identity and, tried to find

reluctant in

this

new

lose

their

they reasons for continuing. To make their meetings attractive, common recourse was had to motion time,

The Educational Screen

Page 122 Teachers, principals and dissuperintendents were fascinated by of the having films in the prospect schools similar to those which they had seen arousing enthusiasm in the theatres religious leaders and settlement workers envied the social force of the neighborhood exhibitor and burned to arrothemselves. They did not gate it to think deeply about the probable cost of these films, nor of the machinery necespictures. trict

;

sary to project them.

THE NON-THEATRICAL

FIELD QUICKENS

had

glimpses of the reinvolving the George ligious interest Kleine service of Chicago, the Presbyterian contract with the Edison Company, the various Catholic film enterof prises and the interesting venture of autumn the Mormons. In the 1910, churches in Detroit had experimented with film programs in their in 1911, the Rev. Schools; Sunday George Beeker had startled exclusive

have

Minnesota the University of had them for adult education as well as

truancy;

for juveniles, particularly to teach dairythroughout the extension division ;

ing

Milton

Cooper, district superintenPhiladelphia, had requested a projector for every school in the city Arthur G. Balcom, later to become education circles, prominent in visual dent

;

similar recommendations to the School Board of Orange, New JerThe Mississippi Federation of sey. Women's Clubs, in cooperation with the State Department of Health, was dis-

was making

tributing health films, while the Vermont State Board of Health had purchased not portable projector but a only a

generator with which to operate it in remoje communities. The School Board of Berkeley, California,

began

1910 with

its

September session

favorable consideration of a

New

Biblical

New York

area, penny metropolitan motion picture shows were given every In 1916 was published Motion week. Pictures in Religious Education Work, which was a report prepared by Ed-

ward M. McConoughey

for

discussed,

pageant, farer," at Columbus, Ohio.

"The

was established for the Methoa Division of Stereopticons, Moand Lectures, through tion Pictures which pastors might rent films at cost. The first motion picture distributed by the new Division was a six reel sub-

schools to the public was voted a great success and to be continued December, 1912, commendation was given to a test

ject showing the Methodist Exposition In June, 1920, at Columbus, in 1919.

eighty-six

New York

Methodist for

their

missionaries

foreign

left

stations,

Viewtaking propaganda films along. ing American churches of all sorts, it was estimated by the Literary Digest. May, 1920, that films were being used in approximately 2,000. As to the formal educational interest, that there were symptoms of everyfilms were used Before 1913, where. in

sporadically in grade schools of New York, Chicago, Cleveland, Detroit, Pasadena, Denver, Paducah, South Bend and Pueblo among other places. The State of Texas had purchased a large number of projectors to be used throughout its the University of Wisschool system consin was employing films to cut down ;

which the

declared

the

unsuit-

theatrical

average

film

to children, the implication be-

program

could not be that, if the theatre restrained, the children should see their motion pictures in more controllable ciring

his

The Methodists had made a fairly extended investigation. Their Centenary Committee, through its Department of Methodist Education, had circularized pastors with a questionnaire, receiving favoring 3,000 replies approximately In consequence, films in the church. dists,

cooperation with

a Virginia

friend and a local theatrical manHer success caused her to be

by George Kleine, who was pre-

;

Mrs. Elizabeth Richey Dessez, member of the War Work Council of the Y.M.C.A. film division, began her picture career fcy organizing movie matinees for children.

there

movement, ability

engaged Mrs. Dessez,

Way-

The thought of children to be served reminds one that there was another important stimulus to development of the non-theatrical field which has not been named as such. That was the reform

paring with Thomas A. Edison to attack the problem in another way by releasing to the theatre under the name Conquest Pictures a prearranged, circumspect family film program and he

with D. W. Griffith as advisor, and, about two months later, Griffith filmed their

worth for the benefit of those interested The school films of Japan elsewhere. in 1914, already have been mentioned.

ager. noticed

;

them

weighed

country were issuing testimonials to their

woman

York Conference, the value of films to increase churchgoing in May 1919, they would announced definitely that they use the screen to spread the Gospel,

for

have

the possibility even before 1900. In 1912, schools in France and Germany were using films for geography, history and in educators the latter civics, while

earlier,

New

their

matter

and put energetically into practice in New York City by Mrs. Elizabeth Richey Dessez, a Southern newspaperwoman, whose work has been mentioned

mission on the church and social service of the Federal Council of Churches of In 1915 the digChrist in America. Methodist the of nitaries Episcopal

Church had

the

The French

1902.

About 1914 this children's Saturday Morning Matinee idea was promulgated

com-

the

agitated

England as early as Government is said in

Extreme positions in this cumstances. matter, evinced before the turn of the century, at the very start of the indusby the National try, were reconciled Board of Censorship, organized in 1909. one compromise being the presentation of for children Saturday mornings films when there was no school.

Jersey, by introducing films during his Sunday sermon at Grace Church; in 1913, at the Church and the Nativity, in the of St. Jude

Montclair,

Urban had

Charles

plan

rent

school

films

regularly

;

Milwaukee, at about the same time, an experimental free showing of films in ;

school program at Elgin, Illinois, the pictures being, "The Lady of the Lake,"

"Climbing Mt. Ranier," "The Pineapple Industry" and the "first act" of Bernhardt's

"Queen

Elizabeth."

the

meeting of the State February, 1914, Superintendents of Illinois, a plan was presented and favored for placing pro-

and distributing in all schools by interchanging them over three

jectors

films

circuits

established

the

State.

first

charge of

Community Service Department the

open

non-theatrical

and

market

in 1917, to tour the country in Durpromotion of the Conquest plan. ing the World War Mrs. Dessez served, as I have told you, with the committee which helped select films for the War Work Council of the International Y. M. C. A.

then,

THE FOSTERS SEE A ANYWAY, here was thusiastic

demand

WAY OUT

ena great, for non-theatrical sub-

Here, also, as the Fosters observed of their lately whirring machine, called "the C.M.P.B.," was a great non-

jects.

theatrical

distributing

system

their

own

hand, with thousands of "purified" reels in stock and with representatives everywhere suddenly to be thrown out of employment. The Government, thinking of the setup as a mere wartime exhad no further felt that it pedient,

California the At the close of 1914, of Commissioner State Secondary Schools had recommended supplemental fifth to instruction by films from the and in the Badger the eighth grades had actually schools State, about ISO been equipped with projectors and films on approval of the University of Wis-

serious use for any of it. The properties would be sold out for a song, perhaps given for the asking. Of course, the war work of the Community Service had

consin.

tified

But of course, too, the schools of other nations were awakening to the ad-

might

been

free

the

users.

The

Govern-

;

vantages of the

new teaching

instrument.

cost of operation. But that the users had learned to value system, long and consistently iden-

ment defrayed the

now the

with the Fosters, no doubt they be persuaded to pay something for it. And, in the meantime, probably, could be the outlying representatives

Page 123

April, 19)9 persuaded to gamble on established Icadci

tlir

The made

Thus

might possibly ha\c

(jovi-rnnifiit

constructive use ply there for a\vhil<

its

lilin

siip-

The way

o|>cncd in 1'lJO. lor then ininiity had distrilmted some films on housing problem-, which were considerations belonging distinctly to "recon

had

IH-CII

Hut overlooked.

stiiutioii."

was

larger

tlu-

High

oiiiiortunity

officials

opined

war was over. They were ini-They were thinking ju.-t of the

that the

taken.

War

phase.

military

continue-,

There lastingly in this world. alternation of kinds military And now that the nomic. soldiers

the

rested,

smned where

jiist

and ecouniformed trade

for

tight

ever-

re-

had lieen interrupted lor the soldiers in mufti: and the film beeame a potent instrument for the expansion of markets.

Those in whose duty

members

ly,

meet duce

the

iovernnient

service

nameDepartment of

to reali/e this,

of the U. S.

appropriation to situation, hoping to pro-

sought

new

the

(

was

American industries for foreign exhibition. They reminded those who held the keys to the Treasury that England a!read\ was using such films for her own aggrandi/cment in a movement tailed "British Industrial Expansion" Under that name, and with the films

,,n

British Chamber of of the Commerce, exhibitions had been given,

auspices

the during preceding year, in South America. Canada, India, Africa. Egypt. Australia, N'ew Zealand and the chief

Western Europe.

cities

that

for

peal

America was probably was of

But the apsolution

particular

The

public here sick at that moment

vain.

just rivalries.

international

The Fosters really had ample time to consider their changed situation, for although the armistice, following the colipse of Turkey, Bulgaria and Austria1

Hungary, came to an overjoyed world November, 1918, all the months until the following June 28, when the treaty of peace was signed, had to go by, and after that there was still work for Community Service in the camps pendin

ing

slow

the

troops.

And,

demobilization in

the face

of the

some op-

they did acquire the contract to serve the American Army of OccuThe official end of pation at Coblentz. the wartime Community Service in the camps did not come, therefore, until 1921. The Fosters were still actually producing films for the work in 1920, six reels of popular science ranging from astronomy to geography, made for them under the direction of young William Park, being previewed that summer at the American Museum of Natural Hisposition,

tory.

the attenuated Government contract, the scheme of continuing Community Service was worth trying, not only for the Fosters, but, as has been But,

beyond

suggested, sociates

for

some

of their

direct

as-

and for a chosen few of their

Some

of these lastnamed persons had never been in motion work before and now saw picture of especial their own. opportunities Many a non-theatrical specialist of later regional

agents.

owed

future with

tin-

Sei

ice

his

real start to

came about

returned

that

Community Community

peacetime

activity,

wartime contract fulfilled, and with Warren Foster and his mother still in command. There was a large stock of films. The Government didn't want them had no place now to keep themand the original owners, with the exception of a few such as the disintegrating which deLieneral Film Corporation, manded its property back, had unconits

ditionally surrendered their rights in the

footage.

New York

Warren

Foster

office for awhile,

retained the and the one

Paris through which he sought to Mate various foreign enterprises other than Community Service. But the in

The unifying spirit was gone. prevailing common purpose of winning the war had been achieved and one pri\ate project was as good as another.

great,

;

As a sheer psychological release, it was now every man for himself. As a great institution

Community dwindled.

playing a lone hand was an old for Warren Foster. He experience

merely retired at quiet

into

last for

space in

office

and Masonic

reflection

the

Temple Building rented to him by his friend the Rev. James K. Shields, AntiSaloon

League Superintendent of NewHe did not lose. So you will Jersey. meet him later in these pages as, at his

OWP convenience, he steps again the scene, once more master of

upon the

situation.

disposing of

its

war paraphernalia

which seemed to have salvage value, the U. S. Government unloaded it on the market with but one idea to be rid of promptly. An incident in this process is of particular interest here. The motion picture exhibition equipment returned from abroad was received at New

York. There it was placed on sale for whatever it would bring, in a loft building which had once been a well known 14th Street department store Siegel &

Many

readers will recall this in which stood for many years, to encourage the saythe ing "Meet me at the fountain," great symbolical statue of "Agriculture" from the Buffalo World's Fair. Now that it was a mere storage loft, many Cooper's. store with

the

rotunda

good projectors were to be had there few dollars apiece; and out of this collection, which had cost the Government top prices in the beginning, more at a

than one daring church pastor obtained his first film equipment. Why most of these projectors should have gone to churchmen rather than to teachers, is explainable, probably, by the fact that near the old store was a neighborhood,

northward along Fourth Avenue, where large Protestant groups maintained their headquarters.

had

not counted the cost of obtaining proother shrewd observers had grams, studied conditions for their own profit, and had hit upon a way out. Almost from the start of the making of nonfilms, the owners were willing to lend prints at no charge provided that they could be assured of audiences

theatrical

when

nomics, became its efficient director after the death of Dr. Francis Holley in 1923.

made

propaganda

pictures

were

for

they,

too,

social

service

were anxious

organizations

to cooperate in

same way. In fact, both groups were even willing to pay within reason for the sake of having their pictures shown. The conclusion was irresistible that some middleman would some day find it worth his while to join the propagandists and the audiences eager to see but unwilling to pay, and earn a living by distributing films for nothing. the

THE BUREAU As

COMMERCIAL ECONOMICS

able to determine, the distribution of this sort was set up in Washington, D. C. in 1913, at the instance of Dr. Francis far as

considerable

first

To be sure, the Y. M. C. A. Bureau had been started almost as early; but its scope at first had been limited to Association centers. Dr. Holley, then a man of about fifty years of age, had arisen, virtually self-educated, through the engineering corps of the Northern Pacific and Canadian Pacific Railways, to become a successful civil engineer in Holley.

When he was independent practise. about twenty-two, his more ambitious plans had been halted suddenly by blindness. For nine years he travelled through Europe and the Orient seeking restoration of his sight and vowing that, should that seeming miracle be wrought,

he would devote his remaining years to the betterment of mankind. At last a Paris surgeon brought about the result for which he had prayed. And then, true to his vow, he sought a vehicle for his great work and chose the motion picture. It

If the users of non-theatrical films

and,

Miss Anita Maris Boggs, co-founder in Commercial Eco-

1913 of the Bureau of

probably

not surprising that a blind would think of

man who had been

the eye as the best avenue for education,

although its superiority is amply acknowledged also by those who see. Anyway, after careful investigation such as would characterize the start of any prudent

business

man

new

sympathy and support of

line,

the celebrated blind senator

homa,

Thomas

and with

his close friend,

Gore,

from OklaHolley

or-

The Educational Screen

Page 124 ganized at Washington

Commercial of

leading

the

Next Month

lines

The

producers and transportation this country and abroad, to engage in disseminating industrial and vocational information by the graphic method of

motion pictures, upon the recommendation of the leading educators of the counThe films were loaned to schools try." and other responsible institutions upon the sole condition that the public would be admitted to see them without charge. The corporation had no capital stock and was declared to be "not for profit." An unfortunate feature was that the name, associated with the address, imthe plied that it was a department of with which the national Government Bureau had no official connection. The service of the Bureau, supported by endowment and by subscription, was to conduct a lending library of free films, "to advance through motion pictures education and pride in America's insti-

The

specimen subjects were on Cattle-Raising, Corn, Cotton and its products, and Aluminum largely in-

tutions."

early,

originally made, I believe, for International Harvester Company. work thrived and, in a few years, the

dustrials

the

The

Bureau boasted of

affiliations

projectors for Richard G. Hollaman at Eden Musee. And now. at the the close of the war, here he was operating a commercial film laboratory at 71 West 23rd Street. In 1917 he had taken over

Bureau of

Economics, "an association manufacturers, institutions,

with more

than 125 universities and colleges. co-founder with Holley was Miss Anita M. Boggs, an A. B. from Bryn Mawr and an A. M. from the UniAt the outset versity of Pennsylvania. she became dean of the Bureau and, in 1922 when Holley's health began to In Decemfail, she become co-director. ber, 1923, Holley died and then Miss Boggs succeeded him as director. During her career thus far, she has served

first

moves

non-theatrical history In May comes Part

on.

the studios and laboratories at Bayonne,

In it Henry Ford tries hand at producing films for

Nine. his

New

Jersey, left by Dave Horsley when worthy had moved to California; and it was said, even at that time, that

education, Walter Yorke

that

founds Edited Pictures System

Urban was releasing 800,000 feet of film per week and needed the new facilities

Boone contracts to supply the New York City More and more the schools. and

llsley

put.

increased business.

scene fills with persons you know, and some thirty more installments, each as rich in detail as this, are scheduled for publication. Subscribe now. recollection

that

this

time

SWORDS INTO PLOWSHARES

WHEN

the

designated the Candler Building at 220 West 42nd Street, the Mecca Building at 1600 Broadway where Universal maintained its headquarters the Leavitt Building, 130 West 46th Street, and the Exchange Building, at 145 West 45th The Godfrey Building, 729 Street.

Seventh

Brokaw

Avenue, Building,

1482

The

later.

Broadway, had

also been designed for film tenants, the

upper floors having been occupied by Triangle Films; but Triangle had stipulated in its lease that no other film concern should be permitted to occupy space in the premises during its tenancy and, when Triangle departed, the place was abandoned for film purposes. Any history of the motion picture business

America necessarily must deal heavily with firms located at these addresses.

at various times as especial collaborator in visual instruction for the U. S. De-

The Masonic Temple Building, however, was for a long time the broad

partment of Education and as an American educational representative of sevA letter aderal foreign governments. dressed to her at the Bureau, after being forwarded to several places, returned to

shelter for a fertile portion of the nonOn the two uppermost theatrical field. floors were the offices, tanks, vaults and

me marked

"out of business." In the spring of 1921 Holley offered 10,000 posts of the American Legion At 1,000 films on education and travel. that time the service reached, it was Among remoter said, around the world. exhibited places, Bureau films were being Siberia and Arabia. in China, India,

many

localities

the

Bureau provided

not only the programs but the projection This was true in Alaska, as well.

Newfoundland Northern Canada and and in mining communities in Chili and Peru. It was operating in the United States six especially equipped automobile trucks, complete even to the extent of lighting plants, touring the factory and mining towns and the farm districts.

Two

Bureau trucks were touring England and ten more were on order. It will be remembered that the situaof the Community Service headquarters in New York was at the Masonic Temple Building, 71 West 23rd Street and thereby also hangs a tale. Tightening regulations of the National Board of Fire Underwriters were concentrating the film business in several fireproof buildings about the city.

tion

other equipment of the Kineto Company. Here presided that colorful, friendly personality, Charles Urban, now a man of middle age, but still active and receptive His name has recurred to new ideas.

here over

and over again.

him producing and encouraging almost the and issuing the

duction of

first

films

first

found

the pro-

educational educational

films catalogue; we saw him taking over the Scala Theatre in London for his re-

he markable Kinemacolor pictures brought the sensational coronation and Durbar films to America he imported ;

;

also the official British

war

was much more.

But

there

films. it

And

was Ur-

fate to be a disappointed man. His Kinemacolor Company died out in America. Nevertheless, he now had remaining his Kineto Company, the once relatively unimportant side enterprise which handled black and white subjects, and which now had some color objects, too. Moreover, in this foreign land he had many friends. He knew America well enough had known it for years. In the mid-nineties he had been a salesman in London for an American invention, the In 1897, in New Edison Kinetoscope. York, he had installed one of the first

ban's

America joined the

Allies

practical to combine the official pictures sent by all nations from the battle areas ; so, as already stated, there came into being a regular theatrical

became

In addition to the number was five. Masonic Temple Building there were

came

purpose of doubling his outLet us consider the nature of the

the

for

number

War Review," Pathe exchanges. Ur-

called the "Allied

released through

with his highly creditable experience in handling British propaganda films ban,

previously,

much

did

constructive

with this new offering. The release, however, influence to intended necessarily

frankly

being

was opinion, after its novel-

biased

had worn

work

off, it

and, could not successfully

compete, in terms of with the war scenes

popular interest, appearing in the

One of the most regular newsreels. successful of the latter enterprises was But problems of the "Mutual Weekly." another sort, arising out of the war It may situation, now threatened that. have been that the Gaumont Company which produced it, was rather too closely involved with the distressed fortunes of England and France for the proper expansion of the native Mutual Film Corporation which was steadily gaining strength. In all events, in January 1918,

Mutual from its headquarters in the Masonic Temple Building authorized its alert and exceedingly able adverand publicity director, Terry tising "Mutual the supplant Ramsaye, to

Weekly" with

new newsreel

called the

Telegram," issued twice as And in February, Gaumont saved often. its face by announcing its own sub"Screen

the "Gaumont News Service." stitute, The "Screen Telegram" proved very successful. Ramsaye summoned, to edit and develop it, Ray L. Hall, late of

Hearst newsreels, and later still of Creel's Division of Films. Hall remained there after Ramsaye left, in December 1918, to assume charge of the pubthe

licity

department

("Roxy")

for

the

Rothafel

and

Rialto

Rivoli

Theatres. But,

when

the

war

was

over,

many

previously sustained successes became mere loose ends, and complete reorganization,

with entirely new purposes, to supply a continuity into

was required

The

peacetime. ceased,

and

the

"Allied

"Pathe

War

Review" Review" was

begun as a substitute in the Pathe exThe changes which had distributed it. Mutual Film Corporation, itself, then was replaced, in a manner speaking, and the "Screen Telegram" ceased, leaving an apparent gap for some competent observer to

fill

for his

own

profit.

(To be continued)

Page 153

May, 1939

Motion Pictures Not For Theatres Editor of "The Spur,"

THIS

wa-

reali/cd

New

persons a laboratory

imperially

l>\

age, the

sev-

extributed it independent through changes to about 3,000 theatres; then, in January, 1919, the Goldwyn Corporawas issuing the tion, which already "Goldwyn- Bray Pictograph," undertook to distribute it to a larger audience at

figure who, in Urlian's competent opinion, was an excellent person to care for the business organization of a new venture of the contemplated sort.

portant

Tin-

individual

was

George

McLeod

-lender F.nglishman, aged under forty, who had arrived in New York toward the end of 1915 as chief salesman for the Hepworth Manufacturing Company, Ltd.. a London film Itayne-. a

ver>

tall,

I don't know what the cost was them but previously it was estimated to have been approximately $750,000 per Of this sum not one cent came year.

cost.

the

was

service

called

said to have

Durbar.

Mrl.aiuililin-Acro I>lrst photo.

Accordingly, early in 1919, there was in the organi/ed at the Kineto offices Ma-onic Temple Building a new, independent newsreel called "Kinograms."

somewhat forcibly that of the Edison Company's house organ in 1910, the Kinelogram. Baynes was made president, and for editor was chosen Terry Ramsaye. But, in 1920,

Th- name

Ramsaye. who now had other

interest?

and in planning his tihns monumental history of motion pictures

expedition entitled retired.

editor.

Million unit One Nights, Ray Hall succeeded him as As assistant editor Forrest Izard ./

was taken over from the disintegrating Community Service, and Hazel E. l-'lynn, a former theatrical press agent, became a title writer for the release. I'rlian was content to be merely "of the company," possibly because he didn't want the British Government to think he had trafficked in spoils of war. In the meantime, and not too unexpectedly, there was another film organization awaiting a successor to carry on no less than the American Gaumont

Company, now

extreme difficulties. Among its remaining assets were a renowned newsreel and a fine to

fallen

situated conthe latter, veniently in the New York metropolitan area at Flushing, Long Island and those properties seemed highly attractive to the Canadian Pacific Railway which had decided that motion pictures would be a most profitable form of publicity. So the C. P. R. quietly bought the American Gaumont for a sum said to have been approximately half a million dollars the

laboratory,

;

now

traditional

theatricals,

Henry Ford's idea of educational motion pictures was to use them to interpret modern America. He spent thousands of dollars trying

prove

it.

recalled

largely in editing and cutting important

mark of

although

success in non-

remained to be

;

hack to the sponsor or to the treasurer of the Ford Motor Company and the weekly quantity of film ran to between 400,000 and half a million feet.

"Captain." his Keen with Hi- Majesty'- Forces in India, where he Urban at the time of iily had met lie

in.

military

reclaim

Henry Ford. In June, 1916, came news that the newly-formed Atlas Motion Pictures Corporation in Detroit, with its large laboratory and extensive equipment, was backed by the automobile manufacturer named; and soon thereafter appeared "The Ford Educational Weekly." For something over two years he dis-

arm-

Charles Urban, who had to keep occupied; Terry Ram-aye, who had Marled the "Screen Telegram," and Ray Hall who had edited it. There was also another im-

eral

begun

New

property "Screen Tele-

the

organizations

York City

the

salvage

represented

the

after

opportunity, tn

tical

theatrical films for non-theatrical ute, and the remarkable distributing machinYork schools in 1920 ery awaiting

ARTHUR EDWIN KROWS

i-ticc,

Part Niite: recalling the "Ford Educational Weekly" of 1916, the first prac-

this case to whom the success For belonged, the buyer or the seller. the C. P. R. to appear too prominently in the management of this new underthe newsreel of taking especially

seen in

would, of course, be prejudicial to public acceptance of it; so the C. P. R. arranged with Captain Baynes not only to manage the newsreel, but to move his entire outfit to the Gaumont Laboratories in Flushing.

To make the Bayne menage still more complete, he was called upon to supervise also the newsreel included in the ambitious plan of the Selznicks, father and son, who had suddenly arisen as powers

regular

motion

picture

the-

For the proper functioning of the three weekly releases, "Kinograms," "The Gaumont News" and "The Selzatricals.

News"

nick (not forget the inevitable magazine release which cares for the human interest overflow), Baynes organized a holding corporation called to

"The Associated Screen News"

a large

business, conjured, one may say, out of thin air. And, for the present, we may satisfied leave Baynes, that he has olenty to keep him busy for awhile

without

seeking

meet him

will

further

complications. later, again.

"THE FORD EDUCATIONAL WEEKLY" AT this juncture, believe it or not, there is still another newsreel to be considered, and one which was to leave a strong impression on non-theatricals. It was issued by that dynamic person-

Ford, a warm friend and hearty admirer of Thomas A. Edison, had l>een greatly impressed with the advantages of the screen in public education, but he felt that many genuine opportunities were being missed by the newsreels then in cir-

He wanted citizens of the United States to see what their Government was doing, to understand how public money was being spent, and to know the culation.

work of Big Business. Someaim may be appreciated by renoting titles from the first Goldwyn One was, "What Uncle Sam Will lease.

constructive

thing of his

for

Two

the

Cents,"

story

the

Post Office Department; a second, "The Truth About the Liberty Motor," a pictorial description of the Government's wartime airplane engines a third, "Hang It All," or the making of wallpaper; ;

Old Glory to the Seven showing the work of the great

fourth, "Carrying

Seas,"

Hog

Island

shipyards;

fifth,

Mountain of Tears," a Kdith Cavell; sixth.

"Canada's of Mt.

scenic

"Where

'the

Spirit

That Won' was Born," a Washington's Birthday release showing historic Philadelphia, Valley Forge, and Mt. Vernon

;

and seventh, "Rough Stuff," a review of the

carborundum industry.

attention given to numbers such as these undoubtedly stimulated manufacturers and business men generbut at ally to propaganda uses of films the same time it probably made exhibitors suspect that their theatres were being used for "cuckoo" advertising, in the

The unusual

;

profits of

which they were not permitted

to share. They were never quite satisfied that so shrewd a business man as Henry

Ford was getting nothing out of even exhibitors

who

did

question did not want too

not

it.

But

raise that

many newsreels

The Educational Screen

Page 154 on their programs. They gave precedence,

THE PATRON SAINT

COMMUNITY

course, to the regularly established theatrical ones, and required space, too, for comedies and novelties. So, in its

"The Ford Educational

theatrical aspects,

died away.

Weekly" In

summer

the

1919,

William H.

Dudley, educator at the University of Wisconsin, was invited to head a committee, selected by himself, which was to come to the Ford plant at Detroit and edit the Ford films for school use. He

responded promptly with a group including Charles Roach, of the State College of Iowa Department of Visual Education

;

W. M.

Gregory, an expert geog-

OF 23RD STREET

SERVICE used the Kineto

Laboratory for virtually all its output, and in the train of the Fosters came many other non-theatrical workers who had offices in the building. In fact, deliberately or not. Urban made a minor specialty of non-theatrical developing and It

printing.

probably

was Community

Service which first attracted the struggling little non-theatrical producer tenants because of the market it afforded to their product but they found the Kineto Laboratory a convenience, too, with the genial Urban lending a sympathetic ear ;

to their tales of

woe

possibly because,

rapher, of Cleveland and J. V. Ankeney, of the University of Minnesota. The

compared with his own handsome difficulties, these were too small to be dis-

work was done

turbing.

;

Fitzpatrick

and,

speedily

1920,

Elroy were advertising the

library, with themselves as sole representatives. As to what became of some

of the unused industrial subjects, I have reason to believe that they were given, possibly at cost, to the manufacturers

whose

and operations were shown.

plants

Which must have made

difficult,

for a

small local producers of to persuade those favored manufacturers to make news subjects for themselves. time, films

for

the

Before

Certainly, with the efforts of to save itself by making and the educationals and industrials,

Kinemacolor

contacts of old Urbanora House with the once struggling pioneers such as F. Percy Smith, who had almost starved

while he

made amazing

knew supremely

novelties,

Urban

well what hard scratch-

make a

non-

The Masonic Temple Building

shel-

ing

was

living

theatricals.

tered not only small producers attracted

write

subdivided

into

and

Surgery,

stitutions

and colleges."

The Ford Laboratories

the user pays transportation charges both ways or, in a new instances, just for return. That the subjects are otherwise free means usually also that, with the exception of a few endowed sets here and there, they are dripping with propaWalter conclrded that there ganda. were clients who would be willing to pay a nominal sum for relief from these embarrassments and, on this concept, he determined to found his own business. Of course, there seemed to be only one substantial source of material for such a project, and that was the theatrical exchange with its outworn pictures. There however, another, lesser source was, which never has been sufficiently appre-

and that comprised the entertainmade for theatres but which the theatrical booking offices, for one reason or another, had never accepted. And then, also, he concluded, when one refers to "used" theatrical material, it need not necessarily mean cracked, torn,

ciated

;

ment

films

dirty

prints.

As long

the

non-the-

are

rights

IDEA

from much going

clear

in these pages that salvage of theatrical films for non-theatrical exhibi-

was

tion

not,

this

late

Lyman Howe having

idea

new

profited

from

date,

in the Nineties there apparently had been no business founded completely upon it until the later days of the General The educational lists Film Company. of Urban and Kleine, dating back to the same broad period, actually represented just lesser outlets for fundamental theThe narrow General atrical enterprises. Film story is interesting and it owes its being to an original member of the reviewing committee of the old National Board of Censorship, Mrs. Ruth Gould it

Walter Yorke's careful preliminary survey of non-theatricals made him one of the least disillusioned men in He never expected too much. it.

teacher, definite questions for presenting the lesson, problems, questions and a list of references. The film lesson is arranged

The technical series preparation. surgical, mechanical, electrical and chemical will receive addition of specialized subjects for trade schools, technical in-

a little puzzling

before

"Each film," the reader is told, "has a complete synopsis or syllabus containing: the title and subtitles, the educational aim. data suitable to aid the

to the uninitiated rntil one explains that it means that the films are free save that

THE RECLAMATION

Me-

accord with modern methods, and the photography is the finest artistry of the laboratory." One is informed, moreover, that "many new classroom films are now

quotation-marks, which

WHILE

Electrical.

films, as listed in non-theatrical are usually so designated in

nated by the owner of the negative.

named

"Free"

catalogues,

legitimately obtained, the buyer commonly has the right to have new prints made at a laboratory desig-

produced and as being distributed by the Ford Motion Picture Laboratories of Detroit There are fifty-one subjects, classified as Agriculture, Nature Study, Recreation, Sanitation and History, Health, Safety, Industrial Geography, Regional Geography, Cities, Cities and the lastCitizenship, and Technical chanical, Chemical

should pay for

the service.

atrical

a leaflet entitled The Ford Educational Library, copyrighted 1922 by the Ford Motor Company, which no doubt represents the early work of the Dudley committee. The films are described as having been I

non-theatrical users

that

;

Dolese. there, but offshoots of Community Service itself or, rather, one ought to say, perhaps, offshoots of the Community

wartime system. The Y.M.C.A. Motion and Picture Bureau now was here George Zehrung was carrying on with ;

much

appropriation. Zehrung was director, of course, with a very capable young assistant, A. L. Frederick, as secretary, and Walter reduced,

peacetime

Mrs. Dolese, seeing the thousands and thousands of feet of new subjects as they issued from the Patents companies, thought of their potentialities in the cause of education, and became curious about

what

happened to the reels when the Her had finished with them.

theatres

investigation resulted in the formation of an Educational Department by General

Film

five cents per foot for nitrate prints and ten for non-flam in 35-millimeter width.

of this curious

had

theatrically

urged as the best method and, to those schools which cannot afford themselves to buy, it is suggested by the sponsors that they form a "Ford Educational Library Association" with other

how

new trade, while he also arrived at certain opinions about the machinery might be bettered. Of

good will She was placed at the head of it, but physical handling was referred to Louis R. de Lorme. De Lorme's department was given the privilege of taking over any of the fit reels returned by the exchanges as

one

thing

still carry on work, serving the entire United States through Ford dealers. Films are

this

rented at low rates, some offered "free" (plus transportation charges), and most of them are available for purchase

Purchase

schools for the purpose of acquiring the material.

Yorke

supervising the actual physical handling of the films going in and out. But by this time Walter Yorke, in his patient, thorough way, had satisfied himself that he knew the general working

that the

money

was to be

especially certain made there was not

along the lines of the Y.M.C.A. work free films. It might be in supplying proper enough for its Association purposes, but in other circumstances he felt

his

primarily

public

engender

relations.

exhausted, without charge, duty being then to see what he could

obtain for them from churches, schools, clubs and so on. To facilitate matters, in December, 1911, while General Film was still at 200 Fifth Avenue, a tall, narrow, illustrated catalogue of some forty pages,

was printed

to call these subjects

May, 19)9 attention

the

Page 155 of

the

non-theatrical

renewing my acquaintance with a copy of it now. The listing is of perhaps 500 items, rather pompously grouped under the headfield.

Religion, Sociology, Philosophy, Philology, Natural Science, Useful Arts, Fine Arts, Literature and History, with a little straining here and there to make

ings

On the back given subjects conform. cover are four quotations evidently designed to impress the non-theatrical user and somewhat quaint in reading today. Mark Twain said, it seems, that, "The modern motion picture show makes one feel

brighter, healthier

and happier." El-

Hublianl was more succinct. He observed simply, "I am a motion picture fiend." The ever-surprising Thomas A. Kdison remarked, "The death knell of the saloon is sounded through the modern bert

Beseler Film Library was sold to Community Service for another snug little The Beseler Film Company, profit. the

however, continued as a casual to inquiring

realize

from the

that address.

requests So the

stern old soldier.

Although, with the ultimate and infall of General Film, it was out

ment

me especially, however, generous inclusion of the real non-tlu.itrir.il subjects notably the social service and industrial items. Here

proving small opportunities as the secret of success, and she now worked at this new opportunity with all of the selfdenial and surrounding discipline of a

interests

field

larger profits. of De Lorme's

department was kept going, now in charge of Catherine F. Carter. Mrs Carter was an excellent choice. She was one who had caught the idea of im-

Frederick Starr of

to notice the

non-theatrical

"The moving

What

had begun

Besides, the mere fact did not stop continued

evitable

De Lorme,

going

picture show," and there is an inevitable quotation from the ubiquitous Professor

Chicago University, picture is the highest type of entertainment in the world."

the

that

be developed into

might

the

question

expect this

depart-

go on independently, Mrs. Carter

the comparatively short time remaining, in developing a sufficient number of personal contacts and enough

did

succeed,

the two-reelcr made for the Visiting Nurses' Association; the films made for New York's Fire and Police Departments the pictures of Army and Navy "The Boy Scouts of America at Silver " l'.,i\ the Kdison chemistry pictures; Pathe's "Boil Your Water"; Lubin's is

;

Who Learned"; "The Birth Adventures of a Fountain Pen" "The Red Cross Seal" and other old friends with sentimental memories clustering around every one. But this department of General Film still is not the business founded exclusively upon used films to which I referred. To General Film the enterprise remained just a form of salvage and an "The Man

on the wall which made certain the end of that interesting attempt at monopoly. Then, with the aid chiefly of two friends. Henry Major, Jr., and Charles H. Lamb, he bought in a sufficient library of the scrap film and, in June. 1915. he formed the Public Educational Film Company, with a capitalization of $5,000.

A little later came an opportunity for stronger support from Mr. Schwanhauser, of the Charles Beseler Company of 133 East J3rd Street. This organization. niMKed in supplying stereopticons and <

lantern slides to lecture circuits, and including the active free lecture system of the City of New York, and no doubt im-

pressed Optical

by the

activities

Company

of the

Kleine

Chicago, saw in

Lorme's

enterprise an opportunity for themselves;, so De Lorme sold out to them for a snug little profit and hied himself to his homeland. The new owners

formed the Beseler Film Company, with nlVices in the Masonic Temple Building. But after about two years, when the War began and the Fosters became active.

re-

all

travels,

upon went off, and for several months Yorke heard nothing from him. But Borthwick, despite his silence, was doing a highly constructive piece of work. He was in Canada, and he had learned that, for some reason or other ( a ques-

tion

customs duty,

no doubt),

the

Paramount branch operating in the Dominion was disposing of a large number of unused reels. He acted quickly and bought them in. They really were an excellent lot; but the deal was a risky one for Paramount to permit because of possible complications over the specific ownership of non-theatrical rights. Paramount never sold any more that way But Paramount had done it this again. time. So Borthwick arrived in New York with his treasure; and he and Walter Yorke promptly formed a partnership to market it. They called their concern Edited Pictures System. Zehrung

willing to reduce his his

quarters Building, so

own the

rent by Masonic

a tribute to the excellent characters of both Yorke and Zehrung. That it could not go on indefinitely was apparent to even casual observers, because the re-

;

writing

was no problem

Edited Pictures Temple System began there. That this arrangement with the Y.M.C.A. lasted as long as it did was

"Marble Quarrying in Tennessee"; "King Cotton" Edison's homily on impure milk

mistakable

Borthwick

pictures.

that

he could easily pick up all that might be required. He was so persuasive that finally Walter Yorke gave him a sum of money with which to purchase a supply. Borthwick there-

sharing

;

encouragement to theatregoers; to old De Lorme it was much more. He remained with General Film Company, building his dream, until came the un-

plied that as, in his

was

;

and

new

obtaining

Before the departure of some General Film officials to

service

friends.

here was an opportunity for a nice little business of another sort. Yorke, being more substantially of the same mind, agreed, but pointed out the difficulty of

spective business purposes of

Yorke and

Zehrung were

The essentially opposed. former sought to rent his films in a period when rental was by no means a

popular way to obtain them; the latter offered his reels free of charge save that the user had to pay for carriage.

Zehrung's plan was supported by industrial concerns anxious to secure distriDr. Henry Marcus Leipziger did his memorable work in the cause of adult education. Visual teaching in New York's public schools was greatly aided by the machinery he established. confidence in her ability to serve customers, so that, when the end did come, she was able to start a little non-theatrical business of her own. Her office was opened in the nearest structure where tenants

were permitted to traffic in celluloid, the familiar Masonic Temple Building.

now

KrsiNKSs FOR WALTER YORKE

WHILE Walter Yorke was

pondering on these things and many more, a man named Borthwick, a successful salesman of asbestos products, had come impulBorthwick's sively into the business. Christian name, Lincoln, would not call for comment if he liad not had a brother named James Garfield and another, rumor had it, named William McKinley, making

bution of their propaganda films, giving the Y.M.C.A. the requisite number of

and paying at that more liberal $25 per reel annually for inspection and storage expenses. The pictures were sent not only to Y.M.C.A.'s but to churches, clubs, welfare organizations and virtually all of the other groups prints

time

from which Yorke hoped to gain revenue. The upshot was that, about 1923, George Zehrung and his outfit moved uptown again, this time to share less with the Motion prejudicial quarters Picture Bureau of the Western Electric Company, in 41st Street. I am glad to report, however, that Walter Yorke and George Zehrung remain friends.

The wick.

separation did not involve Borthlittle time before it came

^Some

poor Borthwick had died.

He had

been

health for many months and, during his retirement from business, Yorke had in

ill

managed

buy out

his share in Edited

Borthwick was

the trio of assassination complete.

Pictures.

Borthwick had been visiting casually around Yorke's workshop, probably try-

Zehrung was still a joint tenant when Yorke contemplated another

ing to sell asbestos booths or materials for them, when it occurred to him that

association,

living

with

fact,

still

and

Dr.

the

Ilsley

long-to-be-sustained one

Boone.

The Educational Screen

Page 156 Boone, and another impressive gentleman, with a beribboned pinc-nez, named Dr. Carl T. Pierce, who was a vicepresident of Urban's Kineto Company, had some office space of their own in the Masonic Temple Building. As trained educators and able promoters they had won an exceedingly attractive non-theatrical prize, namely the contract to supply pedagogical motion pictures to

New York

the

City schools.

little

poetic justice lay in this, too, for Kleine's catalogue submitted to the

New

York Board

of Education in 1910, the educational items had come from Urban. In the interest of present clarity, and to prepare for discussion later, it is important here to sketch the circumstances in which this present con-

stronger

tract

was awarded.

He knew a great deal, too, about prevailing teaching methods in the grade schools. With assurance and ease he could converse on terms of complete equality with either ministers or school officials.

was working out his non-theatrical plans she had been with Community Service; she had seen this field grow from the

Also, he could show Yorke what to provide and what to omit in his classroom

with plenty of spirit, she had seen so much imcompetence, bluff and general dishonesty in various phases of this fantastic motion picture industry, that she

house.

subjects. for

Altogether he was an excellent

man

an unassuming non-theatrical distributor to have around. The relationship of Boone and Yorke

many an

lent

interesting sidelight on the

Yorke never changed his attitude towards the business from the time when he experimentally juggled film cans for the Y.M.C.A. When he came to head his own enterprise and stand among the few consistently sublatter's character.

stantial

figures

theatrical field, he

The

nonwas to be found

the

still

entire

by unsuspecting strangers, working in the vaults and at the cutting-tables, completely and sincerely deferential to his humblest customers. I never have met a man so lacking in affectation in a business where affectation is a prevail-

Director of Visual Education for an the New York City school system office recently established was E. E. The country as a whole had Crandall. just been swept by a great impluse to use films in the classroom and, in the spring of 1922, Dr. Crandall, a little education of visual envious, perhaps, centers developing in Chicago and Washington, had become president of a Manhattan group calling itself the Visual Instruction Association of America. In

If one came in asking for the head of the establishment, Yorke invariably then referred him to Boone if Boone was in. He felt that he could be a better judge of values by remaining an observer and

Rowland this organization, Rogers, largely by virtue of his recent experiences as editor of an educational reel lately circulated in theatres, was chair-

own department of There is an amusing story about that. A gentleman who had long dealt with Edited Pictures, without knowing

man

much about

of the Curriculum Committee. Rogers, incidentally, had rented office space from Boone. Here, obviously, was a situation out of which a carefully adapted commercial group might make

money by supplying Boone became the of

idea

the

status to

the

film

needed.

visible representative

and, requiring a company a contract with the City,

make

called a close formed organization Argonaut Pictures. As far as I know, it was not a resurrection of the Argonaut Flms, Inc., announced in October, 1916, the principals of which were Oscar A. C. Lund, William H. G. WyndhamMartyn and H. G. Crosby, especially as the last-named group had been capitalized for $250,000. Boone was still seeking capital, and employed for general promotion of that sort, one Dr. Russell, a Baptist minister from Syracuse. What this pedagogical Argonaut also did not have worked out were the not inconsiderable details of where the films were coming from and of their physical But Boone, being a resourcehandling. ful person, looked around and saw Walter

Yorke

as the very

man

fill

the gap.

Walter was agreeable because it meant a profitable outlet for his wares and services so Boone and Argonaut, being richer in ideas and contracts than in

ing vice.

by attending

to his

the business.

personnel, once stopped out and, putting his hand on Walter's shoulder said confidentially: "I've just been talking to the boss about

his

how

its

some complimentary things about you, and I wouldn't be surprised if he gives you a raise/" Walter just thanked him efficient

you

are.

said

and said nothing about it to The incident became known anyone. only because there was a witness. There were various assistants in the There was the kindly and willing place. man-of-all work, Emil Eppright. There earnestly,

was Boone's daughter, doing typing. There was Freddie, the film boy for George Zehrung during his tenancy. Two women working variously for Yorke and Zehrung, sat above But,

at the film inspection tables.

there was Madge all, Brotherton. She had general charge of the front office. Miss Brotherton had been with General Film while De Lorme

Next Month

common

the

with a great many others, He was reserve genuinely liked him. pastor of the Ponds Reformed Church

New Jersey community of He had been connected with

little

Oakland.

the Nassau County Welfare Board and the Rockefeller Interchurch World Move-

ment, and had had some editorial exa religious publishing perience with

Bureau Federation establishes

own

non-theatrical circuit;

Educational

Pictures,

Inc.,

formed by Earle Hammons, but capitulates to the public preference for slapstick comedies;

and Watterson Rothacker up the

first

company

attractive,

highly

intelligent

girl,

particularly prized the genuine, practical unassuming character of Walter Yorke.

Walter Yorke and Madge For the increase of the happiness which they have known bountifully since. I wish with all my heart that the union might have been

About

1927,

Brotherton were married.

much The to

earlier.

Yorke and Boone York City school was based on something more

association of serve the New

system than a contract and a mere premonition that the

The

work would become profitable. had been somewhat ex-

possibilities

painstaking plored. George Kleine's demonstration before the Board of Education in 1910 had led, in 1911, to successful local experiments with classroom films and to Superintendent Maxwell's recommendation that, at the start of the

next school year, projectors be installed in educational institutions throughout the City. In the autumn of 1912 the Brooklyn Association Teachers' had conducted further tests and, sporadically during the period and in the few years imfavorable those mediately thereafter,

War

findings

had been confirmed.

LEIPZIGER PAVES

THE

WAY

EVEN the system for handling the films had been organized to a surprising degree, although not with the express intention of providing them to classrooms.

The person who had done this was the extraordinary Dr. Henry M. Leipziger, supervisor of the Free Lecture Bureau of the New York City Board of Education from 1889 until December 1, 1917, when he died.

The Bureau existed to provide adult, popular education from the lecture platform, using school auditoriums after school hours, and presenting competent speakers who were either willing to donate their services or to give them for nominal sums representing their expenses. The plan had been instituted with apparent success in 1888, at the suggestion of the New York World; but attendance falling off during the second year in the six schools used for the experiment, Miles O'Brien, Commissioner of Educaappointed Leipziger. Leipziger was then a thirty-six years of age.

tion,

June brings the tenth installment of "Motion Pictures Not For Theatres." The Farm its

beginning.

way

;

funds, brought their belongings to a larger office space at Edited Pictures. I knew Boone very well indeed, and,

;

sets

exclu-

sively to produce pictures for deserving non-theatrical clients.

born

Manchester,

man of about He had been English

Jew,

coming to America at the age of eleven. He had been educated in the New York City public schools and, in 1872, had become a teacher there. He studied law and was admitted to the bar in 187S but he never practiced, continuing as a teacher until about 1880, when an attack ;

obliged his resignation. then slowly responded to remedial treatment, he was made the head of the newly-formed Hebrew Technical Institute, where he speedily showed his administrative genius. of consumption As his health

(To be continued)

Page 191

June, 19)9

Motion Pictures

The Tenth Installment. How an educacompany was sidetracked into

tional film

Not For Theatres ARTHUR EDWIN KROWS

Editor of "The Spur,"

New

ziger

presenting slapstick comedies and, on the other hand, bow a theatrical war evolved

New

the

York City

York's lecture service Leipthe unprecedented applied

entirely in

its

favor.

special-

addition

pictures

jwn

their

Their

training in still photography had made the next step into animated pictures entirely logical and, now that they had the films, if Leipziger could not provide the means of exhibition, lantern

he relinquished his

1*'X)

Ill

u.nk

-.i-hiinl

films

graphic

method of advertising to the public and. presently, the system arose into great popularity.

company of record to making industrial motion

first

ize in

Among

whom

slides.

he persuaded to lecture there were such celebrities a- Theodore Roosevelt. Woodrow Wilson, Talcott Williams From and Hamilton Wright Mahic. 186 audiences in 1S8'), with an appropriation of $15,000, the number arose to 1,295,907, with expenditures of $140,000, After that, in the season of 1914-1915. the growing circumstances of the World War. theatrical motion pictures, the automobiles and other distractions easily to be understood as we look backward, exacted their toll and the system dwindled as rapidly as it had expanded. In 1028 the last glow of the educational torch, which he had carried, flickered out and all remaining is an annual

well, there were other lecture circuits which could and at better prices than the ten or fifteen dollars apiece which the New York Board of Education could

given in memory of somebody named Henry M. Leipziger at the Town Hall in New York City. It was fortunate that during Leipziger's heyday the New York Superintendent of Schools was William H. Maxwell. Here was a man enthusiastic about new trends in education; and his

largely from Dr. Leipziger's good friend, Mr. Schwanhauser, of the Beseler Slide

thoM-

efforts

classrooms

led

introduce them, into

under

his control, had newspaper cartoon and "Maxwell's Fads and jibe satirizing Fancies." The free lecture system stood

high his

his self,

many

the alleged "frills" enjoying He did not long survive support. remarkable supervisor for he, himdied in 1920. recall

Dr. Leipziger quite well. He unexpectedly

had a habit of dropping in on some one of the lectures, last moment and always chair on the platform and tion to the audience.

always

at the

requiring a an introduc-

A man

medium

dark clothes, with a delicately white, heavily-bearded face, he always seemed to enjoy himself without outward signs of pleasure. He invariably gave a short talk, and usually made the height,

dressed

superintendent thoroughly uncomfortable by his mere presence, which was that of a severe schoolmaster with scholars going through a probation

local

period.

Even his remoter centers advertised distinguished names. I, myself, heard among other talks in the svstem. twentyeight lectures on art by Ernest Fenollosa, as

many

jurisprudence by George Kirchwey. then dean of the Columbia Law School, and a series on natural S.

evolution

Schmucker, scarcely

species by Samuel the University of

As time went on

Pennsylvania.

was

of of

school

building

there within

were

likely

fire

strict

them

rule

regulations

But

out.

The stereopticon equipment, and often the slides, too, were purchased and rented

Company. Nevertheless, Leipziger counted in and he business; friendships authorized the establishment of a little handyman machine shop of the Bureau's own, for the repair and maintenance of the large number of stereopticons in servThat shop now gradually took over ice. a used film projector or two which might be sent out on very particular occasions. Sometimes these particular occasions

Mammons

Earle

founded

Educa-

tional Pictures Corporation believing that the public craved instructional films and discovered that theatrical audiences assemble to be amused.

among

because

with

jectors.

lecture

Hpcated

of the lec-

1913 Leipziger met the requirements of the National Board of Fire Underwriters, and was able to boast of four free lecture centers permanently equipped with pro-

;

the

Some

squeeze out for them.

turers, indeed, carried their own projection equipment at first, although that did not by any means insure their success

the city limits where free lectures not to be heard for two evenings a

from 8

to 9

were week

P.M.

case to which the more experienced speakers liked to refer with amusement, was that of a school on

The extreme

Barren Island, where New York City Over disposed of much of its garbage. there was a little community composed principally of the workers and their

The

families.

lecturer

visiting

was

obliged to remain over night, invariably receiving a cordial welcome but scarcely

enjoying his stay. I have dwelt upon

all

this

because

want to make clear

that the non-theatri-

cal readiness of the

New York

Education in

this period

were

Board

was unique,

sources

of as,

material Most of the lectures given for supply. Leipziger were illustrated with lantern slides, which meant, of course, that the halls had to be equipped with stereopticons, each set requiring an operator who ordinarily was also the janitor of the indeed,

the

building.

MA<;H-

feel

had begun to the serious need of having motion 1911

Leipziger

picture equipment, lecturers on travel,

now were making

especially most of their

own

for

the

whom

cinemato-

show

films for the politicians to impress their constituents, the irritable and conscientious

although not did respond Leipziger naturally kindly to that sort of thing. In all events, the stock of motion picture projectors grew and stereopticon equipments tended to become mere attachments on them.

Booths were

built

and especial operators

The development was

trained.

inevitable

unfortunately, Leipziger, who was paying the penalty of broken health for haying burned the candle at both ends during his early life, could not live to but,

see

it.

was

to be expected,

and teachers began to

when

call

principals for films in

the classroom, that the Board of Education would think of the equipment used lectures, and used almost exclusively at night. Leipziger could have no serious objection indeed, he might easily become enthusiastic if they used his equipment for classroom

by the department of

tests

trouble

LANTEKNS As STEPPING STONES

ABOUT

were

who wished

visual

was

new phase was

The only work was done this

education.

that his

;

carried

out

others.

Toward

the close of his life he either

had appointed or had

had assigned to Miss Rita Hochheimer, a former grade school teacher;

him

the

services

The Educational Screen

Page 192 it became her duty to pass on the subject matter of all films used in the When Leipziger then died and schools.

and

more persons who were stimulated

Another blow must have come from outgrowth of the great agrarian

was succeeded

in his post by Ernest E. Crandall, Miss Hochheimer was confirmed in her position. When the lecture system was about to end, Crandall dropped the old title Supervisor of Lectures and became Director of Visual Education. He held this place until about 1931, when illness obliged him to take a leave of absence. During it he died. Crandall's superior, Dr. Eugene A.

assistant of Colligan, superintendent schools, was himself interested in visual

education and, instead of replacing Crandall with Miss Hochheimer, as was generally expected, took on the duties of About 1934 the position personally. College,

was made president of Hunter but his successor still kept the

work

his

Colligan in

own charge

without chang-

Miss Hochheimer. But Crandall and Rita Hochheimer were in command when Boone and Yorke began the active operation of Argonaut ing

the

status

serve

Pictures to

the

New York

City

They speedily found that Ilsley besides knowing a great deal concerning the film industry which they did not, was able also to converse with them in terms of pedagogy, while Walter schools.

Boone,

Yorke

of supply Consequently, for the they were well content to

the

kept

machinery

going smoothly. time, at least,

have the Argonaut arrangement.

SUDDEN SYSTEMS OF DISTRIBUTION IN 1919 free films were especially rife, and strong hearts still not as stout as Walter Yorke's would have been daunted.

One

the

threatening

many enterprises indirectly his own plan of rental was

Bureau of Education of the United States Department of the Interior, with its 4.000 reels many duplicates, of course. Persons in charge of that colthat of the

Washington were begging for

lection at

appropriation

but

did not come.

the

keep

circulation and to care for

reels

them properly

;

In 1920 they solved

use of non-theatrical subjects, the more he would ultimately find to serve. the

that

crusade

the

founded

the Federation,

Bureau

1918

half -century,

past

Farm

American

July

Chicago.

1921, the powerful organization established a Farm Films Service in connec-

with the

tion

Illinois

As-

Agricultural

Samuel R. Guard, director of Department of Information, of which the Farm Films Service was a part, tried at first to obtain what he considered authentic farm subjects from the theatrisociation.

the

producers, but relinquished that plan in bitter disgust at the outrageous "hick types" which he found there. The service then produced two films of its own:

cal

"Spring Valley," in Homestead," in two.

five reels,

and "The

Several other, prefilms were adapted.

viously existing

Farm Bureau picture distribution was twofold. Any State Federation was privileged to purchase prints at cost and to ardistribution in its own territory or, the general offices at Chicago would

range

reeler produced by the Atlas Educational Film Company. Of this subject, fifty prints were in circulation, furnished to

County Farm Bureaus for transportation charges only. In 1928, to the fifty prints just mentioned had been added twenty-five prints each of six new features, making 200 reels in all available. Four other subjects in production, and plans were in process for ten more in 1929. But here the mystery clears. The annual report for 1928 admits that to help pay for the advertising space was being pictures, in the half-dozen just sold in them

were

made, to the sum of $72,000. statement that,

the

also,

Clear now, at

Na-

the

Conference in Chicago, September 20. 1923, plans had been made to provide every Farm Bureau without charge with a projector and a regular tional

Publicity

film service.

The organized farmers always have been a rich body for exploitation. Many film enterprises have sought them out. In

January,

1921, of

national

the

press

book the films at the local theatre, the manager paying therefor either a flat

Farmers' Film Corporation. According to the announcement made on its behalf by William E. Skinner, secretary of the National Dairy

rate or a percentage of the receipts. The Bureau also supplied portable projectors

Association, the new corporation "will enjoy the cooperation of" the Federal and

In 1922 there were produced for the Federation twenty-five new reels and it was reported officially that during the year films had been supplied for 3,609

State

marketing associations.

meetings attended by 721,800 persons. Guard resigned October, 1923, and H. R. Kibler, who succeeded him, reported for that year that Farm Bureau pictures had been used in 331 counties

the

at cost.

;

in thirty-five States, statistics which were further broken down to 3,552 meetings

an estimated attendance of 1,670,600 persons. In 1925 the organization chart showed that 1,000 County Bureaus having

had projection equipment. There was a

new

subject, inspiringly called

"My Farm

Bureau," produced by Homestead Films, In 1927 the Farm Bureau story was given another twist, resulting in a sixInc.

problem by depositing the reels in lots averaging 113 each, in thirty-five extension departments of Stale universities, normal schools, departments of education and museums. Each of these

news

conveyed

Departments

the

and

Agriculture

Agricultural Association, grange movements and cooperative buying and State

"One of the first undertakings," concludes the report, "will be to help the American Bankers' Association to raise the billion dollar trade expansion fund recently decided on at Chicago conference."

Not

help

the farmer, you see, but to persuade him to help the bankers. With the best of intentions, no doubt, the Farm Bureau, in selling advertising of space, was playing the ancient game

ends called "playing both against the middle." It's a familiar way but to pass the time in non-theatricals it does not serve there any more than it does in any other sensible business. self-deceit

;

the

agreed to act as a distributor to local

The

extension departments went to work with a will on this new activity handling the Government films and also all other likely subjects they could acquire. They issued annual and even monthly catalogues which in bulk university

as in listings, put the primitive Urbanora and Kleine catalogues to shame. National

found the institutions splenfor their propaganda reels, and theatrical companies discovered that these eager, non-competitive exchanges would even release their outworn subGeorge Kleine jects on a rental basis. had been one of the first of the regular advertisers did

outlets

producers able

WHEN

began

the motion picture business in earnest in the United

States

applicants.

those

make

his

places.

releases

for

avail-

Walter

Yorke, he was philosophical about it, as one would expect him to be, having made up his mind about "free" films long previously, and being satisfied that the

A New

Chapter IV the

theatrical

merely dabbled on the in

seen,

non-theatrical

side,

companies as has been

production.

Profession

W. Hammons, thirty-three years of age and determined to come up in the world. Son of a well-to-do Southerner engaged in a mercantile line, Hammons had had an excellent preliminary educaEarle

Arkansas and Texas before coming north to attend Columbia University. There, instead of

the other hand, when non-theatrical producers started to arise, they generally aimed to lift themselves out of such

tion in private schools of

petty endeavor into the realm of higher in the theatre. In other words (although in another sense), it was the

devoting himself to a "gentleman's'' profession as he had been expected to do, In 1907. he studied business subjects. after some varied small experiences, he entered the expanding line of New York suburban real estate. Here he did fairly well for awhile; but he was diverted suddenly to films by a chance discussion

profits

old

story,

that

theatrical

pictures

come

first.

Impetus lease

was given to

by the

formation of Educational Pictures, in

New

York,

May,

re-

theatrical

so-called "educationals" 1915.

Inc.,

was

the

considerable and successful effort to establish a distributing system exclusively for "shorts" although it is an interesting comment on the changing times that shorts in 1915 were as long first

as the features of 1911 and 1912. The head of Educational Pictures

was

of the releasing arrangements for Rainey's Hunt Pictures, shown at a banquet of real estate men at Briarcliff Lodge, in

Westchester. is how the story usually seems, however, that Hammons had already considered trying for a share in the profits of this dazzling

least,

told.

that

Page 193

June, 19)9 an

film industry, which at thai time still considi -table production activity in York metropi .htan area. Inter-

new hail

New

the

what might he

iiarticnlarly in

ital,

Mix

Carter.

ithcrine

who opened

clone-

Carter,

Mountains

The

"\\'hen

the

motion

first

was

State of

in the-

young

man

picture

made

Wash

Rohert and the lilm. entitled Mountain- Call," was his

iance'

that

came

juncture

I'.riarcliff

the

table.

that

is therefore, quite possible, discussion of releasing arrange-

ments on the Kaincy pictures was not so Marie after all and that fortuitous Hammons, himself, may have started it for his own information and profit.

how

now with a such

distributed, sive

larger knowledge productions were

special

Hammons

in\ estimation

began

inten-

of possibilities lasting

Then he formed a couple of months. Kducational Pictures. Inc. It is interesting to recall that, just about eight months October, 1914, another previously, in Kducational Film Company, headed by

one C. L. Nagely, had announced its formation in N'ew York to book educafeatures in stand" tional "one-night theatres.

Hammons had

first

small office

Madison Avenue, and his concern started with the very modest capital

at 171

(for the film business) of about $5,800. Mrs. Carter, greatly interested, is said even to have suggested the "student

lamp" trade mark, drawn by Carl Heck, which Hammons later made so well

known: but. to her she was not declared

lasting indignation, in on the incorpora-

Hammon's first release was the three-reeler made by Robert Bruce, "When the Mountains Call," and the discerning exhibitor who officiated at the di-lmlx of the two promising men just named, by providing a Broadway theatre, tion.

was

"Rothapfel," as he

Rothafel

spelled his

name

ways ready

to stand back of persons

"Roxy" was

then.

al-

and

But, of course, pictures interesting him. a single release did not mean success for

Hammons.

road which he

was a hard,

It still

had

ing and pioneering. All the while his dling

;

to travel, learn-

capital

so he sought more.

moderately

wealthy

uphill

was dwin-

found a A. invested about

man,

George

Skinner, who presently $30,000 just because he was interested in films to be used in education. Skinner was not thinking of "educationals" in the loose sense understood by most

and,

this

1918 the

New York

representative

historic

Pictures as vicethe board. For

Educational

member of

Educational for fourteen consecutive years nature studies by Tolhurst after the manner of F. Percy Smith the fine Ditthe mars "Living Book of Nature"

first

theatrical

;

In bis desire to Pictures, Inc. shape events as he saw them, he caused to be built at Providence, R. I., under the name ( 'unmet, a fine little studio,

cational

EnrcATioNAL PICTURES, INC. i

it;

"commercial film" company, exhibitors be had visions of films particularly in schools and for a time he officiated as president of Edu-

invitation

tin-

One of Carl Laemmle's plans to break the hold of General Film Corporation on the motion picture industry led to the Chicago start of the

Mrs.

and the more intimate story has it that Mrs. Carter loaned llainmiuis her husband's dress suit that he might make a proper appearance at the speaker's to

way

Hammons he arranged a meeting in London with Sir Robert M Kindersley, governor of the Hudson's Hay Company, who made due inx estimation and eventually d to finance the exchange system which Hammons so much wanted. From then on the growth of Educational Pictures, as a shecrly commercial venture, was swift In 1920 the newsreel "Kinograms," was released through its exchanges. There were many more sigBruce nificant pictures on its programs sccnics Bruce fulfilled contracts with

time' in Opening Carter had obtained some' Unkings for him; hut Hammons that he- could manage the rclielieveil leases incur profitably, although he was not <|iiite sure- how it might be done.

'lesperate

)

market.

the

president and

He-

sell.

that

Hudson's Bay Company, of London, as agent for which he had shipped all the foodstuffs sent by the United States to the French Government during the War. But now the War was over; and Weyers transferred his alleg-

was

of the

with an unusiialK heaittifnl travel subject whi.h he himself, had produced in the :.|e

said

the

true-,

was

seeking new material In distribute to lit r owt! clients, had found a young man

itigton.

circumstance was to prove to llaininons worth every cent which he had paid to his former partner. Weyers is

n pel -"II with little or no his attention had hern called

l.\

solution.

unexpected

Skinner, directly or indirectly, had introduced him to Bruno Wcyers. the man

with an excellent laboratory.

The

was chosen, I understand, suggestion of a friend named Burnham. It stood on Elmwood Avenue, at one end of Roger Williams Park, as the more extensive studios belonging to Frederick S I'eck of General Film, stood at the other. Here Skinner handled the processing and general assembly of "The location

the

Ten Thousand Smokes,"

Valley of the

the production of which he had arranged with the National Geographic Expedition

Ml. Katmai, Alaska. Here, also, was

processed "Unhooking the Hookworm," the notable subject utilizing the researches of Dr. Charles W. Stiles, made by

Coronet

Hoard

for

Health Foundation

International

the

Rockefeller

and. through its wide exhibition in tropical countries, said to have saved thou-

sands of

lives.

Hammons was

sympathetic toward the aspects of motion

educational

strictly

pictures; but he felt that there was sufficient product in existence to meet im-

mediate needs which were

formative in many directions, and that at this time the energy of the incorporators should be directed toward the establishment of a distribution system. Skinner had different ideas, so

Hammons

still

proposed buy-

ing him out and he succeeded in doing this in 1917 for the sum of $65,000. The money was provided by a newcomer to the concern, the automobile man, WilSkinner told me. liam Mitchell Lewis. years afterward, that his reason for holding out for a high figure was that he ;

want to go. While this removed some of the ob-

didn't

stacles

did

not

way of Hammons, it still make possible the expansion the

which he desired. But here he was to

find

;

I.yman Howe's a pardonably "Hodge Podge" and "Hudson's Bay Travel Series." But more and more it became clear that the short subjects most demanded by the theatres were slapstick comedies. Hammons. influenced, no Presently

"Newman

Traveltalks"

;

doubt, by the strictly business considerations of his associates as well as by his own commercial prudence, yielded to the

pressure and slapstick comedies Jack White's, Lloyd Hamilton's, "Mermaids" and the rest became the characteristic output, strangely belying the trade mark and arousing indignation among educators

who

did not

know

the story.

George A. Skinner died in New York December 21, 1935, aged sixty-four, all the years of his life since his adventure with Earle Hammons devoted to the

higher uses of the motion picture screen. He was treasurer of the Payne Fund, which conducted a three-year study of the effect of films on the health, character and conduct of children, and an organizer of the Motion Picture Research Council to act on the findings. How ever Big Business men in N'ew

York

may have regarded

there

were,

the

matter,

years, certain factors at economic

the

early

and Chicago area to change the point of view that in the educational field theatrical pictures come first. These circumstances, no doubt, were largely geographic

work

also

in the

those

hampered by

cities

new

paratively

recently

tradition,

industries

un-

built,

engaged such

com-

the

manufacture of reapers, automobiles and cash registers, and with younger men in command. Among the very first business

organizations

industry

Harvester

had

been

Companv

the

use

films

International Chicago, the

Ford Company of Detroit and the National Cash Register Company of Dayton.

The Educational Screen

Page 194 The

vision behind the "Ford EducaWeekly," although that enterprise had been scorned as "subsidized" and as a "failure," was symptomatic in that

meeting was called in Chicago at and there was appointed a national committeee comprising W. R. Rothacker, Charles Stark of Essanay Film Manufacturing Company and J. Alexander Leggett of Pathescope. The

tional

that

quarter of an appreciation of twentieth century opportunities of which the nontheatrical field was most decidedly one. But, along with the noble thoughts, one must bear in mind that the "Patents"

group

situation being what it was, and being at a distance from the

Chicago

New York

General

the Film, protestation of a non-theatrical purpose might also effectually mask the rise of a theatrical insurgent. Who knows, indeed, but that the circumstance which I am about to mention, was the reason why the Patents Company issued its

headquarters

forbidding its licensee exhibitors to show advertising pictures "supplied by others ?"

warning phrase,

time;

was

rival

call

This appeal was signed by Harry J. Elkan, manager of the indusArthur N. trial department of Pathe Smallwood, of the Smallwood Film Company which you may recall is the concern which had just tried to emulate Chicago.

Pathescope by importing the German projector called Kinox. and J. M. Torr, editor of Motion Picture Publicity. Their scheduled for meeting was 15

Brighton

Rothacker's next

WATTERSON ROTHACKER

But

Beach.

move was quicker

and,

earlier in August, the ad-film men later to be known more respectfully as still

events, out of the dabbling of the theatrical men from above, and the all

ambitious attempts of the non-theatrical fellows from below, and during the industrial stirrings in the Great Lakes country, there evolved the first significant, responsible, exclusively non-theatrical concern. The place was Chicago,

1910, and the name Industrial Moving Picture

time late

was the Company. It was organized by a triumvirate Carl Laemmle, then a rapidly arising rival of the Patents Companies, who had "gone Independent" in the of

spring

1909,

his

vice-president, Robert H. Cochrane, and Watterson R. Rothacker, who since 1907 had been western manager of the amusement weekly, the Billboard. The purpose was stated as to specialize in educational

and

industrial

subjects,

although

was at first a mere blind, because Laemmle, having broken with the Motion Picture Patents Company, was being forced to produce films that

possible

this

to supply his nine

exchanges.

But

Independent theatrical in November, 1910

moved to New York from Chicago to conduct his battles with "General Flimco," as he elegantly termed his opposition. And, having plenty to do in that respect, he disposed of his stock

Laemmle

venture to Rothacker, of 1913. Rothacker, who thereafter controlled the business, still believed that there was a future in the special line indicated in in

men."

ad-film

"the

referred

organize was issued July, 1914, by New York producers who probably feared a concentration of industrial business in

August

the

commonly

this

industrial

in the fall

the

and

The

Screen

held a at the

Advertisers'

New York

Association

meeting of their own

Hotel Claridge, strengthening union and unanimously reelecting the members of their national committee. In the spring of 1914 Rothacker advertised his concern, took exhibition

1914.

when other

tion

specialists

being,

and

he,

non-theatrical

had

produc-

mushroomed

himself,

either

into

initiated

or immediately supported a plan to orIn doing this he followed ganize them. the current example of the Patents group and the Independents in the regular field. Rothacker's purpose was, of course, for a mutual benefit, stabilizing prices,

standardizing product, educating clients. It was not the step of a man of narrow vision.

not

how movies were made.

rented his studio to theatrical pro-

ducers,

having at

Those who have followed detailed non-theatrical

salacious picture. "Watty," as his friends affectionately called him, had to explain to the authorities that he was only the

landlord.

irresponsible

will

wish

you

Those who knew Watterson Rothacker those early days were not surprised at his success. From the start he was clearly

the

its

pubSep-

richly to

profit

from

otherwise unobtainable recof far-reaching, ord costly, practical experience in all non-

theatrical departments, status

you will uninterruptedly your a

subscriber to this

magazine.

called

type

He knew how

"hustler."

meet people and

handle them he knew much about advertising and he manipulated personal pubhe was intelligent and licity with skill quick; he was young. Above all and he was this was highly important then not afraid. Whether the available business was for laboratory service or in;

;

production, he was there to get Well known in both New York and Chicago, he was completely at home and

dustrial it.

this

maintain

studio

guests seated at tables about an improvised dance floor, receiving generous attention from the press.

studio,

dentedly clear perspective in viewing this important phase of visual education. If

The new

publicized thoroughly from the time the plans were laid. When it was completed, just before the formal opening, he gave an elaborate "studio ball," to

was

his-

the issues of the year to come. As in the case of each installment until now, the narrative steadily and

announced that

unpleasant experience when a company used the stage to make an allegedly

this

tember, 1938, will be qlad to hear of Its continuation through

add

first

extend beyond mere commercial productions, but he had one

work would

his

industrial

either city. Surely the division of the non-

theatrical field needed just such a pioneer. His staff at the opening of the new

In September

tory since the start of lication in these pages

industrials, so his steady

with

compete

self-sufficient

first

productions to

customers, barring a few shorts in 1917, such as "Zeppelin Attacks on New York" and "From Studio to Screen," showing

infant

tion which ultimately will complete for the reader an unprece-

saw

own

his opportunity as being quite as Laemmle's. Certainly, shining from the start, he prosecuted the work vigorously and intelligently. The breadth of his view was demonstrated in January,

his

spaces at the Coliseum in Chicago and Grand Central Palace in New York to show the industrial pictures he had made. In 1917 he issued for general distribution a booklet entitled Why to Advertise with Motion Pictures and, in 1916, he

had opened in Chicago a new plant having 7,000 square feet of floor space, said to have been the largest institution anywhere devoted exclusively to that He rather studiously avoided purpose. the term "non-theatrical," no doubt because, after all, his most prosperous line had become running the film labora-

and other features of

Chaplins"

the First National Exhibitors' Circuit of New York in 1917. He also confined

486

that store of valuable informa-

announcements,

dollar

their

possibly

first

tory for theatrical accounts, and theatres were then considered to be as they still are in many quarters the only proper show place for films of any type. It was Rothacker who printed the "million

shortly

thereafter,

included

manager; L. W. O'Connell, formerly of Lord & Thomas,

Philippi,

sales

advertising consultant; W. C. Aldous, laboratory superintendent; E. H. Spears, lately assistant to Dr. Charles E. K. Mees of the Eastman Kodak Company, as laboratory expert, and Vincent Colby, in charge of animated cartoons. At this

same time Rothacker boasted of having cameramen on staff working on as

nine

many projects, and talked of opening another studio on the Pacific Coast. From 1914 on, for upwards of twentyfive years, one frequently encounters the name of Rothacker's organization as producer of advertising subjects. In 1914 alone, the concern referred proudly to a variety of films which it had made for the lumber industry; a paper-making subject

for

Peabody,

Houghteling

Company of Chicago one for the H. J. Heinz Company of Pittsburgh, and vari;

ous items for the State of Michigan to show at the forthcoming PanamaPacific Exposition. In that early time Chicago had at least one other concern claiming

(Continued on page 208)

Page 242

The Educational Screen

MOTION PICTURESNOT FOR THEATERS ARTHUR EDWIN KROWS

Editor of

"The Spur,"

New

York City

The story of the pioneer producers continues into the second year of the first detailed history of the non-theatrical field.

deals

stallment

principally

This Eleventh Inwith Frank A.

Tichenor and his Eastern Film Corporation.

1921 the name, National NonTheatrical Pictures, and implications in the announcement of its character forty-two exchanges, library of films,

availability of projectors, with operators

were especially significant. It was clear that Harry Levey had encountered the gravest existing problem in "educational" field the whole distribution and he now, as Earle Hammons had done in a larger way, was subordinating all else to overcoming it.

and screens

him for the the same week

that task let us leave

time, adding only that in

when Levey left Universal, was taken by a young civil

his

place

engineer,

a Princeton graduate, who had no previous knowledge of films but a great enthusiasm for promoting new business. The newcomer's name was Clinton F. Ivins. So the Universal industrial di-

Champion

Arises

PROBABLY no non-theatrical outgrowth of a theatrical firm had stranger beginning than the phoenix which arose from the ashes of General Film. And I do not mean the library plan of Mrs. Dolese and

Mr. DeLorme. When that corporation had been in happy circumstances, Frank A. Tichenor, a young Kentuckian engaged in the production and distribution of stereoptican slides in New York, had bought an interest in it worth about

Then came the adverse patents which doomed the enterprise. Tichenor saw that the wealthy backers

$30,000. decision

were preparing to write off their lossses and withdraw, and he persuaded them to let him fight the battle a little longer and save the investment which meant so

much

to him. They liked his spirit and administrative ability and consented, making him executive vice-president and general manager that he might have the

necessary powers. He at once took drastic steps to cut

expenses and, by reefing the sails sufficiently, he even dared hope that he might ride out the storm, keeping the Unconcern permanently in business. happily, he did not succeed that far, although human nature being what it is, it is unlikely that anyone else at all could

have accomplished more

stood. Indeed,

in the

industry

few could have done

own

investment he salvaged what remained of the investments of the men who had shown their faith in him. And two, especially, Frank H. Hitchcock, the counsel for General Film who had been postmaster-general in President Taft's cabinet, and Frederick S. Peck, Republican ;

national committeeman, became his steadfast friends from then on. Shortly before the ultimate and in-

General Film, Tichenor formed a concern called Photo Play Productions, and under that name engaged in making what later proved to be a highly valuable property, the film evitable

collapse

Edward Peple's "The Littlest Rebel," starring Dustin Farnum and with Mary Miles Minter or Juliet Shelby, as she was known then. Al H.

version of

the theatrical producer

Woods,

vision continued.

as much. Tichenor not only saved his

who had

staged the play originally on Broadway, was an old friend of Frank Tichenor so far back that he had been the first business associate the promising young

man had had when York from Kentucky

came

New

to enter the theatri-

be remarked, incidentally, that while Tichenor came from the South, his father had lived most of his life in New England. Isaac Tichenor cal

game.

the direct

may

line,

was one

of the

first

Governors of Vermont. at

Peck owned the General Film studios Providence, R. I., and he wished to

exploit the place further for it still held elaborate lighting and stage equipment and large stocks of scenery, properties

and costumes so he had Tichenor join him in an organization known as Eastern Film Corporation, the main offices to be situated in New York. Tichenor already had his Photo Play Productions offices in the 23-story "skyscraper" at 220 West 42nd Street, newly erected by Asa Candler, the "Coca-Cola King," and Eastern Film was given the same address.

course, anyone wanting to active film business in New

start

York

City, with cutting

rooms and

alert, resourceful and extraordinarily competent, Frank A. Tichenor was a powerful factor in steadying non-theatricals with lessons learned in theatrical production and distribution.

Vigorous,

Independents and implacable enemies of

Barry opened what 1902,

film

J. is

exchange,

following

with

another,

But shortly afterward, at Los Angeles. the early vicissitudes of the Patents wars,

when

Film

General

began

own

its

exchanges, had forced them out, and they had come East to carry on In 1910 in the main opposition camp. they occupied their own building on Sixth Avenue in New York; and Herbert was secretary there of the Film Service Association. He now had with him a "licensed"

younger brother, Joseph the

tered

R.,

with

business

family enthusiasm for

it,

who had

en-

characteristic

and who was

destined to be the sole survivor of the line in it, although Herbert outlived him.

One

the

new screen

interests

then

awaiting exploitation was represented notably in the remarkable animated drawings of Winsor McCay. Herbert Miles decided to develop the line as a serious business so, with the newspaper cartoonist, Charles R. Macauley, he formed

Kine Cartoon Film Corporation, taking a suite of offices for it in the Candler Building. Among the artists engaged to produce for him were Percy L. Crosby, later to become the creator of "Skippy"; Frank Nankivell Foster M. Follette, of the New York Sunday World; Gregory La Cava, one day to become a celebrated the

;

Paramount

director

cartoonist on the

;

and Arch B. Heath, Globe and

New York

an important present subject of attention. Joseph Miles had nothing to do with this

stor-

and

age vaults, had to locate in one of the buildings approved for the purpose by the National Board of Fire Underwriters.

that

In that same building was a new film enterprise of the Miles Brothers, staunch

At San Francisco, in and Herbert Miles had said to have been the first

the Patents group.

venture. At this time, in fact, he his brother were so far estranged

they did not speak to each other. then, besides, Joseph had a totally different idea of how to succeed in the film business. In the same building, 22C West 42nd Street, he had set up a group

And

September, 19)9

Page 243

him rutting nxmis which could be rented separately by per-ons working on independent productions. As part of the

ill"

layout then was a large projection room, t<i those \\lni wanted to -how their new features to the regular distributors

open

ami

-tale

rights

buyers.

Somew

here in

scheme had figured an architectural plaster company which had seen its opportunity for a grandiose goods display. The projection room was therefore lined on hoth sides with large casts of lovely Statues, and the anteroom had around the top a deep frie/e in high relief repeating scenes from the Roman Arch of the

Trajan, or something like

that.

Apart from the graveyard

effect of so

statuary, the nxmi was the most cotnfortahle and convenient of any of

much

parlors available to public be made to accommodate appioximately 1J5 spectators if necessary. the

viewing

use.

could

Projection

ment as

was with duplex arc equipthe theatres and it was seldom ;

easy to see how the stream of traffic brought with it also a heavy volume of business for the cutting rooms. Hut, as the business increased, so inevitably did the rent and, about in the spring of 1917, Joe Miles was obliged to move. He went with his equipment and some of his regular customers first to the I.eavitt Huilding, 130 West 46th Street, and then to the Godfrey Building, at 729 Seventh Avenue. About 1937 the nization moved to the old Universal Building at 1600 Broadway. There, to this day. his widow a sister of Harry the quondam Mack Sennett (irihlxm, comedian continues the concern. It was idle.

1914,

celebrated

that he began his Film Storage, where deposit reels on call at a and with assurance of probelieve,

Lloyds

one could nominal fee

tection against fire or other hazard.

Simplex Projection Room was the National Board of Censorship which, in the spring of 1916, changed its forbidding name to the .National Board of Review, his

the group being actually opposed to censorship in the current understanding of the word. Tin Hoard was situated in the andler Huilding then. It had taken over the top floor rooms of the old (

of American Dramatists and Composers; and it was very convenient for them to carry their records back and forth between their quarters and the fifth floor screening rooms. William Mcduire, then the executive secretary, I long had known because the reviewing committee of the Censor Board originally

Society

did

work

previews attended by the pioneer trade paper reviewers. He was commonly to be seen in Tichenor's its

office,

The began

the

discussing

the

New York its

until place

films

State

the

day.

Board

Censor

work there, too, continuing was found for it in the State

Building downtown. When they left, they took Tichenor's chief operator, Abraham Jacobson, with them. Another good customer, for a time, was the American Red Cross, which expanded its wartime work

on the third

was

;

ville,

series

Florida, called

released

two

respectively,

slapstick

"Sparkle

Comedies" and "Pokes and Jabs." To these were briefly added "Finn and Haddie Comedies." That plan did not last, however; and soon Eastern Film began

threw

his

publicity

was

stated,

energy into

Everything

was

before, succumbed to the idea. In the beginning, Tichenor had, in addition to the Jacksonville plant and the small studio in the Candler Building, the

studio at Providence.

customer Tichenor had for

The

Florida studio

door and outdoor stages,

well-filled

its

fire; but, even after that, there remained a rich supply of materials with which to

make

non-theatrical

subjects.

Conse-

was where most of Eastern Film's production was done, the staff going there from New York, as the work was required. Consequently, also, a large number of industrials still circulated by various former clients of Eastern Film, show their characters moving around Rhode Island streets and quently, Providence

numerous sesqui-centennial reels were made. And, because of Tichenor's interest in politics, campaign films became the

another regular source of revenue.

Personnel

FRANK always closely.

with

F. S. Peck, president. It however, that Eastern had

been organized for several months, and that it already had produced several pictures. The best

the business of production in amazing detail, it is no wonder that many concerns which had never sponsored films

his

material.

name of

knew

of New Jersey, the American Society for the Control of Cancer, the National Board of Fire Underwriters, the Glens Falls Insurance Company, the Aetna Fire Insurance Company, and the State of Pennsylvania, for which

neighbors knew, Tichenor's concern was then just Photo Products, Inc. Eastern Film had been speedily incorporated; but formal announcement was not made to the trade until late in August, 1915. Even then Tichenor's name did not appear in the the

service or-

social

experienced in the art of begging, ready to take extreme advantage of that offer. In such circumstances, not to forget that Frank Tichenor really

tion

there.

were plenty of

ganizations,

Notable among the repeat customers which Eastern made commercial films were the duPont interests of Wilmington, Delaware; the American Wallpaper Association, the Public Service Corpora-

new

far

there

for

business and, before long, virtually all features, novelty subjects, industrial subjects and educationals produced for showing anywhere in the United States as well as a huge volume of export pictures, were being screened

;

houses.

dustry as the "Simplex" a name taken from that of the standard projection machines used in the booth mercifully cleared out the statuary and provided some cutting space for those who wished it.

scene docks and property rooms, its lighting equipment, its paint frames and processing laboratories, perhaps two-thirds of all that was destroyed in a serious

the space which Joseph Miles Candlcr Building that Frank

engage

economy

undeveloped field, he prided himself on doing the work at rock-bottom prices and he fre(which he certainly did) quently allowed his clients as much as a year in which to pay. I have heard him tell prospective customers that if they didn't like their subjects on first screen examination, they wouldn't have to pay at all. It need scarcely be added that

under his control. For awhile Eastern Film continued to seek place in the theatrical field and a subsidiary called the Jaxon Film Corporation, producing originally at Jacksonall

in the

developing

the necessity of

was disposed of when theatrical production was discontinued. As to the really extensive Rhode Island plant actually a large converted brewery with its in-

floor,

Tichenor took over. He at once reopened the projection room, then and long afterward known to the entire in-

jirofitable

Knowing this

space which Tichenor took over after they moved. In later years, when Tichenor's projection business was at its peak, he had at one time five screening rooms in the building, in offices

Eastern Film Corporation left

taking on what proved to be its proper many years, the production of industrial and social service films. Tichenor naturally had contacts with many leaders of big business, and through them he hustled many a account. stride for

The production manager of Eastern Film was Arch B. Heath, an outstanding example of the non-theatrical producer who is not deterred by budget limitations from personally accomplishing anything at all required for screen effectiveness.

all

supervised

But he did

his

production

managing along

of his other interests.

circumstances,

any

man

choose, for his

own

success,

In such

obliged

between be-

ing either an executive or a craftsman. He preferred the former, and therefore did not interfere with his workers as long as they achieved proper results. His second-in-command, his general manager, was Jacob H. Gerhardt, the beloved

former treasurer of the old

New York

The Educational Screen

Page 244 Dramatic Mirror which was now gasplast

breath in

its

when everybody

buried

fatal

struggle with a changed new world. Gerhardt, after working on the staff there under ing

imagination,

lias

given

ready championship this

Harrison Grey Fiske almost since boyhood, had been spared the pain of being in at the death by being made purchasing agent and general manager of General Film under Tichenor. When Tichenor left General Film, Gerhardt himself had been made vice-president and general manager to succeed him, thereby becom-

prompt willingness

them the

lacking

else,

This

up.

under

to share

dog,

am-

bitious undertakings of smaller men,

make

Frank A. Tichenor a glamorous, admirable figure in this history.

About 1924 he acquired a struggling trade paper which had been born a little ahead of its time, the Aero Digest. Throw-

once powerful Patents group. Arch B. Heath, long in charge of production for Eastern Film, was one of the most versatile of men. He could do in a practical way about anything the

ing into it the main stream of his abundant energy, he carried it in a remarkably short time to a position of influence and prosperity in the new industry of aviation. He followed, a little later, by buying another air-minded publication, the Sportsman Pilot. In the meantime the coming of talking pictures had made silent ones

business required, from making effective

obsolete.

ing the last of the executive chiefs of the

wood

and

photographing microscopic life, to writing vigorous selling scenarios, producing them, designing and building the scenery, cranking the camera if need be, and possibly even play-

animated

drawings

not to forget developing the and matchit film, cutting and editing ing the negative. And, oh, yes, projectstateing the picture. Even that complex

ment scarcely begins

do justice to his

work ties),

the

with his other activisucceed Herbert Johnson with Associated Newspapers Syndicate to interfere to

when Johnson

left

there

the

join

Public Ledger and the Philadelphia Saturday Evening Post. Arch was still drawing for the newswhile employed by syndicate paper Tichenor. I've had many a chat with him while he was working after hours to finish his strip. He had come into motion pictures as an animation artist, merely out of curiosity, being taken on

I became the problem employe, was the production manager of Eastern Film then, and even I could not

for

No more

lovable figure ever brought practical business methods into the conduct of a non-theatrical organization than J. H. Gerhardt of the old

"Dramatic Mirror." on the 23rd that the Providence studio had been burned to the ground. The shock was eased, however, by assurance that his job

still

remained.

was sent promptly to Providence to see what might be done to repair a certainly discouraging situation. He found that, while grave damage had been wrought, a few buildings, some scenery and a store of lighting equipment still remained ; and with these he started into production.

In 1918, to serve patriotic feeling in wartime, he even made a twelve-reel serial,

"A Daughter

Uncle Sam," which was

released by General Film. Then, by degrees, as General Film died its inevitable,

lingering death,

Frank Tichenor withdrew

from

theatrical production the inviting possibilities of

and turned to making com-

mercial subjects. of

Tichenor was temperamentally the sort man the non-theatrical field needed

for certain phases of its development. Unlike most of the so-called Big Business

the best-laid plans of mice and men gang so very aft agley, that, instead of serving the Democrats, he allied himself with the Republican Party and remained there

sumed

that

that so

many

The way

came about was

this

stated a while back, by Herbert Miles in the Candler Building, and Tichenor, at the same address, as

naturally became aware of the fact. Keeping notoriously late hours himself, he realized one night that one of the animation artists was as insatiate a worker as he was. He opened conversation with the

young man and learned that his name was Arch Heath. The acquaintance and mutual liking developed rapidly. Presently Tichenor engaged Heath to become his

general

August came to tions

22,

manager 1917

the

production.

young cartoonist

his new job with high expectaonly to have them dashed by news

slid

duties.

successful political cartoonist who might create screen propaganda for WilBut son's campaign for the presidency.

was employed

Gerhardt remained, but he naturally over into publishing

Universal.

had

as a

ever after.

to Hollytwo-reel comedies for and features for Pathe and

direct

Hal Roach

ing a part

many-sided talents. Arch had once been a semi-professional baseball player on the same team with Robert L. ("Believe-it-or-not") Ripley. Both men had been newspaper artists for the sports pages. Arch had learned catchdrawing as an office boy, merely staff cartoonists. ing the trick from the His ability had soon asserted itself, however, and he ultimately became sufficiently celebrated through his cartoons signed "Fields" (because he did not want that

Arch Heath had gone

who have come

and asmeet its problems is plenty of money and equipment, he believed, rightly and in the way men,

all

into the field

was needed

others are failing to learn

year in and year out, that the proper attack was to begin small and expand into the large. Nor had he any illusions about money coming in easily, which has been another curse of so many adventurers hereabouts. No one in his employ ever worked harder or more earnestly at relevant problems than "the boss." Then

he always was ready to gamble on new propositions, provided they appealed to the imagination the more the merrier. Consequently, at all stages of his adult life and in whatever line engaged him, he has been surrounded by subsidiary corporations enterprises requiring faith, which ultimately do succeed, and by desks, safes and framed certificates representing lost causes which he has decently

be blind to the inevitable end. But at last I moved to a new connection where I could take a salary in better conscience, continuing my tion for the theatre.

foolish

infatua-

Talking picture production equipment and the especially expensive

was then existing

;

non-theatrical

held

business,

abeyance, did not justify its installation. Tichenor considered it, of course but at the crucial moment, about 1932, along came another publishing opportunity to distract him. The old Outlook Lyman Abbott's famous to which weekly Theodore Roosevelt, one of Frank Tichenor's greatest heroes and friends, had been contributing editor was for sale. :

The news

stirred

also

the

sentimental

and together they bought it, Frank becoming the publisher. Presently he became also publisher of The Spur and the Pluinbiny and Heating Trade Journal. He had by this time moved to the Spur quarters on Madison avenue, at 53rd Street, where Al Smith was to join him as editor, and run the circulation of New Outlook to a peak interest of F. S. Peck,

of approximately

700,000 copies.

Before leaving the Candler Building he sold the few remaining bits of apparatus used by the old Eastern Film to Leroy Phelps, a non-theatrical producer from New Haven. It seemed the end of Eastern Film Corporation. Yet, if one dropped into the offices of New Outlook in 1935, he would have found J. H. Gerhardt still the right-hand man of Frank Tichenor in the private anteroom he would have seen faithful Kathryn Healy. who had joined in the General Film days. still busily clicking her typewriter on ;

the boss's heavy correspondence

the

;

department would have been seated no less a person than Arch Heath commanding; and I, myself, might have been discovered in the editorial rooms. Could it really be that Frank Tichenor art

film business ? Well other day at luncheon, Frank me while I was incorrigibly talking films, "If ever I get this pub." lishing situation in hand, maybe And he stopped with a faraway look in

was out of the

just the said to

Page 245

September, 19)9 his

which

c\es

mean

could

onl>

"in-

Many

known

well

directors.

men. tihn editors and players ha\e found Kastci n

enipliiyiiient

iltn

various

man Ticheiini-, there was always useful work atound him to IK- done. There may not ha\c heen mut h money to he made in \s

times.

the

c\prcs-ion

the performance of it. for his pnccs were low ;.nd everything had to lit somewhere

Hut qualified men and Tichi ways had a keen eye for prohahle inefficiency cuuld always drop in on him when they needed a few dolinto

the

Inidi^it.

lars to tide I"

piailical

them over, finding something do to earn it. Tichcnor wave

me my own

real

first

opportunity

direct piiiures. He e\eii permitted me to take on a second liel'ore he had

immediate icsnlts on the other. John K. llollnook was tor alxmt three Imth director and cameraman for

One

Kastcrn.

.inian

who

the

hest

was

there

remembered

Howard

Green,

became Technicolor's chief of cameia itaf) when that concern was situatc(I in IListon. II, is with the same organi/ation now, employed hy the headlater

quarters in in China.

(

aliiornia,

Howard

but,

did

tons

most

matics, in which subject he speedily had become proficient, specializing in the science of optics. In 1895 through friends of his father, he obtained his tion in the factory of the

Optical

Lubin. idea

optical

that he was quite satisfied to remain in Paris where, in his opinion, life was simpler. He quickly proved his worth and subsequently was taken over by

aider Korda's organization in England to become the star cameraman there. "The Citadel" and "Pygmalion" are recent examples of his work.

Holbrook's

first

motion

picture

October readers will be In Introduced to J. R. Bray, the artist who cornered the patents on animation processes and produced thousands of feet of important educational subjects. Here also will be found the story of the unpubllclzed teacher who probably first invented the slide film. Thus the fascinating record unfolds for the benefit of regular subscribers. Make sure that your name is on the list to receive every installment.

about practical motion picture needs, so he arranged for him to make a first-hand study. Holbrook therefore joined the camera department of the Pathe studios at Bound Brook, N. J. and, by virtue of his

arose speedily to command of the photographic division. Among the many productions on which he worked in this period was Arthur B. Reeve's 33-episode serial starring Pearl White, "The Exploits of Elaine," still said to be the longest motion picture "chapter play" ever made. When Pathe contracted to do the preliminary work for

scientific

the

training,

Whartons,

Ithaca; and. later,

Holbrook still

went to under his Pathe

served in the same Hearst's Cosmopolitan Films, being called upon there, as an

arrangement, executive

way

for

expert, for much trick photography. There were also cinematographic side trips to the Pacific Coast and to the Amazon. It was a busy time. Then, optical

Holbrook still

optical probbusiness, you will re-

Next Month

Stradling

effect,

was

necessarily

their

write, of the

and had the laboratory with which he was then doing business send him in. Stradling, working under Heath, produced such splendid iirtraits of the officials under the extreme difficulties of having to photograph them in their own offices by daylight and at their convenience, that he was kept on at Kastcrn for a long engagement. It terminated only in l')J<; when Robert T. Kane took him to France and gave him command of the entire camera department at Joinville. I heard occasionally from Harry after that, and always to the same

comparatively

the Eastern Film period, but he had been better known in the pioneer days of the industry when he had been in charge of photography for American Pathe and also for the Wharin

Holbrook in

was a color process; and he took

liberty,

young man

Af-

brook possessed valuable technical background in optics but insufficient knowledge

latest Eastern cameraman to atprominence was Harry Stradling, although before he came to Tichenor he had heen well known as a photographer of theatrical features. His father and his mule also had achieved distinction in the line in Hollywood. At about the start of the Harding presidential campaign Tichei.or was seeking an extra man to send to Washington to photograph the Republican

learned that

to Jacques A. Berst, executive head of American Pathe. Berst saw that Hol-

The

tain

Manhattan

member, was a corridor through which came many pioneer motion picture men, including George Kleine and Siegmund

was

Cresskill,

arly

The

lems.

Berlin.

leaders there.

New York, and became interested

I'.ennett,

ompany

]nisi-

Optical Company, at Newark, N. J., continuing there for ten years. In the meantime, motion picture studios had been arising, mushroom! ike, all through this area on the outskirts of

subsequently a successful director of serials for Pathe. Still another was John (ieisel. who attained disinution at staff talking-new srecl man

first

four years of training there where he had the good fortune to work under a distinguished English specialist, he started his own concern, the Standard i

inmera work ill the iirst productions personally directed hy Arch Heath. Another photographer for Tichenor was r

tltcir heyday at Ithaca, N. Y. the son of a professor of mathe-

He was

-hf'd like In mini- hack.

thing

about 1925, he came to Frank Tichenor. Holbrook left Eastern Film about 1928 join a new company organized by Catherine Carter with an address in the

French Building, 551 Fifth Avenue, New York. Since last we met Mrs. Carter she had toiled her way upward upward in business and upward on the avenue.

Now

she was preparing to enter production as well as to expand her system of film distribution. To accomplish these things she formed a four-way partnership under the name Carter Cinema Productions Company. Two of the shares

were held by Holbrook and herself, and other two were taken respectively, hy Mrs. Carter's close friend, Lida Hafford, and Alison J. Van Brunt, elderly director of safety education for the Pubthe

Service Corporation of New Jersey. Brunt, incidentally, had bought most of his safety motion pictures up to lic

Van that

time,

from Eastern Film.

came treasurer

of the

be-

new concern and

Holbrook, naturally, was placed

charge

of production. Business went very well for a while, there being, in one period, six pictures in work. The subjects mainly for the milk interestsSheffield Farms, Borden's, the Dairyman's League and others. The partners formulated high plans, one of them to realize a pet notion of Jack Holbrook's, to start a "Motion Picture Institute of

simultaneouly

were

American Industries," producing films on various great lines of endeavor. But then, as at times in all commercial activity, there came a lull. For a few weeks more money went out than came in. Van Brunt, as treasurer, became fearful and critical of the business administration. He had only a couple of hundred

own invested, having induced a friend, a coal man in Newark, to put up a small sum for part of his own dollars of his

Nevertheless when the next defor operating funds came in, he refused to countersign the check. And when Van Brunt, whom I knew very well indeed, said "No," he meant precisely share.

mand

The other partners save, possibly the coal man took counsel, and it seems to have been decided that with such a treasurer the business could not conthat.

tinue. So, one account has it, they planned to frighten Van Brunt out by deliberately permitting the outlook to become bleak. And, very quickly, Van

Brunt and glad to

sell

his friend the coal

their

man were

interest.

Mrs. Carter became treasurer now; and the relinquished fourth share was used to bring in a remarkable old-timer, Carl Gregory. His work was to be that of a camera specialist, employing the interesting in

his

"trick"

shop at

equipment

maintained

New

Rochelle, including his famous optical printer upon which the

most complicated multiple exposure efwere possible to create. But Gregory

fects

soon rebelled at the idea of being just a cameraman when he felt that his long experience had qualified him to command production, and he resigned in disgust. Lean years followed for Gregory (largely because of the coming of sound pictures) until he eventually found a place with the U. S. Forestry Bureau at Washington. About 1937 the Government rewarded him with the much. better place he now occupies, in charge of the film division of the National Archives. (To bt continued)

Page 284

The Educational Screen

MOTION PICTURESNOT FOR THEATERS By

"The Spur,"

THE remaining partners Hoibrook alone was really familiar with production, so the full bur-

den of that responsibility

fell

upon

his

shoulders. He kept at it as long as he believed the situation to be advantageous

him.

artists

ARTHUR EDWIN KROWS Editor of

New

Artist

tent

JOHN

R. BRAY, the son of a Methodist minister, had been a cartoonist on the Detroit News. Aspiring to do comics

Then, about four years from

also. Mrs. Carter was wroth over this and sent out sharp notices of the parting to clients who might be disposed to switch their accounts to Hoibrook when he found a new place.

Circle.

Among

picture-making, after the separation, he essayed at least one large production order on his own ten reels concerning the American Indian for the The client Religious Films Foundation.

was

lavish in expressed appreciation for

but restless rumor had it that Smith did all of his extensive traveling to photograph the subject in an ancient car of expensive make which ate up most of his profits before they came ". So with all men of generous spirit. his

efforts

;

Eastern Film Corporation had names

many able men in its long roster: but the greater number was of workers who found their ultimate places in theatrical studios. On the other hand, the enterprises of J. R. Bray, mainly theatrical, sent off a whole company of non-theatrical ventures. Bray's place indeed, was a veritable brooder in the non-theatrical field as will be presently seen. of

many

other enterprising

Cay's. He obtained all the information he could about methods employed, and concluded that it was possible greatly to

fortably prosperous business, with offices in 61st Street, just a little west of

Smith's

"Gertie" performance, incidentally,

Bray, like so

Smith Productions launched into a com-

The

was highly amusing. McCay stood beside the screen with a stout whip and uttered

artists of the time, tried his own hand at this fascinating new avocation of Mc-

16-millimeter prints. This situation was happier than before. Holbrook-

however, Smith and Holbrook amicably parted, Smith to produce some pictures, but to continue his laboratory primarily, and Holbrook to set up a production concern under his own name. There, at this writing, like the little old woman who lived under a hill, if he's not gone you'll find him there still. As

ances in vaudeville.

much

years,

Mc-

personal appear-

his tail like a cedar His bones are like bars of iron Behold, he drinketh up a river, and hasteth not."

film laboratory called Cinelab, specializing in the production of slide films and

other films for non-theatrical clients, they produced some forty reels for the Religious Films Foundation and pictures for the Presbyterian Board of Foreign Missions, including one made in South America. After three or four

also used by

moveth

and

a lawyer son to advise him. His next immediate connection, about 1929, was a partnership with a gentlemanly young Louisianan named Hal Smith who, a year or so previously, had established a

Columbus

Laemmle and Fox and Cay for his own few

the cartoon dinosaur, lashshe failed to obey. Gertie's tears of humiliation formed a lake; but on command she drank it up. It made one think of that passage in the Book of Job: "Behold now, behemoth ... he

withdrew

friends,

of non-theatrical film production.

commands to ing her when

the time he had joined Mrs. Carter, he

But Holbrook had other

develop and

phases

Draws a System

and his forty perfect the magic of the most useful and po-

Enter John R. Bray

"animation," one of

York City

The

Part Twelve

Blackstone Studios,

New York

City

By merging many technical shortcuts Bray's organizing genius stimulated visual education and greatly enriched the universal language of the screen. for

then

the

prosperous

weeklies

Life

and Judge, he came to New York where their main offices were situated, and achieved his purpose although his breadand-butter job became a position in the art department of the Brooklyn Daily Eagle. There he worked beside Earl Hurd and Max Fleischer. This was about 1911, when some of the first notable experiments were being made with animated

Winsor McCay's

film efforts, especially, interest of his brothers

of the easel, not just because he was an artist of great ability, but because he had proved that, as staggering as the task of making thousands of drawings for a

few not

feet of film

might be, the feat was His first release,

impracticable.

through Vitagraph, of a "Little Nemo" had involved 4,000 separate drawings. Other subjects made by McCay with were prodigious labor, equally "How a jsquito Operates" and "Gertie, the Dinosaur," released respectively by

subject,

concern released

it December 13, 1913, him $2,000, a small sum for all the work which he had put into it. Nevertheless, Bray decided, as a re-

after paying

sult of this experience, that the line might lie developed into a paying proposition

for

the

further.

person who would organize it In pursuance of that idea he

resigned from the Brooklyn Eagle and opened a studio in the Neptune Building, at 23 East 26th Street, New York City. He had his magazine assignments to carry him on, but his responsibilities had increased, for he had married at the same time. is

ably

made

drawings.

had stirred the

simplify the current methods of both drawing and photography. Secretly, in a little farmhouse in Ulster County, N. Y., he made one short subject to test out his theories. It was based on his own newscomic character, "Col. Heeza paper Liar," which was popularly supposed to have been inspired by the hunting exploits of Col. Theodore Roosevelt, and was delicately called "Col. Heeza Liar in Africa." He sold this to Pathe, which

In Bray's case, though, it probincorrect to say that matrimony

his

burden heavier, for Mrs. Bray

completely in his interests, and managed him zealously from then on for joined his

own

protection.

Bray's first important move toward organization was to buy and patent as many of the basic methods of animation as he could. Stories of these negotiations are vague and usually conflicting; but he did take out a number of such patents from 1913 to 1916. In December of the last-named year Bray Studios was incorporated with a capitalization of $10,-

make "animated cartoons, photographs and advertising." The three prob-

000, to

Page 285

October, 19)9 most

points covered by tbe were tbc use of drawing "ii <ctluloid sheets so that a single background could >how tbniugh, making it unnecessary to draw it again each time ably

Bia\

p..

vital

lint-

;

the

celluloids

places \\lu-n- lines on the background and the celluloid drawings conflicted; and tbc "opa<|iihiK"

ill

mi [j on tin- drawing board and animation stand, with corresponding perforations in the sheets to keep the drawings in register under the tin-

ame.ra.

The peg-and-perforatioo luxe

limn

("inr

said Barre, a

idea

Raoul

then working in New Ynik:aiu! there have been insinuations, too, that Bai re had casually mcntiiiiu-il tc, l!i ay tbc celluloid scheme as one used in Paris. But. in all events, MIS to have purchased, for a naclian

artist

'iini

satisfactory

in'

whatever

muiiej,

Barre had of his own to offer. In March, 1915, Bray began a regular M-ties of animated cartoons released as part of the "Pathe New-."; and their instant success led nearly every other important producing company to seek similar product. Kdi-on followed quickly with

Barre's

Grouch

"The

scries,

early in 1917, Bray and Hurd combined their patents as the Bray-Hurd Process Company; and to this combine most of

editors,

the

demar

companies

using animated cartoons capitulated until 1933 when, I believe, the principal patents expired. To obviate possible complications through the veterans, Winsor Mc-

producing

large

Cay and Paul Terry animator of "Farmer Al Falfa" and the later "Felix the

Cat"

Bray

them perpetual

said

given

under his patents

licenses

without charge. Bray were four primary

have

tells

that there

one

patents

Hurd's and three of his own. Hnrd is working today as an Walt Disney in Hollywood.

believe

artist

for

The Pictogroph

;

thought, naturally, about all possible forms of expansion. Suggestive influences were the screen "magazines" ficers

new

printed journals on popular one of the items contemplated was an educational reel. I was one of

science, so

Animated

Wallace

A. Carlson jounced as chief animator for mu Carl Francis Lederer became iay the artist lor Lubin and so on. The .,

Chaser";

;

now

began to see the new line, and set about developing it; but, to their consternation. Bray at once started suing 'V.ued

really

obtaining

injunctions

was announced settled

summer

MIL

ster,

nullify

peared

with

another

development, the Barre-Bowers Film Corporation, of Jersey City. N. J. One artist who really had not been caught unprepared was Earl Hurd, creator of the

"Bobby Bumps"

series.

had acquired a few important rights of his own under the law. Bray needed access to those as

Hurd

did to his. So,

sults

wan and unhealthy. At the close of 1916, when "Paramount Pictographs" had been running thus disappointingly for about a year, J. R. Bray, with his expanding establishment, proposed to Hiram Abrams, then president of Paramount Pictures Corporation, that the entire matter of producing the "magazine on the screen" be referred to him. this

in February', 1917,

had

proposition

been

showed satis-

rest

magazine

in the original

proceeded creditably for full resources of his

reel

staff,

with most of the ingenuities now to characterize a successful ani-

known

mation

were

studio,

thrown

into

the

reputation grew. Rowland Rogers, a studious young man with

enterprise,

and

its

an impressive scholastic background, was Leventhal

may not have been first animate technical subjects, but he certainly led in doing that imto

Lederer. then of the patents; but

was dropped, too. meantime, tbe outraged other artists became very businesslike. They incorporated and applied for patents also. Even Barre seems to have felt that he had something left to protect for, in June. 116. he incorportaed Barre Animated Cartoons with an address at N'yack. N. V.. and in October. 1917, ap-

the scenarios. The featured reincluded footage on how to sell goods and lessons in smart table manners. Nevertheless, the reel continued edit

some months. The

that the difficulty and, in

the

But

films.

Then, in desParamount officials arranged peration, with the staff of the magazine System

was appointed business and publicity manager of Bray Pictures. Under Bray's capable supervision the

portant work in sufficient quantity.

that suit

own new Alaskan

project,

of 1917,

preparatory to the release in parts

had been closely interested

out of court

1918 by Carl

list

his

Paramount publicity department, and Nathan Friend, a brother of Arthur who

Palmer incorporated, his cartoons then being released by Educational Films, Inc. Bray, himself, was

the

the of

one-half being an animated cartoon, an educational miscellany. Edward Lyell Fox was transferred to the

But Bray replied that no one before himself had applied his particular methods of simplification. In the fall of 1915 he sued Harry Palmer as a test case. Palmer stood his ground, Gaumont continued the release of Palmer's "Kartoon Komics" on split reels with travelogue.s, and Winsor McCay and J. Stuart Blacketon declared themselves ready to lor him. When time came for testify it

New editors were added to the staff. George B. Shattuck, for instance, Vassar professor of geology, was now named in

the

in-tancc.

been

their

reel,

and

nther artists declared that everything in the process had been used before Bray had employed it by Winsor McCay, for

had

output was not noticeably than competitive releases already established in the market. that

better

It was factory and had been accepted. officially stated that "Paramount Pictographs" henceforth would be a split

judgments, was not a simple matter. The

trial

The project Babson, statistician. went through the usual growing pains endured by novelty reels; and the sponsors were speedily discouraged to learn

that

infringement-'.

However,

Announcements

;

artists generally opportunities in

A. Sleicher, editor of Leslie-Judge; WalKaempffert, then editor of the Popular Science Monthly; and Roger

bookings remained scant.

IN 1914 the new organization known as Famous Players-Lasky Corporation, producing Paramount Pictures, was then and its ofstarting its upward climb

and

announced in the last days of were Raymond L. Ditmars, John

1915,

who were proposed

those

to edit it; but

aspired then to the feature film and was cool to the idea. I

Among

those

was Arthur

who were

idea,

personally

and

possibilities

however,

Friend, the treasurer of

Famous Players-Lasky. the

not,

field,

convinced

becoming of

prosecuted the

investigating its

and

practicableness. reel, first called

Accordingly,

"Paramount "Paramount

Pictographs,"

weekly Xewspictures"

and

then

was started, with Edward Lyell Fox, well known war correspondent -photographer, as managing editor.

Valiant

efforts

this reel to

make

were it

bestowed

upon

popular. Its associate

assigned to collect likely material from all reasonable sources and to edit it; and lesser men in the studio who exhibited previously unsuspected talents in the new But line, were encouraged to produce. as far as Paramount commitments went, in vain and. in a matter of it was all one year more, the arrangement was broken off. Bray, retaining the name, then moved to a release plan through the new Goldwyn Pictures Corporation but the "Goldwyn-Bray Pictograph" en;

dured

only until

about

the

middle of

1920.

Before

Paramount

definitely

decided

part in the experiment, there seems to have been a period of perhaps

to end

eight

its

months

which

continued at

In department." charge was a young man named Carson. He had been a science teacher in the Los Angeles High School. Pursuing his inleast

terest

"educational

pictures

he had seized as his

Page 286 first

The Educational Screen

opportunity "to head

assistant studio.

a place as

in",

property-man in a Hollywood His most notable service, while

he occupied his chair as the last editor of "Paramount Pictographs", was as producer of an exceptional scientific item called "The Why of a Volcano." Scenes borrowed from it are still doing service

many

different

educational

subjects.

to have

Bray seems

emerged from

this

rather hectic experience with the rights to not only the title "Pictograph," but His to most of the material produced. non-theatrical catalogues, issued there-

thousands of feet on subjects which had been shown theatrically in the There were the interest"Pictograph." ing experimental films, far in advance of their time and still significant to the industry which has forgotten them, made by Hugo Munsterberg, Harvard professor of psychology. They were grouped in the catalogues as "The Mental Faculties Series." Also, pictures on the Montessori method of teaching, Bentley snowflake studies, and photographic advenafter, listed

the

Masonic Temple Building

Max

ton-on-Hudson,

him

briefly for

the

to Irvingedited

Fleischer

two novelty

releases

"Reelviews" and "Searchlights."

digressive

all

this

may seem

has a distinct bearing on the expansion of the American non-theatrical field. skeptic would have all doubt removed by reading a list of the personnel of the Bray organization over the few years immediately after the inThere corporation of Bray Products. to be found are, in addition to Bray and

now,

Lyle Goldman, Jack NorLoucks, Rowland Rogers and many more who have appeared or Fleischer,

Arthur

ling,

made with the aid of Dr. Sisson's deep-sea diving machine. There was a variety of cartoon material. Producing a half-reel of comic animation each week gave plenty of employment to many artists. There are said to have been forty artists there at one At one time or another during period. the very active years say from 1915 to about 1923 most of the leading men tures

the

had worked

line

the

Bray

When Bray

work.

the Fleischer left

Brooklyn

to come Eagle he wanted along but Fleischer preferred a steady job to a future so speculative. Perhaps a dozen years later, however, the per;

reports of Bray's success stirred Fleischer to investigate possibilities. With his younger brother, Dave later to become one of the best "gag men" in carsistent

toon work he studied the broad situation and concluded that the real opporfor exclusive service were to develop better "timing" of action and to achieve a comparative smoothness of tunities

movement. for

Accordingly,

about two years, in

their spare hours, the Fleischer Brothers worked on their first "Out of the Ink-

When

well" subject.

was completed

portrait of Jack Norling, the seriousness of which belies the habitual good nature of an extremely able worker with a wide circle of friends.

who

prominently, in one connection or another, in these pages. Their leaning toward non-theatricals will

appear

passed muster,

set

In 1925, the critics agog. transferred his activities

Urban had

when from

Bray's artists was J. F. Leventhal, with rather a flair for scientific animation. He joined the studio group as

an architectural draughtsman

become a screen

tempts

realize

who wanted

cartoonist.

that

His

at-

ambition proved

good example of it was "A German Submarine Mine-Layer at Work," appearing in one of the "Paramount Picto-

The Bray

natural. its

members,

their

patents, all made the Bray office a likely place to apply for any camera novelty

graphs."

remembering, of course, that the usual

tion

new

his intended picture first in

terms of animated charts, "phantom" drawings and

Ricker. friend of Walter Yorke and later belonging to the War Work Council of the Y.M.C.A. It suggested to him the

in general, rather than in those of humanness and fidelity to nature.

possibility of using animated for the training of American

client

non-theatricals

thinks of

trick effects

These were at their best

For Bray's

to be seen in profusion and in the Bray "Pictograph."

part, also,

he had anticipated

non-theatrical expansion

and had

deliber-

regularly on staff and those outsiders who merely turned over occasional business on commission. Thus, he had certain selling arrangements in the Chicago-Detroit area with Jamison Handy, probably an old acquaintance from the days when Bray drew cartoons for the Detroit News. De-

which previously really was something

Street.

number, their proved achievements, their individual retheir facilities and their sponsibilities,

careful to differentiate between salesmen

effects

;

group, by virtue

was

it was, in New York. talking; and thereafter the Fleischers were leaders in their I recall the vastly inespecial line. creased effectiveness of the cartoon as made by them and, compared with the ;

rical producers today and apparently nobody particularly objects. Handy was familiar with Bray's cartoon line because he had been comic-strip editor for the Scripps-McRae newspaper His brother, Ray D. Handy, syndicate. had been a cartoonist of some reputation. Jamison doubtless could have obtained all the animation he wanted right in Chicago had it not been for the reIn the strictions by the Bray patents. loose sense, of course, he was a Bray salesman. He probably was the agent who brought in the group of Bray industrial accounts which included the Delco Company, the Northeast Electric Company and the Burroughs Adding Machine Company. Another reputed Bray "salesman" was Rowland Rogers, editor of the

unsatisfactory, so he delivered an entirely new line of material which Bray presently exploited as "animated blue prints."

think

blinking, jerky

propriation of credit patronage remains a practice among the non-theat-

common

Broadway

Bray to supply the required footage and the ultimate customers were then cheerfully listed as Bray clients. This easy ap-

Leventhal

ately courted it, even building up a sales force to solicit industrial accounts.

It set

need of the particular sort of product in which the Bray animation department He merely arranged with specialized.

AMONG

He liked it, but they took it to Bray. suggested improvements and had the brothers carry them out in his own shop for about six months. The release of the first of the series to reach the public was made by S. L. Rothafel at the Rialto Theatre,

an excellent customer, for he ac-

tually represented and headed an industrial film concern in Chicago which had

Wall

Credits were given notably to C. T. Anderson, Walter Carlson, Max Fleischer, W. L. Glackens, Milt Gross, Earl Hurd, Pat Sullivan and Paul Terry.

MAX FLEISCHER, subsequently with Bray, was fairly late in coming into the

rather,

"Pictograph," certain clients apparently having been brought into line because he was the nephew of H. H. Rogers of Standard Oil, with useful connections in

Studios.

Bray Products

Most of those who were with Bray in the active time recall Handy as a salesman. But he was not a salesman in the sense so carelessly implied. He was,

His sales representatives were picked for the excellence of their contacts as well as for their ability to hustle, but, in considering their number, one must be

however, was Bray's home town he was born there. troit,

Some of

of this

our

film attracted the atten-

old

acquaintance

Maurice

diagrams doughboys in the A.E.F. and Government officials being agreeable, the order to proceed was ;

given to Bray. In February, 1918, therefore, Leventhal was assigned to Fort Sill to gather data. When he returned, however, he had an entirely different scheme, which was to animate blocks, representing the military units, by that same method which had been used by J. Stuart Blackton years before, apparently to bring children's toys to life. The mysteries of this were unfolded before the fascinated eyes of Leventhal's cousin, Francis Lyle Goldman, of St. Louis, a young architect with a bachelor of science degree Illinois,

who was

from the University of finding his profession

an incomplete fulfilment. Goldman's fertile imagination was kindled by what he saw.

One

suggestion leading to another,

October, 19)9

Page 287

he was taken on by Bray.

U-came

tion, too,

cal, a

wa-.

speedily

animawith a leaning toward the medispecialist

scientific

very useful bent, as it proved. It loldman who did the celebrated mov-

human larynx showing how a

representation of the

ing for

"I'll

the

lograph,"

person talks.

became known, for publicpurposes, as "Director of the Bray Motion Picture Engineers." In that capacity, and notably with the assistance of \V. ]. N'irgenau, he developed methods for many sorts of pedagogical pictures, on Bray's patents. An outcome of I

exrnthal

ity

activity was the notable series of twelve reels, on communicable diseases and personal hygiene, called "The Science this

iie."

was

produced

originally

under Government

supervision for general educational use; and even today it remains one of the most serviceable productions in that especial department. In October, 1024, the U. S. Public Health Service, under supervision of SurgeonGeneral II. S. Gumming, issued a group of lectures to be delivered with "The Sri. nee of Life" in high schools and colleges.

"Government insufficient as

supervision"

entirely

an explanation of the mak-

ing of "The Science of Life." The dominant spirit was Dr. Maurice Ricker, who ui. >tc and directed, for the United States

Public Health Service, the production for whirh Bray obtained the contract. The circumstance] required, of course, that Ricker should be working frequently at the Bray Studios. And because there is so much of interest still to be told con-

cerning that association, it is worthwhile at this juncture to inquire more attentively wlio this man Ricker was. He was born July 18, 1869, at Wataga, Illinois, whither his people had removed

from the

\ew

lampshire

home where

ancestors had settled in the seventeenth century. He was a graduate student of the University of Illinois and obtained his bachelor of science degree at his

Science

.ii

Life" and his ability to direct

cannot be questioned in the face of his extraordinarily well-adapted background. Another important Bray instructional it

was "The Elements of the Automade in collaboration with the U. S. War Department, or, more particularly, with Major R. A. Osmun of the Quartermaster's Corps, Motor Transport Division. The motor transport pictures were part of the Government's series

mobile,"

duties

lecturer

year

107 educational subjects then being studied in more traditional fashion by approximately 105,000 veterans. One of the contracts was for the making of thirty-five sets of ten reels each, which the

gives some idea of the plan for simultaneous showings. But there was plenty or red tape and a formidable system to

be met in reaching the ultimate consumer. When the pictures had been completed, approval and acceptance had to come from representatives of the Motor Transport Corps. After that, an official of the

War

Plans Division of the General Staff had to approve and accept. Then the pictures were to be taken over by the Education and Recreation Division, Storage Service

the

from which the

Quartermaster's Office, were supposed to

reels

be sent over the world to all military departments of the Army, as well as to those places in Panama, Hawaii, Germany and the Philippines, where the various Army schools taught automotives.

However, it was in this very year, 1920, that the wartime regimentation of the United States was reluctantly breaking

down once more

pursuits of peace.

into the independent Whereas, during the

principal

the

Bray

was

association,

social

hygiene.

restless souls to depart.

do "Felix the Cat" and his clever "Aesop's Fables," one of the most popular animated subjects of the silent film days and Frank Moser, long afterward left to

be Terry's partner in producing You see, "Terrytoons," went off, too. animation is that peculiar sort of work to

which

for successful business than one animators, persons tracers, "opaquers," "in-betweeners" and

requires

so on

and,

head

when an

his

individual left

own new

usually tried to take a

Bray

enterprise,

number of others

along. It is

not to be supposed from

course, that Frank in the second line.

this,

Moser was a worker For two years, be-

ginning in 1910, he had been of sufficient newspaper importance to substitute for J. N. Darling ("Ding"), as chief cartoonist on the Des Moines Register. In 1915 he had done a series of animation subjects for the Edison Company in New York, and a year later he had founded the animation department for the International

News

Service in the same city, "Krazy Kat," "BringFather," "Jerry on the Job,"

animating the ing

first

"Happy Hooligan" and

"Little

Jimmy,"

It property. appears that, on Bray's ready promise to distribute it, Rogers and Handy had bought it. Then Bray, so that story goes, couldn't carry out his part of the bargain and they sued him for non-fulfilment of contract and back salary, winning a judgment of $18,000.

Des

1927, long after his that he became assist-

This seems to have happened in the time when Bray included in his activities the promotion of pictures accredited to the Dayton Photo Products Library. Specifically, the Daypho idea seems to have involved a paper film for "opaque"

His authorship of "The

Out

own men. It appears that Jam Handy had told Rowland Rogers about a motion picture collection in Dayton which seemed to be a desirable

for

pictures began very early, apparently stimulated in the main by his use of stereopticon slides for lecture purposes involving nature study and

first

Way

Paul Terry had been one

brought by two of his

educational director of the United States Public Health Service, and he maintained that connection for seven Some of his subsequent history years. will appear as this narrative proceeds. interest

of the

artist

Bray had difficulty not only in keeping his organization intact, but he was obliged to meet suits, including one

ant

His

This

THE

Bray during the Paramount period. When he joined Terry in 1919 it was to make "Aesop's Fables" until those amusing drolleries had reached the astounding number of 430 separate releases.

School, concluding it in 1918 to join the University of Iowa expedition to Barbadoes and Antigua as It

long list of producing companies which were adversely affected by it.

then current comic strip favorites in the Hearst newspapers. He was with

Moines High

biologist.

but

;

all

Following that he began a twelveperiod

cited

may

the

Montana University Biological Sta-

tion.

cancellation

industry

contracts, for instance as more direct reasons

In training. September, 1920, Major-General P. C. Harris, AdjutantGeneral of the Army, announced the award of contracts to produce such films. The pictures, including these from Bray, were to be used to illustrate a few of

tional

Various other teaching and lecturing experiences carried him on to Burlington, Iowa, where he resumed as a high school science teacher from 1899 to 1906, concurrent

the

theatrical

change was in the air everywhere in 1920, and Bray Products was no exception in

Drake University in 1892. From 1892 1896 lie was a high school teacher of science at Marshalltown, Iowa, where he married and became father of the daughter who, in due course of time, was to become the wife of William Beebe.

with

within

great plan for rehabilitating the soldiers returned from the World War, by voca-

until

the

storm period, workers had clustered, through a sort of instinct for mutual protection, they now went forth bravely on their own. The Bray organization bewan to disintegrate like most of the others which had prospered in the abnormal circumstances leading up to and continuOther causes ing throughout the War.

Arthur Loucks: the business half of virtually

the only

offshoot

the

Bray organization which has gone on uninterruptedly in non- theatricals.

The

projector was to the difficulties of illumination in all such devices, presented only a small picture on

projection.

quite

special

cumbersome and, owing

The Educational Screen

Page 288 the screen.

was backed

originally by well known as a music publisher, and then taken up with enthusiasm and further financing by the Wurlitzer Music Corporation of Cin-

Mr.

Willis,

cinnati.

But, how ever accurate or otherwise these details may be, it is a fact that Handy and Rogers here parted company with Bray, Handy keeping his headquarters in Chicago to become one of the largest non-theatrical producers in that area, and Rogers, as already stated, setting up his own non-theatrical busi-

New York. New York

ness in

scene which for the

It is the

moment concerns us

for the purpose of

and immediate attention naturally centers there anyway, because New York had been the real war capital of the United States, with

keeping perspective

many

;

non-theatrical

ventures

the varied commercial there at that time.

interests

serve

situated

from Bray Products and for he was not a man to enjoy changes of allegiance, was Jack Norling. Jack was familiar enough with animation no one could be with Bray In the exodus reluctant to go,

fitting animation, had become fast friends with Arthur W. Carpenter, a kindred soul over at Prizma, where they made color Film color processes constipictures. tuted a natural line of inquiry for Goldman because pictures of anatomical sec-

human larynx, for instance, almost demand hues and tints for proper tions, of the

Arthur Carpenter was "process manager" for Prizma, but he wanted to develop a color separation method of his own; so it was proposed that he, with a little money which he had put by, should join Goldman in forming their own concern. That was how the Careffect.

penter-Goldman Laboratories came into existence. They had hard sledding for a time; but at the end of three or four years of plugging, they found themselves nonpossessed of a specialized, scientific, theatrical production service which was well known and really prosperous. But Arthur Carpenter was by nature and temperament a research man, not rereally interested in just commercial In 1908 he had been an associate sults. photographic research in the Jefferson Physical Laboratory at Harvard. After that he had held, among other identities, and research as radiographer posts of the Massachusetts State in

without developing a certain expertness that way- but his prime job had come to be to write and to produce stories to be made out "on location" and sometimes using actors. There were not many of the Bray crowd who could produce pro-

photographer director in Psychopathic Hospital, field the Peabody Museum Expedition Service and officer in the Chemical Warfare Serv-

fessionally in that sense, away from the animation stand ; yet he had somehow ac-

was one during his expedition work he of the archaeologists who opened the way

quired the knack. He had been a photographer in the Army, and Leventhal, in producing his Army pictures, had taken

him on and brought him into the Bray group. But Bray couldn't afford to keep him any longer with the business dropping

off,

now had

and Jack

to help

him-

self.

As with

all

the other

Bray men doing

production, Norling necessarily made outside friends by working

creative

had

intimately with clients in developing pictures to their liking; and it was one of these who opened the way to his dignified The friend this time was departure.

Arthur Loucks, assistant advertising manager of the Burroughs Adding MaArthur felt that with chine Company. himself to care for the management and Jack to produce, they would make an excellent

combination.

So,

indeed,

they

ice for the

Army.

It is said that

some of those ancient Mayan ruins

Yucatan. For awhile he worked very conscienthe tiously with Goldman; but presently to his archaeological urge returned him former interests. Perhaps, too, his strong found Frank's imsense methodical But bit disturbing. a methods promptu he was prompt to realize, when his attention was called to it, that, although he had invested money in the CarpenterGoldman Laboratories, he was rarely in

to give the firm his and he proportional share of attention; out his to sell like a gentleman, agreed, interest at Frank's first opportunity to take it over. In the meantime Goldman had become more than ever impressed with the necesof having a pedagogical point of

town long enough

sity

view

supplement his

own

technical one

did.

Hence, about 1923, the new non-theaLoucks & Norling loomed on the New York horizon. They had so they began ruptured no friendships by taking offices in the same building with Bray and by contracting with him for as

real

of his business as they could handle. continued doing it almost tip to the

advent of sound

Then they were

pictures in obliged to leave

1926.

Bray

with his financial worries, moving to other quarters under the sheltering wing of Du-Art, a commercial film laboratory 55th Street.

Carpenter-Goldman

in the original exodus from Bray's was Francis Lyle Goldman and his separation also was friendly. By this time Frank, in his dogged but cheer-

PARTICIPANT

;

ful

for

scientific

subjects

be-

own

his

pervisor of visual education in the Birmingham, Alabama, and Atlanta public schools. During the War he had served as a first lieutenant in the A.E.F. Air He was a native of ClarksService. ville,

Arkansas. he was taken on he more than

When

Goldman's expectations ; and justified with his energetic and scientifically precise

assistance,

the

Carpenter-Goldman

Laboratories waxed stronger than ever. They took a suite of fine offices in the Canadian-Pacific Building on Madison Avenue. They engaged a staff of perhaps a dozen artists and animators. They did

work

for their competitors and employed those friendly business rivals to handle odd jobs for them whenever practicable. It was a happy time until sound pictures came, although, in the case of this firm, the revolution swept it to greater heights. Only we must not anticipate the course of our story.

Man Who Walked

The THE

same

post-war

Alone

circumstances

which had so sorely hit Bray Products, had turned the eyes of others toward in non-theatrical production. of the most interesting of these newly attentive was another New persons Yorker, Mason Wadsworth. He had been

possibilities

One

an actor,

believe,

and was known also

emiment lady mediDuring the great conflict he had been close to the work of the National Industrial Conference Board organized in May, 1916, mainly to promote the welfare of American manuHe became an intimate facturing lines. friend of its president, Magnus Washing-

as the husband of an cal

specialist.

ton Alexander.

Seeing the enormous power of all these great organizations moving shoulder to shoulder toward the great objective, victory, and seeing, moreover, that they held together for awhile even after the War for with all their pooled interests they not

to be

disentangle

made by

continue the story of the Bray alumni, but moves quickly into the curious history of what happened when the National Industrial Conference Board be-

existing

interested in what a film

can do as an instrument with which to influence public relations. The rise of Carpenter & Goldman, Rufus Steele, William and especially, on Brotherhood Carlyle

age

The latter had 1893, Coffman in 1895. been engaged in commercial production for only a couple of years, but in 1922 he had entered upon a year's work as su-

common

this occasion,

Coffman was a man close Goldman was born in

lanta, Georgia.

will

The November installment

came

subjects.

once

Wads-

worth conceived that there was a fortune

Next Month

;

educational

Seeking some person to supply it, he found, about 1925, Joseph W. Coffman, vice-president and production manager of the Graphic Films Corporation at At-

could

trical firm of

much They

working upon

Ellis.

inspiring

them with another

purpose, to advertise their goods and services on the screens of the world. It

very sound principle, to seize sources of energy which have

lost their outlets, and give them new channels of useful service; and in 1920 there was plenty of evidence to support

the reasonableness of

Wadsworth's

plan.

newspapers and national magazines currently proclaimed that American theatrical films, witheut specific intention to do so, were teaching American methods and selling American goods around the globe. Special

articles

(To be continued)

Page 329

November, 19)9

MOTION PICTURES NOT FOR THEATERS By

ARTHUR EDWIN KROWS "The Spur,"

Editor of

\nSVVORTH

events,

the

and fall oi Pilgrim Pictures, emergence oi Carlyle Ellis, and

the

extraordinary non-theatrical career oi Willard B. Cook's Pathescope Company.

York City

experience from watching

made a

then

New

other remarkable

Among rise

film

on the screen

of the neighborhood movie house. The difference lies not only in what the usual

film

theatrical

prove his point, an excellent promoting the use of "Zonthe trade name of the Carrel-Dak in ite" solution developed in one of the base hoswidely

pitals anil

known

to the

exhibitor

considers

"high-

brow"

attitude of the non-theatrical spectators, what they bring to attend the presentation with, but also in how they bring

American

This film was circulated in theatres paid for by the sponsors in -..me places and shown freely in others,

Psychologists who follow this thought through will discover why delighted nontheatrical audiences will so earnestly ask

-oldier- in wartime.

it.

but distributed generally to the great satisFrom that pic,,i" all concerned. i.i, ii,, M ture Wadsworth proceeded to others, all

and inproduced with professional skill telligent technical economies comparable in low cost- with tho-e clumsy ones effected by the other cheese-paring little

there, they'd be the first to complain of boredom and to condemn the manage-

producers. did not actually make the he engaged for the purpose able persons within the

The obvious result was that his shown side by side with those of almost any regular non-theatrical producer, eclipsed them completely in entertainment value in acting, settings, photography and print quality. others Superficial comparison made the look so pitiful, in fact, that Wadsworth to consider

the

regular

producers as competitors. shut them all out as unworthy of con-

non-theatrical

ition.

working facilities

Whereas

the

others

were

complete amity, lending their to one another and farming out in

parts of jobs

hand

to those of their

number who could handle them according

own standards of efficiency, Wadsworth played consistently and

their

an doing he

must be confessed

courageously, absolutely lone hand.

have seemed unfriendly and rude, but he was certainly honest. This was all very well while he bombarded the theatres with his productions; but his position there was an essentially

may

temporary one, for theatrical audiences called upon to see prolonged advertising, when they have paid for disinterested service, become resentful, and eventually Before long Wadswill have none of it. worth found himself obliged to consider

non-theatrical the particularly distribution preferred by his who had no funds to spend on

forms of clients

In this place he discovered, undoubted chagrin, that, despite his record of proved accomplishment, customer after customer was whisked from under his nose by the small alleged producers he so much despised. At first he attributed his predicament to the shortsightedness of the minor emcirculation.

to his

ployees

who had their

public relations departments the bestowal of contracts in

power; and he appealed to more

these"

"like

pictures

in the theatres

when,

were screened

films

for

are

these

them

ments for poor showmanship.

Pilgrim Pictures

THE

National

Board

Rufus Steele initiated and conducted one of the earliest studies of the value of motion pictures in indusThis portrait was trial relations. made in 1923 in the Redwood Grove Bohemian Club of San of the Francisco to which he belonged.

When

that

difficulty

failed,

must be

Conference

inspired

theatrical field.

over their heads. he figured that the in the lower prices

asked by his rivals and, for the sake of at least proving his point of superior service, he deliberately underbid them

Of course, all to no substantial purpose. as he went along in this fashion, rather baffled and uncomprehending, he found those persons he little sympathy from had rebuffed. As a matter of fact,

was

also

much more

was

all

significant,

although

about about

Only a few persons know this day. I do not remember

brought

tjuietly.

precisely,

executives

influential

Industrial

a non-theatrical enterprise which was conceived much better within the existing limits of the non-

his

limits

pictures,

refused

selfsame

pictures; but the best avail-

budgets.

finally

shown

himself,

He,

non-theatrical

know why

not

terms of individuals,

who

was back of it. Perhaps I never did know. The names of the New York bankers, Dillon, Read & Company, show and I recall that dimly in my mind Dillon was assistant to the chairman of the Industrial Board not to forget that Dillon, Read & Company represented the Hudson's Bay Company in the later financing of Educational Pictures. But ;

I'm not certain here.

The

enterprise

The

was

called Pilgrim Pic-

Hollywood production man's usual mis-

was Rufus Milas Steele, the same who in wartime had been editor of the Division of Films. Editing, however, had not been

understanding of the peculiar, unique requirements of the non-theatrical field. He always thought of the non-theatrical message, it seemed to me, as a bitter pill to be sugar-coated with "entertainment." The less the spectator suspected the advertising "plug," in other words,

other activities he had supervised operations in a large factory where motor trucks were made for vital uses behind the lines. Partially through circumstances such as this, and as result of a vigorous personal inclination, he had learned a

Wadsworth had

the

then merely the efficient

successful

the picture

was

opposite position was that advertising information might in itself be sufficiently interesting and valuable to be presented on its own merits without trying to sweep the spectator, with an emotional force, into a favorable

rated.

The

opinion against his better judgment. In non-theatrical audiences the expectation of entertainment in the Hollywood scense, thus is negligible. The pleasure of attention there is in the wealth of associated ideas which are conjured in the strictly non-theatrical circumstances of presentation. Seeing a picture at one's church, or grange hall or school, is actually a vastly different psychological

tures.

Steele's

sole

active,

discernible head

interest

then.

Among

his

great deal about American industrial problems. He once told me that, under an assumed name, he had written an industrial textbook for use in schools. There was a reason for the pen name, Steele's concern with the century's eco-

nomic problems and how their solution was being attempted by Big Business, his truck factory experience and his authorship of the textbook, all belonged to a confidential position which had been made to his measure the post of public relations counsel to the National Industrial

Conference Board, itself. The chief problem currently confronting that group was labor's antagonistic attitude toward capital in the latter's regulation of employ-

The Educational Screen

Page 330 believed that the meas-

The Board

tnent.

ures

were constructive and

taken

just,

and that labor's objection was based on The remedy, in the misunderstanding. eyes of the Board, seemed to lie in the education of labor; and Steele was assigned to accomplish what he could in

from

Steele of the

work,

film

necessarily thought importantly screen as a way to the desired end. So, mainly with the backing of the Board, he organized the non-committal firm PilPictures. His first intention was to

grim

actual working environment, especially in industrial plants where films already were shown commonly at the noon hour for recreational

labor

its

Steele took an office in Boston, and there, close to the heart of the great New England mill area, he prepared out-

purposes.

lines of three two-reel test subjects

which

with the neceswith sity of replacing obsolete machinery listenup-to-date equipment, the folly of to professional agitators, and the im-

were to

deal, respectively,

ing

portance of team play. The productions were very

inexpen-

made, and Hollywood would have viewed their unprofessional crudities with sively

with pained eyes; but they fairly glowed something in which Hollywood had been unconspicuously deficient a profound, mistakable sincerity. When they were with completed, arrangements were made Educational Pictures to distribute them. to the plan

Then something happened

antagonism of labor had somewhat subsided, I understand and the three But they really films were set aside. the

represented

notable

start

right

To produce

Carlyle

which

Ellis's

meant

these latter-day moralities,

"Autographed that

strikingly artistic signature trade mark on the screen

own

his

became

his

opened for was one long nar-

would

Building, within easy reach of the Kineto

tions with

Urban

Charles

this addition to his circle

welcomed

with character-

and assigned to work with Ellis, in splicing prints and matching negatives, a girl named Helen Cummings. She, in later years and over a long period, became Ellis's very efficient and militantly loyal general office assistant. She has long since retired to domestic life, is the mother of three fine children, and lives in Kokomo. Urban's hospitality was broad and istic

friendliness,

was producing novelty repractical. leases of various sorts and he had many ;

an odd bit of work to be done. Of course, he had producers of his own. There was Ashley Miller, formerly of the Edison Company, for instance, and James A. Fitzpatrick, an earnest youngster, who

was then making

for

Urban a

"camera visits" shrines entitled "American of

series

pleasant

Men

literary of Let-

Today Fitzpatrick is justly celebrated as producer of hundreds of imEllis "Traveltalks." mensely popular made no series for Urban; but his little film on child health habits felicitously

ters."

called

"Bending the Twig," which Urban

took over and Vitagraph released, was destined, to outlive Kineto.

was too much

interested in

human

happiness to be the cold, calculating busi-

man who might have made money

production

the opportunity for real social service that held him to this line. He liked to write essays

consisting

Walter L. Pritchard, cameraman, lately of Universal and Gaumont and for a time with Dave Horsley and the Thomas

H. Ince Studies in California; Thomas H. Swinton, general assistant; Gus Rempas,

electrician;

and himself as

di-

with his

in the

little

company.

was

Kenneth Grahame manner (pulling

his beloved pipe the while), to paint pictures, to visit the new art exhibits, and to cruise on his once well known,

converted Cape Cod dory, the Pollywog those indulgences meant far more to

wrote the continuities, or "shootstories. ing scripts," from Steele's original Three or four professional players were Ellis

locations

that

producing many films

which he whole-

heartedly believed. He therefore had, on the whole, a happy time passing through his experience in the field, and nearly all of his films have gone on, year after year, spreading the good which he so richly

poured into them. I knew Ellis one time to reach into his own slender bank account for $75 with which to eke out the production cost of a film in which he was interested, a film (more's the shame) sponsored by one of the wealthiest women's organizaA little branch in America. tions

Y.M.C.A. Ellis

New

money with

raised

Jersey, has repeatedly a one-reel film which

produced with

said they could spend

the money they a hundred dollars.

all

However, I do not mean to indict more than a handful of the health and social service workers who appealed to Ellis's

They were held made no aland from which it was

generosity for so long. rigidly

budgets which

lowance for films

necessary to chisel Ellis's modest production cost with the utmost patience and

They were generally friendly perhighly appreciative of Ellis's understanding approach to their problems; and most stayed leyal to him (as he to them) as long as he remained an incare.

sons,

have

sound pictures for the and Telegraph Telephone

direct

mentioned

earlier

few

of the Liberty Loan drives. But it may be that now you would like to know a He little more about Ellis, the man. was born in 1871, his grandmother, a

Carlyle and niece of the great Thomas. That's why Campbell MacCulloch has

sort

the National Industrial Conference Board.

Carlyle

in the world of health and social service films, making in the next decade about 150 of them. But, if Carlyle Ellis made no money out of impositions on his fine spirit, he had the advantage of

ducer

were readily and handsomely provided thuottgh arrangements made locally by Ellis

BY the time these three productions were "in the box," as the sameramen say, Ellis had determined that, whatever the future of PMgrim Pictures might be, his

So, quite naturally for sheer lack of competition by the "hard-boiled" fellows who wouldn't stoop to such petty business Ellis speedily became the foremost pro-

Ellis's particular qualifications for handling films, called into play at the time

bearded agitator in one of the pictures and did it very well. As to factory mathe

which he dealt rarely had more any producer than the somewhat empty honor of the job. to offer

American Company.

location in the little village of Hingham, outside Boston, the necessary mobs were enlisted gratis out of the crowds of goodIn non-theatricals, natured onlookers. unlike the regular field, onlookers are Ellis himself generally encouraged. a conservative even played natural

of calculating type probably have carried on, because

those health and social service organiza-

years

engaged; Swinton himself played leads, arranged transportation, helped work the and performed lights, cared for makeup many other needful services; and, on

all

only

dependent producer that is, until 1929. when he withdrew for a matter of five

rector.

terial,

man

never

Laboratory.

profits. Indeed, the

had in such returns was to see that they were shared by his employees and friends, for a more generous Scotsman never lived. Indeed, in the business line which he made his specialty the production of health and social service real interest he

films

ness

unit

him than ledger

The office row room on the seventeenth floor of 71 West 23rd Street, the Masonic Temple

Boston, had called upon his former assistant, Carlyle Ellis, in New Ellis had promptly organized a York. small

1920,

Pictures"

Ellis

direction.

Steele,

business.

that direction. Being fresh

reach

little production unit must go on. He had glimpsed the vision of Rufus Steele and Accordingly, brought enthusiasm to it.

Apart from long pioneering with health and social service pictures, chief contribution ef Carlyle Ellis to non-theatricals was his insistence en the use of human terms.

the

always called him "Tammas." His father was a tea-and-coffee merchant in TorHe had an elementary and high onto. school education, took quickly te writing and, at an early age, entered the newspaper game. Leaving the city of his birth he worked his way westward, visiting Alaska and ultimately finding employment in 1910-1912 as editor of the Alaska-

Yukon Magazine. Next the urge was eastward.

al-

ready had served as art edkor of the famous old New York Snnday World.

Page 331

November, 19)9 But

time

this

staff

in"

that,

-it-pped to the editorial

In-

holding forth Butterick Publications with other mi'mlnTs who included Sinclair staff Lewis anil (ieornt Marr Maker. Ellis did

editor

/V/ii.Yii/cr.

tin-

s.,

me ;

was

his

in the earlier years,

was to mold his future his keen interest amateur pbotO(repby< He was very KO<M| at it, and an active and popular member of the celebrated New York

K. .'inipliell

writer

many

Kllis's

Ainiinu

was

Mai

friends

ullodi. trained as

(

author of much

short tiction principally stories of the sea In pulili-lied in the national magazines.

but

tiiiiiHTr

l'M5.

had

just

New York. "Mob" MacCulloch Vrome publicity director of the

lonned

i:-wly

Film

Triangle

when

Kllis

had plenty

non-theatrical

;

("Inb.

.11111 i.i

West

neighbors there, there were distinct advantages in the address. There was the Kineto Laboratories upstairs and when he required casual projection for editing or demonstration purposes, he could go downstairs just a floor or two to the office of William Brotherhood. This was a room not much with a "screen" Ellis's, larger than painted on the wall at one end, and a raised, fireproof, built-in booth containing of

to 130

..ml

writing in his avocation which

iTcilitalik-

very but

uptown

Street.

resentful of the high rates of insnrance which their presence entailed, and preferred not to renew their leases. But,

at the

IH rio<:

him

That was when those in charge of the Masonic Temple Building had grown tired of motion picture tenants 46th

made managing

was

191,!,

sp;.ct to

After

Muiiuzhif.

/..-vry'W.v'.f

Power Cameragraph,

was an inner

at the other.

and there were no

office,

immediately

departed

Hollywood.

that

was

therefore

Kills

tir>t

hand and under the

finest

\IILT]I

learned,

for

Los first-

inner

secrets

complete. One of the most pretentious

which

Ellis

made on

his

own

subjects

responsibil-

in the "Autographed Films" period, was "The High Road," a three-reeler for ity,

Young Women's Christian AssociaThe time was winter in New York and, as the story called for many outthe

door scenes with heavy foliage, he took

Savannah to was so successful that a few years later it was edited to a two-reel length but by that the

company all make it. The

way

finished

' .

picture

Admirably planned, well organized, and efficient through trying years, the Pathescope Company of America has amply confirmed the executive of Willard B. Cook. genius

;

the emancipation of women had progressed so far that the shirtwaists and the long hair and skirts shown in

time

the action ruled

out.

Then

there was "Well Born," a celebrated two-reeler on pre-natal care, and

windows

just ventilators over the doors to flanking public halls. half-dozen wicker chairs stood before

which

"Sun Babies," a vention of

single reel on the prerickets, both for the Child-

Kid

And one must

Comes Through,"

The Spur. Bill

an artist's easel, an animation stand, and an accumulation of miscellaneous items including a terrestrial globe, an old tripod or two, and stacks of drawn back-

Com-

not forget "The the immensely popular reel which he produced for the New York Association for the Prevention and Cure of Tuberculosis. At this writing, Ellis is in Hollywood, building a flesh reputation as motion picture editor and general editorial representative of pany.

Brotherhood

IN the later years of the business, Ellis had moved along with Walter Yorke's Edited Picture System which sublet his

led

the booth to accommodate the audience when there was one and, lining the walls in front of these were a desk, a table,

Bureau of the U. S. Department of Labor. "Foot was another Folly" Y.W.C.A. venture, a one-reeler on proper shoes, which has been exhibited for years from Coast to Coast. Still another notable subject of his making was "New Ways for Old," one of the most effective films ever distributed by the welfare division ren's

of the Metropolitan Life Insurance

Service,

fine Simplex Projection Rooms uptown brought Eastern Film so much additional business many an odd little job fell,

through his humbler convenience, into the He made and lap of Bill Brotherhood.

numerous

photographed

hand-lettered

good-looking besides. After that long vaudeville experience, and, I think, a season in one of the important companies of Brieux's "Damaged Goods," Bill took a flier in one of those then despised motion pictures. He had

tion.

his

Community

which was always wanting to inspect new it els; and then, beside just as Tichenor's

an actor in England. In this country he had appeared in support of Amelia Bingham, notably in her successful vaudeville offering, "Big Moments from Great Plays." After all these years I have a clear mental picture of Amelia Bingham, her husband, Lloyd Bingham, and Bill Brotherhood, on the stage of Percy G. Williams' New York Alhambra Theatre in a scene from Sardou's "La Tosca." Bill, I recollect, had a rather heavy stage presence; but, for all that, he was very acceptable support and in those days,

auspices of the of professional motion picture production. Following his year there he returned to become eastern tin editor for the same concern. Alter his next step, to the sore travail for I'uiversal under Harry Levey, the sketch of his career in these pages is fairly tile

cut-rate patronage of

eraman by the day occasionally Walter Pritchard, if and when possible to shoot some routine scene wanted by a client. In earlier time Brotherhood had been

;

win

as he did for, just as he'd be ready

do a bit of work, in would come somebody with a reel or two to run, and all the lights would have to go out. Nevertheless, and although projection charges were then only from fifty to seventy-five cents per reel, Bill apparently found his screening service a fairly good insurance. Especially valuable to him was the

title

\VantitiK someone he could trust represent his department in the West studios of Triangle, he engaged

Mlis.

much to

cards, so plentiful in those silent picture days, did simple animation involving maps and charts, and even hired a cam-

Corpora-

tion.

But even with projector, Dan Dugger. these efficient aides, it was always a marvel that Bill was able to produce as

grounds for title cards. The meaning of which was that, when there was no audience, the proprietor went to work producing non-theatrical

what was more frequently the case, short bits of a hundred feet or s, to be inserted in films being produced pictures, or,

in other respects tors.

You

see,

his friendly competi-

among most

theatrical folk, with their

of these non-

hard-won

liv-

commercial rivalry was almost unknown. In his best days, as an independent producer, Brotherhood was assisted by an able animation artist and letterer, William Sherman, and by a general handyman whose particular job was to run the ing,

most of the qualifications held to be necessary by the studio moguls of that time. He had been a Broadway actor, and through having served in one interval of his adventurous career, as a Canadian Northwest Mounted Policeman, he could ride, swim and shoot. All these talents

won him

distinction in the early cowboy pictures of Essanay in Chicago; and I believe that it was for the same concern that he first became a picture director.

At the time, however, there was distinction in being a director

knewn

no great ;

was

in the industry as "a dog's life."

It usually meant only that the holder of the title had more to do. Everybody in the studio then did a little of everything,

and Bill was no exception. But now he was finding his all-around training very useful. His ability to crank a camera, to hand-letter a little, te make-

up a human subject with grease-paint, powder and crepe hair, and to improvise jcenic backgrounds, stood him in excellent stead. At least, until the coming of sound it enabled him te earn a fair living for his trim little wife, two fine growing boys and himself.

He was a man much liked by all \vh knew him. What a shock it was, about 1932,

after

the

talkie

wrecked the concerns of to

hear

that

the

revolution

had

liMle producers, cheerful, self-reliant,

Page 332

The Educational Screen But, when the same opportunity then opened for Rowland Rogers in the spring of 1922, he promptly took it on. His characteristic enthusiasm and industry, coupled with the novelty of the enterprise, brought his course immediate at-

was

tention. It

students,

definitely attractive to his

he could

that

first,

discourse

interestingly on film production, and, next that he, himself, was a producer with a going concern in the Masonic Temple

Building.

They came

him

to see

lor their case histories

work

and that was the

With the ostensible purpose post-graduate training to his boys and girls, he took them in to work for him. They were eager and willing, and the matter of pay was then unimreal

start.

giving

portant.

Consequently,

was not long before

commercial prospects, who called on Rogers, found several adjoining offices literally filled with active workers, all as intensively on the job as (and, indeed, with their prevailing shell-rimmed glasses, pencils and notebooks, resembling some-

what) the earnest, businesslike man

head.

cameraman

The drawing shows Pathescope Company

the

first

Pathescope brought from France by the

The original French machine used a small in 1914. a belt from the fly-wheel, for generating the light, but

magneto, driven by the Pathescope Company immediately substituted the small rheostat shown. The photograph is of the "New Premier Pathescope," developed in this country about 1918, when the World War made it impossible to obtain the Pathe-Eok machines from Paris. Later models had many other improvements.

had Bill Brotherhood good-looking dropped dead on the steps of the film laboratory for which he was then trying to find customers !

Rowland Rogers DOWN onic

another floor or so in the Mas-

Temple Building was Rowland now awiy from Bray and, in the

I could see no professional future any student who might emerge from There wasn't a legitimate picture

cause for it.

studio in the land, as far as I could see, which would give him a job on the

strength of it; and, as to rounding out a general education, the training seemed to me to be too narrowly technical a matter to have much value there.

Rogers,

name

friend

Jam Handy,

Service

Picture

his

old

"on his own." His greatest could not deny that Rowland Rogers was a hustler. Always brisk and

clients

darting sharp glances of appraisal

around him through heavy shell-rimmed spectacles, he was a familiar, pleasant figure to his neighbors who soon came to

know him and to call him "Rowland." The schoolmasterly bent, which had been so much encouraged in the days of "Pictograph," was

Rogers with a curious business development, to explain which I must go back a little. About to provide

Columbia University, York, had decided to meet numerous requests for an extension course on photoplay production, to supplement the successful one on photoplay composition being conducted there by Mrs. Frances Taylor Patterson. It was proposed, through my friend Robert Emtnett Mac1919, the faculty of

activity; teaching syllabi were prepared and printed to accompany them. In short, the setup completely overshadowed

major

home-made facilities of the more conservative (or more naive) producers. The impression of efficiency and prosperity, engendered in these circumstances, brought Rogers quite a few accounts but in the light of the undeveloped nontheatrical line, the organization just could not last. And, in 1926, Rogers emerged from a humbler office of non-theatrical production to tell a meeting of the Society of Motion Picture Engineers that his Columbia course on photoplay production had been discontinued because it could not pay its way.

the poor,

;

The Rogers

New

A'arney, then scenario editor of Famous Players-Lasky and also associate professor of journalism at Columbia, that I should take charge but, although na-

nevertheless,

Next Month

tractor

alert,

edge necessary to put the picture on the film in an improvised studio on the same floor, the entire procedure handled as a classroom demonstration, with lectures and examination papers. The making of school films became a

seeking non-theatrical de-

The scope widens to consider the non-theatrical producers in New England and the Middle

West. What do you know about the once-important firm

& Parker of who bought Thomas A. of Lincoln

Boston, Edison's

at the

amused old-time, slightly provided the technical knowl-

Picture Service kept going the advent of sound

until

made it impossible for him as for most of the neighboring non-theatrical producers upstairs and down to go on. When the storm was at its worst he took a post in training personnel for Standard Oil. Then, when the industrial sky cleared a

little,

again,

opened Manhattan offices time with a slide film

but this

service.

films and

So much for the early non-theatrical aspects of Laemmle, General Film, Community Service, the National Industrial

Norman Wilding and Jim Handy of Detroit and Chicago? The names come

Conference Board and Bray Products. about Pathescope? Well, that's another story.

The

studio?

Worcester

Company, Phelps

Film

Philip Davis?

thick

and

tailed

fast,

and the

non-theatrical

moves along, halfway mark

still

first

de-

history at the

not the crowded

These unprecedented chapters are available in regu-

telling.

sequence only to subscribers of Educational Screen. lar

What

Pathescope IT'S another story, and another story with a hero. Until this point the detached reader has known of Pathescope primarily as the name of a non- theatrical projector now the machine retires to a subordinate ;

place and the spotlight

main human

thrown on the

factor.

;

turally

much

flattered,

declined

be-

(Continued on page 349)

November, 19)9

Page 349

Acclaimed hy Educators to he the

finest

motion

picture ever produced for juvenile audiences.

THE ADVENTURES OF CHICO now

offered in hoth English and Spanish Versions on 16mm. Sound Film

AVAILABLE FOR RENT ON LONG TERM LEASE BASIS Address

all inquiries to:

WOODARD PRODUCTIONS, 30

Motion Pictures Not for Theatres Willard B. Cook, organizer and chu-f executive of the Patlir-o >\>i- Company of

America, was born at Erie, Pennsylvania, in 1871. In 1892 he graduated from the engineering course of the l"nivcr-ity of Virginia and, for sixteen years then-after, he was employed by the Van Camp For that concern he 1'niking Company. maim western agent, with headquarters ir. Indianapolis. At the end of the sixteen years he turned to engineering as a sole But he was not very happyprofession. over it. Even the opportunities to indulge his lifelong fondness for pleasurecivil

Iw.iting did not compensate. >" his sudden devotion to engineering, which now lasted three years, really be-

a search, by a restless man who \\a^ -till too young and too capable to retire I'n mi the world of affairs, to find a new goal of business success. He enlarged the survey by travel, leaving his IK .me which was then in Seattle, I beciinr

lievr

coming

east to

And

Europe.

New York

eventually,

and so in

his

he found the Pathescope. before December, 1913, when

vitiations,

Tlii-

u:^

Camera Cook already owned

Allison demonstrated C'luli it,

believe that

the

As an experienced former lar^c

scale

connection to form the Pathescope Company of Chicago. But, in 1916 Baumer sold his interest to the Pathescope Central Corporation and joined Rothacker. There still is a Pathescope Company of

New York

have heard reports of others and in California. But this

business,

executive in he was a careful

judge of the machine'- commercial possi-

;

and began the first part of his campaign to market it,. He sought office space and, with his usual good judgment, foun-1 it in the quarters held by James C. Milligan, an out-of-town

the

North East,

Inc.,

Boston, Mass.

plan was only a partial

money which

really

Kansas

franchise

solution.

swung

the tide

The came

manufacturers'

from Percy G. Williams, then one of the most successful operators of vaudeville theatres in America.

trade-paper

up a machine shop in Long Island City where he could assemble the parts imported from France until his own model was ready to manufacture; next

in the representative Browning Building, at 56th Street, just off Herald Square. Milligan, later to be known as one of the most popular advertising soli.itors in the motion picture field,

took a strong and sym-

pathetic interest in Cook's project. Although the machine was basically good, it called for many refinements. Cranked by hand at first, it needed a

motor

And

there were other points of objection which Cook corrected until he had supplanted the original Pathesm],, design with one so entirely his own that he was able to claim complete independence of Europe. But that smoothing-out drive.

plenty of time. While it was in progress, Cook labored also to raise money for the proper realization of his plan for national distribution.

took

Wall Street, but decided that and premiums there were higher than need be. His next move was tried

interest

then.

N. Y.

as a civil engineer he was equally prudent in planning production. So his acquisition of the Pathescope oviously was not a simple stroke of luck, but a proof of characteristic astuteness. Having acquired the device, he returned to

bilities

(Continued from page 332)

INC.

NEW YORK,

ROCKEFELLER PLAZA

sell

rates

regional

sales

rights.

One

who bought the privilege was W. Baumer, director of the Matzene Portrait Studio; and he left the Matzene those

The funds first

to set

they

made

gained

enabled

Cook

films

possible the accumulation of for a library. Obviously the ma-

chine,

which required an especial narrow-

width

film,

pictures to

was not of much use without show upon it

These developments called for more space; and Cook found it on the

office

eighteenth floor of the exclusive Aeolian Building, on 42nd Street near Fifth

Avenue.

still

situated

there,

more than twenty years. The films he obtained from theatrical producers at i.fter

low rate for the rights which were seldom salable elsewhere, and, by 1919, he was able to offer subscribers to

then

his library a choice of nearly 1,500 reels, available through exchanges in principal cities.

(To be continued)

Page 362

The Educational Screen

MOTION PICTURES NOT FOR THEATRES ARTHUR EDWIN KROWS

"The Spur,"

Editor of

had taken the then exclusive address in the Aeolian Building because it was his first plan to

COOK

keep his service in character as "a Tiffany proposition," directing it not at "mass" sales but at "class" purchasers.

around $400, possibly because he wanted to establish the thought in the public mind that the Pathescope was a property primarily for "the 400." The psychology was probably sound, for what he did paved the way for a natural expansion of the business. As part of that widening Cook presently provided an especial "Pathescope" camera, with which amateurs might photograph family pictures, orand here was still another phase fixed

the

business

Or,

original

price

might

organizations

own

their

Number Fourteen. ConNed Stevenson, master of Visugraphic, Meyer Rosenbloom of Caravel and other New York nontheatrical producers and distributors. Installment

cerning

New

York City started

Pathescope for

business

industrial

especial drive the close of

World War intensively about 1920. The main intention, of course, was to

the

extend the use of the portable projector and thus to increase rentals of films from

A small, regular production staff was, therefore, an excellent investment, even if it did no more than just "break even" and Clinton F. Ivins, who was none too happy in the Pathescope library.

;

Harry Levey's old position at Universal, came over to take charge of it. Ivins re-

all

brought

Cook

into

pany. All

this

friendly

was

quite

New

York.

Leggett was not an ordinary salesman. He was really an advertising man of considerable experience and more vision, who had become convinced of the high potentialities

films

So, over and the

industry.

World War was United States was beginning to find itself again, there was J. Alexander Leg-

when

the

heading his own advertising agency York, and making motion pic-

gett, in

New

tures for his clients as part of his own advertising service. They were efficient conceived intelligently and pictures, too creditably produced. He made some of the earliest subjects for the American

Telephone and Telegraph Company.

was

consistent in his success for many years, not having much to do with his competitors in the broad field, it is true, but exerting a wholesome influence on

the

entire

ward

attitude

the screen.

industrialists

to-

that,

didn't

know how

seems,

embraced the op-

Stevenson,

portunity.

The company he

thus joined Inc.,

formed

1921 by a son, I believe, of Anthony N. Brady, in association with Tarkington Baker. Baker was a former Indianapolis newspaperman and from 1918 to

1920 general manager of Universal Film one obanother offshoot,

Company serves,

Pathescope, Milligan First to be heard of

helped somewhat. importantly in the field, however, as an agent of Pathescope in addition to Cook, himself was J. Alexander Leggett, of

at first a smile,

and then, in explanation of

have been his brother-in-law, Warburton, although in the very early days, while Cook was making a second trip abroad in interest

;

was Visugraphic Pictures,

lapid; and, of course, a personnel was required to make it possible. His first representative in the business seems to

the

said

employ. Some further discussion ensued, and they made a counter-proposal to Stevenson, which was that he should turn over to them a couple of new industrial picture contracts which he said he might close, and come to work for them. So

Eastman Kodak Com-

development

new

Estate and proposed to those in charge make a film.

pany which they

and

this

they told him that a film was just what they didn't want because they already controlled a small motion picture com-

later years, too, that the correlated arrangements, to supply raw film and to develop and print,

relations with the

capacity, chanced into the administrative offices of the rich Anthony N. Brady

THEIR response was

an industrial production division.

Then one day Stevenson,

produce

films for sales demonstrations. the customer wanted a profes-

was to have significance

;

Visugraphic

cameraman with theatrical equipdo the job, Cook would supply that, also. Thus Pathescope branched

into

appointed him salesman for Pathescope and Stevenson began with enthusiasm.

that they

sional

ment

mercial film on nut butter for a rendering plant at Boontown, N. J. About three years passed, and then Edward A. Stevenson, a son of the nut-butter manufacturer, reported to Ivins that the concern had passed away, and applied for a job. Ivins introduced him to Cook who

the

Laemmle

interests.

The

purpose was general production in the non-theatrical

Edward

Stevenson resuscitated a dying production venture, reorganized it and by aggressive salesmanship, lifted it to that prosperity A.

which the

talkie

mained there he

left to join

revolution ended.

along in 1938, when another film organization.

until

the whole the industrial division of Pathescope gained a satisfactory profit. It is my impression that, in the early days, at least, the product was sold by the foot, and this may have directed to-

ward Pathescope

the competitor criticism

that the concern deliberately went in for long panoramic shots which took much

and couldn't well be cut. But it is impression that what Pathescope produced was generally far superior, especially in photographic quality, to most film

also

the

other

industrial

product of

the

field.

On New Baker was in ill health. Year's Day, 1924, he died. Stevenson succeeded to the presidency. From then on Visugraphic had a steady rise to prosperity. Among the important clients for whom the concern produced pictures were the United Press Association, the Pennsylvania Railroad, the New York Stock International Business Mathe International Corporation, Paper Company, the Fisk Tire Company and the Cleveland Plain Dealer. They had a monthly house organ and, in 1929, Stevenson, himself, wrote a slender promo-

Exchange,

chines

tion book, bound in stiff covers and distributed to prospects, entitled Motion Pictures for Advertising and Selling. Stevenson did not realize it then, but

1929 was to be the banner year of the In that twelvemonth, it is said, Visugraphic did a gross business of

organization.

offices

time.

$320,000 through

Late in 1921 the Pathescope Company, under the production management of Clinton F. Ivins, of course, made a com-

Park Avenue, in the shadow of the Grand Central Building, bonuses being given to some sixty-odd persons em-

its

imposing

Page 363

December, 19)9 An

additional

ployed, and Stevenson himself drawing a salary of $30,000. Henry Bollman was on the staff in that same year, principally

theatrical

editing film.

her husband's friend, Carlyle Ellis. I'.nt the most picturesque career of the lot was presented by Albuin R. Mariner. We met him when he joined Harry Levey but there is much more to at Universal be told about him. In the early years of the century, it seems, there was some memlwr of the Mariner family conduct-

The Brady money >eem-

but its for the Vi-nt;iaplm- en-

have been influence

not always to

Ixiek of the enterprise

;

may have accounted

heavy patronage which joyed from the Xew York E<lison Comlor pany, the Pennsylvania Railroad and

from

the public relationcelebrated Ivy I-edto the Rockefeller l>etter I.ee, advisor inten-t-. Even so, however, there was again to be a banner year for

favors

other

the

el,

late,

ViMigraphic as

When

was then

constituted.

so'.md pictures arrived with their

Stevenson and his people made a gallant attempt to carry on. l-'or a time it appeared that they Hut for Stevenson it was n-.ight succeed just the l.'tst llu>h on the check of the corpse. In l'J.!3 Visugraphic went into expensive

perplexities,

insolvency. the radio

A man named White, from field,

conducted the receiver-

ship Hid actually developed

some further

business and a strong hope of revival. The Yisugraphic personnel, in its best years, included Perry Arnold, William I.aui>, Frank Spcidell, Albuin Mariner and Marie I'.arrell. Let us particularize. IVrty Arnold, energetic sales manager, was a former manager for the I'nited 1'iex-, \ssoeiation. Laub, a facile writer of salcstalks in scenario form, had started in industrials with Ivins at

I'.arl'.nin

I'atluscope. Frank Speidcll

was

first

all

Visu-

graphic's brilliant scenarist. He also became one of its most successful director The son of a Louisville physician,

department.

familiarity had come through an earlier tii in of service a- -ales representative to

;

ing an esteemed photographic portrait studio in every important city of Austria. \s the new art of motion pictures came in. tlu- older members of the family felt that their specializing

group should know

something about it. Accordingly, they appointed one of their youngsters to go to Berlin and learn. They chose Albuin, who had graduated from the Munich School of Photography in 1907. He duly went to the German capital and remained there

some time, studying assiduously. Then an uncle, Joseph De Frenes, who for some three years had been employed as a staff technician at Urban's Kinemacolor Company in London, summoned Mariner there as laboratory assistant. Albuin quickly advanced and presently was made laboratory chief of a Kincmaior

color branch established in France. One day, when there was a shortage of cameramen at the plant and a photographic job to be done, he tried his hand at cranking a color camera. He did so well that they kept him at it. He ground out It plenty of black and white film, too. is related that in 1908-1909 he was even strapped to the wing of an airplane to photograph some of the small warfare of that ominous time in the Balkans.

to engage in work, whence he had

Brought now to London, again, he became for Kinemacolor a sort of house-

drifted into pictures. The way was interesting. The theatrical screen star, Gloria

hold photographer to the Royal Family, accompanying the King to his shootingbox in Scotland, and otherwise serving to record the human interest phases of His Majesty's life, with the identifying Household on his flag of the Royal camera. In 1911 he was one of twentythree Kinemacolor cameramen sent by Charles Urban from London to India to

he had come to

New York

:\cy

Swanson, was in a way responsible. She wa- then at the height of her fame, and

making features in the New York studios of Paramount. She had been called upon to report on her income for the federal tax collector and, in despair, had called on the officials of the National City Bank for help.

Her

adviser there

recommended a

rela-

tive, Frank Speidcll, as a dependable person to keep her accounts straight. As it was only a part-time matter, Frank was able to take the work on along with his

regular employment. The arrangement worked out quite to Miss Swanson's liking; and she continued it for the term of her contract with Paramount in the East. Speidell was invited to the studio now and then and, by degrees, he thus familiarized himself with the routine of picture making until

felt

that he

might essay

for

himself.

Marie Barrell was the wife of C. Barrell, he being then in charge of the Motion Picture Bureau of the Western Electric

Company. Her

specialty

was

ar-

ranging distribution, principally through lesser theatres, which Visugraphic sold along with production. She had been

the

very efficient in this place. Her training in such work had come not merely from witnessing the professional activity of her husband along the same lines, but she had served for a time as assistant to Mrs. Elizabeth Dessez in Pathe's non-

the Durbar. And when photograph Urban's American manager, Hickey,

the crew to come to establish Kinemacolor in the United States, Albuin Mariner was one of those selected, cancelling another arrangement just made, to send him to New Zealand. What happened to him between the time of American Kinemacolor when one of his notable assignments was to photograph the glamorous Lillian Russell and his coming to Visugraphic, be-

picked

longs to another part of this narrative. I mention now only one passing phasehis work as cameraman for the industrial department of Universal. When he

came

with

there

for

Visugraphic seven years

he .

remained until

the

virtual end.

Caravel and Castle THERE are left unnamed in the New York area but two important non-theatriproducers of the silent days Caravel Pictures and Castle Films. Caravel was a subsidiary of Business Training Corporation, a concern formed about 1917 to advise on, or actually to attack, problems cal

industrial

sales

relations,

promotion.

and

marketing

The

was president until the summer of

Meyer Rosenbloom 1934, when he retired from

that office to

give his attention to other interests. In 1929 the parent concern claimed over 800 client companies. The officers quickly discovered the importance of motion pictures as an aid to modern business and organized Caravel, with offices at the Business Training headquarters on Madison Avenue and a studio in Long Island City. Manager of production was David Pincus, with a

permanent staff consisting of Mr. Rathman, director, and Jules Sindic, cameraman three especially efficient workers whose joint efforts have resulted in many creditable industrial films. Orders for these came chiefly contacts made through Business

from

Training

Corporation, President Rosenbloom taking a strong personal interest in the wellbeing of the subsidiary concern. Rosenbloom's eventual retirement proved a serious blow to the film organization. place .was taken by a Dr. Lowe,

His

who

negotiated some excellent new business, while handicapped without Rosenbloom's original sales organization.

Among outstanding clients of Caravel have been the Kohler Company of Wisconsin, manufacturers of plumbing fixtures; the Willard Storage Battery Company; the Goodyear Tire and Rubber the Hammermill Paper Company; Davis & Geek, makers of surgical sutures and anesthetics the Postum Company; the National Lead Company; the Commonwealth Shoe & Leather Company; the International Silver Company and the Standard Oil Company of

Company;

;

New

Jersey.

counts

Caravel

For

many

ac-

its

also

arranges distribution through theatres and various nontheatrical

channels.

About

1930,

when

high rents and heavier fire restrictions caused so many non- theatrical producers to leave Long Island City, Caravel relinquished its own studio there and took another at Hempstead, which it still uses. In 1936 Caravel, approximately sixteen years from the time of its establishment, began a reorganization in which the full stress was placed on theatrical exhibition of industrial films. After various surveys Caravel Distributing Corporation was formed. Stanley Ncal became managing director, and Bert Ennis, well known theatrical

press

agent,

was engaged

organize publicity. Early in 1938 a cocktail party was held at Caravel's New York office, at 730 Fifth Avenue, to give a preview to the press and the advertising space-buyers for a number of national accounts, of a $35,000 three-color Bristol-Myers

Ipana Toothpaste animated cartoon. This picture,

"Boy Meets Dog," was presented

of a series of "sponsored" mostly in colored animation, which would be produced for various concerns, The using celebrated Hollywood talent. as

the

first

shorts,

announcement told of a force of salesmen to book them in theatres over the country, and one new reel was to be released each month. "Boy Meets Dog" was scheduled to open April 1, 1938. with 250 "first run" bookings in theatres along the Atlantic seaboard, and 3,250 other

The Educational Screen

Page 364 and

were

bookings allegedly made elsewhere. As to Castle Films, that has been disa onetinctly during most of its life

$22.50,

man

the public mind, were taken up promptly as "a hot novelty" by department, chain

organization belonging to Eugene W. Of no apparent significance whatever was the fact that, among the new

Castle.

in announced incorporations 1916, was the Castle Producing

New York

City, to eral theatrical business. of

of the

engage

Company gen-

name here mentioned was a James

the

making Eugene of

age,

old

its

West

phases, while Walter Pritchard tographing the Southern ones,

Castle

was phoand Ed-

being made available not only to homes but to schools. The schools naturally, are less concerned with those sensational aspects which promote popular sales. In the rolling years many lesser pro-

ducers have opened and closed their shops in New York City without particularly

tion of "free" industrial-educational films to the schools. He sells to each client a "two million person" circulation, to be ob-

tained in a reasonable time with a subject he produced by himself on order. The way

guarantees the number is to promise that he will keep on working until he obtains

course, nobody could guarantee such circulation otherwise in existing circumstances. When the given film has reached the two million mark, Castle it.

destroys the subject, including all prints. Consequently, no subject in his list is more than three years of age, clients are disposed to make new subjects, and school teachers, thus unusually assured of comare parative freshness of information, stimulated to ask for his reels while they

are available.

His

New York

Goodman, who

distributor is Murray from 1922 to 1933 was in

charge of Bray's non-theatrical department; in Chicago his office is managed by Edward Mayer, a former director of visual education on the West Coast. He maintains a third office in San Francisco. His present company is reported to

have a weekly payroll of 110 persons, and his operations cover, it is said, more than 5.000 schools. It should be borne in mind

that schools are regularly besieged with offers of "free" films for classroom use.

to serve

schools efficiently and profitably with commercial films. He began as a cameraman for one of the earliest newsreels before the World War.

still

South Seas pineapple trade remind one is a magic name in the government of Hawaii. The plan upon which Castle's success has been built in the main is the distribu-

the broad situation. Some I have deliberately passed over in these pages as too inconsequential for remark. affecting

Eugene Castle found a way

Castle was reputedwealthy family, and

that Castle

;

ganization dictated by his experience, the various items in his newsreel library

New packing account. He then removed to York to set up his offices, where he has held consistently, against all competitive United bids, the film production for the Fruit Company and the California Fruit Growers Exchange. His pictures for the

prints fresh in

ten million feet. operates this branch of his with a modified sales or-

still

but

service,

of scenics showing the beauties of travel on a Pacific Coast railroad, he embarked upon his independent business. Despite the implications of modest

today is reported to be in nontheatrical production primarily because he He is said to have brought with likes it. him from the West Coast to Chicago, when he came there first, a large meat-

some

sales of

Coast

ward Guetlin (ten years later to be the general representative of Hearst's International Newsreel at Paris), was covera ing New England. About 1919, with a series capital of $500, and an order for

financing, Eugene ly a member of a

former news cameraman Castle to pre"home" reel on that of his commercial judgment was confirmed by fairly quick

"See America First" series, Castle, under twenty years the

subject,

paration of another and the excellence

Gaumont Company was

was making

sensational

this

subse-

The

popular interest, the story of the Duke of Windsor, whose abdication as King Edward VIII for love had entranced the world's imagination, had inspired the

The only person

W. Castle, of whom and about whose concern the records thereafter seem to be silent. Moreover, the Castle under scrutiny was then in California. In 1916, when

rolls

and drug stores, toy shops and arcade booths, and upwards of twelve million feet were reported sold. In the meantime another matter of

August, in a

50-foot

quently offered at $1.75 each.

recently as October,

that

German Railways,

1939, I noticed the propaganda

bureau of the Reich, was offering a long list of 16-millimeter reels to the schools of the United States under such conditions. Publicity bureaus of other coun-

are equally obliging. While it is not the purpose of this history to tell the story of motion pictures in the home (although those certainly are "not for theatres" either), leaving that aspect to the fruitful researches of some other investigator, it may be added to this account of Eugene Castle as an interesting point that he is a pioneer there In 1936 or it may have been early also. in 1937 he made a careful study of certain possibilities of profit in the growing use of amateur motion picture cameras and projectors, deciding that there was money to be made in supplying newsreels tries

the home.

course, this field

was

already being cultivated, notably by the Eastman Company which, about 1930, had introduced 8-millimeter films expressly to serve it. Castle's

first

operating

issue a 16-millimeter reel tion of

plan

was to

on the corona-

King George VI. He ascertained

the availability of theatrical newsreels for this purpose, and even drew up tenta-

agreements with producing companies for a regular supply of likely material from their releases. In 1937, however, occurred the disaster involving the giant dirigible Hindenburg, the destruction of which chanced to be caught in great detail by cameramen who were awaiting the

tive

debarkation

passengers.

Castle

ob-

excerpts and made up "home" versions, with and without sound, in 16-millimeter and 8-millimeter widths. These films were made available to the public at prices ranging from $5.50 to tained

The

individual by the

histories

are

those

story of Legend Films, incorporated about 1920 through the inThe strumentality of Ernest Shipman. persons more actively present were William Bowen, once member of the production division at the Norma Talmadge typified

Studio

making theatrical features and recently "in the bail bond business

in the

Bronx," and Robert Winkley,

seems

sufficiently identified as

who man

"the

with the money."

The announced purpose was broad, to produce theatrical features, educationals and industrials. Of course the features were the first objective and a couple of ;

those

were actually produced by Teftt

Johnson, a one-time stage leading man and former picture director at Vitagraph. Another producing director for the

Legend group was John Kennedy. As to players, they kept a stock company on

many months, including Edna Shipman, a young niece of the irrepressible Ernest, brought east from California. The chief scenario writer was Treve Collins, recently and until his death in July, salary for

manager of a successtrade publication, the Plumbing and Heating Journal, but then just a promising lad who had been employed by the 1939, advertising

ful

Brooklyn Edison Company, with a side reputation as author of

some published

fiction.

Legend Films began in an old building demolished, on 42nd Street near Fifth Avenue. The concern presently since

moved

the

Candler Building, further

west, where Sam Efrus maintained a small public projection room. The fact of the matter was that by that time Legend

Films had begun tightening its belt the money was running low. In addition to the features, which did not prove as profitable as had been anticipated, the company produced a film on stomach cancer for an association of doctors, and pre;

December, 19)9

Page 365

pared to make an industrial for the Mitucnthaler Linotype Company. But,

Chapter

somehow

or other, tin- hurry and the bustle ceased, t'atne the day when one could rent the Sam Efrus projection IIHIIII

time to reflect on the appropriateness of the name this

again,

singular ii

that sriiiius

group which

lately

had mono|H>lized the outer office. Other New York concerns which

known

not

directly but which have vanislud quickly from the public eye, have caught my interest, each for a name or some, other symptom of worth; and

V On

the Other Battlefronts

NEW YORK

E CITY OF has been for a long time, and probably will continue to be, the likeliest place

tor film producers to enlist non-theatrical accounts. The site of the metropolis

makes

a great marketplace; and proan obvious division of sales, motion pictures for that purpose are naturally purchased in quantity there. it

I>aganda

l>cing

However, where full

trial-Scientific"?)

de-centralized industries. powers are not delegated to a New York headquarters, the nontheatrit "il business may be situated out at the factories. And, as de-centralization is increasingly the fashion, following the Government's heavier war on alleged trade monopolies, outlying producers are

encouraged more than ever to flourish. Thus it comes about that a few non-

have

tried

them

to trace

that.

Donworth.

for

was Camilla

Tlu-rc

the sake

Dunworth,

early summer of l''17, as representative of the E. I. S. Motion Picture Corporation (could the

initials

have

the

meant

"Educational-Indus-

she addressed the St. Louis Associated Advertisers' Convention in.lnstiial

attracting attention for her sensible, handling of the subject. In December she announced the formation, in New York City, of the Films of

Business

lilnis,

East 34th Street. She was president, and Charles Charlton was vice-president and cameraman. They produced two pictures thereafter "One of the Departments of a Corporation

ircat

Industry." showing the H. J. Heinz Company preparation of canned spaghetti, and "The Making of 'Mephisto' Auger Bits," for the W. A. Ives Manufacturing <

Company. America entered

the

War

then,

and the record ends.

Where

the

Home

Feature Film Cotn-

Norman R. Buckley and M. F. Jolliffe. And what about the February, 1915, New York enterprise of W. Lindsay Gordon,

New

York, one may trace the beginnings of nearly all the outside concerns to original contacts with that city although this is not to say that New York inspired their In

success.

truth,

would prefer not

the

outlying

What has become of the Dra-Ko Film Company of New York, which tion

1916 solicited industrial anima-

As one scrutinizes the situation New York area today, there are

areas

admit any dependence, an attitude which makes it more difficult

can

for the

new

cities

New York

producer to

business in the other Amerithan for producers there to

open successful Manhattan.

branch

New THIS has been

sales

offices

to be

especially true of Newthe people, with habits

as ready to yield a living as

not

soil

some more

have skilled themselves in and marketing, and, distrustful of the agricultural South and West, which so often have declaimed against them, have preferred to live by fertile regions,

manufactures

own devices, dealing as far as poswith persons they know and understand intimately. This same wariness

sible

naturally applied to the strange

new

uses

;

the

chief

reason

that New York is geographically and otherwise the great marketplace of the United States, the lowest crossing-place

of the Alleghanies for the industries of the interior going to Europe, and the natural avenue for Europe into the Middle West and West. The reins of com-

merce are

held, therefore, principally at point; and it is as natural for the non-theatrical picture industry to "head up" in New York as it is for theatrical this

productions to concentrate at Hollywood. So I am holding back the account of the other producers until we move out into the other cities their headquarters.

where they maintain

Then

site in the vicinity.

there

was Eugene

middle-aged Bostonian

P. Cornell, a also tried it

who

in his home city. In the four or five years after the World War, he maintained a small office at the "Hub" devoted to the

assistant could use

heaven's

free

sunlight

was out of

the question; and an efficient cared for the routine work of the

girl

establishment. Cornell, a sublime faith in

whom what

knew, had hard work

coupled with native honesty, might do. He could talk positively and informedly on potential business in his area as well as any other man in his line; and it

seemed that he must have visited every client with an attractive proposition at absurdly low prices. It was not that he was trying to underpossible

was trying its

just

own terms

which were notoriously unreasonable. But it was all to no purpose. In the end, poor Cornell had to face bankruptcy. Some there were, no doubt, to say that his principal drawback was that he had too capital to inspire the proper confidence of his prospective clients. On the little

man of capital would his substance on what was

other hand, what

want

throw

then so profitless a field? As to what became of Cornell, George Zehrung can tell what he learned recently just by chance. He was asking the representative of a large land manufacturer about the

and many times represent just desk room and mailing addresses, indicating that their owners are elsewhere. Why should ont-of-town producers want such repreWell,

a studio

cut his competitors. He to meet the market on

their in the

s<en the names of other really important non-theatrical producers but they occur mainly on the doors of "branch offices,"

sentation?

England

and attitudes arising out of a

Staten Island?

Boston,

lamps which hi locations where

New

was

do business under the name Film Corporation, and promised to make one, two, and three-reel lecture subjects in a studio at Dongan Hills,

Film and Amusement Company formed about April, 1916, to make industrial and educational pictures, by a group of local business men who were reported to be negotiating for solidated

time, because the motion picture industry in America took its first root in

England. There

before a customer's problems might even be attacked, has discouraged the growth of even local producing firms. Nevertheless, there have been brave souls to attempt it, For instance, there was the Con-

production of industrial films. His concern was called simply and sincerely E. P. Cornell & Staff. The founder had a camera and a modest battery of portable

"of Gordon's illustrated Lectures," which I'.e.iver

;

theatrical producers are as indigenous to the other cities as the bulk of the profession is to York. At the same

solicit

pany, of N'ew York, hailed in September, 1914, ;is "a ntwcomer in the industrial in Id"? The principals named in it were

sales

motion pictures and their demand that results be proved and proved again

New

Eng-

availability

of a proposed

Next Month in

Still

the silent film days, the unreels a picture of

narrative

the interesting situation in Boston and vicinity, dissolving

thence to the Midwest scene, to

notice

there

how Norman

Wilding made good on some-

body else's unfulfilled contracts, and so established one of the most

successful

non-theatrical

production concerns

Amer-

The detailed story of these happenings has never previously been published.

ica.

new picture. "There isn't any new picture and there won't be," was the reply. "We were interested in films as long as we had E. P. Cornell & Staff to make them and now that he's dead, we don't even want to hear about them I" The

situation at Worcester,

some

forty-

odd miles from Boston, was somewhat

more hospitable for a non-theatrical concern. Worcester, apart from being more concentrated in its manufacturing activities,

was

or at least should have been

traditionally more receptive to new ideas, for here (or in the close vicinity), had

been invented and produced a long line of revolutionary devices, including Bigelow's carpet-weaver and various important agricultural contraptions.

(To be continued)

The Educational Screen

Page 16

MOTION PICTURES NOT FOR THEATRES

Installment Number Fifteen the rise

New

Editor of

Lincoln

"The Spur,"

Parker

interest

New

OUR

who

believe,

organized their Educational Films Bureau in Worcester considerably before Cornell entered the line about 1914. They are said to have been the first picture people to issue teaching syllabi with their releases. Fred Lincoln of Boston was the production man; Parker cared for the business

end,

especially

import-

him because he had invested

savings in the concern.

his

They apparently

their organization for, as long afterward as the peacetime breakup of justified

Community Motion Picture Bureau, Henry Bollman came over from New York and found them sufficiently prosperous to engage his services for a period of six months. had been teachers. Both partners Parker is said to have been principal of a school in Worcester, but this post he had resigned in favor of the new venture. Lincoln, who conceived the original idea of the concern, it seems, is believed to have taught school long before in some small community in northern New England. Some say that he once taught in The scheme which he Worcester, too. evolved was intended to supply classrooms with pictures in all departments of learning, designed specifically for peda gogical needs, together with teachers' handbooks, projectors and screens as required. Lincoln had worked it out in such complete detail, and had so convinced himself of its probable efficacy that, after his eventual certainty, he refused all proposed outside alliances which expected to arrive at the same end. Moreover, he saw that end as so eminently worthwhile in the great cause of education that he apparently felt that any risk to

make

come

true.

Parker also was certain of the merit of [he enterprise, in his views

but he was more liberal

more "down-to-earth,"

have heard it expressed methods of realization. I

Lincoln was at

first

applying

rewarded scheme and

richly

in financial promotion of his the partnership began with all favorable Led by Lincoln, the signs prevailing. new business removed frcm Worcester to Boston as more advantageously ;

situated,

England and the happier

York City

probably one of the first success"suitcase" machines on the marke;. was designed by Hall of Boston, an

after unaided into their full strength that is, sell their first pictures for money sufficient to produce the later ones. Unhappily, it soon became evident that

from his sells an interesting prohis own invention, which of jector without functions any "intermittent"

school systems were unwilling to purchase what they believed to be incomplete sets. There were other opposing reasons in combination.

at:d complete.

however, in Lin-

is,

coln and Parker,

justified

about

non-theatrical

hunting grounds of the Midwest.

They had

their

own

pro-

jector,

was

fall of

ARTHUR EDWIN KROWS

routine ant to

and

and took over an entire build-

ing of its own, fitted with everything believed to be necessary to carry on a nationwide operation. They produced many films and purchased others which could be edited to meet the strict re-

quirements. Their teachers' handbooks, to guide users to full benefit from the apparatus, were extraordinarily voluminous

ful It

able technician

who

today

small machine shop

Whatever those causes were, Lincoln

device.

and Parker personnel was a young man named Floyd A. Ramsdell. He had been a physics instructor In

the Lincoln

in a Connecticut school, but his

home was

Worcester and he hue! graduated from Clark College there. His interest, training science and his knack for in natural in

mechanical

adaptations

doubtless

de-

The manifest Author's Note impracticability of reviewing a huge mass of research accumulated over many years and requiring more than 20,000 index means cards to catalogue it that the Editors of Educational Screen have accepted the manuscript of this long history mainly on faith. In the circumstances, the Author assumes full responsibility for all statements of fact and expressions of opinion herein, at the same time that he invites corrections and emendations for the betterment of the record when it is published eventually in book

in jobs became less important, and every person concerned performed

tinctions

extra duties within the limits only of his capabilities.

Lucy's

engineering

back-

approximately a year, he

in the field for

was summoned from Detroit and plactd in charge of the projector factory at His principal assignment Worcester. there was to work out and perfect devices for fireproof projection. In those days,

of course, the only practicable film for serious purposes was 35 millimeters in

;

ager. also in the sales division that

another interesting and able member of the organization appeared. This was W. Allen Luey, the son of a Lincoln and Parker stockholder in the West. He had been educated as an engineer, but had had the usual difficulty in obtaining proper employment following his graduation, so, about 1915, using his father's introduction, he had become a sales representative of Lincoln and Parker in De-

third staff man, to whom attaches a later interest, was Paul Hugon, then in the production department and today a resident of Hollywood, more troit.

Allen

ground had been kept in mind and, after he had profited from his sales experience

counted for his gradual specialization in film production and it was not long before he, himself, qualified as an expeit with the camera. But his official position with Lincoln and Parker was sales man-

was

The tent, into increased sales effort. treasury became alarmingly empty. Rigid economies were effected while Lincoln, without having satisfied the backers of the profits which they had anticipated, set out to raise more money. Titles and dis-

form.

and Parker were deceived, as so many oilier non-theatrical producers were to be in later years, by the seeming eagerness of schoolmen for the machinery of visual education, and discovered that they had to turn their available funds from production, which had been the original in-

widely known as editor and compiler of a recent reference book entitled The

Modern Word-Finder. Lincoln and Parker had believed that $250,000 would be sufficient to establish their enterprise. It proved to be a fallacy and the fallacy seems to have been in their belief that they could grow there;

width, and fire hazards were grave conOne of the interesting de-

siderations.

velopments made by Luey and his aswas a water-cell which cooled the concentrated light from the lamphouse before it reached the film, the water circulating through an accompanying sociates

reservoir.

At about this point Thomas A. Edison came into the story. His educational film endeavors after the disastrous studio fire December, 1914, which had discouraged the further manufactuie of his Home Kinetoscopes, had been mainly in pub-

and not in practical educational department had bten maintained longer, but its activities had dwindled steadily until, about 1919. had come the last, dying gasp of the Motion Picture once-powerful Then the Edison Patents Company. lished

statements

production.

Studio, and for sale.

all

contained, were put up

Fred Lincoln saw in this situation an opportunity to strengthen his new stockselling campaign with the Edison name. Making a relatively small down payment, he "purchased" the Edison Studio, assuming a mortgage for the large balance and trusting to Providence for

Page 17

January, 1940 means

future

meet the

interest

principal. But his was a forlorn The- required additional payments

made the studio reverted Edison Company by foreclosure not be

;

and hope.

could to the ;

and

Lincoln and Parker went out of business. Lincoln continued in Boston with a motion small picture supply depot Parker returned to teaching. Floyd Ramsdell and Paul Hugon, thus taught a salutary lesson about the un;

profitableness of school production, saw a better chance in making industrials. Back in the original home town they

raised

some

local capital

and formed the

Worcester Film Corporation. W. Allen Hugon assumed Luey was taken on. Ramsdell became charge of production treasurer and general manager. Hugon remained only a short time however, being lured away by apparent opportunities in Los Angeles and, when he left, W. ;

laboratory. Modest sums had been up by the other incorporators, and tually all were eager to invest more. Phelps was always that sort of

put vir-

But

conscientious fellow who preferred to take all of his own risks. While he hustled for business, he studied the technical aspects

camera and its appurtenances and doubt that any person in his line of

of the I

work

;

then, possessed a

useful stock

industrial

tion obtainable for a small concern anywhere. Somewhat later he confessed to

Before long he was the expert to whom they looked for any needed service connected with -notion pictures. His scrupulous honesty and respect for Confidences

brought him also the laboratory work on films for experimental photographed

talent

He cester

nomic Depression, made income insufficient for a staff. Ramsdell has since carried on the corporation to a slowly mending outlook. In 1937 Luey, after a fiveyear interval as an independent producer, became director of motion pictures for the U. S. Forest Service, at Washington, moving into the place vacated by Carl Gregory when that interesting veteran stepped

upward

to his position in in the National

charge of the film section Archives Building.

Phelpsfilms IN

New

Haven,

Connecticut, quite close to Worcester, there seems also to

have been an atmosphere more cordial to non-theatrical producers. At least one made a fair living there until about 1933. I refer now to Leroy G. Phelps, founder

and president of Phelpsfilms, Inc. He was originally a newspaper proofreader a very good one, too, according to friends "who knew him when." Through an acquaintance, who conducted a photograph gallery in New Haven, he became interested in the making of news stills, and then in cranking a motion picture camera. When he next found opportunity to sell material to the newsreels now and then, he entered the business in earnest, and took a floor in an old building on Meadow Street, where he could have a title shop and a processing

job as cameraman to tide him over. At last, early in 1933, he phoned me to say farewell. He was sailing for Singapore in two or three hours with Frank Buck, the "bring-'em-back-alive" wild animal collector. During his absence, any industrial business for Phelpsfilms would be handled by his friendly competitor, the Worcester Company. A year slipped by. Then a bronzed, bright-eyed gentleman burst in upon me. It was

was

filled

ing,

vital

But,

Roy

many more

with so

and profitable things

Phelps.

interest-

do.

wasn't

that

the real never "walked out on a

course,

So he presently buckled and, for the sake of the partners and the employees who depended on him so completely, he shut off his dreams of high adventure and went the disheartenjob" in his

life.

down

ing, petty It was

rounds once more. no use. The next time

him we talked of many

for clear presentation.

circumstances, incidental to the coming of talking pictures and a nationwide eco-

were critical even in Haven, and he might have to find a

that conditions

New

Phelps, abounding in energy and new but now fully persuaded that the little business in New Haven was a vexation and a waste of time when the world

which reflect knowledge and

severed his connection with WorFilm Corporation only because

it.

ideas,

reels

engineering

There wasn't much produc-

a go of

years and, ironically perhaps, has had its greatest success in school distribution. Paul Hugon directed it, but Ramsdell is entitled to a large share of the credit. W. Allen Luey, who remained with Worcester until July, 1932, has enjoyed a highly deserved respect in the field for

sound

the potential non-theatrical business once more, he concluded that he couldn't make

His newsreel specialty was to photograph the athletic games at Yale. In that way he became known to the university officials and to members of the faculty.

ing of an exceptionally interesting and technically superior reel called "Through Life's Windows," the American Optical Company being the client. That reel has been exhibited successfully for many

his

press which might be the germ of a new Hollywood. For awhile Phelps thought of moving his organization there permanently. He weighed the matter very carefully. Then, surveying thusiastically by the local into the idea that here

fell

of pertinent information.

Allen Luey succeeded him in production command. The Worcester Film Corporation members became recognized as able producers in their line particularly after their mak-

numerous

the invitation. So Phelps tried production there a couple of times, welcomed en-

theatrical profits.

producer

with

many

much experience and few He deserved better treatment.

until

thereafter

well-equipped little plant, his workmanlike manner and his extremely nominal prices made possible by a modest overhead, brought him accounts throughout New England. His staff consisted of an assistant, Mel Preston, who ran the laboratory when he wasn't assisting on locations, a title artist, a compositor who set up and printed type titles, and an alert young women, Mrs. Costello, who managed the office and cared for the correspondence and the books. Phelps, himand self, wrote the scenarios, directed his

photographed. of sound pictures hit the

Not gallant little organization severely. so very far away, however, at Waterbury, was the elderly and distinguished William Henry Bristol, inventor of much acoustical apparatus including the decidedly interesting Bristolphone. For this speech-making device Dr. Bristol even had a fine little studio where he made

some own.

creditable

talking

pictures

his

wanted Phelps

and, when Bristol executors were even

to use the place suddenly died, his

more pressing

then,

the

con-

The

sold, the corporation had been ended. final dissolution, however, was not

nounced

various test and record purposes in different university departments. On the industrial side his intelligence, his readiness to oblige, the sanctity of his contracts,

The coming

saw

And

versation, he told me bravely that Phelpsfilms was no more the fixtures had been

emerged from the ordeal of being a leading New England nonL. G. Phelps

friends,

inconspicuous

things. lull in

an-

month or so received a card from him

May,

1935.

mailed at Rutshuru, Kivu, in the Belgian

Congo,

via

where he was photographing African Armand Denis and Leila

Mombasa,

enthusiastically native life for

Roosevelt. But after that again, in 1938, a handsome new letterhead attested his return to non-theatricals. Yet no. In October 1939 came a postcard from

him mailed

me from

moun-

a remote

tain city in India.

hear

someone

suddenly

"Why, this non-theatrical field more than a graveyard!" But no

exclaim, is

little

it isn't.

may be out of business, and may many another be. What matter?

Phelpsfilms so

There

is no intrinsic life in partnerships, companies and corporations as such it's men and women all in the individual comprising them. And, when the time is ripe, they will serve to build partnerships, corporations and companies anew. ;

Philip IT

Davis

characteristic

and human nature

that,

business

life

when an area

covered with struggling little enterprises, some person with confidence in his own powers of vision and leadership, will arise and seek to command it for his own profit. The phenomenon may be observed over and over again in these pages. It is

The Educational Screen

Page 18 observable

now

theatrical

field

Wilding

our survey of the nonNew England.

ALONG with this example of the man who came from the level midland area

The promoter in this instance was not by birth a product of that rock-bound soil, seen

first

having

the

light

He received his first Davis. education at Hull House, the famous Chicago social settlement of at Jane Addarns, remaining there until, twenty-two years of age, he entered Lewis Institute. After a year there and moved into the New England atmosphere of Cambridge, matriculating at Harvard 1903 University and emerging about with an A.B. degree. He had a natural especially then,

nurture

was an

excellent place to

Ladies' Garment Workers of America. In 1906 he started a half-dozen Boston Newsyears as supervisor of the Boston Newsboys' Republic and of the schools. boys' Court for the Boston public For three years more he was director of the $50,000 campaign for the MassachuCredit Union, and also a head setts

Civic Service House Boston. During the World War he was in the welsuperintendent of employment of the American Interfare

worker

the

department

Corporation Shipbuilding Hog Island, Pennsylvania, and, when the a field conflict was over, he served as the lecturer for the United Americans of

national

State of Maine.

intervals in all this

books and activity, he wrote and edited social magazine articles dealing with problems,

Knowing

done.

creditably

all

one would say that Philip Davis might be a brilliant acquisition for a the non-theatrical field and, without

these facts,

doubt, he has left a useful impress. He did not come into pictures all at once. But surely he must have thought about them at an early date, for the social worker, above all, is one to ponder

on any

influence

which

Davis's

profoundly.

affects

lecture

life

work,

so too,

New

York, Chicago, Detroit and Hollywood, and customers at points between, Norman Wilding's experience as a traveling salesman serves him well. activities in

With studio

describing the manufacture of asphalt shingles. But, for some reason or other, all of the editors apparently did not understand that their newspaper was to be used as a sort of stalking-horse for industrial payments to Davis. When the situation

became

pudiated

the

clear, they remuch to Davis's

really

scheme,

discomfiture. the

Nevertheless,

idea

was

basically

produce films on the industries of New England, sponsored by a leading New England newspaper and released by Davis's National Motion Picture Bureau, of Medford, Massachusetts. I have alin ready noted that the Argus Company, the Midwest, had tried a similar plan in Plain cooperation with the Cleveland

sound

entire arrangement, financed manufacturers and operated at might have performed an excellent

Dealer. by the cost, social

The

films a service, given industrial foothold in the area, and shown a real concerned. And. profit ultimately to all Davis was not the setback,

despite

must have brought him into contact with films. Then, also, he knew the Fosters.

through.

again, with

more of him soon another excellent idea.

will hear still

the close of the War he England representative of

all events, at

became

New

Community

Pictures.

;

ment.

He cal

then ventured to

productions

make

his

non-theatriaccount.

own

Among these may be named: "Jack Woods" ; Spruce ; or, Life in the Northern "Forbidden Waters," featuring the work "From of the U. S. Coast Guards; and Whorls to Cloth," an industrial of the he conusual pattern. Along about 1924 films ceived the idea of making industrial under the auspices of the Boston^Po^f. Three one-reelers were produced: "Your a tour of the hat inHat and

Mine,"

dustry; "Harvesters of the Deep," preGloucester fishersenting the work of the

men; and "The

New

England Home,"

of his traveling fraternity.

The

like the energetic soul for something more active.

and longed,

it,

he was and

is,

Anyway, somehow or other he fell in with a group of Chicago men who had a picture idea. It was not an original idea, but that was one of the facts which appealed to Wilding because, having been tried before, extent that

was

had proved to a gratifying

worked. The proposition

show propaganda

indus-

pictures

in the theatres.

carry out the backers had formed a concern

trials, it

chiefly

Commonwealth Film Company. They had no pictures yet, but they'd find

called the

those as soon as they had the distribution arranged. In fact, there were plenty of such films already made, spoiling on the shelves just because their owners had no worthwhile places to screen them.

can close my eyes and hear the reaIn such cases it is always the soning. same. At all events, it sounded right enough to young Wilding and, although he had no particular theatrical connections then, he undertook to organize a large portion of such needed distribution in a territory with which he was particuWith Michigan. larly well acquainted characteristic push, he promptly accomhis part of the bargain. Then he I

plished

discovered that the required films were not as readily obtainable as they had seemed to be. Possibly those New England customers, with factory pictures had taken the spoiling on their shelves, of view that they would not human point

When Community

of supply faded, he sought other sources for his remaining customers and presentover the same terrily he became agent non-theatrical departtory for the Pathe

in-

reason for his giving up that line I can only suppose to have been that he tired

it.

the

members

Harvard,

Davis continued his bent by becoming from 1903 to 1905, a national organizer

I I did not know Wilding then, but have no doubt that he was as successful in that line as anyone could have been in similar circumstances. Chipper, worldly-wise, ready with the latest story from the road, rapid-fire in speech and thinking of business advantage every minute of every waking hour he must have been popular with customers and other

another at the University of Chicago, he

and

soul was Norman E. Wilding, salesman on the road for a lighting fixture concern in Connecticut.

formal

sociology,

hills,

turous

Philip

England's rugged

teresting to examine the case of another non-theatrical pioneer who went from New England to the Lakes. This adven-

He was Russia, in 1876. David and Rachel Chemerinsky but, at upon his arrival in the United States the age of fourteen, he became plain

interest

New

Moteleh, the son of

Next Month of ChiCompleting the round

commer-

cago's non-theatrical cial producers, the survey continues westward by the northern

route to Minneapolis, St. Paul

and Kansas City, the Pacific Coast.

comes a

return

headed for After that eastward by

the southern route, with more And still stops along the way. this previously untold history is

The entire begun. available exclusively to regular readers of Educational Screen. Subscribe now.

only

just

story

money after bad, for they, of course, were the ones expected to pay for the service.

now

send good

Wilding waited and waited, and still the All the promised pictures did not arrive. while his active mind was busy with the In his general line of pros and cons. salesmanship, signed contracts were deThese in his finitely valuable properties.

were depreciating with time

possession

even

rapidly

than

Why

the

unmoved

he reflected, own account? So he abandoned Commonwealth to its seemand decided ingly undependable devices to be if the films were not otherwise

factory pictures. turn them to his

not,

that,

them himself. the start of the Norman E. Wilding Enterprises of Detroit.

had,

would produce

Which was

(To be continued)

Page 58

The Educational Screen

MOTION PICTURES

NOT FOR THEATRES

mainly film of

ARTHUR EDWIN KROWS

Editor of i

iHAT

"The Spur,"

Wilding, with due regard for his

astuteness, picked Detroit because of all places in the United States it was

best for non-theatrical production, is too much to suppose of any person not gifted with an unearthly sense of prophecy. It

conforms more with normal human events to suppose that Wilding was just lucky.

Even land

juxtaposition of New Engthe Detroit area was natural

the

and

for the former was supplying most of the machine tools used in the heavy manufactures of the latter; and there was a constant flow of materials hack and forth and mainly in the direction which Wilding had taken. The fact remains that the city Wilding had selected for his establishment was, in the next few years, to rival New York and in many respects to outrival it as a fruitful ground for industrial film

enough,

production. One thinks of New York as 1he great marketplace but, while a marketplace may have the experts who dictate methods of sales and of sales promotion, the manufacturers of the goods to be sold

have

in such matters, goods are of new the market has not been thoroughly plumbed and tested. Manu-

also

influence

especially sorts and

when

facturers

the

this

type,

exerting

power, were astonishingly many

such in the

Detroit area.

But

was Chicago, a city seemingly much more important than Detroit. Why didn't Wilding establish himself there? That question I cannot answer precisely; but Wilding still mad" the better choice. Chicago was primarily in

that area

a marketplace. Detroit, on the other hand,

commanded

the greatest heavy manufacturing section in the country. In New England the manufacturers

were much closer grouped but, by habit and tradition, they were far more con servative than these Midlanders with their newer industries and their still newer methods of persuading the public to buy. In the North Central States, as the school geographies sometimes like to call the other region, business had not yet been fully proved. It was not cut and dried. The manufacturers were of necessity open to novel ideas and untried system? and, if their advertising agencies in the East advised them against the use of

motion pictures, the factory men were to

act

counsel sheerly on the ground that the case of the non-theatrical movie had not yet been proved, either. Diaw a circle of two hundred and fifty miles from Detroit as a center, and there are included Chicago, Milwaukee, South likely

Bend,

contrary

that

Indianapolis, Dayton, Cincinnati, Pittsburgh, Buffalo, Cleveland, Akron, Toledo and scores of other factory points.

New

Another hundred

and St. Louis, Nashville, Philadelphia and New C.

York of

swell the roster.

chief

named

importance

miles,

However, what lies

the

first-

including the hearts of the oil and steel industries. For the greater part a level country, with straight roads for automobile ring,

tremendous rubber,

bee-lines for railroads, broad everywhere for airports, and a seaway to Europe through the Great Lakes and the St. Lawrence.

caravans, fields

the

and

the

Sixteen

stirring

Jam Handy

origins

devoted the

success

Chicago and

slide-

story Detroit

York City

Increase the spread to four hundred miles, and you have Springfield and Louisville and the national capital, Washington,

Number

Installment

stressing, of course, the import-

ance to

the

non-theatrical

producer of

selling his clients

by being close to them. Before one may have his stew, as the saying goes, he must catch his hare. But, looking at some other aspects of Detroit, one is obliged to confess drawbacks the Lakf Country sunshine is broken at short intervals by driving clouds disturbing to -ameramen and greatly lengthening the costly production period; the land itself lacks picturesqueness and variety for extended location work which norm-

would save studio expense; costumes and properties of other lands and ally

periods are difficult to obtain

;

creating and

assembling their products, complete systems of sales and distribution and they appreciated the values in those respects more keenly than did their own nominal representatives in the marketplace. For the sake of having picture production directly under their eyes where they could guide and correct it, they were easily willing to pay the increased costs of importing the missing factors. So, as the next few years were to show, there came from Detroit a heavy volume of sales pictures, their prices raised to a point where the producer could maintain his self-respect and in technical matters challenge comparison with Hollywood. Whether the stabiliza;

tion of sales systems, involving automobiles, radios, automatic refrigerators and so forth, will ultimately result in swinging Detroit production to NewYork, remains to be seen.

With circumstances so immediately favorable, so near at hand, the non-theatrical producers of Chicago naturally endtavored to profit also. It was a Chicago was

to give

Wilding

Detroit,

his stiffest

which

competi-

tion.

Jam Handy

the near-

est large film processing laboratories art in Chicago, and, above all, there is only

entrenched

enterprise,

THIS

Picture Service was headed by an old acJam Handy, erstwhile sales-

firm

a meager supply of actors. But in this business, one thing offsets another and, if the manufacturers wished primarily to see on the screen the raw materials entering their machines at one end and the completed products emerging from the other, there was in Detroit no great need of studios, actors and attractive outdoor

quaintance man for Bray. In August, 1929, Handy was advertising "fourteen years of successful experience in making industrial motion pictures and lighted still pictures for sales education and service instruction" but how much of the experience had been with Bray and how much was divided between the industrial motion pic-

locations.

tures and the

Lo and

behold, however, the manufac-

here were obsessed by no such Unlike factory men in older thought. lines, they had been obliged to organize, along with ways of refining materials, turers

Author's Note The manifest impracticability of reviewing a huge mass of research accumulated over many years and requiring more than 20,000 index cards to catalogue it means that the Editors of Educational Screen have accepted the manuscript of this long history mainly on faith. In the circumstances, the

Author assumes

full responsibility for all statements of fact and expressions of opinion herein, at the same time that he invites corrections and emendations for the betterment of the record when it

published form.

eventually

book

;

"lighted

still

pictures

for

education and service instruction" was not stated. Bray Studios was not incorporated according to notices in the motion picture trade papers until December, 1914; so Handy, assuming the correctness of this sales

quoted account, was dabbling in films a year later. Still, one can never be positive about these claims of experience, even granting their honesty. I recall one concern, in business for less than two cycles of the seasons, which claimed seventy-six years of experience by totalling the time spent individually at film-

making by five or six persons employed. The Bray version is that Handy was in charge of the Bray Chicago office and when he began to promote his that, personal enterprises, the connection was broken.

seems

that I once heard Handy had started in motion pictures through his interest in animated cartoons and, of course, in Chicago in 1913 to 1915, Essanay and Selig had their staff It

remark ;

that

lie

Page 59

February, 1940 animators with plenty to say about Bray's curb on their "free" methods. It would have been quite natural for Handy, as a newspaper comic strip editor, not only to have dabbled then in the local situation but to have been well acquainted with Bray. But, without further speculation on that point, my records show that a

Kelly-Handy Syndicate was incorporated Chicago in the spring of 1917 by William Matthew Handy, Jamison Handy and Otto C. Bryhlman, to manufacture The and deal in motion picture film. capitalization was $2,500. It was not until almost ten years later at

non-theatrical 1926 that the general became aware of Handy's advertising as denoting something extraordinary. At that time his concern was called the Newpapers Film Corporation and he was claiming "regional and serv-

about

field in

;

ice

representatives

principal

points

throughout the U. S." The Newspapers Film Corporation already had budded into an enterprise called the Jam Handy Picture Service, which leased films and full show equipment to its clients and this grew until, early in 1929, the former

in Detroit, from a photograph made about 1929. A remodelled church, with offices in front and the stages and workshops in the rear. Over and over through the centuries the drama has been fostered by the church, but probably never more literally than this.

The Jam Handy Studio

;

was completely superseded and dropped from all advertising. Nevertheless the discarded name was

name

for

significant,

very well

family was in Chicago journalism.

the

known

Handy

the

"Newspapers" title implied, Jamison had been making capital of his contacts. His father, Moses Purnell Handy, had been director of publicity for the World's Columbian Exposition his elder ;

brother, been for

William Matthew Handy, had

many years an editor of the Chicago Herald and Examiner and the Chicago Tribune, and his younger brother, Ray D. Handy, had attained celebrity as a cartoonist. Jamison, himself, had become, as aforesaid, an editor of newspaper comic strips, which must have taught him a great deal about visualiza-

taken out of a desk drawer and plugged into a convenient light socket for immediate operation. He had in this be

apparatus a useful aid in sales demon-

incidentally, one of his greatest triumphs said to have been the discovery and

development

the

late

Elzie

Crisler

Segar, creator of "Popeye the Sailor." Particular interest is engendered by

Handy's reference to "still pictures for sales education and service instruction," for this apparently was the real basis of the Jam Handy Picture Service. It re-

marks

by-product in nontheatricals, one, indeed, which was considerably to help the field as a whole. It was an item known more commonly today as "slide film" meaning a device to project individual frames of motion picture film to achieve the same results also, a striking

formerly attained by lantern slides successions of still pictures. With a small roll of fifty or sixty different scenes thus

photographed on a short strip of 35millimeter standard theatrical film (on which, in the usual positions, they run sixteen to the foot), a lecturer could carry in his pocket illustrative material for a full hour's talk provided, of course, that he had also a suitable projector.

Handy had such an

instrument, a com-

pact, inexpensive little affair

which could

Handy

But the

was the Brayco, manufactured for by, Bray Products. The

call,

regular service of slide films. The plan, put into practice, worked out so well that in 1929 the Jam Handy Picture Service in Chicago employed approximately one hundred and fifty persons to

of the period.

;

market and ship the gross monthly business,

stage, photograph,

slide

films,

said,

running to a return of about $60,000.

Ancestors of the Slide Film

I have for it is 1918 a Government bulletin. It was about the size of, and not much heavier than, an ordinary desk telephone

earliest certain date

a reference

jectors,

including

that

the

Spencer

Lens Company and the S.V.E. Picturol, were placed on the market. About ten years earlier, in the spring of 1914, the New York optical firm of Herbert & Huesgen had advertised a combination of camera and projector for this sort of exhibition; but apparently it was ahead of its time and then met with little favor. The photographing device was called the Tourist Multiple Camera; and it was said to have a capacity of seven hundred

and fifty pictures without reloading meaning, in terms of regular 35-millimeter film, a roll approximately fifty feet long.

The

separate projector did not

seem to have enjoyed a distinct name and was clearly assigned a subordinate place. Of course, from very early days, many a regular motion picture projector has been made to stop and show a single picture on the screen, and the tiny, toy projector called the Pathe Baby, or Pathex, imported from Paris, had an ingenious of running the motion picture but holding the title still on one frame to

way

that the

Brayco was

his

profitable

may have been

true, especially because the basic principle seems not to have been patentable. But, if

Bray had made a low-priced device for

home field, Handy had a better one designed and manufactured for his more exacting industrial clients. Bray has his own explanation of how his

;

was cleverly constructed,

really gave Handy idea in that line. And that

chine usually have long, involved beginbut we do know that the slide nings film was not generally known until about 1923-5, when several forms of still pro-

the

Street gossip had

what

the

devices such as

cheaply made and nominally priced, being designed for home use of the rich variety of subjects in the Bray film library.

Handy ma-

ODD

earliest slide film pro-

starting the trend upon which was to ride at full tide, that I re-

and distributed

simple, direct story-telling, a careful judgment of public taste, and of what

film.

jector,

employee training classes and the like, as he claimed and, once similar projectors had been purchased by customers who could use them, he might hope to supply the operators with a stration,

tion,

references to avoid, invaluable aids in the line he was to follow. As a strip editor,

save

own

projector started the slide film "It is a fact," he wrote me in September, 1939, "that I invented and developed the first film slide projector and made up the first film slide type of

movement.

film.

"The machine was called the Brayco. We made up one-half dozen projectors by hand, and I sent a speaker to the N.E.A. Convention in 1923, I believe it was, at San Francisco, where we put on a demonstration before the assembled educators. This Brayco fllm and projector made an immediate hit, and forthwith the Spencer Lens, S.V.E. and others started in the ,

same

fleld.

"It was impossible for us to get basic patents on the projector. could only obtain design patents.

Of course it was very easy for anyone to make up such a projector with a different design, so by the time we got well into production, we had competition from all sides. We made up 150,000 Brayco projectors which we sold at $25.00

in less than two years time. "About this time the 16mm. fllm was brought out by the Eastman Kodak Company, and we being

each

essentially motion picture minded,

The Educational Screen

Page 60 and realizing that the 16mm. mo-

tion picture could now sell for less than half of the price of the old

and that projectors fllni, that were fool-proof using fireproof film were becoming available, decided that we would go out of the production of Brayco projectors and devote our Interests from then on to the development of a 16mm.

35mm.

educationa.l

Much

film

distressed

library."

over

the

appearance

of the Brayco, and especially so because among the subjects listed for projection with it appeared an adaptation of "The Science of Life," was Dr. Maurice Ricker. Here, in turn, is that story in Dr. Ricker's own words, taken from a letter to me in February, 1939, and beginning the narrative late in 1914, when he was principal of the Des Moines High

School

introduced slide films to the U. S. Department of Agriculture, where they have been extensively used ever since, about 1922. Surely with all this, Dr. Ricker deserves an honored place in the temple of visual education.

But why was it that Bray decided that was no money for him in the Brayco and discontinued its production, while Handy went ahead with another device of the same sort and reaped a rich reward ? First, perhaps, was the temperamental

there

difference in the men but a leading reason also, no doubt, was the contract won by Handy to supply dealers of the Chevrolet Motor Company, everywhere, with ;

slide films.

The Handy Circle

Handy's particular friend

had been making single frame prints from my science pictures and projecting them as stills. I sent samples to Morton [Morton of owner the Mclntosh Bassett, Company of Chicago!, and he thought that I should make patent application. So he furnished the money. The claims were not well "I

drawn and, after the usual delays, some claims, such as a remote conLater trol, etc.. were allowed. (in 1921 or '22), I spent some weeks .

at Chevrolet

was Richard H. Grant, president of the company and their friendship remained ;

steadfast

throughout

many

troublous

vears which followed.

1,176.691.

hunjlwl

liar.

L'l.

P.il'i

"T had around Bray's Studio (Carpenter & Goldman unit, before

America is concerned, probably Dr. Ricker. And if the inventor of the Tourist Multiple Camera antedated him, Ricker's fame is still secure as the distributor of an exceedingly valuable innovation. The appearance of the Brayco, following his intimate association with

Bray belief

and

Studios, gives weight to his own that he unwittingly suggested it,

fact

that he

developed the Spencer Lens Company. If one accepts then the view that Handy's projector was inspired by the Brayco. there is indicated Dr. Ricker's part in four distinct slide film deit

slide film projector for the

vices,

counting his own.

was who

today chief

put his beliefs into practice. Those of Patterson's company who arose later to command other great concerns, would naturally be receptive to the approach of a film man endorsed by one of their own

number, especially

that associate

had

a business judgment which they particularly respected. It was even more significant that Handy had made films in 1920 studies in wasted motions for Pat-

actual father of the slide film?

motion picture production. To understand the non-theatrical importance of being endorsed by R. H. Grant, one must turn the clock backward briefly to the first decade of the century. Then Grant was one of the fabulous circle dominated by John H. Patterson, in the National Cash Register Company at Dayton. Others in that devoted, remarkable group, were C. F. Ketpresent head of the General tering, Motors Research Laboratories Charles

terson had been a great believer in the non-theatrical uses of motion pictures and, as was habitual with him, he had

far as

service

and Hugh Chalmers, later director of the Chrysler Corporation of Detroit. Even in that pioneer period John Pat-

their independent organization was launched), a slide film holder, such as Bassett and I used. It was a revised slide holder, with spools on either end.

offices

tion,

tained the contract.

was the

and

sales

;

I wrote and directed and on which Bray ob-

Dr. Ricker duly sent me a copy of the Patent Office specification, and from it are here reproduced his illustrative drawings. The comnlete specification was filed January 8. 1915; it was witnessed December 24," 1914. Still, that Herbert & Huesgen advertisement of the Tourist Multiple Camera was published in The Outlook even earlier May 23, 1914. Who, then,

were opened and regional representatives were appointed in other cities New York, Cleveland, Dayton and Detroit and, of course, it was an easy matter to step from slide film manufacture into regular

Elaborate

engineer for Chrysler Motors Edward A. Deeds, now chairman of the executive committee of the United Aircraft and Transport Corpora-

TJSPHS, which

exceptionally favorable credentials, and, naturally, he did not hesitate to use them. His own concern thus expanded rapidly.

Lee,

jector. Our patent was taken out in '14 or '15 (tho' conceived and worked on earlier) while making the 'Science of Life' film for the

"We played around with it, and was left lying around for several months. Imagine my surprise a year later, to see in the show windows of camera supply houses, a large printed card bearing the advertisement. 'Bray's Latest Invention' and mn 'Science of Life' in still frames was on the market. .... This indticed me to join Mr. Ott (Spencer Lens president) in getting out the Spencer nnd the adapter for lanterns. I would like for you to publish some time the patent which I will furnish you."

Motors Corporation, which in General comprised some eighty allied companies manufacturing not only automobiles but a variety of by-products ranging from golf bags to airplanes. To all of these affiliates Handy would have entree with

;

at the Spencer Lens Company in Buffalo, helping develop the pro-

(12 reels)

to success in the film field. Grant was destined to become director of sales and one of the most powerful vice-presidents

It is easy to see from largely John Patterson was responsible for the happy non-theatrical circumstances throughout the whole De-

terson

this

Patent specifications by Maurice G. Ricker and Morton A. Bassett for a slide film projector, dated December The papers were filed at 24, 1914. the Patent Office January 8, 1915

such cases, charges of favoritism were rife. One persistent account had it that Handy had married Grant's sister. After a time, it was said, Grant issued a statement, on Handy's behalf, that he never had had a sister. Then the story was amended to say that it wasn't Grant's sister but the sister of his wife, whom Handy had married and, when Handy denied being wedded to Grant's in all

sister-in-law,

rumor

replied that the rea-

son was that Handy had divorced her But what matter? As long as Grant received service up to standard in every and it appears amply that he did respect what matter whether the person with whom he dealt was a friend, his brotherin-law, his uncle or his aunt? Whatever the detailed circumstances of the friendship may have been, Grant's high regard surely opened Handy's way

himself.

how

troit area, and why, indeed, Detroit was. from that standpoint, so much ahead of New York. In developing movie production, Handy,

of course, did not relinquish his lucrative slide film business in Chicago but. while ;

he decided upon Detroit as the logical center for his new work. Accordingly he rented a suite of offices in the fine new General Motors

he continued

that,

Building in Detroit, and installed there a small projection room. The room was for the convenience of General Motors officials who might not wish to travel over the half-dozen blocks to the converted church, further along East Grand Boulevard, which was now the Jam Handy Detroit studio. At the same time the studio became, as Handy surely knew it would, a fascinating exhibit to show

prospective clients who had "always wondered how they do it in the movies." It was Jam Handy's idea from the beginning to supply a complete motion picture service; so his workers not only

variously "wrote

scenarios

and produced

February, 1940

Page 61

but they negotiated print sales, inspected and repaired reels in use, and actually put on the shows. They sold The resident manager projectors, too.

f-.'et of laboratory a nd studio Cleveland had been the scene of much motion picture activity in the early days but the companies virtually all had been ambitious for theatrical honors. The Argus Company, which in 1917 had pro-

square

pictures,

space.

;

charge of production at the studio was Oliver Horn, a vice-president of the company, brought over from Chicago. Horn was something of a swimming star a strong point with Handy, for he, himhad hung up several laurels for self, in

amateur performances

in the water.

duced a history of the

despite its avowed interest in educationals and industrials and the Reserve Photo Plays Company, arising to inclined

;

An-

stationed at Detroit

other vice-president

public view in August, 1916, with announcements of a film for the General Electric Company entitled, "Flame Eternal, a Drama of Light and Love," fairly showered the press, before the month was

was Ben Turbett, old-time Edison director. Handy's brother-in-law, John Strickhut he remained most ler, was treasurer of the time in Chicago, where he was in ;

charge of the

slide films.

care for the

Picture of the Brayco, from an advertisement of the Chicago dis-

exhibition phase, Perry Warren, who had had a small but thriving business in supplying film shows from Dayton, was

The

taken on.

sales

But probably the most intriguing figure all, next to Handy himself, was the Reverend Ralph Lee, formerly an official in the Frigidaire plant at Dayton. He was a brother of Charles Lee, chief technical expert at the Chrysler factory, and

himself the inventor of

some important

automotive devices. He it was, they say, who designed the particular slide film projector exploited by Handy probably at his home workshop which he mischievously called the Domestic Engineer-

also found Studebaker, Dodge and the Graham Brothers also the public utility companies and the oil people.

described as a $7,500,000 corporation to produce motion pictures and to present them in its own theatres the first soon to be erected in New York City. "Flame

So he was not so badly

his

purpose,

with the ceaseless activity of the admirable George Haig. least

was with more casual clients for silent pictures were The Curb's Publishing- Company, JohnsHandy's

principal

General Motors.

business

Among

his other,

Mansville. the Bankers Trust Company of New York, the General Electric Com-

pany, the Celotex Company, the American Surety Company, the General Outdoor Advertising Company, the Elgin

Corporation, ei equipment

Cantrell

;

makers

Cochrane, Ltd.

Company and As one goes

>ver the list it is interesting to

note the

bsence of automotive accounts other than IGeneral Motors and here is the key to the success of Handy's competitors in the ;

area.

The man who

held

General

the

Motors business could not hope

have

also the

patronage of rivals of General Motors. Even Chrysler, with Charles Lee in a position to refer business to his brother Ralph, did not noticeably appear, therefore, in 'the

Handy

roll-call.

Wilding was the lucky man to find and to make him a star

alter Chrysler

which was

might be done by anyone else. In accordance with that policy he also began a slide film business on the side. And his enterprises, clients as completely as

all

together,

With one

waxed deservedly

strong.

the jealousies and suspicions of toward another, there was even

client

enough business on the margins for a few lesser industrial producers.

Chief

among

by the way, was "probably" be produced in Los Angeles. Even Watterson Rothacker was impressed. He traipsed over from Chicago one day for a chat with Johnny Ray, the general Eternal,"

manager

of Reserve

publicity

have

been

to see even that blazoned promptly forth by the Reserve press department.

casual

surprised

fact

So Jam Handy and Norman Wilding remained the bright particular stars of industrial motion picture production in the Great Lakes area. When we reach the story of the development of talking pictures, they will appear again.

was Morris J. Caplan, president and manager of the Metropolitan Motion Picture Company, over on Cass Avenue,

Detroit

International

representatives

Newsreel.

younger brother, was

dent.

They claimed a

Chicago

his

vice-presi-

start in 1919,

when

Morris had been joined by another brother, Sam, who retired in 1931 because of ill health. Then, in the Penobscott Building, there were two other brothers, the McConvilles, calling their concern Professional Films, Inc.

Next Month

non-theatrical distribution.

is so clearly the key city of manufacturing region, that its

name denotes dustry as

manifestations of giant in-

In Europe, everywhere in it. America, "Detroitism" means the

unprecedented, twentieth century manufacturing operations there to be seen. Chicago is the railroad center of the modern phases of industry on the whole, quite distinct. There the interests include transportation, too but it is the railroad, opposed to the automobile of Detroit. Chicago is the railroad center of the world. It is also the world's greatest and grain meat-packing, agricultural region of those States which are drained bv the northern tributaries of the Mississippi.

adds to the roster of the commercial producers of America, preparatory to taking serial

up the specialized

this great

;

handsome city of Cleveland, on Euclid Avenue, was William Scott, with his Art Films Studio, which had 21,000 In the

The

DETROIT

the

Arthur Caplan,

and, experienced in

methods as he was, he must

general

street-cleaning

the Coca-Cola

He found, well situated, Street, in the the Michigan but ample for to serve his

off.

an old church, not so perhaps down on Mullet older part of the city near Central Railroad station too,

the

as the "latest invention Bray, originator of the

client.

company was in

with promises of theatrical activity,

including one that it might merge with the Selig and also with Essanay.

animated drawing"

these

although this

Brayco Company of accompanying text

out,

R. H. McLaughlin was head of Reserve; but he now took on in addition the presidency of the Success Film Company of Cleveland, which was "conservatively''

Company of Dayton. Being a wealthy man, Ralph Lee bought a heavy interest in Handy's enterprise. He participated actively in it as far as Handy would permit. But he also kept up his activity as a minister in the little church at Dayton, to conduct the services of which he frequently flew over from Detroit in his own airplane. His title in the Handy promotion manager. seems not to have interfered

The

describes of J. R.

ing

sales

the

tributor, Illinois.

manager was George

He is said previously to have Haig. resigned a $25,000 a year job as executive in a large industrial concern, merely because he did not approve its operating policy a form of resignation repeated about 1933 when he abandoned Handy.

city in association

with the Cleveland Plain Dealer, was so

interests

production and Less than one-

third of the story has appeared consecutive issues of The in

Educational Screen since publication began in September, 1938, and continuation will be in these columns. exclusively Subscribe now.

The

non-theatrical producer situated in

Chicago consequently was

unfitted

through sheer environment to break importantly into the Detroit area, as the Detroit producer necessarily had a cast of mind unsuiting him to more than an occasional

foray into the Chicago area. to be a contradiction here but bear in mind that in Ins best years he kept his motion picture business wholly save laboratory work

Jam Handy would seem ;

in Detroit,

and his

slide film

manufactur-

ing business altogether in Chicago.

(Ts be continued)

Page 193

May, 1940

MOTION PICTURESNOT FOR THEATRES "The Spur,"

Editor of

IS quite consistent that the Industrial Moving Picture Company of Chicago was able to exhibit, at the

Forestry Exposition in 1914, films made for various clients covering the entire lumber industry, and to produce, a little

motion pictures on paper-making

A large share of the Minnesota. raihuad films were contracted for with in

Chicago producers, including releases for he Illinois Central, the Chicago North Shore & Milwaukee and the Chicago & all the Farm Bureau emanated from that city. Many neat-packing films would have come from there also, no doubt, had many such een made but, in advertising animal

Uton.

Virtually

subjects

;

products,

not

conducive consumers

generally

appetite appeal to remind i the slaughter house. Watterson R. Rothacker's

Industrial

loving Picture Company had continued be the foremost non-theatrical producHis chief business, ng concern there.

New

York City

the connection, they

cern after If

this

had named their consuccessful

first

true that

one basket"

eggs

they "put

venture. their

all

in this fashion,

they were badly jolted in 1927 when the Atlas Educational Film Company carried off a Farm Bureau contract for the making of a six-reeler, with fifty prints to boot. However, Homestead had not waited for all of its income from the Farm Bureau. In 1923, for instance, its staff had pro-

duced the "Michigan Series" of films, designed and constructed by the Michigan State

Department of Public Instruction, North

illustrating the natural life of the Central States.

developing

had

beginning,

brother,

industrial

Douglas

D.,

been but

films

from younger was always

his it

cards to catalogue it means that the Editors of Educational Screen have accepted the manuscript of this long history mainly on faith. In the circumstances, the

R. who figured prominently aggressive promotion of the work, whether in obtaining contracts or in pushing an ad-film group. Nevertheless, the laboratory received its

Patterson

in the

meed

full

attention

;

and,

sufficiency of profits obtainable

as the

Author assumes

full responsibility for all statements of fact and expressions of opinion herein, at the same time that he invites corrections and emendations for the betterment of the record when it is published eventually in book

in-

by blazon-

ing trails in the unexplored non-theatrical end of the business became more

form.

and more evident over the years, Watterson decided to withdraw from it and let his brother carry on. Consequently, in the

summer

was

of 1926, the lesser enterprise reorganized as Rothacker Industrial

Films, Inc., with Douglas D., then thirtynine years of age, as president, and S. J. Stoughton, of the New York office, as vice-president. In September of the same year, Rothacker Industrial Films moved away from Watterson's address on Di-

versey Parkway, to a

new

plant on

North

Ashland Avenue.

Homestead Films, Inc., of Chicago, was not much in evidence until after 1921, when the American Farm Bureau Federation released "The Homestead," in two reels. I do not know the name of the organization responsible for actually making this subject but, as Homestead Films, Inc.,

produced

"My Farm Bureau"

1924 for the same group, the conclusion is irresistible not only that "The Homestead" was created by the same persons but that, to gain as much as possible from

The manifest

Author's Note

impracticability of reviewing a huge mass of research accumulated over many 3'ears and requiring more than 20,000 index

In direct charge of that,

livision.

the

his

tional

a considerable business in picture distribution as well as in production. In 1925 the concern attracted news service attention by producing a film

developed

for

American Federation

the

of Labor. F. of L., announcing this from Washington, August 3 of that year, stated that the picture would show the

The A.

high spots in the history of labor, "from slavery to the present." Every phase of the labor question \vould be treated, it was said the eight-hour day, open and closed shop, the union label and much officials

And, when completed, paid labor would lecture with prints in

various

cities.

guide the reader through the maze of Atlases, here are the basic facts concerning the Atlas Educational Film Company of Chicago the one which has of-

and studios

fices

Oak

Park.

beginning including

course,

fort

from then on for the Atlas EducaFilm Company seems to have

lists

more.

This Atlas Educational Film Company also was of Chicago, and apparently had no connection with Henry Ford's alleged Atlas outfit in Detroit, or with Leon E. Dadmun's Atlas Film Manufacturing Company of Boston (started about 1917 with a "Peck's Bad Boy" series), or with the Atlas Films of New York which, in 1910,

was the Rothacker Film Manuacturing Company, operating the largest Newbetween commercial laboratory fork and Hollywood. However, he had given much constructive thought and efof

the survey over Ray-Bell in the Twin Cities pausing also at Colorado Springs to study the profitable midget plays of J. Don Alexander. lingers

ARTHUR EDWIN KROWS

later,

The Seventeenth Month

suburb known as

in the

The organization from

many and

and

industrial

propaganda

Wednesday"

theatres.

coincidences are that,

Motion Picture Nm'S

the

carried a

small

reel

Some

further

January, of

New

the Atlas Educational

every

1916,

York, which

Film Company of

San Francisco advocated the use of the Universal Camera for which it was the agent an Atlas Projector Company was operating in Chicago in February, 1916, its machine designed for non-theatrical ;

use and the Atlas Company of Detroit, with the rumor of Henry Ford's support, came in July of the same year (but almost immediately thereafter announced the production of theatrical comedies). In the spring of 1921, the Atlas Educa;

Film Company of Chicago, was "The Story of Two Pigs," an item on animal husbandry, made in coThe operation with Purdue University. tional

releasing

name

recurs

constantly

the

release

films,

frequently identified with pictures the Farm Bureau Federation. In

for

"educational" output have been subjects for Eastman Teaching In 1916, another brother, R. R.

its strictly

various

Films.

Rehm, and

a brother-in-law, T. L. Haines, started the Atlas Educational Film Com-

The former pany of San Francisco. withdrew within two or three years of the

but the company has continued by Mr. Haines as an active sales establishment. incorporation,

been

Of the Chicago theatrical film producers, Kleine confined his non-theatrical pretty much The Essanay Company

American

its

incorporators I. R. Rehm, who is its President, and his brother, C. A. Rehm, still active. in the concern. It has produced

endeavors released ''one good

dates

its

1913,

distribution.

also kept

fairly

executives probably weighed the possibilities of a non-theatrical experiment or two. When the new Essanay Studios opened in the spring of 1916, George K. Spoor, the president, entertained the Advertising Association of Chicago, and addressed the attending members on the subject of motion pictures aloof,

although

their

its

relation

advertising.

August, 1916, he issued a statement defending the use of films in churches.

But the Selig Polyscope Company prosecuted the sideline with great diligence. Col. Selig was less concerned with factory pictures, however, than with films on politics and government and he was ;

more interested in the politics and the government than he was in the pictures designed to further their ends. Among other films, which he made in circumstances having political implications, was the Indiana centennial picture in 1916.

The Educational Screen

Page 194

gave marked attention

films

a branch sales office in Minneapolis. In one period a sales office was maintained also in Chicago. The firm designation is a combination of the names of Reid H. Ray, who has written many scenarios for the concern, and of Charles E. Bell, cameraman. With their staff of qualified assistants and considerable equipment, they have served successfully some of the best accounts in their territory. Probably their

for

conceived these chiefly as subjects which would be equally interesting in the theatres. He had been one of but

schools,

the first sincere believers in travel reels,

and himself had financed not only the

Emmet

O'Neill, in 1912, River, but expeditions to Korea, Japan and the Philip-

expedition

Amazon

to the

Africa,

headed by Professor Frederick Starr the same Professor Starr whose brave utterances on the probable future of educational films had been quoted in the early Urban and Kleine catalogues. pines,

largest

that

In 1926 Douglas D. Rothacker took of America's first exclus-

celebrated

command

ively industrial film production firm,

which his brother had founded and conducted for sixteen years.

The

vice-president and general manager, Oscar B. Depue, began as a lantern opHis erator for Burton Holmes in 1893.

to production facilities, a guaranteed nontheatrical circulation.

Depue personally built all the 1902, cameras, printers and projectors used by Burton Holmes, Inc., to photograph dur-

a highly advantageous position to secure industrial accounts. First, its chief sponsor was the influential public util-

summers and

exhibit during the 1915 the beginning of Holmes's long contract with Paramount made it expedient for him to establish a private laboratory and that was the actual beginning of the firm as it now exists. In 1928 Depue's son, Burton W., graduating from the University of Wisconsin and ambitious to expand the business, was made manager of sales in

winters.

;

charge of the industrial films division at the age of twenty-two. Of course, in so large a city as Chicago, there were numerous smaller efforts locally to produce industrial and educational pictures; but apparently few materially trend. to in

influenced

However,

the

non-theatrical

significance

attaches

any firm of the kind which remained business upwards of five years, be-

cause that at least suggests a kind of stability which must leave an impress on the

community in which the phenomenon Something may be claimed,

appears.

therefore, for such Chicago enterprises as that of Otto Hangartner, whose Zenith

Cinema Service attention in 1917 series

made

wealthy

came to particular when it issued a travel

first

Otto

Brinner,

citizen.

There was one other large Chicago undertaking, the more extended description of which it is advisable to hold for a more appropriate place. This was the commercially founded Society For Visual Education, organized late in 1919, primarily to serve the school portion of the non-theatrical field. In September, 1920,

Apart from the situation of the Society For Visual Education in Chicago, it was in

ities

magnate,

Harley

Clarke,

who

1920, even wrote an article for the Society to use in its advertising, entitled

"Visual Education as a Force in Indits.try." Second, the imposing list of eminent educators concerned in the enterprise

presumably were experts in the technique of imparting useful information of great importance in industrial films. Unfortunately, and possibly because the most was not this

made of

these substantial advantages, phase of the Society's business did

not much develop. My own records show only one industrial picture made by the division a technical subject produced at the Chicago Laboratories of the Union Draft Gear Company, dealing with tests made on heavily laden freight cars. It was shown before a convention of railroad men, at Montreal, in September, 1920. It must be added, however, that the Society was still advertising for industrial accounts at the end of 1921, and doubtless made other productions of the sort.

There seem

have been newsreel shots

Modern Woodmen, photographed

of the

in Peoria, as early as June, 1908 and exceptional interest in those apparently led the order to develop its own film ;

service. The picture procenters in the sanitarium work, the

distribution

gram

sanitarium itself having been begun Jan1. 1909 the aim being to acquaint those who have invested with the use to which the funds have been put, as well as to stimulate further support. In 1911

uary

the

first

film

this

sort,

"The Man

Who Came

Back," was produced by the establishment which was to became RayBell. Since then, Ray-Bell Films, Inc., has produced upwards of forty-five different

for

subjects

this

single

account.

Considerable income for the firm lies in exhibition of the films it has produced. Since 1935 it has made and distributed numerous short advertising subjects for theatres, showings for principal customers being claimed in fourteen Midwest States annually. In 1908 Charles E. Bell began as a projectionist in a

Seattle,

Washington,

the-

Shortly afterward he came to St. Paul to operate a motion picture house of his own. but. in 1909, he surrendered atre.

that

become

chief

projectionist

for

Raths, owner of the St. Paul Gayety Theatre. In the Gayety were held previews of films made for the Great Northern Railway, the contract to produce which was held by Edward Seavolt, a former cameraman for Rothack-

Otta N.

Roy-Bell

THREE hundred and

fifty

miles or so

northwest of Chicago are the twin cities of St. Paul and Minneapolis, constituting the eastern gateway to the upper lefthand quarter of the United States. Served by eight or nine large railroads and situated at the practical head of navigation on the Mississippi, they are in positions to command the huge wheatfields, vast

this group,

timberlands, and large portions of the mining areas. Here, claiming a start in 1910, and so to be the oldest commercial

clients in that class, offering, in addition

motion picture company in continuous existence, is the non-theatrical production firm called Ray-Bell Films, Inc., its studio and laboratories in St. Paul, and

having embarked on the production of an impressive list of classroom films, announced the formation of an industrial department and advertised for

scenic material, for publicity uses

Ray.

mechanical knack and general willingness led Holmes to use him as assistant in his first motion picture attempts, results being so satisfactory that from 1897 to

ing the

ways

through the passenger departments. This indicates the source of their films on the Yellowstone and Glacier National Parks, and of the Northern Pacific's "Flashes of the West" series which consists of twenty-two one-reel subjects. Another faithful client has been the Modern Woodmen of America, the fraternal organization whose headquarters are in Rock Island, Illinois, and whose Head Clerk is J. G. Ray, the father of R. H.

The Burton Holmes Chicago studios and laboratories were concerned mainly lecturer, although occasional reports came of their production of outside subjects.

feet

edited in various

;

enterprises

1925

mately 100.000

the

assignment

from the Burlington, Northern Pacific and Great Northern Railways, for which they shot approxi-

Selig's excursion into New World history his "Columhas already been noticed In the autumn of bus" was memorable. 1915 Mayor William Hale Thompson nominated Selig to become a member of but the Chicago Board of Education the Colonel declined with thanks.

with

production

single

came about

er: and this spelled opportunity for Bell. In 1910 he therefore brought about the formation of a company to produce further Great Northern pictures, establish-

ing a laboratory, as part of the plan, Raths' basement. In the Raths-Seavolt

Film Manufacturing Company, Raths was executive head Seavolt was director and Bell was cameraman. ;

;

Along with other production assignments. Bell made pictures for the Modern Woodmen, beginning in 1911 with the aforementioned

"The Man

Who Camr

Page 195

May, 1940 In 1915, while engaged on one these undertakings in Colorado, he became associated for the first time with R. H. Ray, whose father, as Head Clerk,

Back."

Coast to Coast for locations.

moreover, possibly holds a record for the production of agricultural subjects, notably for the John Deere companies.

conducted the Woodmen motion picture activity along with many other duties. The son, a student at Iowa State Uni-

had become a cameraman there Athletic Department, making, incidentally, what are said to have been versity,

for

the

the first

used the

football training pictures to be

Ten colleges but, during summer months, he worked for his in

Big

;

motion picture department and thus, in 1915, he joined Bell's crew in the capacity of what he now describes as "a lowly assistant." It was much later, however, that he became a regular member of father in the

of the

Modern Woodmen

the firm.

By 1920 Seavolt had dropped out of group and, in fact, out of motion picture business. The firm name had become, first, Raths, Mills & and then, Bell Motion Pictures, Inc., vhen Raths withdrew to accept an aplintment as Postmaster of St. Paul, ust Mills & Bell. But the concern went usily on, now with that large, previously the

original

the

nentioned, two-year production job in and for the Burlington, Great Northern

Northern Pacific Railways. W. R. who headed the company beginning 1922, had been, until then, L. W. Hill's dvertising manager for the Great Northrn. That railroad "epic" had been barely ompleted when, in February, 1925, R. H. Ray succeeded Mills as company lills,

Sly-Fox Films,

Inc.,

Ray-Bell,

also of

Minne-

specializes in making short ad films for theatrical release, non-theatrical subjects just occasionally. Earle C. Sly

apolis,

president and treasurer, R. S. Stebbins vice-president, and Ethel H. Sly is with a In secretary. passing them is

friendly

nod,

one

struck

with

the

thought that here again is a small producing concern, far from the theatrical picture-making centers, which nevertheless finds a fair living for its personserving the same market supplied

nel

by Hollywood. As a matter of

fact, the making of these advertising "trailers" is characteristic of industrial producers through the Midwest and the South, where the exhibitor chains do not strictly enforce the rules which prevail in the better theatres of the East, that all commercial advertising, save for current and coming attractions, shall be excluded from theat-

screens.

rical

that the small

is perhaps fortunate producer has this oppor-

him. The regrettable fact is that prosperity in the trailer sideline usually weans him away in time from the other service. Or it so imbues him with the "entertainment" formula that, if an odd client asks for a non-theatrical production, it is almost impossible for him port

his

readjust his film-making point of view and make it on a fitting basis. South of Minneapolis and St. Paul, four hundred miles more or less, are Kansas City on the Missouri, and St. Louis on the main Mississippi stream. They are traffic centers midway between active highways north and south and east and west. Hence, they are likely places, indeed, in which to find industrial producers. Kansas City, "gateway to the southwest," has encouraged them especially; but those to be found there generally are most interested in making to

these "sponsored" exhibition.

for

films

theatrical

A. V. Cauger's United Film Ad Servsubsidiary of the Kansas City Film Laboratory, is one of the most active. It was organized about 1925 by Cauger and several others including J. H. Craig and U. B. Iwerks, the animation artist ice,

R. H. Ray, president of Ray-Bell of St. Paul. Found his life work when sent to watch Charles Bell make a fraternal organization picture.

buying out his interest. Mills returned to his old job with the Great Northern. Since that time Ray-Bell Films, continued has uninterruptedly Inc., under the same management. president,

One of its largest contracts years was the making of eighteen reels for the Russian Soviet Railroad ComSoviet mission, through Amtorg, the trading company, constituting a complete story on American railroad operin

ation, plete,

recent

and taking nine months to comwith camera crews traveling from

later

became known

to the theatres

as the creator of the screen cartoon character "Flip, the Frog." The concern ap-

parently has no connection with the

Kan-

Film Corporation which was formed

sas

the other Kansas City, across the State line, in August, 1916, by John B. Born, A. D. Allison, L. E. Barnard and H. J. Kaelin, with the announced purposes of erecting a studio and producing "all kinds of pictures." Another indusin

trial

producer in Kansas City, Missouri,

Andlauer Film Company in the Ozark Building, W. A. Andlauer president unusual for being more interested is

Charles E. Bell, production head of is said to be the oldest commercial film producing concern in continuous existence founded 1910.

what

tunity to earn subsistence when the making of non-theatrical fare will not sup-

who

'J.-

the

non-theatrical

material

and

its

dis-

tribution.

Leading the local non-theatrical production in St. Louis, which includes the National Cinema Service, is the Commer-

Films Studios, Inc., operated jointly with a processing laboratory, and once more principally concerned with short ad films and trailers. In much the same situation, with a laboratory and theatrical clientele, is the concern known as Parrot Films, at Des Moines, Iowa. cial

Don Alexander

THE

inquiring observer, map in hand, crossing now through Kansas City into the vast Southwest, searching for the outstanding non-theatrical producer there, would, as long ago as the mid-nineteentwenties, have been given the name of

Don Alexander, of Colorado Springs, Colorado upwards of five hundred miles away, clear across the ample State of Kansas. J.

With

all

of the praises to be uttered

concerning Colorado Springs,

diffi-

think of it as the commercial heart of the Southwest, as a great manufacturing or marketing center such as St. Paul, Chicago, New York or Detroit. And a little closer scrutiny shows that Don Alexander did not choose his J. location for a film business, but for ancult

other, more consistent line from which his motion picture activity was, for the time, a mere offshoot. What he was enin occupied the Alexander Building in Colorado Springs, under the non-

gaged

committal name of Alexander Industries. First and foremost, then, as far as Colorado Springs was concerned, Mr. Alexander was a builder of airplanes. Another division of the Industries was

operating a printing plant. But that was overshadowed by a curious sort of film production which served at one time, in the silent films period, upwards of 2,600 theatres, principally in the Southwest and South. And Colorado Springs a convenient and pleasant place to is pause and see for ourselves what these profitable ad films were like. As the Alexander Film Company presented its product then, each production

was approximately

fifty feet long, and by the projection standards of that time, as many seconds. Frequently two

ran,

The Educational Screen

Page 196 or

would

three

almost

occupy

strung together to but that minutes

be three

;

them in subject matter, was an advertisement for a separate concern. The ad film producers made literally hundreds, listed thereafter did

not

for

each

relate

of business headings banks, life insurance companies, restaurants, butcher shops, bakeries, and, no doubt, candlestick makers, for there seems to have been no trade local shopkeeper could purleft out.

under

sorts

all

for

subjects

chase or rent one of these midget productions, tagging a title on the end giving his name and address, and paying to have it run at his neighborhood theatre. Strictly speaking, you see, these production specialists were not in the nontheatrical

The

line

Film

Company

ranged for the exhibition of

its

films.

"Yes, it wisely says 'SAVE ME' (in full capitals). "Then," explains the page from which I copy this, "follows the bank :

loss

subject, called

"KNOW,

They

Will Be Safe," introduces the spectator to a bereaved family listening to the reading of a will, while a cut-in titled "Insurance has assured confides that their future." Following the formula :

again,

"a tells

they

may

advertising the theatre audience

local

trailer

the

where

subjects were produced under supervision of H. E. Hollister of the New York office. He was situated there, no doubt, to solicit tional accounts. Hollister entered

dustries,"

Not far from Colorado Springs is Denver. Here was established the Hoffman Film Company which in 1916 obthe exclusive rights to produce motion pictures of the Pike's Peak Auto Race. Here also were the Filmcraft Lab-

tained

oratories, which, in the early

1936 suffered a disastrous

employ of Alexander about

1928,

CONTINUING westward

(in

the

silent

motion picture days), an important comnon-theatrical center was not for a thousand miles. appeared the companies of San

mercial,

the

to be encountered

when

summer

fire.

West Coast

na-

Then

Francisco and vicinity, most of these also their efforts toward theatrical There was the Duhem Picture Manufacturing Company, with an efficient studio and laboratory on Hayes Street Mr. Duhem, I believe, having

directing release.

personally photograped the official pictures of the opening of the Panama the already-mentioned Canal in 1914 ;

Educational Film Company, established about 1916 in the Pacific Building and with T. L. Haines as present head and Irving Auerbach's Auerbach Motion Picture Productions, on Golden Gate Avenue, alleged to have been making commercials since 1910. Across the bay at Oakland was to be found Frank R. Church Films, Church Atlas

over $559,790. He estimated that at time more than one-third of the theatres in the United States were showregularly,

New

representative and chairman of the board. In 1921 the Alexander Film Company, "a division of Alexander In-

purchase insurance."

;

that

subjects

Shipman was

York

The more important

industrial

produce theatrical subjects for State

rights release. Ernest

exchanges.

Another

Alexander announced that payments to approximately 5,782 theatres for running ad films during that year, would amount

and

own concern was

handling about three-quarters of the business. In September, 1938, he claimed a daily average

that his

saving."

if they persisted in diverting regular advertising appropriations, normally directed to the press, and placed a ban on advertising films. When that storm blew over, however, the service speedily re1935, gained its pace. In December,

ing

at Spokane, he be-

was organized in New York, by Harry M. Thomas, later to be known as an expert operator of theatrical film

were threatnewspaper publicity

still

February, 1918,

came president of the Titan Feature Photo Play Company, a stock enterprise,

calling attention to the local institution and climaxing the thought of trailer,

associations

the exhibitors'

with

number two)

(title

replies

agent

contracting for regular weekly releases with the Motion Picture Theatre Owners' Association in various areas, Alexander was enabled to solicit successfully business with large regional advertisers. The work of that character seems to have flourished until about 1931 when

ened

showing

ar-

all.

Alexander

talk?" and there follows a a toddling child interrupting his father who is writing checks The at his desk, to put this poser. father raises the child to his knee and

money

does scene

known

better

of nearly thirteen miles of film supplied to more than 10,000 theatres. With the periodical outbursts of the organized exhibitors against the showing

for his scenics

to the

non-theatrical

and wild

life

field

subjects than

for his industrials, although he has pronumber many commercials, too.

duced

of sponsored films in theatres as a defi-

of the last-named bearing his name, have been shown in theatres but they averaged four reels apiece, and so were not in accord with the length specifications of the Don Alexander school. Church also, as in the case of Ray-Bell, back in Minneapolis, conducted a profitable rental library for non-theatrical users. The Los Angeles area was not remark;

nitely harmful policy, it to discover these firmly

Don Alexander, Colorado Springs, overcame objections to advertising films in theatres by making them

surprising rooted, con-

trariwise lines. The secret is, apparently, the productions of the Alexander sort are so brief in running time that

too short to be very objectionable.

that

they are classed not as incursions into the entertainment period, but as mere "trailers" such as the exhibitor throws on his screen regularly to announce his

Perhaps an analogy

attractions.

coming

be drawn with the drop curtains in

may

vaudeville theatres, upon which advertising spaces were sold to local

the

old

merchants. In the silent

purpose;

films

the

period

and,

the

case

Alexander formula, anyway,

tiny

the

was ex-

the prospects. "An plained frankly a first opening title secures attention scene holds interest a subtitle and concluding scene arouses the purchasing desire and a concluding title, or 'trailer,' to

;

impels

action."

typical

I choose formula

ings."

a is

title

Prior to that time,

had

Hollister

said,

publicity, scenario and in Hollywood. experience

some

production Alexander's

vice-president

charge of

was M. J. Mclnaney, his proIt is duction manager Mark Fitzgerald. film sales

productions were tailored to a plan which had been worked out as most efficient for the

Pyramid Film Company of Dayton, which he had joined as director of production in 1917 and subsequently headed, was absorbed by Alexander Industries. the

real

curator of

the

note

Playlet"

and

one to illustrate the under "Banks Sav-

bears the question

"Daddy.

that

historical

Earl film

Theisen, collection

the Los Angeles Museum, started in motion pictures as a member of Alex-

ander's organization in 1922. Prying into the past for details of Don Alexander, he at

St.

and

the place did not justify elaborate establishments of the sort, and, second, that with so many Hollywood cameramen

anxious to pick up side assignments, it scarcely could pay anyone to specialize. Mention should be made, however, of Hollywood Film Enterprises, Inc., which has produced a large number of business pictures and operates a rental library and extra attention should be di;

Young ProducBurhank. Richard P. Young, born in 1897 at Maysville, Kentucky, on the Ohio River,

character

rected to the Richard P.

was born

tions at

Louis, Missouri, January

educated

schools variously in

"Alexander listed

interesting

able for "commercial" producers, in the silent film days, for two particular reasons first, that the industrial aspects of

1885.

and high Tennessee, Kentucky

grammar

and Ohio. One finds that at the close of 1917 he was in command of the Alexander Electric Company of Spokane, Washington, an electrical contractor. In

made

his first professional connection with films at Cincinnati, Ohio, which is only about sixty miles northwest of his home town. He also attended the University there. The concern serving for his

May, 1940

Page 197

was the Romell Motion Picture Company, a pioneer in that area, in 16millimeter production and distribution. F. J. Romell, the founder and head, was debut

chap who enjoyed the friendship and encouragement of Albert Krippendorf, a wealthy local shoe J. manufacturer. Both of these gentlemen will appear again in these pages, so concentrate for the moment on Mr. Young. Young functioned for Romell as director and his of production. Circumstances ambition led him next to the Argus a

likeable

quiet,

Company of Cleveland. From there to Los

Angeles.

worked himself rapidly into the

Young studios,

wrote slapstick comedies for the Christies, and became staff man on the Fox News Reel. But ultimately he found his niche

running a "photo shop" In 1933 producing educationals. Thomas W. Lament appointed him a member of the advisory committee of the

Glendale,

and

and educational films division S. Department of Commerce. It is now proposed to leave the West ~oast and return across the United States toward the rising sun by a gen-

industrial of

the

erally southern route and, of course, the informed reader will protest that I ;

have failed to mention several important producers in the direct line of this investigation persons such as George E. Stone,

Arthur

Pillsbury,

not to discriminate between Dallas and her rival a mere thirty-five miles away,

must pay respects to the Browne Company, of Fort Worth. That city, by the way, was the birthplace in 1917 of the Crusader Film Company, which aimed to produce anti-liquor films "for church and Y.M.C.A. release."

area,

Film

ogues and industrial subjects.

time a 450-mile journey is a approximately that distance to the southwest of Fort Worth which is to say, on a course set at about the middle of the Gulf of Mexico we discover at New Orleans what probably is the largest non-theatrical production enterprise of the entire American South. The Harcol Film Company there occupies a pretentious three-story

mere

this

step, so striding

building of its own. Of course, too much emphasis should not be placed on the fact that any pro-

ducer has an entire house to himself, for building laws and fire ordinances frequently demand that film studios, and especially film laboratories, shall occupy detached structures. Nor should imagination be allowed to play to much about

claim of A. Harrison, Jr., founder and president of Harcol, that he was in the a

manner of speaking,

list all

would be tedious and not especially helpful the present aim is, rather, to review the establishments where non-theatrical production has been maintained as a regular, primary activity. Facing eastward from the City of Angels in search of non-theatrical prodi'ction enterprises, one beholds another ;

wide gap. It is necessary to travel some twelve hundred miles, across Arizona.

New Mexico

and the Texas Panhandle, before coming to rest in Oklahoma O'tv, where Ramsey Productions, Inc., holds forth

kell

Bus

its

Lope de Vega

building called Ramsey Tower. Arthur B. Ramsey is president, W. R. Ramsey vice-president, and Hasof

the

camera

Next Month

sporadic industrial production incidental to the operation of theatrical studios at Jacksonville; but non-theatrical centers were not to develop there seriously until the nineteen-thirties, when small units were organized for the purpose at Tampa,

Petersburg and Miami. the upturn now along the Atlantic seaboard, the next stop is Atlanta, Georgia, where flourishes the Strickland Industrial Film Corporation. This organheaded by Robert B. Strickization, land, has endeavored to maintain for its St.

Making

clients a

service.

Henry White

secretary,

production, iaboiatory and C. H. Strickland is

full

distribution

Lambert,

Welch

sales

manager, and in charge of equipment laboratoiy

chief,

of which the production manager was Joseph W. Coffman, who later became the associate of F. Lyle Goldman in New York. Its chief purpose was to tion,

The Eighteenth Installment concerns itself with a few especially interesting commercial film producers situated

in Pennsylvania, notably Bosworth, De Frenes & Felton of Wilkes-Barre, Don Malkames of Hazelton, and "Benny" Blake of Philadelphia and New York. Some picturesque "one-timers" also appear.

supply the materials for visual education courses in the public schools of At-

and Birmingham. had an industrial

lanta

Nashville starting in that city,

1915.

Harry

the

film

world,

the

author of more

than seven thousand scenarios since his firm was established in 1915, because the Harcol company is a heavy producer of short ad films. Nevertheless, Harrison was a person of exceptional capabilities he died re-

He was When

born

at Brenham, Texas, he was about seven years of age, he was brought to Manhattan, where, for the next ten years, he received his formal education in the Xew York

cently. in 1892.

including the municipal entered the business world boy for the New York Life Insurance Company but shortly afterward his people returned South, and he was obliged to make other plans for a career. Journalism attracted him. There public

schools,

college. as an office

ensued some reportorial experience, and completion of a course in stenography

Or, by changing the course to arrive a couple of hundred miles south of Ok-

qualified him to editor of the

become secretary

to the

New

Orleans Times-Picayune. The background thus gained enabled him to undertake the work of editing regional issues of the "Pathe News." and his film interests thereafter

expanded rapidly.

The building on Baronne Street, which Harrison owned, houses a complete laboratory and full studio production fa-

At F.

company

time and in Green, a camerathat

man, organized the Ovoca Motion Picture Corporation, under the auspices, it was said, of the local Knights of Pythias. The announced intention was to make educationals,

department.

lahoma City, in Dallas, Texas, one will meet Hugh V. Jamieson, active head of the Jamieson Film Laboratory or possibly Lafe Pfeifer, his sales manager, or Richard Byers, his technical director. Jamieson is another of these ad film producers, with newsreel intervals and only once in a while a long industrial. And,

productions were principally for Louisiana cotton and sugar interests. Eastward along the Gulf and upward to Mobile, brings the observer to MorrisJoseph Industrial Films, Inc. Further eastward is Florida, which had some

Atlanta also had, in 1922, it will be recalled, the Graphic Films Corpora-

;

own

Boggs chief

the

William L.

such places

reels

sales.

sponsor for one happens by. If the staff cannot handle it. there are always cam-

Many

use in the State have been assembled out of his stock film library which is said to contain upwards of two thousand reels of material. His long inschool

for

dustrial

South

his narrative for these specialists where they will be more extensively considered. For the present it seems better to survey just those concerns which stand ready to take on non-theatrical production of any sort for transient customers. When it comes to that, of course, alnost any film laboratory will find ways and means of producing an industrial or educational picture when a possible

thinks he wants.

Operating from there he made newsreels for theatres of the together with numerous travel-

own

his

one

and Irene Finley, and Louis H. Tolhurst -but there are separate pigeonholes in

eramen among the customers who are "at liberty" and will be glad to photograph the scenes which the sponsor

cilities.

"special event" with particular at-

industrials,

and dramatic

films,

tention to ritualistic subjects for lodges.

Green apparently had quite a struggle of it.

summer of 1916 he asked the Commerce to help with a stock subscription, but was de-

In the

Chamber

$20,000 nied that encouragement on the ground that the enterprise had shown too few results, "filming merely a parade or two, the East Nashville fire and the Ward-

Belmont pageant." About a month later Green uttered what apparently was a swan song, in the form of a statement

Ovoca was removing to Chattanooga make theatrical features and to build

that to

studio on Lookout Mountain. South Atlantic States are given their extensive non-theatrical service from the New York, Philadelphia and Detroit

The obvious reason

areas.

most

influential

ized

producers

places.

Some

branch

offices

that

the

and most highly organare situated of them even

Atlanta.

And

those

maintain then,

the

advertising agencies which many of the larger accounts, are in the North, close to the points of sale. These southern seaboard States are pri-

course, control

their marily agricultural important but secondary. :

commerce

(To be continued)

June, 1940

Page 235

MOTION PICTURES NOT FOR THEATRES "The Spur,"

Editor of

Howe's organiza-

Lyman

WHEN

was

many

Wilkes-

flourishing

Barre, he had

assistants in

was inhim to head their own enterprises, they would remain more or less in that area. Without such a reason, geography would be different departments, and it evitable that, when some left his

to explain why Joseph De kept his headquarters there so long, because the city is situated in the heart of the anthracite region of Penninsufficient

Frenes

off

sylvania,

the

mountains,

pretty

much away from the main centers of interstate commerce which are so vital the

Barre

workers

well-being

narrow

curious,

about

Valley,

hundred

this

Wilkes-

profession. the historic

Wyoming from

miles

Philadelphia and, in an impractical line, virtually the same distance

from

New

made

many

York.

Joseph

creditable

De Frenes

industrial

has

bee-

films

his

since

but independent venture one thinks that he might have produced starting

them able

;

happier,

circumstances

financially profit-

for

himself, had he hung out his shingle, say. in Detroit where so much business was to develop.

Bosworth,

FRKNES' name has appeared before in these pages rather inconspicuously, in the story of the glamorous early career of his nephew, Albuin Mariner. In the long ago De Frenes had been a post-card photographer in the Austrian From there he went to Italy Tyrol. where he resumed his civil trade. He was an exceptional man in the line, even then.

New York him

One day

I understand that it Naples he had the good fortune to serve Burton Holmes. The

celebrated American well pleased with the

traveler

was

photographic work done then that, when next he arrived m London, he mentioned De Frenes to Charles Urban. That amiable gentleman thereupon gave De Frenes a trial assignment or two, and Holmes' judgment of his ability as technician being well 'ell confirmed thereby. Urban initiated

City mysteries of Kinemacolor.

to join

Lyman Howe, and Wilkes-Barre

De Frenes was therefore, Italian scenics with the cameras

became

his

into the

making

Erratum

glaring error appeared, on page 197 of our May insertion, in the

statement that A. Harrison Jr., founder and president of The Har-

Film Company, "was a person of exceptional capabilities he died recently." Not only is Mr. Harrison alive and active but still is, not "was," "a person of exceptional col

Our

sincere

regrets

and apology to Mr. Harrison and our readers alike.

Howe,

home.

the

all

virtually

regular

of that interesting process.

non theatrical producers of the time, was

While on one of these Italian locations, 1911, he was observed by another American traveler, this time merely a

not averse to making industrial pictures side. Among other undertakings of the sort, a note, dated June, 1916, informs me that De Frenes and C. R.

although also

tourist,

rather

notable

John H. Patterson, head of the National Cash Register Company. Patterson was already using films in his employee welfare work and, naturally, his interest was more than just idle curiosity. Moreover, he probably had heard and possibly had seen, the first of, American showings of Kinemacolor in New York that very spring. His interest was so pronounced, indeed, that he one

Frenes

make some

experi-

arranged with Urban to send to America, there to

mental colored motion pictures. So De Frenes came overseas and duly photographed some gardens at Dayton, with flowers and children prominently shown, as usual in such demonstrations, and returned to Urban at London, It has been said that these were the first Kinemacolor pictures actually to be produced in the United States.

His

thorough

graphic

knowledge of photoand his general

principles

dependability

character

carried

on the

Bosworth,

work on

completed

belonging

photographers

Lyman Howe Company, "have

the

just

Willys-Knight

picture" at an automobile plant in ToleThe title of the subject is not esdo. pecially

Bosworth ner

significant is, for he

but

;

De Frenes

the

was

man

not

part-

independent

Bosworth was not

company.

name

become

really

the

extremelythorough sense in which the other practiced. He was, rather, a business man, I a salesman. knew him slightly, a friendly, glad-hand type, remarkable for production

faith in this as the best of all

his

pos-

and with voluble, expansive qualities which suggested that he might at some time have been a lecturer with the Howe films on the church circuits. However, I don't know about that. sible worlds,

In the Howe production group at Wilkes-Barre there was also Paul M. Felton. He was an animation artist.

When

they

come

Max

award

Fleischer

smooth screen action

for

the laurels

Frenes rapidly upward in the scale of Urban's estimation. Before long he was placed in charge of the Kinemacolor laboratories in London. There it was

trust

that

account

also

Felton.

Those

with the technical work of his given assistants, he summoned his nephew Albuin Mariner from Berlin to aid him. But De Frenes, who preferred

marvel at what a prodigy of patience and application he was. Throughout his career at the animation table he worked the livelong day and far into

that, dissatisfied

work

at large in the field,

was

restless,

and welcomed long range assignments from his discerning employer. One of his best known accomplishments was a rare trip, with a motion picture camera, through the heart of Africa, all the way from Cape Town to Cairo and they had no buses in which to make the journey then.

The Kinemacolor Company of America was formed by wealthy men living at Allentown, Pennsylvania, who wanted to and headquarters there may well explain why De Frenes became acclimated in America in establish

capabilities."

the regular makers of non-theatrical films are able to earn a living.

Presently,

De Frenes and Felton

DF.

happened

Eighteen presenting the pioneer industrial producers of Pennsylvania and Maryland, also some single project producers, and a study of how

ARTHUR EDWIN KROWS

tion

Installment

;

this first

that

would suggest the reason for his next becoming acquainted with Lyman Howe, whose business establishment at Wilkes-Barre was only about In fifty miles distant from Allentown. all events, although De Frenes was well enough pleased with the new country, he did not find the American organization of Kinemacolor as much to his State.

also

liking as the

English one, so he

left

his I

first

"Out of the Inkwell" cartoons,

drawn

take

into

work of Paul who knew him still

artists

the night, giving his

may

the judges the early

human

verisimilitude to

figures.

obtained the

result

chiefly,

be-

by means of the device know as the Rotascope, with the aid of which the

lieve,

artist is able to trace

photographs of ac-

motion. But whatever "short-cuts" Felton employed, the time and energy he

tual

saved thereby were merely relayed to other aspects of his job. One of his most celebrated early industrial cartoons

was "Striking for

the

pany to

;

Tires," a comic produced

Goodrich

Rubber Com-

but the more memorable example is the marvelous, living statistical

graph in "The University of the Night," produced for the International Correspondence Schools at Scranton. In 1917 Felton arranged with Bosworth and De Frenes to leave the Lyman

Howe employ trial

office first

own indusname on the door Bosworth's name was placed to

because

sales contract

form

their

In the firm

concern.

it ;

represented the important

De Frenes came next

for

The Educational Screen

Page 236 photographic identity in the field, and Felton was last, indicating by choice the man who did the work he loved best in one small, inconspicuous place. his

The boom

American business

cre-

by wartime circumstances carried Bosworth, De Frenes and Felton bravely through a course of well-satisfied acThen poor Bosworth broke uncounts. der the strain and, despite a temporary recovery, suddenly died. The sound picated

ture

revolution

setback,

and

followed

De Frenes and

a further Felton were

obliged to separate for self-preservation. Felton found a place in Amedee Van

Buren's New York shop, where he harnessed himself to the work of producing. Paul Terry's "Aesop's Fables" for theatbut he also died, in the rical release So, spring of 1933 aged forty-eight. for the past few years, it has been just plain De Frenes & Company. Left to himself, De Frenes coura;

geously continued the fight against the economic disadvantages of those years, realizing a little more, perhaps, the drawbacks of being situated too far from the

His nephew joined

commercial centers.

him

for a while, but that apparently did not work out very well, for Albuin re-

of mining operations, and still maintains an educational film library at 1028 Forbes Street. But probably one of the

most prosperous

of the small producers has been the Atlantic Screen No doubt that situation was to

in that city

Service.

be explained by the fact that the latter concern produced theatrical trailers, each of which had an average exhibition time of three-quarters of a minute. Charles L. Stanton was the guiding spirit, John In 1935 profitScanlan the treasurer. able business enabled them to open a few studio in the suburb know as Dorroont but about four years later Stanton sud-

dustrials

half-reel

special contracts.

took a friend,

who

Other Pennsylvanions

AT Hazelton,

Pennsylvania, about twenty miles south of Wilkes-Barre, is Don Malkames, a producer long identified with the film activities of the chocolate factory situated at Hershey, some sixty miles further to the southwest, near HarThe interests risburg, the State capital.

of the philanthropic Milton S. Hershey were not solely those of chocolate manu-

however, his large private fordevoted to the being proper of and upbringing orphan children Malkames Film Productions, Inc. Don Carl and Malkames, president, and facture,

tune

;

George

Malkames

surer respectively

secretary

and

trea-

was therefore encour-

aged to specialize in educational pictures along with the industrials. Sound, and the lamented death of the public benefactor Hershey, have wrought changes. The name Malkames has appeared inon films emanating from creasingly and today unexpected outside sources ;

they

find

New York

much

their

work

the

area.

The Pinkney Film

Service,

Pitts-

burgh, has produced industrials, notably

Gas & Electric picture for him. His eventual association was, however, with B. K. Blake, at that time a young fellow who,

I believe,

ing under

had gained

Harry Levey

his first train-

at Universal.

subsidiary called the Stanley Adver-

Company was "Benny" Blake opened

and

Philadelphia was once busier with nontheatrical production than it is today, and one of the busiest firms was that

tising

headed by Robert McCurdy. The McCurdy Films trade mark has appeared on many industrials over the past twelve

Screen time large production facilities. in the theatres of the chain was offered

his address at 56th

had been the advertising manager of a large coal company for which De Frenes had made some highly satisfactory reels, to persuade De Frenes to remove his This to headquarters Philadelphia. friend, Alfred Browne, now an executive in an advertising agency in that city, gave him compelling advice, and today De Frenes & Company is to be found, not at Wilkes-Barre, but on Buttonwood Street in "the City of Brotherly Love."

over by theatres as a comedy short.

Pittsburgh.

finding

more fertile ground, although De Frenes was well enough known in Manwent on freqently hattan, where he

recall

lengths.

Stanton as friendly, active and obliging. He made some local scenic footage for me to be incorporated in the sesquicentennial pictures for the University of

Taken

1920 for non-theatrical use.

Along wth their theatrical made a number of short in-

denly died. output they

turned to

scene clip from "Striking Tires," Paul Felton's highly successful industrial cartoon movie made about

;

to fifteen years. I that McCurdy still

New York where he had been No odd jobs as a free-lance. doubt he urged his uncle to move also

am happy

to report

from

does business

and Woodland.

In the nineteen-twenties a Philadelphia firm that showed promise was conducted

under the

name

Charles

Welsh,

who

gained increasing reputation for intelligent work. Just prior to his sudden death, about 1930, he was breaking succesfully into the automotive field with a "proving-ground" picture of a Dodge car thrown experimentally over an embankment. This subject was one of the first non-theatrical silents to be given a new lease of life, when sound came in, by being "scored" with a running lecture.

very curious and formidable Phila-

delphia competitor developed also in the nineteen-twenties when the headquarters of the Stanley (Mastbaum) Theatre Cir-

Candler

the

advertisers

organized,

New York

Building

who bought

offices

nearer

liberally.

Business thrived so mightily that Blake

and

associates

his

New York

were

able to take over the entire Pathe Studio

on the Harlem River, at 138th Street and Park Avenue. But the enterprise was stopped abruptly by the meteoric rise of Warner Brothers who bought the

the

and decided to have what went on the screens. Fortunate for Blake and his company, in a way, that the end came entire Stanley circuit their own say about

when

They surrendered

did.

the stu-

dio just in time, because the new production units of Pathe were in it very briefly

one of them under the direction of Arch Heath when a terrific fire gutted the building, causing the deaths of ten persons and indictment of the managers. complete this commercial round of the continental United States with a

cuit, situated there, instituted a production unit consisting of one cameraman, a camera, a modest supply of film and an

brief notice of the situation at Baltimore

The ostensible improvised dark-room. purpose was to inject local material into the regular newsreels shown in those houses of the chain in the metropolitan

Lewy Studios. The sales manager for Lewy once was Milton Stark. He may or may not have been related to Charles Stark, who in 1914 was a business rep-

The headquarters

area.

office manager, Goldenburg, conceived the idea that this outfit might be made to pay for itself by producing occasional industrials as well. By way of testing the possibilities, he promoted a subject in about four reels to be made for the Philadel-

named

Gas & Electric Company, his phia intention being to exhibit it at the client's expense in the local Stanley Theatres.

The more Goldenberg toyed with the idea, the more he realized that there were other theatres available to him beside those in the immediate area the more he ;

foresaw the project as worthy of "big business" development. He discussed the plan from various angles with many persons,

obtaining

all

the

collateral

infor-

mation he could. I was one of those who went down to Philadelphia in 1926 to consider producing the Philadelphia

which

three

ing

sort of a family matter, involvfirms. Eldest of the trio is

resentative

the

industrial

division of

Essanay Film Manufacturing ComToward the end of pany of Chicago.

the

1922 Milton Stark resigned from

Lewy

Nelson Edwards, former camerafor "Fox News." The Stark &

to join

man

Edwards partnership could not be sustained into the new days of sound, however, so they parted, each going into Tobusiness independently for himself. is probably best known

day Stark Films

field Baltimore non-theatrical of commercial productions, which upwards of eighty have been made in an average individual length of two

for

the

its

short reels.

The

officers,

addition to

who is president and Stark, manager, are William King, sales mana-

Milton

ger, Harry distribution

booker.

Vogelstein,

manager

and Rose Stark, The concern is known

chief locallv

June, 1940

Page 237

an active service

also for

in non-theatri-

he,

supplement the dribble of inin making films of an edutype with a paying activity

then,

come earned

cal exhibition.

cational

Commercial Summary would seem that here

which may be carried on beside

a proper

place briefly to consider this commercial production phase ii> retrospect important because, during the tour, the reader

doubtless has built up a conclusion that non-theatrical production (without support from theatrical release) is really not

only an avocation, and, worse, a conviction that it

a business at all

much may be made anything

what

never

else.

It is

necessary for the reader to remember, however, that, even in this advanced year of publication, this entire non-theatrical is

field

remains

first

its

undergoing

still

growth. a state of development and

slide less

service,

spectacular

a lecture system, a The or a projector.

examples

firms

which

preferred to travel on their own legs, so to speak, using the crutches only occasionally have frequently found the

needed compensations merely by attaching themselves to well-to-do repeat cusas Malkames and the Hershey Company, or Ray-Bell and the Modern Woodmen. There is some danger in that, of course, for the day may come

tomers,

when

may

change

reflect

deny that virtually all of the producers, who have survived in the line for as much as a decade apiece, have made their

the

the patron's health disastrously in the af-

itself

even the good and faithful ser-

fairs of

vant.

not

film

have

change and, until its basic organization is complete, any part of it may seem weak and at loose ends. At the same time one cannot honestly

non-theatrical subjects exclusively side-lines to better paying ventures.

need

it?

is,

short,

danger of carrying

all

the proverbial the eggs in one

and Harcol

;

room such

as that of Eastern

the ready

instances,

for

their

distribution, non-theatrical ex-

this

idea.

screen, the operator and all appurtenances of exhibition, including the audience. Many producers have obligingly fulfilled these require-

the

jector,

other

popular activity of supplying short ad films to theatres. It is also certain that the business of

the

non-theatrical

production for social uses now and alone, properly sustain an organization of the sort nec-

ments for their

per se, cannot,

Handy

essary to the making of pictures which are comparable in professional quality with the screen features of Hollywood,

from the

must be able to and subsistence must come through

reward, live,

own

the

producer

cannot fairly expect to be subsidized, not even in the preliminary period while the business his

grows. bility

efforts.

of the

must,

against the alleged responsi-

community

under

to support him,

laws which exhaust every

reasonable

govern that situation, first possible way to support himself. And, if he chooses to be a non-theatrical producer rather than a digger of ditches, he must find his own salvation in that area of choice. In the light of our adduced evidence,

how may he go about

it?

Well, appar-

ently he should begin by assuring himself of a sufficient money return for

what

both

cover his production costs and to return him a fair margin of profit. And, as he must live tomorrow as well as today, he should gain enough, also, to continue his production until he is reimbursed on the next day of sale. Why shouldn't produces,

Handy

care.

considerable proponent of It meets the needs of the the films, provides the pro-

first

tremendously

while, as splendid as it is for one to serve a noble cause like this without

ex-

bread-and-butter

and non-theatrical

owner of

;

other

client.

of real nonstandpoint theatrical progress, the future is brightest for those concerns which have

was the

tem and a travel picture collection, which cuaracterize the case of Burton Holmes

numerous

play.

the

hibition

;

done for any single

From

theatrical

;

efficiency

and,

unobstructed

its filling present omissions that is, those which are needed to constitute a complete service, which, in addition to producing the picture, provide its non-

example a busicorporation of the sort which sustained Caravel a lecture sysUniversal

ness

natural,

that time comes, as it inevitably must, there will be inexhaustible opportunity for service apart from the work

pedients devices belonging strictly to the non-theatrical situation and merely

production, in which

theatrical

their

given

chosen

;

Railroad, represent a form of anxiety which need not be, when the surrounding economic forces are integrated and

to be

ducer who might prefer to produce noncommercial material is well justified in

;

projection

thoroughly satisfactory business stability. Until discriminating minds, in position of commercial power have finally decided to accept the motion picture as a measurable advertising instrument, producers of such films will be obliged to cling to expedients in order to live. But the care with which Handy holds fast to General Motors, Wilding to with which Chrysler, or Visugraphic sprang at the beck of the Pennsylvania

that hackneyed saw is expressed wisdom with which this difficulty may be met. The non-theatrical pro-

rental film library, as Pathescope a slide film service, as in Handy's case a public

Film

York and

When

with a

projector

even producers situated in New Detroit, where favorable circumstances have made sufficient profits have not achieved a possible, yet reason,

basket.

producer's profitable division has been a laboratory, as demonstrated by Roth-

acker

making; accurate standards of judgment still to be developed. For that

are

consistent

of is

ofcFerdinand A. A. Dahme, which has the merit of having been recognized spontaneously by many of his old-time friends.

;

the

start of his organization.

observable that,

where the idea

service obtains, the organization logically threefold, represented by a full

sales

A memory sketch

and

on occasion

but plan part of a continuous policy almost clients

made

has

manager, a production chief and a

director

head

tion

The

distribution. is

distribu-

comparative newcomer

;

the other officers are longer established. For many years only the most rudimen-

form of organization expected the person in top command to solicit the accounts as well as to make the pictures. The partnership of a salesman and a tary

expedients him through but these never should be permitted to sustain the whole load. When the time comes that the resorting to bear

field

profitable ;

organized

as exemplified by Loucks & Norling or by Stark & Edwards, has been common. As to the usual officer

producer,

carry him without these divisions of his proper effort, he should be able to shut out the

distractions

after the First

sufficiently

correspondingly, by degrees, so that he may ultimately dispense with them and suffer no pain in the doing. What I expect some day to see, is the disappearance of many of these producers

who have thrown

their

whole strength and will find

into ad films, for example,

when the non-thedoes attain its full swing. to swing with it. The service to be rendered by the commercial picture is not yet fully understood, even by those concerned with its themselves atrical

field

unfitted,

first

importance,

the

World War,

early years the typical

non-theatrical producing firm was headed by the technical man, the fellow who

knew

the

Phelps, but the

camera

Carlyle

Ellis,

Leroy

Don Malkames, William Ganz: firms

which rose thereafter to

prosperity were those led by the men of business Jam Handy, Wilding, Harrison

Harcol subordinating production to and distribution, and insisting first and foremost on quantity output. Their of

sales

present strength indicates, by the higher value placed on their services, where the

Page 238 drawbacks

The Educational Screen of

the

non-theatrical

When

field

ments

subject demanded by a client. are the business establishments to

York, a flourishing little business and decorating title cards. He photographed the cards on an animation stand, which was common pracof

clients are likeliest to apply reasonable belief that there they will receive the utmost in non-theatrical

So Dahme, guided only by his own and some old textbooks, un-

dertook

just

specialists in medical films,

church

films,

The Rev. John E. Holley, as he appeared when made tip by his cameraman for test scenes produced in the Lincoln country. Springfield

nature

study and so on, are so well recognized that, when the more general producers obtain contracts for pictures requiring such skill, they frequently subthe

let

making

to them.

ever, that these experts, are far less ceptions,

howwith a few ex-

It is clear,

form

with

his

miserable

arrangements

but to split the gross return. profitable experience or two for him, and one finds "producer of educational and in-

dependent on geographical sitations than the others; and they are considered preferably, therefore, in those coming pages where-

dustrial films" lettered

to be set apart are those to psychologists and police refer as "exhibitionists." They love to bask in the sun of achievement without being willing or able to serve the gruelling ap-

non-theatrical

enterprises

are

classi-

by the broad subjects which printheir cipally engage interest, rather than by physical regions. fied

The "One-Timers" THERE are many interesting characters who appear, disappear and reappear as alleged producers of non-theatrical films. Take the common variety of self-ap-

pointed commission merchant.

casual

acquaintance of some sort with any phase of the entertainment world gives him a professional air, and brings into his range some green, prospective client who wants to know where one may have a motion picture made. Rather than permit a possible source of profit to

through

slip

his

fingers,

the

and added

the

named on

"services"

on of

list

his

his office

door

varied

other

business

sta-

Also

whom

Most prenticeship normally required. of them are harmless in non-theatricals they merely confuse the statistics. I know ;

nominally an attorney; but he long has had himself named in standard lists of active non-theatrical producers and distributors, with the usual accompanying symbols of kinds of picture and forms of release, when all he possesses

one.

sure that

experience in being approached by fellows of this type who want all the work done with Hollywood finish and never less than half the profits is

not

theatres,

makers

unique. Managers of small third-rate humble actors, of lantern slides, cabaret pro-

I've

scenes

were

The

forgotten. striking

and

individual

effective

animation. Dahme was one of the cleverest air-brush workers I have ever known, and he was at particular But he had pains with these examples. their

printed legends and complicated arrangements of his material which the school-

men found

poorly adapted to their needs. that he ever was able to dispose of them not even when sound came in and wrecked every artist's business of supplying subtitles. What a pity that proper encouragement and guidance cannot be given to eager, able persons such as this man. Of course, it's too late now to help Dahme. Friendly, don't recall

with

Dahme,

gifted.

his

side-burns, tousled

smile,

Montmartre smock

gold-toothed

gray hair and

April

1935,

20,

died.

The

artist

proverbially imprudent that characteristic half-scornful, half-vexed attitude in business,

Dahme had

and

by any responsible group for

end.

from

certain

rental.

without

many

might

details.

have

men, opportunists whose knowledge of motion picture production was far, far less than his, technical

September

"Motion Pictures

Not For

Theatres," serialized in these pages since and Including the issue of September, 1938, will continue here in the autumn, still the first detailed and complete non-theatrical history of the field.

September the chronnarrative will expand

ological into the 1919 start of the visual

self-constituted agent poses to the innocent buyer as a master of the field,

ca.

quotes a manifestly "rock-bottom" price on work about which he knows nothing in order to hold the account, and expects the ultimate producer not only to con-

which

Perhaps shaped his opportunities to a more prosperous He might have learned the trick

orchestra musicians and blackguard politicians, all are represented in the number. The routine is simple. The prietors,

compressed action, and more

shown

toward the commercial

supposed

solar system, the formation of land suraction and erosion, faces by glacial

are some 16-millimeter home movies, proby himself in amateur fashion, and, as far as I know, never yet sought

duced

philosopher and friend seizes the account in his own name, and then secret-

basis.

to subjects produce several which he believed would be useful in schools demonstrated movements of the

tionery.

guide,

ly sets forth to find a qualified producer who will make the film on a sharing

because the cards

inclination

confine

themselves to those pictures for which they have professional knowledge and particular techniques. As a matter of fact, the abilities of these of

in his line,

to keep flat in the horizontal this equipment, of course,

invited a wider range of service.

who,

while they may snap up any stray account whatever for a bread-and-butter reason, try the making

men

were easier plane; and

But, in addition to these all-type serspecialists,

hand-lettering

tice of

attention.

narrow

New

the

vices, there are

production,

picture

Dahme, who. in the days of silent films, had established in the Chandler Building,

which new in

motion

spend their hard-earned savings in experiments to prove the practicableness of their dreams. There was Ferdinand A. A.

type

merely

needs product. These are only intercalary remarks, for the survey is not yet complete. The list thus far has almost exclusively noticed the concerns whose non-theatrical pictures are industrials, and which stand as "custom" houses, ready to produce any

They

comes

to being a producer wishing, there is a much more valid place to be held by the group of men and women who, while earning their livings in narrow depart-

In other words, are most pronounced. they indicate that the field needs organization just now far more than it

education movement

in AmeriOnly subscribers may be

sure of reading this previously untold story and the upwards of twenty more intallments to follow.

who

but

seized

opportunities

they

were presented and re-sold them, instead of

just

now

I creating them. Francis Trevelyan

thinking Miller and

Lincoln films. Miller had been thinking Lincoln for a long time before he reached the films He had written and edited period. his

popular published works on the great martyr president, and he had been thinking films, too, for he had had a considerable hand in producing "Deliverance," the

the presenting Indeed, several years before that, in 1916, Miller had presided over "Art-in-Motion Pictures Day" at the first National Motion Picture Exposition in New York City. theatrical

feature

amaxing story of Helen Keller.

(Concluded on

/><7</r

242)

Page 242

The Educational Screen

ever had the opportunity of viewing.

ment pertaining

his

stressed the point all through lecture demonstration that no

one visual aid would

fill

chandise.

Many of the slides, film slides, inch color slides and films

used

demonstration

the

made by Mr. Cleveland

were

cation, City of Chicago.

in his

own

Forum Committees

demonstration

was

General Chairman William C. Reavis, Department of Education, University of

school situations.

Part of the

These

on display throughout the conference, and were assembled under the very able chairmanship of Mr. Paul G. Edwards, Director of Science and Visual Edu-

his needs

teaching in this field, but he depended on the use of many different

2x2

branches of

Education, offered by all leading manufacturers of such mer-

aids.

to all

Visual

by a group of students from Mr. Cleveland's classes in Mechan-

assisted

Drawing, and the students were asked to complete drawings projected on the screen by means of lantern slides, others were requested to make corrections on drawings projected on the blackboard. Mr. ical

Cleveland in summarizing his talk stated that the increased use of visual aids in his classes had increased the entire general interest in the subjects of drawing, woodworking and

other industrial arts.

Chicago.

Arnold P. Heflin, Lane Secretary Technical High School. Treasurer Harry O. Gillett, Principal, University Elementary School, U. of C. Committee on Exhibits Paul G. Ed-

Chairman, Director Science and Schools Education, Chicago Munson, Ampro Corporation;

wards, Visual

;

Harry

Donald B. Oliver, Victor Animatograph Roy F. Scott, Bell and Howell Company. Committee on Publicity Mrs. R. M. McClure, Chairman, Better Films CounCorporation

;

of Chicagoland; B. A. Auginbaugh, Ohio State University; Charles A. FishNelson L. er, University of Michigan cil

;

Greene, Educational Screen;

Final General Session April 6th, 11:00 A.M.

sen, University of Wisconsin

Han-

Robert A. Kissack, University of Minnesota Lewis Mrs. Petersen, University of Illinois Frances J. Waindle, Women's Clubs J. Kay White, State Parent Teacher Association Marie Witham, Society for ;

;

The final general session was concluded with a fitting climax for the Midwestern Forum. This consisted

;

a demonstration by the "Commission on Human Relations of the

Visual Education. Committee on Arrangements

Progressive Education Association" arranged and conducted by Mr.

Greene, Chairman, Chicago Film Center Lyle Stewart James H. Wellard Jane Chitwood. Committee on the Program Ernest

James P. Mitchell, member of the Commission. A Social Science class of the Elgin the "class." film in

High School furnished They had not seen the

advance of the presentation

nor did they know Mr. Mitchell. section of the feature picture Dead End was shown, and open discussion followed. An unbelievable number of social problems were seized

upon by

this

alert

group, forming

conclusions relating to human behavior that must be valuable in solv-

own future problems. The Forum was concluded by

ing their

Wesley ;

;

Waggoner, Chairman, Director Science

and

Visual Public Education, Elgin Schools John A. Bartky, President, ChiLee Cochran, cago Teachers College University of Iowa; James P. Fitzwater, Lake View High School (Chicago) ;

;

G. L. Freeman, Northwestern University Harry O. Gillet, University of Chicago; ;

Noble

Puffer,

Superintendent

Cook County; Samuel N. StevNorthwestern University Erwin

Schools, ens,

;

Strom, Northwestern University; Ralph W. Tyler, University of Chicago.

Motion Pictures Not for Theatres

re-

ports from classroom clinics and a

(Concluded from page 238)

summary by Dr. Reavis of what had been accomplished in the 1940 Forum. The conference had been attended by over 700, registering from

Early in 1923 Miller was at a social gathering in Cincinnati, when he saw

nearly every State in the Union, and included also a visitor from India.

Nine

different

sented by the

States first

were repre-

fifteen

persons

registering. Special mention should be made of the very excellent exhibits of the

newest types of equip-

among

the guests a

man who

startling-

resembled Lincoln. I can understand the shock of recognition Miller must have experienced, for I felt the impact once, too, with the same person. It is a curious fact about these pseudo-Lincolns, however although I dare say it ly

true also in the cases of other historidoubles that the outward resemblance is comparatively unimportant;

cal

the

impression

being Lincoln

comes from the character within.

really

Physi-

the Rev. John E. Holley was the most astonishing counterpart of the shaven Lincoln I have ever seen temperamentally they were as far apart cally,

;

as the poles. McGlynn, the

water's distant

the other hand, Frank Lincoln of Drink-

great

fine stage play, had only a physical likeness in my estima-

tion ; but I never have known of an actor's representation of a real personage

which rang truer in my heart than his. But this particular Lincoln, the Rev. John E. Holley, had additional attrac-

man hoping

tiveness

dream.

He was

realize

backed warmly by a very wealthy open-handed gentleman, Albert Krippendorf, Cincinnati shoe manufacturer. Krippendorf already had

financed Holley in a spending about $50,000,

film it

enterprise,

is said,

to real-

the

clergyman's wish "to photograph every spot mentioned in the Bible." Just lately Holley had returned from this adventure with perhaps seven or eight miles of film shot under his direction by Larry Fowler, a former Thanhauser cameraman. Krippendorf's admiration of this accomplishment was still running high, and he was ize

quite receptive to the idea of sponsoring Holley in the production of a Lincoln

which in anticipation might be vastly better than the series already made cycle,

Benjamin Chapin and released naby Paramount. You see, Miller no time in following up his op-

tionally lost

portunity.

was only slightly persuade. At the same time he was too sensible a man not to realize his own limitations. But he concluded that, while he was not an actor, "if I look like Lincoln to such an extent that I can perpetuate the noble tradiHolley,

himself,

difficult to

tions of his

life, it is

duty to do

it."

Miller thereupon proceeded, on a price

arrangement made with Krippendorf, to sketch out the scenarios for a Lincoln series. In the meanwhile Holly, provided with a period wardrobe, a quantity of crepe hair and Larry Fowler, the cameraman who had worked with

him

went down to the neighborhood at Springfield to produce some test scenes. The eighteen hundred feet or so which he brought back seemed very encouraging and the sketch scenarios began to appear rapidly, typed in colors and bound in leather stamped with gold. The ample scale of production required by those scenarios turned the tide. Holley, himself, used them as a basis for asking the opinion of a motion picture production man and was in

Jerusalem,

Lincoln

;

told frankly that the scripts called for a huge and probably irrecoverable exHe accepted the verdict sensipense. told Krippendorf about it, and bly, advised that the project be terminated. That the matter stopped there was fortunate indeed for Krippendorf, for soon afterward he became gravely set back financially and needed all of his resources in order to pull through.

(To be continued)

Page 286

The Educational Screen

MOTION PICTURES NOT FOR THEATRES contrast with the opportun-

the business, is the producer who has production thrust upon him. He is ist in

who

has

headline status in the news, and consequently has a large potential audience interested in what he thinks, says and does. He is therefore quickly surrounded by persons the

person

who wish their own

attained

advantage to and sometimes, instead profit permitting them to do it, he does

exploit

either

ducer usually appears

new pro-

case,

in the field for the

At the time, of course, the theatres, but the subjects always fall naturally under the

occasion.

single

aim

the

this

;

himself.

is at

almost heading of educational s. In 1915 the eminent Viennese psychologist, Siegmund Freud, thus capitulated to his followers and permitted them to announce a picture called "The Mystery of the Soul." the

not sure whether or not

was ever made. In November,

film

1920, the Austrian State Department, stirred by worldwide interest in a certain Vi-

ennese method of gland-grafting, itself undertook to film essential steps in Steinach's process of alleged youth renewal.

Here

America, in that same year, William Jennings Bryan arranged to star in a screen allegory depicting Righteousness but the triumphing over Demon Rum scheme failed for want of funds the same obstacle, I believe, which prevented ;

materialization

his

dream

tee-

film which was to show, partly through microscopy, the infinite beauty of the Divine Plan in a drop of water. Margaret Sanger, tireless proponent of birth control, became a producer in 1916 of a picture on her favorite subject, with herself starred. The film became a showman's piece on the basis of its sex interest and B. S. Moss booked totaler

;

through

little

that

his

education movement twenty years ago

when schoolmen

ARTHUR EDWIN KROWS

SHARP

Installment Nineteen oi the first detailed history oi non-theatrical films tells of the launching of the visual

engaging

theatres,

the

lady to lecture with it. I believe the inevitable and expected trou-

authorities which she had during the tour was reflected very favorably (as also had been expected), in

interest in

growing ing

Bolshevism by prov-

that

large private properties ultirevert to the people. For that

mately

Madeleine

Mrs.

matter,

Brandeis,

so pleasantly for many years she also made the once celebrated picture "Not One to Spare" belonged to the propafor it was her avowed class, aim to promote world peace by convincing the American young that they have

gandist

much

common

with the rising generations in England, France, Italy, Germany and others including the Scandinavian. Of course, obviously, Mrs. Brandeis was not just a "one-time" producer. in

The Occasionals

WHICH theatrical

after

brings up the case of the nonproducers who become active

long,

irregular

periods

hiber-

The typical person in this group has no film office and no regular studio or laboratory affiliation. He does his producing in time wrested from evenings ordinarily spent at home, and as a kind of escape from the dull routine of some small job in an ordinary business office. He scrapes, saves and connives to make his dream come true, with all the patience of a village seamstress planning a lucmdcrjahrc and on a given day he has his little season of spiritual fulfilment. An interesting case of this fitful sort is that of Allen Eaton, a middle-aged plain man with a meek manner, long nation.

The Bryan and Sanger

instances esdescribe the non-theatrical pro-

pecially

ducer

who

appears not primarily in response popular demand, but because of the opportunity to spread propaganda. Surely having the proverbial ax to grind has brought many a small non-theatrical to

company

into the field, to function briefly

with a single subject and then to vanish into the limbo of forgotten enterprises.

One of the memory was

strangest examples in my the "newsreel" film made

of the auction of the Russell in

New York

1920

Sage estate combat the

cifist

ard.

employed in the division of exhibits at the Russell Sage Foundation in the City

New

York. He came originally from the historic Willamette country in Oregon, where he had been connected with of

college

faculty.

the

First

World

War time, it is said, he was a distressed center of violent local criticism for pa-

banded

opinion.

together cause.

new

But Eaton was not

cow-

He was

courageous enough, suffering at the time probably just because he held stubbornly to convictions formed at an earlier time when peace was popular. He had the same consistency, the same tenacity of purpose when he set out to produce a picture. In the summer of 1921 his work at the Foundation brought him quite close to the bustling preparations for "Amer-

Making", the pageant to be prea few months later at the 71st Regiment Armory in New York. The project, conceived by the late Franklin K. Lane and involving members of thirty-three immigrant races, was filled with splendid sentiments of world brotherhood appealing especially to Eaton. His own enthusiasm for it was enhanced ica's

sented

when

hailed

celebrities

the

event,

the

press praised it and other cities sought to take it over. This time, at least, he

was on the conceived

the

side

that

consensus.

could

influence

its

He be

vastly multiplied if it were recorded in films, so he ventured part of his savings for a .cameraman and necessary equip-

ment

bers

photograph the principal numthe program. The result betrayed the meagerness of his motion picture resources, but fective

;

ble with local

the box-offices of the chain.

the

Calif ornian writer of juvenile stories who filmed the children of various nations

first

study and promote the

spirit

;

and

was decidedly efa few showings

later before international

groups not only returned him his original costs but earned

him a

profit.

Daily contacts with art problems at the Foundation inspired Eaton with the subject of his next picture, a film to

show the statue.

made

literal

process

making a

Careful, soothing approach was to the well known artist, A. Phi-

who was then beginning work on an equestrian bronze of Theomister Proctor,

dore Roosevelt. Impressed with the opportunity to render public service, Proctor consented to be photographed at various illustrative stages and once more Eaton picked coins thriftily from his :

Author's Note

The manifest

impracticability of reviewing a huge mass of research accumulated over many years and requiring more than 20,000 index

means catalogue it Editors of Educational Screen have accepted the manuscript of this long history mainly on faith. In the circumstances, the cards that

the

Author assumes

eventually

book

camera part. The "The Making of a Bronze Statue", was ultimately purchased from Eaton by the Metropolitan Museum of Art for its extension educational purse

record,

supply

the

entitled

service.

Eaton's next adventure by the environment of his all brought back vividly he fell into the company of

was youth.

inspired It

was

him when Ezra Meeker, nonagenarian pioneer of the Oregon Trail. The old gentleman was then quite agog over the James Cruze screen production of Emerson Hough's story The Curcrcd H'ayon; but he was certain that to

he had a truer narrative which might be

September, 1940

Page 287 The main reason was that I had just completed a heavy saturation in American history. Eaton explained his own circumstances, and offered me a nominal

executive committee sympathized, and ar-

amount

was satisfactory. With that protection I was able to complete my labors, al-

effect,

story which would be, in

for a

Meeker

for

prospectus

selling

on the road for his money-rais-

to take

accepted the terms. In this preliminary labor I was obliged to confer with the aged Meeker at a small hotel near Madison Square, where he had been temporarily installed by the Pioneers. He was about as active as but three ants and four honey-bees, nearing the century mark, he had reachI

ing campaign.

ed that stage where his teeming recollections of personal experience had become 'slightly confused with achievements of which he had only read and heard. I therefore had considerable difficulty

made much more

He had

stirring in the of his later

national

the

decided

was feasible, and took immediate steps to be prominently in the intended organization. He knew, however, that the money-raising could not

that the plan

Meeker him-

be done offhand, and that

who was

self,

then

about

ninety-four,

So he planned a

credit

distributing

also

Jefferson,

The

panorama.

Pioneers'

IS asking too much of human nature to expect a pioneer to live harmoniously with those who have follow-

Being a strong individualist he dislikes and the crowds

naturally

crowds,

;

him

finding

with

dissatisfied

them as well as freakish

his

tastes,

long endure his company. The Daniel Boone was like that.

cannot

mighty

Whenever

the settlers began to pass the cabin which he had built in the wilder-

motion

picture

ness, a feeling of suffocation obliged to move further westward for relief.

ultimate

history,

this

might

suddenly

Mirt

die.

frame of the which Meeker, the

much-publicized authentic, picturesque, old pioneer, would start telling the story to an interested typical family group,

the

realize

potentialities

I believe that John Holbrook was the cameraman who worked with him. And

away.

room one afternoon without know-

tion

ing \vho-r

that

Film projec-

picture in the Eastern

tin'

later

into

was, and without suspecting circumstances were to draw

it.

Prominent among those enlisted to form Eaton's parent corporation, called the Pioneers of America, was George D. Pratt, trustee of the Metropolitan Museum of Art. Pratt had been chosen partly to assure the preliminary financing. However, he also was a slow-moving

man, and

1923

before

the

was the

spring of decided their

late

Pioneers

The next immediate

course.

step,

they

concluded, should be to have somebody write a detailed outline of the historical filling

Bill

for

Eaton's

frame; and through

Brotherhood, whose

little

projection room in the neighborhood of the Sage Foundation had proved convenient for Eaton,

was approached

do the work.

motion

pic-

was surely one

education,

the earliest in

a very creditable piece of film it turned out to be. I happened to see and admire

But

thinking really of Alfred H. Saunders. He, while not the first to

and then, after the historical scenes had passed, would be left alone in the armchair by the tire to fall asleep for a fadeout. This "frame" Faton personally could so he proceeded to make it. pay for ;

him

tures

country to call atto them. However, when strangers about him hailed the vision, too, he usually denied that tention

this

authoritatively

they saw anything important, and drew

while Saunders was editing the Motion Picture News, he used to tilt In

1910.

frequently and bitterly in this manner with Tom Bedding, one of the editors of the Moving Picture World, who previously had conducted a lantern trade

paper in England

;

and Bedding, indulg-

ing heavily in personal insult, commonly found the better support in popular feeling.

But Saunders did not invite symHe had no patience with those

pathy.

who,

addition

hearing

required before they accepted

the

truth,

that they might keep also all of their old preconceptions. So, although he was well in it

the vanguard during the first decade of the century, he did not appear con-

spicuously

leadership

the

ensuing

years.

His principal break with the more deliberate educators came in Boston July 5,

1922.

The anniversary

celebration

American independence was echoing then, when he chose this "Country School Day" of the N. E. A.

the birth of still

rect those pleasant scenes

his

own

made

for

him

profit.

The Movie Goes

Chapter VI

ed him.

However, at last Meeker took the and went on the road to find the money. Unhappily for him the enthusiasm which had put up the markers did not extend to the making of his proscript

by Holbrook mainly in the churchyard of old St. Paul's, and convert them to

;

important historical item. Eaton listened attentively.

givings.

films.

years persuading local groups to erect markers and he was sure along the old trail that these same folk would gladly subscribe sufficient money to produce this

though not to end unappointed visits and phone calls from the man who went over the Oregon Trail in 1852 and in 1923 had constant afterthoughts and mis-

Lewis and Clark, Jason Lee, Marcus Whitman, John McLoughlin and the other noble figures in

properly

Thomas

many

spent

ing

posed epic in celluloid. Somewhat later he left on a more mysterious, grander trail. That chapter has now been closed and yet, knowing Eaton, I can suppose that somehow, somewhere, he will resur-

Ezra Meeker, veteran of the Oregon Trail, dreamed an epic of the westward expansion of America which was begun but never came to fruition

to approve my story whenever vacillating star even seemed willto agree with them that the script

ranged their

School

convention, for a declaration of his own freedom, blasting the amiable opinions of teachers who had found existing pictures helpful

classrooms. Addressing the Department of

their

representatives

Instruction, he asserted that there were not twelve truly educational films on the market. Most of those so termed, he in effect, merely illustrated some phase of industry or advertising. Moreover, he found the outlook for an increase very drab indeed, because, he said, producers who could make no money

said

from

school

them. This

films,

would

not

provide

arrest to kindly feeling educators only overnight, for the next convention day, July 6, they were told by a master pacifier, Will H. Hays, that the leading theatrical violent

distressed

the

producers and distributors, represented by himself, would gladly join them, not only to study the demand for pedagogical pictures and the way and means of meeting it, but to make available a "hundred million

dollars'

realize

the

worth

great

facilities"

educational

experi-

ment. If

Saunders thus had attained the char-

acter of the bad

little

boy who spoiled

he nevertheless had publicly presented some very proper food for thought. Perhaps he had not made due allowance for the "well-organized visual education maintained departments by the

party,

many Times

States" upon which the

New York

editorialized in discussing the situ-

week later, but he surely had indicated important avenues of investigation. In 1922, however, as the 'I' hues hinted, there were avenues over which many eager feet already had beation about a

gun

to pass, for

movement

by then the great Amer-

was two or three whole years under way. Indeed, the impulses from which that movement grew were older by almost a ican

for visual education

score of years. Saunders himself doubt-

The Educational Screen

Page 288 less

had given force

some

as far back

as the days of his trade paper editorship. But there had to be a great many before they could overcome the inertia of the

mass and give the necessary, pervading momentum which did not come until about 1919. Until the developing individual factors were present in combination,

had answered the roll-call, so speak, none had much educational sig-

until they

In other words, discussion of whether a picture was or was not fitted to a curriculum was merely abstract, as long as there was in the school no means of showing it, or means even to procure it for exhibition. At the same time, each of those items had a future importnificance.

and

ance,

obviously

development

there

was

required practical ultimately to serve. in

point

describing

them

pany, his precious personal supervision and the force of his great name, to supthe ply American schools with some of first allegedly educational films made available, together with projectors with

which to show them, is quite overlooked. His expressed opinions, instead of being with stirring important, constructive discussion, have been condemned as the reason for most of the exaggerated claims for visual education which Such disapproval has been followed.

accredited

commonest from outraged educators. But Edison, unlike most of his critics, did more than just talk. From about 1910 well into wartime, he produced until "educational" natural

films

science

steadily

and

physics.

history,

George

Kleine was releasing some of them certainly as late as

1923,

when

the tide of

here.

The long years now spent in cramming indigestible knowledge down unwilling young throats and in examining young minds on subjects which they never can learn under the present system, will be

One might

trace the educational theory to the first uses of pictures of

for

illustrative

purposes,

I'd

boy again when film teaching becomes universal." like to be a

with the

Indeed, he dealt conspicuously

matter

Collier's

Weekly toward

the

1923, at the

Au-

close of 1924.

One evening

May,

New

Dr. Henry Van Dyke ridiculed Edison's statement that films could be more effective than

Club in

thors'

declaring

textbooks, to

essential

thought,

think without

York.

that that

language."

language is "you cannot But this psy-

chological point, whether it may be sustained or not, was not altogether what

had

aroused

the

more indignant inventor's

the

backward any sort

down marvelously.

cut

educators

;

what they

implication

were

they felt

that

In-

t<>

the

film

would some day supplant the teacher. Edison apparently had started from the premise that learning until then had resided in books. The books, he felt, had

per-

haps even beyond the medieval service of frescoes and mosaics in the great cathedrals, which were used in those days

limitations

requiring the aid of teachers

"painted

to bring out what they contained, while the picture, being so much like reality, understandable through the eye without

churches" of Rumania. Less remote, but still fairly in the olden time, was the instance provided by the Comtesse de Genlis, Stephanie-Felicite du Crest de Saint-Aubin, French writer and educa-

language, would need no particular "third party" interpretation. As far as I have been able to discover, Edison offered no such direct deprecation of school teachers as has been attributed

to assist religious instruction. are extant in the celebrated

tor

who

teenth

lived

century

Examples

the turn of the eightthe nineteenth and

illustrated

profusely

magazines

arose, and elaborate opinions grew around the relative functions of pictures and their accompanying texts whether or

not the illustration should supplement the story, should or should not carry the

In a period of pedagogical doubt Dr. Berg Esenwein had decided courage in giving one of the earliest authoritative endorsements to films as an important factor in visual education.

the visual

origins much further than need be for the practical purposes of this book.

ably began, in his interviews, to show the extravagances of a fond parent for

The Edison Idea

MANY solitary educators in addition to Saunders, may have observed, without saying so publicly, that the first films ever proposed for classroom use were unsuitable because they could not be into given curricula as textbooks might be but that fact was not brought strikingly to general attention until Thomas A. Edison unwittingly made an issue of it by expressing his

integrated

;

layman's idea of the place of his kinetoscope in schools. His fame caused him then to be widely quoted, and correspondingly, to be widely answered. This made conclusion

common

property. Many other, lesser persons made more reckless claims than he did, but his prominence the

diverted the censure due them, to himself.

Unhappily, that he was wrong is all which has survived concerning his poThat he earnestly endeavored, sition. with his theatrical motion picture com-

but throughout his much-publi-

imparted as much as it is gained through actual experience and the film, in his estimation, could provide experience vicariously. In his basic viewpoint, that knowledge is doing, he might have found many eminent educators to agree with him and he would have found, had he ;

an even larger number of qualified supporters in that fundamental sense to-

lived,

part of the continuity, and whether or not it should betray the plot in advance of perusal. But surely that would be driving the search for

reader

;

cized career he had amply demonstrated his belief that useful knowledge is not

taught history with magic lantern slides. Or one may refer to circumstances in the latter half of the nineteenth century

when

him

into

movement was

education

al-

flowing swiftly. was about 1913 that Edison notice-

day.

Considering the instant responsiveness own active, comprehending mind,

ready It

his

remarkable

invention.

Here

one

such statement printed in the New York Dramatic Mirror July 9 of that year; "Books will soon be obsolete in the schools. Scholars will soon be instructed through the eye. It is possible to teach every branch of human knowledge with the motion picture. Our school system will be completely changed in ten years." He continued to utter these convictions in various other publications, for a long time. In 1916 he predicted that films would completely supplant textbooks

within a decade.

of his it

little

edge results from more than just seeing. But literally millions of persons see fresh bids to human understanding every hour without having either the wit or the inclination to learn from them. Teachers are necessary to direct attention, if for nothing else; and they surely have place in showing those who manifestly need such instruction, how to coordinate, reflect and apply. The pencil, the pen, the textbook, the blackboard (and the pedagogical film), all are just instruments in the twofold process of making learn-

ing

February 1919, a sensational expression of his view of the matter appeared in the Educational Film Magazine. There he said late as

"Film teaching will be done without any books whatsoever. The only textbooks needed will be for

The films the teacher's own use. will serve as guide-posts to the

teacher in instruction books, not the books as guides to the film. The pupil will learn everything there is to learn in every grade, from the lowest to the highest.

not surprising that Edison attached importance to the fact that knowl-

its

and teaching easier; place,

and each,

has a proper function to per-

form.

As there are dull learners, so there are mediocre teachers. There are more mediocre teachers than inspired ones on the self-evident basis that exceptional persons are in the minority everywhere in this world in all the professions. Theremultiplicity of classroom aids fore, a should necessarily be of great public benefit

by compensating for unusual teacher

September, 1940

Page 289

and pupil shortcomings. Nor should clever be denied such aids, for the

teachers

mean

the fuller exercise of powers, although it is a fact the person referred to as "the teacher" could teach even if all the aids

rare

were

their

that

born aids

gone.

Progress With Handicaps because a good teacher can both use gratefully and do without ingeniously, that "educational" pictures, produced for other purposes and obviously not conforming closely with school requirements, IT

were nevertheless employed in classrooms almost from the start of the film industry.

As George Zehrung,

himself trained as

a teacher, said in the National Board of Rcriw Magazine in 1931, after long experience with non-theatrical subjects of all

sorts,

"Many

successful

have convinced us that

experiments not so

much

miss these isolated, original souls as insurgent and unimportant just because their methods have not yet been approved

by the powers. Or

partments of the

The

Occasional stories are told about the resourceful teachers who believed in the pedagogical powers of films, and lacking the ideal materials, bent to their service

any pictures whatever which came to their hands. There was that young woman who had been entrusted with the apparently hopeless task of

taming a class of inthem to useother teachers who had

corrigible boys, and brought ful

when

life

had

all

tried

her

wonder-work,

colleagues

failed.

with

Called upon to explain she astounded her story

daring

experiment.

She had begun one of the morning each week with a "wild and woolly Western", filled with bad men, Indians, hard riding and much shooting, sessions

from a nearby theatrical exchange. During the show she permitted her difficult pupils to stamp, cheer and obtained

their partisan reactions. "I reasoned "The the situation this way," she said yell

boys were unmanageable merely because they had so much energy pent up in them. They were like steaming teakettles with the spouts stopped up. So I gave them this opportunity to let off the steam and after that I had no trouble teaching them geography, history, arithmetic or anything else." Nor have the resourceful film users in

in the non-theatrical

ly school teachers.

field

Many

been exclusivea church pastor

has

used an ordinary industrial film which he could have for the asking, to lend force to his Sunday sermon. I knew of one who thus screened for his Sabbath congregation a carpet company's drab portrayal of based upon it

its

factory process, a really stimulating course on "the warp and woof of It

surely

and dislife".

grave mistake to dis-

thus

contemplation

became

eye

medium

sense

constantly used In the impression.

world of education proper, the inevitable change and adaptation of method already

impended in numerous specialized developments of the strongly visual principles of Pestalozzi and Froebel. Probably no age since that of Pericles had been more outstandingly visual than this.

Why In

shouldn't the films have flourished? 1919,

education

when the American visual movement merged the preand overcame its first had gained an especial domthe trend through their suc-

factors

inertia, films

pioneers indicated as so important in the constructive development of edu-

cessful uses in rehabilitating

motion

akin

are

pictures,

worth

testing. It is a fact that nearly every important step in world progress has been preceded by the tinkering, tentative guesses of such cut-and-try dreamers.

the

predominating,

most

the

liminary inance

World War

and through discussions of what had been accomplished and learned by those educators who had served on the editorial boards of the Bray "Pictograph" and the "Ford Educational Weekly". The forces were at work also, veterans,

already

related,

bring

Government's distribution of

about its

the

embar-

rassing stock of educational films to the

Dr.

Joseph Berg Esenwein, author, editor and these many years head of the writers' division of the

Home

Correspond-

ence Schools, was among the first educators in this country to avow a belief in the screen as a teaching instrument. In his friendly introduction to Robert Grau's The Theatre of Science, published in 1914, when he was editor of Lfppincott's, he reiterated his plea which had

appeared in print five years before, for complete motion picture projection equipment in every large school, adding :

the

lamp, the motion picture itself, and other epochal inventions, which threw attention on the externals of life. Outward

provide original hypotheses for the of others to prove or disprove in their tedious, exhaustive tests. The humb-

these master scientists, for they have set up the likely new hypotheses which are

progress, represented by the automobile, the telephone, the incandescent

who

cational

they gratifyingly applied hundreds of very ordinary industrial subjects in vocational training of veterans returned to civil life.

better attitude

were those swift advances

material

army

remark the field offers many interesting During the first World War

teach English to foreigners, reels in no wi-r intended for that purpose, just as

field.

toward these things may be acquired by example in a visit to any sizeable modern research laboratory, such as is maintained nowadays by some large industrial corporation for its own improvement. In a place of that sort it will be discovered that the most important scientists on staff are those

ler

period the Y. M. C. A. secretaries thus used old theatrical films with success to

say

a matter of content as it is appropriate application." In support of this significant instances.

rather, perhaps,

might be worthwhile to wink at their excesses now and then, despite the fact that one "should never, never, endanger the tender, formative minds of children by untested ways." But error of judgment or whatever else it may be, it has long been common in most dethat

probably

"True educational films are not wanting, at least to some extent. But the next great step forward will be this: some large producing concern will gather a corps of experts to prepare several series of various grades, teaching the subject of geography from start to finish. Next, they will provide a series of printed lecclear and tures, fascinatingly wimple, to be read by the teacher while the films are showing day films, suited to the

by day. Finally, clear and brief textbooks or syllabi will be prepared for the pupils, so that they may have before them the gist of the statements which they have heard in the lectures and seen attractively and truthfully represented on the screen."

thirty-five regional centers.

The

actual launching of the movement be closely dated as bridging two years, 1919 and 1920, when several edu-

may

cator groups announced their respective,

organized intentions to guide it. The first seems to have been the National Academy for Visual Instruction, incorporated

Washington, D. C., October, 1919, which proved abortive and quickly died. In the City of New York, also in October, 1919, the American Educational Motion Picture Association was named as promoting an active study of college, university and elementary school at

requirements. Allen S. Williams, direcof the Reptile Study Society, was

tor

president,

and

executive

secretary.

Storey

was

major investigating committees were Dolph Eastman, editor of Educational Film Magazine; Rowland Rogers J. P. Brand, managing editor of Reel and Slide; Margaret I. McDonald; Dr. Maxmilian P. E. ;

Groszmann, educational director of the National Association for the Study and Education of the Exceptional Child ;

The Visual Education Movement THE widespread enthusiasm for visual education which was to bring about the condition which Dr. Esenwein had forseen in

such detail, was with motion

not concerned

exclusively

pictures.

Oc-

casionally called "object teaching" it involved also the use of lantern slides, maps, charts, models, actual specimens field expeditions. At the same time, the popularity of the film unquestionably made it the most important accelerating

and

factor

springs

the the

movement.

movement

The in

actual

America

Lloyd Van Doren, chemical department

John Hopkins University; H. H. Casselman, director of the graphic department of the Interchurch World of

Movement; George Zehrung; and T. Kemper,

the

extension

organization

of the Catholic Church.

The following month in Chicago, came the vastly important Society for Visual Educational. The New Year brought with it

another Washington incorporation, the

National Visual Education Association.

(To be continued)

October, 1940

Page 333

MOTION PICTURES NOT FOR THEATRES February. 1920, at CleveOhio, forty-odd delegates

NEXT, to the

annual meeting of the Na-

Education

tional

ment

Association

Superintendence

Depart-

proposed,

and

presently started, the National Academy of Visual Instruction, the purposes stated

include

promotion of non-flam

film,

eager

assist

new development. The National Academy of Visual Instruction,

the

fascinating

having been initiated in the pleasant "Forest City" of Ohio, was headed fittingly by W. M. Gregory, curator of the Educational Museum of the Cleveland School of Education. Notable

among

establishment of standards, and conduct of tests. Belatedly, but still important to the record, in the spring of 1922 the Visual

ate

matter,

concerned

everyone

distribution of suitable reels, organization of State associations, improvement of

subject

Twenty mainly concerning Harley Clarke and the interesting events leading to establishment of the Society for Visual Education

ARTHUR EDWIN KROWS

land.

Installment

ciates

names of his Academy assowere J. V. Ankeney, then associthe

professor of visual education at the University of Missouri, Dudley Grant Hays, of the Chicago Public Schools and William H. Dudley, chief of the bureau of visual instruction at the Uni;

Instruction Association of America appeared in New York City under tinpresidency of Dr. Ernest L. Crandall. director of lectures and visual instruc-

Dudley, Gregory and Ankeney had served on the committee to make school

tion in the local

films

schools.

simplify one's view of this complicated picture, the chronology may be

advanced temporarily and sufficiently to note that in June, 1924, at a Washington convention, Ernest Crandall was made superintendent of the Department of Visual Instruction of the National Education

Association, that about 1931 Visual Instruction Association of

the

America voted the National

become a branch of

Academy

of Visual Instruc-

and that, approximately a year later, both of these were absorbed by the visual education branch of the N. E. A. For further clarity, one may think tion

the

interested

educators as being in

two large groups centering respectively in New York and Chicago, these

just

cities

being engaged, as usual, in friendly

rivalry for leadership. In the New York Visual

Instruction

Association of America one found, in addition to Dr. Crandall, A. G. Balcom, assistant superintendent of schools at

Newark, N.

George Zehrung, direcY.M.C.A. Motion Picture Bureau Rowland Rogers, former editor of the "Pictograph" and soon to become tor

;

the

;

instructor

motion picture production

Columbia University

Rita Hochheimassistant to er, Crandall Dr. Ilsley Boone; Don Carlos Ellis, former director of the motion picture division of the U. S. Department of Agriculture and at at

;

this

time associated in a

New York

theatrical distributing project with

Levey;

and

Dr.

Clyde

Fisher,

non-

Harry of

the

American Museum of Natural History. Lending powerful moral support on the executive board were the formidable names of John H. Finley and George D. Strayer.

The

representation thus was almost wholly within the metropolitan area; the Chicago body, on the other hand, attracted members from the entire

active

Lake Country and

all

the Midwest,

versity

Wisconsin since about

"Ford Educational summer.

1917.

the field but were

ment. Life

At about

Chicago, with an interest in films backed a sixteen months' overseas experience with the photographic division of

the U. S.

Army Air Service returned to alma mater to hear Frank N. Freeman, newly made professor of psychology there, recommend researches in this new field of visual education. McClusky's his

enthusiasm kindled, he was to gain ceand so as it lebrity even as a pioneer happened was Professor Freeman, him-

There were also many important names

local

in the original roster of the

Joseph

commercially

Visual Education, but they were mostly of educators who were sympathetic towards the movement without specializing in it; and the casual reader of today catches soonest there at the modest mentions of Harley Clarke and Nelson L. Greene.

As visual

Society

for

not to be supposed that the

education

movement sprang

into

Dean McClusky,

time F.

this

a graduate student of the University of

ly" just the preceding

founded

to disappoint-

However, in the dawning third decade

rosy promise of this the century, one may be optimistic and think just of those who made good.

self.

the

doomed

like that.

Week-

Weber was

disentangling

film problems at the University of

Arkansas,

Andrew

likewise,

Hollis,

was studying the matter in an extension project at North Dakota Agricultural College. E. R. Enlow was making unsurveys preliminary to succeeding Coffman as director of visual instruction in the Atlanta Public Schools. Charles G. Hoban was starting the bent official

Joseph

which was the

more,

make him,

director

in a

few years

visual

education

being at the behest of the founders of these various groups with the classical suddenness of Pallas Athenae bursting

State of Pennsylvania, and take him thence to a well-financed development of the kind at Duke University, or,

from the head of Jove, one may inquire

as one not too particular might say, in the heart of the tobacco duchy.

profitably into the isolated, earlier tivities of these "visual educators"

ac-

who

here appeared so unexpectedly upon the pedagogical firmament. Those who were to be seen then most conspicuously, by their works as by their declarations, numbered just about as many as one might count upon his fingers. Besides Gregory of Cleveland, Dudley of Madison and Hays of Chicago, there were Charles Roach, of Iowa State College at Ames, where J. Will Parry had had a motion picture department as early as 1914; A. G. Balcom, superintendent of

schools at

was

Newark, N.

J.,

who

later

acquire the soubriquet "dean of visual education" John A. Hollinger, of the Pittsburgh school system, an especially earnest, vigorous and original investigator; Joseph Whitefield Scroggs, director of the extension division of the University of Oklahoma;

years

;

George E. Condra, director of the Nebraska

Geological

Survey,

Lincoln

;

Crosby of North Carolina, and Frederick W. Reynolds of the extension division of the University of

Utah.

Many other names were presently to come forward and acquire significance, too and there were some whose owners expected to become important in ;

for the

The likeliest

agricultural places for

colleges were the visual education to

flourishing without artificial stimfor the farmer always had lived

start

ulus,

preeminently by the visual method, outdoor scenes were comparatively inexpensive to shoot, a wealth of subject matter was to be had for the asking, the national tradition of the importance of agriculture had led the Government itself to produce numerous motion pic-

tures dealing with the line and distribute them gratis, and also, the shows arfor

ranged in

soil

had

double

sent forth to tillers

of the

the

when

value

popular

students

audience

groups

over

the surrounding country. It

pioneer

no deprecation of the splendid of William H. Dudley that

work

he had the advantage of such a situation at the University of Wisconsin. No more should his reputation be lessened because he had the unique opportunity of serving under Louis Ehrhart Reber,

the

distinguished

engineer

who

had been dean of the extension division of

the

University

Dean Reber who

since

1907.

was

received passing compliments in an Edison Outlook interview in the summer of 1914, for having given

Page 334

The Educational Screen

supply the naturally missing factors. combination of proper films,

tion

has

facilities

world

school

existed

rarely

and there

;

The

But then, subsidy

change.

between the showing of the picand the plunge into this strange new line of endeavor there must have intervened at least several months of

the

some doubt

quiet study.

Some

time during that incubation peClarke had formulated his new pet idea sufficiently to wish for the supriod

opinion of a trained educator. that need, he took, in a manner of speaking, the romantic step of consulting the stars. That is to say. he obtained a candid, confidential estimate porting

To meet

not always

It may be that a given situnot yet ready to justify the cost of motion picture equipment, just as trans-Pacific steamers stopping at Orien-

healthful.

ation

ports, to

tal

from

his friend, Dr. Forest Ray Moulprofessor of astronomy at the University of Chicago. Professor Moulton ton.

their bunkers with coal,

fill

frequently find it better for all concerned, to use the primitive gangs of human

found no fault in Clarke's preliminary figures, and became enthusiastic over the plan. Forthwith he \vas declared in on it. Forthwith they also formed a corporation which was apparently tentative,

carriers rather than modern, mechanical loaders.

In 1919, with a war-weary, American

Other

than Harley L. Clarke no business man has ever entered the field of visual education with prob-

nation eager for the fruits of peace, it seemed that the school field was ready at last to adopt the cinematograph as a classroom instrument. tion

how

was,

the

queschange be

brought about? The isolated "departments of visual instruction" might thrive with their various natural advantages, supplied by the agriculbut it was characteristic

those

such as tural

colleges the progressive American spirit to eliminate waste motion in such a hap;

hazard process by hurrying ganizing

it,

was

there

justifiable

through

port

giving

direction in

good

it,

up,

or-

and, if to sup-

the shortened period of

growth.

Society for

Visual Education

present juncture the repreof that spirit was Harley L. This very important but ex-

the

sentative

Clarke.

tremely retiring gentleman he shunned was born at publicity as the plague Richmond, Michigan, in 1881, the son of 'a physician. His formal education

was rather routine, carrying him through elementary and high schools and, for a brief period, into the engineering department of the University of Michigan. He left there before he had completed

He also studied some law. next a short experience in journal-

the course.

Came ism,

including

reportorial

work

for

the

Chicago Evening Post; but he abandoned that also to sell machinery in the public utilities field. This time he had found something really to his liking. His choice was confirmed when he purchased a small utility property at Vincennes, Indiana, and, using it as a kind of springboard, he quickly arose to a

commanding

position

the

rich

light

destined to cost Harley Clarke an estimated half million dollars before he had

lems more clearly in view or greater willingness to develop resources there.

The great

should

motion pictures in popular He envisaged not only the cultural advantages but also, as quite necessary to his participation as a sound of

bilities

education.

man, a money profit for the promoter. After all, there was no reason why a man's altruism should not be practical and one may think of Harley business

Clarke,

situation

this

especially,

animated generally by high motives, the same sort which later led him to endow a Shakespearean theatre for his boyhood friend, the actor Fritz Lieber. It just was inconceivable to him that anything could be worthy of support which might not also be made to support it-

and, thinking of that, it is just field non-theatrical that this would be much better off today if the same view had dominated it from the self;

possible

beginning with the same intelligence. This present history bears witness to the folly of engaging in non-theatricals, in

form whatsoever, without

any

fully service.

considering the item of needful When the historical importance of Harley Clarke's first large contribution to the non-theatrical field becomes better appreciated, there will be attempts to divert part of the credit to which he is entitled to the producers of that

motion

industrial

stirred his

first

interest.

which

picture

To my mind

tablished in Chicago.

The

first

public an-

nouncement of it was made locally by Dr. Moulton November 19, 1919, in an informal address to delegates of the NaFederation of College Women in convention at the Auditorium Hotel. tional

The ual

president of the Society for VisD. Salisbury,

Education was Rollin

the University of Chicago. Clarke served as vice-president, and Moulton was secretary. All three were also on the board of directors, where they sat in company with Wallace W. Atwood, professor of

physiography at Harvard and soon to become president of Clark UniWilliam E. Bagley, professor versity of education at Teachers College, Columbia University, author of numerous important teacher-training texts Charles Austin Beard, director of the Training School for Public Service of New York, a well known historian Otis W. Caldwell, writer on biology, Columbia professor of education and director of the Lincoln Experimental School J. M. and G. Coulter of Chicago; William F. J. Russell, dean of the College of EducaIowa and V. C. tion, University of :

;

of the University of Michigan. listing of the general advisory board,

Vaughan,

The

country.

have done

in this

place is to prove that an effective conveyor of It was Clarke's active imagwhich made the deduction and

ination

then

of securities.

idea.

About 1919 an industrial film, which had been made to serve one of his en-

Although 1919 has been named as the year in which Clarke received this im-

to consider the possi-

chosen was the Society for Visual Education, Inc., and headquarters were es-

identifying marks is important. So far as I can see, the most the picture could

holding control, it is said of approximately 401 million dollars' worth

him

;

broken into especial committees, named no less than sixty-three other prominent

the

terprises, led

pulled himself out of it. I call it a corbut in any reasonable sense poration one might have recognized in that original organization some of the inspiring qualities of a medieval guild. The name

not knowing the name of that picture, whether it was good, bad or indifferent, or by whom it was made none of the

and power domain, developing business interests which extended even to Great Britain,

must have

facts

ture

may

available

that

effi-

ever be present in permanent because teaching materials, operation, methods and the character of student attention are factors which constantly that

earlier.

psychological moments, are careful in preparation and usually take plenty of time at it. One may suppose, therefore,

and dependable exhibi-

cient distribution

the

before proceeding with any serious commitments. Men of his business caliber, as ready as they are to act decisively at investigated

of films, with areas organized, courses mapped out and a circulating library of reels sent to each district, city and town. The progress of Dr. Hoban into a situation of ample means illustrates another way for the pioneer in visual education to triple

have been

well

Wisconsin a systematized school service

screen information.

pulse

built

upon

enter

fine,

constructive

non-theatricals,

may

educators

situated

variously

over

the

Starting with the premise that motion field should

pictures for the educational

be designed expressly to meet its requirements or. as L. L. Thurstone put it alliteratively, as a sort of slogan, in an article written for the organization. "A film to be educational must correlate with a curriculum" a production unit was established. By about the close of 1920 it

October, 1940

Page 335

had made a series of one-reelers called "Schoolfilms," comprising nine subjects covering the foundation and settlement of the United States of America; six on the economic history of the same; four on nine

presenting regional geogthree on nature study, and two raphy dealing with hygiene and sanitation. Each reel was accompanied by a teacher's syllacivics;

;

bus.

was

industrial films division also

The

story of that has been another connection. Furthermore, a distribution system be gan to contact non-theatrical exhibitors to offer them a service of reels to be

motion.

set in

earlier

commercial and had been decided

sold or rented, or "free" It

propaganda subjects.

to deal in outside productions as well as their own.

meantime

Professor Moulton, with "a staff of mechanical experts," was conducting an extensive survey to discover a satisfactory portable projector, the manufacture of which might be taken over and which might then be recommended and sold to users of the S.V.E. service. Elimination tests narrowed the In

the

Under her able direction began a steady climb by the Society for Visual Education to its present enviable status. In October, 1923, they offered to the school customers a splendidly designed projector that

latter

called

the

Picturol, with sets of still pictures adapted to many courses in visual programs. Industrial type,

users of film also were solicited to use this simpler device for their purposes along lines afterwards so successfully exploited by ducers, and

Jam Handy and

other

pro-

some responded. Upon these

including a supplying the educators with visual paraphernalia, the S.V.E. has survived the years, and still less

pretentious

services,

form of agency service

functions

importantly

from

its

Chicago

and from the New York City which has moved advisedly from mad and bewildering environs of

ing the matter off his books. Incidentally, by withholding his hand in this instance, he seemed to have proved his continued in

belief

the value of the original

quite clearly

to sell

heavily to edusupplies were wrong but because a proper market did not then exist. Teachers would not rent or buy his films when they could manage picture

reasonably besides,

of the

the

Why

Harley Clarke, through his resourcefulness and daring, of course, was not exactly to lose all that he had staked on the S.V.E.

ultimately to supply all of the needs of the educators for visual materials, not films alone, but every sort of device within the generous limits of the

Simplex. The Acme Company was purchased for something less than $172,000;

and Moulton prese-

by assuming the concern's indebtedness of $197,000 and retiring its bonds in a side transaction, he was able to reduce but,

nted the plan energetically and shrewdly. They were at pains to establish friendly

with

relations dustrial

all

well

possible customers, inas pedagogical. In Oc-

ober, 1921. they published a long list of new members of the advisory board, thus giving a personal interest in the

many more

enterprise to that

influential

men and women. In December, 1921, the educators (and others), were offered an

the

bury,

president

While that

loss

the

was

felt

died.

Society,

keenly by his

:.M>ciates. the Society suffered more from inertia and unconnected obstacles in the field.

Although large scale promoters ex-

pect, as a rule,

to wait five or six years

for a sizeable enterprise to

show

profits,

had become quite clear, by the end of 1923, that the magnitude of this plan had not been commercially justifiable. it

The

was

a vast, unfilled ground, still, indeed, requiring trail-blazers rather than settlers. There were a few small clearings here and there, perhaps, but on field

the whole

still

it remained Changing the figure

a wilderness. of speech,

was

a time to reef the sails. The officers turned their principal attention from the portable motion picture projector to the possibilities of slide-film. The responsible management of the enterprise was now shifting to the capable hands of Marie Witham. who had been a member of the

now

Society staff almost from the beginning.

agreed

price

approximately

It is $100,000. unnecessary here, of course, to follow the other details of his

financial

Forest

professor of astronomy at the University of Chicago, shaped the original educational pol-

Ray Moulton,

icy of the

Harley Clarke enterprise

opportunity to buy stock in the S.V.E.

But the promoters had their troubles. Their stock did not sell heavily. Then \imust 16, 1922. Dr. Rollin D. Salis-

formed the Cine-Machinery Cor-

Novemporation in September, 1925. ber 30, 1925, the name was changed to the International Projector Corporation. Under it he bought and merged the Acme Motion Picture Company, the Nicholas Power Company and the Precision Machine Company, maker of the celebrated

believe,

:lrsigiiation. C'larke

and, labor

;

unions had caused petty annoyances by

field

S.V.E.,

ones

objecting to amateur machine operators in the schools. In the theatrical field, however, the market was quite thoroughly not expand the. original organized. scheme, which had cost so many pains, to serve the theatres with all of the diversified materials which they needed? Developments of that idea were soon to

began further to perfect this Acme to perfect it, that is, to meet the specific

intention

"free"

projectionist

address,

improve his newly-acquired Pathescope, so Moulton and his assistants at once

was the

with

well

theatrical

prove that

supplies

was not because the

cators

own

virtually unexplored which they were advancing.

And

office,

in the spring of 1921, to the Projector. Contracts were signed and, just as Willard Cook had labored to

plan.

it.

To administer the Acme property Clarke organized, tentatively and under a non-committal name, the Cine-Machinery Corporation. He had a more certainly profitable idea now. His inability

Acme

iuii

Miss Witham has proved the case!

choice,

needs of this

saw good

still

Square to the quieter, scholastic neighborhood of Columbia University. The president today, and principal stock'rimes

holder,

the

same Marie Witham, whose

energy, persistence and high business acumen are in the main responsible for past success and present prosperity of S.V.E. In the language of speculators, Harley faith,

Clarke, was said in this venture to have "taken a beating" to the tune of half a million dollars. I would not be too sure of that. Clarke was too agile in the line of his particular genius not to have emerged the victor. He may have lost that much of the. original S.V.E. separately considered, but available facts indicate that he salvaged from the experience the basis for further activities. The physically recoverable part was chiefly the Acme Projector, for the resale of which mitments had been made Clarke protected those it, mained in the S.V.E. by

design and

;

certain combut in taking

who had not

re-

throwing the corporation into bankruptcy, as he probably could have done, and not writ-

wizardry

;

sufficient

to re-

new

direc-

port that his progress in the tion was by the proverbial bounds.

leaps

and

In August, 1929, he formed General Theatres Equipment, Inc., a holding corporation which thereafter controlled the International Projector group and many other theatrical manufacturing and distributing interests about thirty in all. In the space of a dozen years, the unfolding of this later idea was to make Clarke one of the most powerful executives ever known in the amusement world. Rut he never lost his interest in motion pictures for schools. You will meet him again,

therefore, later in these pages.

The "Educational Screen" ONE

of the most potent instruments the original organization and expansion of the S.V.E. was a monthly maga-

Education. Volume bore the date, January, 1920. It brought together, in one place, an extraordinary amount of useful innon-theatricals. formation concerning Activities of the Society were prominently described, but only on the basis of their value as news. In the five years zine

One,

called

I'isital

Number

which

existence,

was

to enjoy

Visual

its

F.ducalion

independent is

said

Page 336

The Educational Screen

have distributed a grand total of 400,000 copies unprecedented in the line. In the broad policy of utilizing all possible forces to open the field, the columns generously commended many competitive enterprises. Authoritative articles about new developments were featured uses of films in industry were illustrated and described helpful notes informed the reader of non-theatrical subjects in work or recently completed subscribers ;

;

everywhere were encouraged

to make the publication a medium for the exchange of worthwhile ideas. It is an interesting commentary on the little magazine that the great public libraries, dismissing it

at first as just another commercial "house organ" with an ax to grind, were sufficiently puzzled by the evident educational importance of its content to preserve a

few odd numbers tentatively reference book-stacks.

have saved them

for

They might

their

well

all.

executive viewpoint of Harley Clarke, and the pedagogical one of Forest Moulton, naturally accounted for the pervading policy; but no small meed of credit should go to the editor who interpreted the policy in terms of such undeniably constructive service. L.

the thirties.

French war-time custom of fireless stoves. But it was fun, for I was learning something of great importance that I had never even thought about before. "The skeptics at Headquarters in Paris were careful to check up on results. In two weeks I was ordered to talk an hour, then two hours; then the time limit

was

re-

moved. Once I had to go on for three and one-half hours by request, till my voice gave out. (If you ever tried to make your whole audience hear you in one of those long French baraques, with five or six hundred of those dear, dirty little

old fighting Poilus

sardined

into it, midwinter and windows closed, half of them smoking the worst tobacco ever grown on earth, you 'would forgive your voice for giving out.

"After a

month,

visit

Paris

ordered

sixty-five centers that Army zone. After two months they gave me an auto, an operator, better equipment, and told all

every

drop everything and cover zone in France. And

Army

from three months before the Armistice to six months after it, we traveled over most of that little country, spoke to more than 100,000, and between times had helped train fourteen other Americans to doing the same thing." so,

The

was Nelson

our backs half freezing for days at a time, thanks to the quaint

was

of that rare

the faculty. Ask any Colgate man you ever knew if he ever heard of Professor "Johnny" Greene. Well anyway Nelson L. Greene is one of his five sons.

began. in

his

What happened own words as

given in an address before the Indiana State Teachers Association at Indianapolis, October 17, 1935:

found myself with the French Army. There was great need of mental distraction for the troops during their rest periods back from the front. It was a critical time for the morale. I proposed to French Army Headquarters in Paris that I be allowed to get together what films and slides I could find and "I

talk

to the soldiers in their barracks about American life, avoiding all reference to the war. The chiefs groaned. 'Another lecture, they have been bored to death with lectures.' But I insisted. Finally they grudgingly said I might try it at a few points near where I was stationed; they named the points; and specified that on no account should I talk more than twenty minutes. "I ransacked Paris for such pictures as I could find, got projectors and a soldier to run them, and we went at it. We got from place to place as we could by train or auto if there was such, by horses, ox-carts, wheelbarrows, or on foot with our bulky paraphernalia on

specialized

won another

reputation for honest serv-

However, the trade factor

in its supgenerally accept its findings with reservations, a misfortune suffered proportionately also by Harley Clarke's Visual Education. The objection was met late in 1921, when a wholly professorial group, headed by Herbert E. ice.

port

made educators

Slaught, of the University of Chicago, to establish the Educational joined Screen. General offices were opened on

Wabash Avenue, Chicago, the first number appeared January, 1922, and by happy circumstance already detailed the editor then, as today, was Nelson L. Greene. In the nearly two decades since, under his balanced

broad,

and indefatigable leadership, consistent stimulus to non-

to expand its pages and to add to its departments. On the side it undertook the separate publication of a few books and pamphlets believed to be useful contributions to the growing store of knowledge about visual methods. And, preeminent among these supplemental items, it continued the annual, annotated catalogue of

encourage. He was a graduate of Colgate University, where his father had been professor of Latin for years a scholar beloved by the alumni as by the student body and the other members of

best told

World War

articles

the Education. Educational leaving Screen the only magazine exclusively devoted to the visual field. That last acquisition enabled the Educational Screen

to the shining potentialities of the unrealized or not; but, unambitious for personal glory, he saw his duty modestly and efficiently as to coordinate and

many a

;

field,

First

magazine called Reel and Some five Slide, founded about 1913. years later, commercial interests controlling Reel and Slide persuaded certain schoolmen to join the governing board and changed the name to Moving Picture Age. In this new form the publication appeal

several other magazine efforts in the field were discontinued at the close of its 'isnal third, it announced the purchase of

alive

then

discovered

development exerted by the Educational Screen has won it an honored place in motion picture history. At the end of its first year it absorbed Moving Picture Age; in its second year

temperament which could view tolerantly the clumsy efforts of superficial workers in the line as long as they were headed in the right direction. He was keenly

Nelson Greene had been teaching languages and literature for fifteen years in Eastern schools and colleges when the

was

in its

theatrical

His name

Greene, his age still in could write. He could

but he also

picture industry

knee pants, so to speak, educators interested in visual instruction had

the

champion and condemn vigorously upon occasion;

While the motion still

available non-theatrical pictures first published in 1920 by Moving Picture Age,

Nelson L. Greene learned about visual education the hard way, teaching French soldiers at war how the

Yankee doughboys

lived back

home

Amplifying the story later for me, he "I carried about eighty slides, six or eight reels of silent film on American cities and industries, a stereopticon and small French movie projector. "When I got back home I was very ready to join up with S.V.E. to edit their new magazine Visual Education. It was pure accident that I even learned of the S.V.E. plans. I was about all set to go into advertising agency work in New York, but before making my final decision, I went up home to Colgate for the Centennial in October, 1919, for one week to make up my mind. Professor H. E. Slaught, of the University of Chicago, a lifelong friend of my father, was staying at the house for the occasion. Slaught was also an intimate associate of Dr. F. R. Moulton, in Chicgao, one of the chief promoters of S.V.E. Moulton had asked Slaught to find an editor if he could on the trip East. When Slaught heard I was going to stop teaching he proposed the Chicago said

job

fixed

and up

jumped at

it.

short order."

All

was

under its original and present title, "1001 Films." One observation remains to be made about Clarke's remarkable first venture in nationwide visual education. The supposed "industrial taint" clinging to moneyed patrons outside the teaching profession, was rarely discussed at formal gatherings of the schoolmen

;

but

was

an obstacle, nevertheless, to the spread of the visual movement. Occasionally an educator would arise to proclaim that, as dangerous as the finger of Commerce in the educational pudding might be, it was a useful expedient for the present;

but he was usually unanswered and, in the ensuing stony silence, was left to conclude for himsel f that he had spoken out of turn. James Newell Emery, of Pawtucket, Rhode Island, stated the case very frankly, however, in a well-reasoned article in the Educational Screen when he said "As educators we are interested only in the educational results can no more allow the comsecured. mercial houses to dominate the policies of visual instruction than we could allow the textbook firms to dominate the educational policies of the country." (To be continued) :

November, 1940

Page 379

MOTION PICTURES NOT FOR THEATRES

Installment Twenty-One. And twentyone years ago, although educators had awakened to the possibilities of visual education, the main supply still came from the theatres.

ARTHUR EDWIN KROWS

RECALL

no outspoken opposition to the appearance of Harley Clarke as a self-appointed leader in the halls of learning a man who possessed no Ph.D.,

whose success had been measured

first

no some quarters as a kind of ogre. There was the counting house but there doubt that he was regarded in

all in

rant subdivision into groups naming visual education officers respectively in

Secretary of Labor, and Dr. Francis Holley, of the Bureau of Commercial

charge of State, county and city services, and of institutions and associations, with especial mention of those places which conducted courses on the methods. Or one may open the informative pages of Visual Education Departments in Edu-

Economics.

even a suspicion that Professor Moulton, altruistic and upright, had sold himself

cational

The works of little minds, say you? Well, the world is largely filled with little minds. A similar onus was doubtless suffered

published in 1924.

to the devil.

by Dudley, Roach, Ankeney and Gregory because of their services to Ford and there were slurs cast undeservedly at ;

Institutions,

which the

Bureau

Each group, once

Hollis,

Education

started, tried to out-

do the others in applications, tests and even occasionally with film productions. Lacking knowledge of precedents, the daily newspapers hailed every consider-

other educators when they consorted with those self-made men of large private means who were next to force their well-intentioned way into the field. To be sure, those were days especially when the rich lived in clouds of popular suspicion. It was only a little while, indeed, since a Rough Rider President of the United States had turned a blistering fire on "malefactors of great wealth." In all events, some credence may be given to the charge that Harley Clarke's first call to form the S.V.E. was not received everywhere in friendly spirit, but that it served also even as an alarm for hurried preparations to vader, demies,

the

repel

associations

however, were impatient. Many had a feeble try at the new method, viewed the demonstrations with no allowance for

York, gave

demonstration of

Sierra Educational Neil's, of San Francisco, official organ of the California State Teachers' Association, distributed it its 192S questionnaire on the subject the

further

little

actually

reported at

work,

when some his

Academy

the

exclusive

the

facilities

the of

impossibly

low

war

these alleged visual educators frequently stopped trying and decided to

In 1914 Louis Ehrhart Reber was using University of Wisconsin extension facilities for statewide distribution of especially prepared school films.

wait.

The

16-millimeter it

was

had

not

then, but

projector

existed

quite unperfected. Laboratories, busy with a heavy 35-millimeter

output,

troubled

work out

able attempt with extravagances of type. The Baltimore American became so much

print quality in the narrow acetate film. It usually was execrable. Compared with

enthused over its discovery of visual education that it sponsored a plan for utilizing "free" films which had been

theatrical

produced to show the work of divisions of the U. S. Department of the Interior. reels in the local public It placed the schools, the materials having been edited to suit the purpose, of course, by educators.

When May

standards

arbitrary

which as yet could have no fixed

standards

given

Visual In192 r In that

schoolmen's

a field

tious

beginning about year the list was long enough struction

and discarded

And when the Hollywood and New York producers did not respond with quantities of material made to fit

visual

school journal. An idea of the early status of the development may be obtained from the Visual Education Directory, published by

The National

They provided

single school, or even a chain of twenty schools, and expected the theatrical motion picture industry to supply them with

methods,

imperfections,

idea.

prices.

May, 1921, the movement was strengthened and carried on. Similar service was rendered when

supervisor

early

something

visual aids to educators in

school

Harley Clarke withdrew from the S.V.E. in December, 1929, satisfied that

ally,

;

The only

was still plenty of trail-blazing to be done, done by every individual concerned, however humble. The educators gener-

HOWEVER, all this growing consciousness of the importance of visual education, whatever had occasioned it, was excellent. Regardless of how individuals may have felt about those who gave the original impulse, the various local educator groups throughout the country served as "reverberators." That was what the old-time architects used to call acoustical reinforcement devices in their public buildings so the use of the word means well. Every meeting at which the subject received attention did its bit. When the American Museum of Natural History

was pressed

expressed his usual cordial interest objectionable and really absurd feature was the published report of the event, describing the reels as "the first purely educational films ever shown in this country under a systematic plan su pervised by educators." ica,

new opportunity now that he had left it, had yet to learn the same hard lesson. The goal was there, right enough even Clarke was convinced of that but there

Consolidation

New

course, Will H. Hays, of the Motion Picture Producers and Distributors of Amer-

;

visual instruction.

President Warren G. Harding, Secretary of the Interior Fall, and Secretary of Labor Davis. And, of

the schools were not yet ready for pedagogical films the educator groups which had leaped so enthusiastically into the

unpurified insanctified aca-

forms and departments of

were

Approving messages

read from

the reels were ready, a preten-

"show" 20,

1922,

was in

arranged to occur Baltimore theatre

before a large assemblage of principals, teachers and qualified observers. Present on the platform, as guest speakers, were

Dr. F. H. Newell, of Washington, D. C, representing the U. S. Secretary of Ayri W. W. Husband, commissionerculture ;

general

immigration,

proxy for

the

millimeter

equipment, or "suitcases,"

even

the

with 3516-millimeter

projector was a mere toy; and a person who prophesied its serious use in the field was deemed a fool. Illumination was poor and the mechanical movement generally was unsteady. The Pathescope. with its 28-millimeter film, was better; but it could use pictures only from its own jealously guarded library, or foot-

produced expressly for it. If the school bought an old, standard-size portable or semi-portable, the film rental age

price necessarily went up, because a reel of 35-millimeter film at that time had an intrinsic value of about $45, and, besides

an exchange didn't like to have a property of that cost scratched, torn, or covered with oil in a single run on a worn

The Educational Screen

Page 380 s

HE DOESN'T THE RIGHT

which they were intended to support. I have sat with him many times in the

wriNT FiN.m_ pooor

Of THE VrtLUE OF

the supply. In his short films

I"WVTEL C(WT SHOW YOU THE

VOUUE or

were markedly superior to the usual grind of such material served by the ordinary distributing channels. Whereas the routine exhibitor would contract for a do/en or so travel reels on the basis of a sample preview of one, Roxy would agree to use but one or two, and those only after individual examination. The success which his theatres enjoyed, through the exercise of this more

SCHOOL

SUPERINTENDENT IF

SELL

IT 1 CflN'T

IT, 1

T14IT l"^

VOTE

IT.'

HE DOESN'T

CECOMMENO

IF HE CRN T

FOR

VICIOUS CIRCLE

CflN'T

MONEY IT.

IN VISUflL

EDUCATION

LET S BQEflK

was naturally method, discriminating noised over the industry, and exhibitors in other cities sought to book the same

NOW

flU. TOGETHER.

was looking over consequence of his care,

earlier years while he

VISUOU MftTtRlRL BEFORE I ftECOt-inCNO

kmo or

complete programs so expertly They could procure the features

built.

easily,

as a rule, but not the supporting shorts so applications for those were made di;

IF HE DOESN'T e>UY THE VISUflL MrVTERIRL

F SHE DOCS

NOT LEORN TO

USE VISUO

THERE

HOVE NO CHWNCE

TO LEflRN TO USE

MOTERWL,

rectly to Roxy, or to Hugo Riesenfeld, leader of the fine orchestra at the Rialto, who had been promoted to assist him in

EFFECTIVELY.

Ib NO POftlT

management.

The Burton R. Barns "vicious circle in visual education," published in "Educational Screen" Sept., 1926, has remained strikingly true in intervening years.

If this selected material was to acquire such value through having been brought thus to countryside attention, Roxy's organization surely was entitled to share in the profits. So Riesenfeld set up a

film

regular

called the

machine used by an amateur operator, for a payment of two dollars. The educator, of course,

was taking

with

ably

the

for

print,

his chances, probnitrate

hazard of a

fire

was more expensive

acetate

and frankly rated by the laboratories as poor stuff upon which to print brilliant pictures.

the

after

So,

glad rush at the education movement,

first

of the visual

start

was a

there

That,

lull.

was

however,

characteristic of all progress for, as the

themselves

educators

have

discovered

and have declared, civilization advances in waves. Now, therefore, although visual education, with the motion picture most conspicuous in it, was recognized for

its

ahead

importance, it

just

marked

telligent observers tation at the delay

did time.

not

forge

Many

in-

expressed their irribut none showed a clearer sense of the reasons for it than Burton R. Barns, supervisor of visual education in the Detroit schools. He sketched his notion of the "vicious circle"

which sent

to the

was

responsible,

Educational Screen.

and

there had given him the idea, he said, and the magazine now published his cartoon in the September 1926 issue. editorial

The tors

showed the

circle

in the

six

human

fac-

then current system of film

visual expert, film producer, salesman, teachef, board of education member,

supply

and school superintendent each uttering a typical alibi for doing nothing. Mr. Barns's demand of those who looked upon this circle

break

was, "All together

now

let's

it."

As a matter of fact, was being broken

circle

of course, the slowly, and, to

the

short-range observer, imperceptibly. Disintegration was being caused by the same ungoverned forces which had been

steadily at work visual education to

Existing atrical subjects, "free" industrials, amateur attempts at production were col-

yon, stored at some convenient non-theatrical exchange, objectionable scenes snipped out and new titles "cut in," to make them conform as nearly as might be with requirements of the local school system. Thus I have seen Rita Hochheimer, applying those neceslected

hither

and

review and order sary expediencies, changes in miscellaneous reels collected by Ilsley Boone and Walter Yorke for

New York City schools which, in January, 1928, boasted visual education in some seventy institutions. And I have heard accounts of similar procedures in other American cities of the time.

Seal. Through were relayed some of the subjects shown in the theatres

then,

THE

theatrical field continued to

make

unintentional but not unfriendly contributions. That is to say, the theatres

best short of the na-

tion during the third decade of the cen-

which probably never subjects would have reached the wide public in the

tury,

routine process of sale. In prosecuting the idea, to stimulate the producers of shorts as well as to whet the aroused interest of audiences and exhibitors in them, Riesenfeld awarded an attractive annual medal for the best offering of the It was competed for type. spiritedly.

And, field

itol

the entire non-theatrical

indirectly, benefited.

When Roxy

the

The Theatre Carries

this point,

Theatre

went in

manage the Cap-

New

York,

and

left

Riesenfeld to succeed him at the Rialto and Rivoli, Riesenfeld continued the good work. striking example of his constructive course was his presentation at the Rivoli, beginning February 3, 1923, of the film known as "Einstein's Theory

The

its

went right on using, for their own entertainment purposes, films which might be salvaged later for non-theatrical showings. And an interesting incidental development of the time in this direction

had been made under supervision of well known Berlin scientists during the preceding summer, when the learned world was agog with the sensational pronouncements of the great Albert. Being brought to America, however, the film greatly dis-

Relativity."

original

production

the eager attention shown by two Paramount theatres in City, the Rialto and Rivoli

appointed Riesenfeld, who felt that a valuable property had been unrealized

on Broadway, when short subjects were well presented on their programs. These houses were then under the direction of Samuel L. Rothafel, known far and wide as "Roxy," probably the greatest motion picture showman of his day. His bills were all carefully assembled for his own advance approval, and each item was made to yield as much entertainment value as possible. If he

With due authorization he assigned the work to Max Fleischer, the "Out-of-the

came from patrons of

New York

for

want

of proper technical finish.

animator; and Fleischer subthe contract to Carpenter and Goldman, who actually did the splendid revision. Their finished subject was in four reels. Reisenfeld's theatre requirements being for only half that number, a tworeel version was also made for showing on the regular afternoon and evening program but the four-reeler was held to be sufficiently important for especial preInkwell"

let

long before the

felt that more value could be put there reasonably, he frequently returned a subject to its producer for that purpose. He

movement took form.

gave as much attention to securing an

lovers of popular science

effective newsreel, novelty or comedy as he did to booking the feature picture

presented themselves in large numbers. When the theatres had been satisfied,

since

They were evinced mises,

the years.

glacial grinding films used the-

;

in his opinion

smoothed down by the

exchange for the purpose,

Red

sure,

the old comprojust a little more

;

sentation

the

mornings to edify the

who

thereafter

November, 1940

Page 381

Dr. Ilsley Boone took a print for lecture purposes in the New York metropolitan area. He opened his tour with a com-

plimentary showing at the American Museum of Natural History, where so many hundreds clamored for admission that the police had to be called out to control them and to save some of the museum exhibits which happened to be in the way. Upon the thoughtful educators who came to see the exhibitions of the picture

arranged expressly for them, it made an unexpected and remarkable impression. They quickly noticed that it was almost all about "relativity" and scarcely anything about the Einstein Theory. This, however, did not surprise them, for the world had been warned by the great man, himself, that the theory could be properly comprehended by only about twelve living mentalities. But they found, in the long series of ingenious animated diagrams and multiple exposures, a revelation

the

powers

screen

of the

make abstract ideas clear and compelling. The New York Times reporter, who wrote a closely packed column about the "dress rehearsal," which very prominent educators had attended, observed that some of the illustrations "were so well done that the learned audience applauded like an ordinary audience seeing the rescue of Jackie Coogan." And, of course, the conveyance of abstract ideas was, as it still is, one of the most difficult problems in pedagogy. The Einstein film then, was the richest and most varied demonstration of scientific animation in a single its influence upon date those who witnessed it was lasting and, unknown to all but the inner circle of friends, that attractive phase was essentially the excellent work of the Car-

place,

that

;

penter-Goldman organization. Another subject which stirred educators by concentrating camera advantages, and which was given currency by the

showmanship of S. L. Rothafel, was "The Four Seasons." This was released first in 1921. It was produced for none other than Charles Urban, largely out of his extensive Kineto Library, and assembled under the supervision of Raymond L. Ditmars. It showed, in delightful variety, the response of nature to the season's changes from autumn, to winter, to spring.

summer

who, in 1901 in New York had founded the world's first formal school devoted to that art. How it was that Chapin originally came there I do not recall, save that he had a full-length drama entitled "Lincoln," which was not in satisfactory shape for production. He may have joined the course on the recommendation of one of the Broadway managers who were in the habit of referring unready playwrights to Price, or he may have been attracted by the fact that Thomas Dixon, Jr., popular novelist, author of The Clansman, upon which D W. Griffith's "The Birth of a Nation" dramatist City,

was

later

was

founded,

also

student. I

remember Chapin as an

intense,

wiry

chap, who submitted everything he wrote for the stage to a devoted sister, whose

was unbounded.

faith in his future success

They worked hard over

the

"Lincoln"

drama, and after a time the revised manuscript was accepted for production by William A. Brady, Chapin to play the name part. Unhappily it failed, but not without having received much admiring attention for its human, convincing portraiture. So Chapin prepared a condensed version of it, featuring scenes of Lincoln and his beloved son, Tad. With Chapin in character, it became a very successful headliner in vaudeville. The film produc-

came after that. The "Lincoln Cycle" pictures, like the original play, were not always remarkable for their drama, but they compentions

such

for

sated

omissions by

their

sin-

well-photographed, authentic detail and strong patriotic interest. They became really popular, and the theatres used them on holiday occasions again and again. Their success had a curious effect cerity,

on Chapin, himself. His always burning enthusiasm for Lincoln became an obsession. He grew a proper beard, affected a stovepipe hat and a shawl, and in this anachronistic rig appeared frequently in public. The "Cycle" was to be his last He unexand crowning achievement. pectedly died. In December, 1918, I noticed that Charles L. Parker, of the Kins-

man-Union

Church at Congregational was heading a movement to $50,000 with which to endow a de-

Cleveland, raise

partment pression

of in

literary

the

and dramatic

New Lyme

ex-

Institute

New Lyme,

For the History Classes EARLY in 1917 historians in the northern states, at least, began pleasurably to see in the theatres, under the new release brand of Paramount, the first of a notable series of ten two-reel subjects called "The Son of Democracy," subsequently better known as the "Lincoln Cycle." All

Ohio, as a memorial to Chapin. But I never did hear how the movement eventuated. About three years thereafter another "Lincoln" made its appearance, with acclamation wherever it was shown a feature picture made in California by Al

and Ray Rockett, who, by

all

accounts,

together they constituted the life story of the great Civil War president. They were produced by Benjamin F. Chapin, a character actor, favorably known to the stage for his Lincoln portrayals; and the first numbers were so well received by the

reaped a rich return for their at first uncelebrated risk. In any case, they were rewarded with paying executive posts in the production ranks of Hollywood. To the educator of 1920 interested in historical material, "The Birth of a Nation" was just a recent screen triumph

photoplay public that he was enabled to build himself a studio at Ridgefield Park,

no longer ago than February, 1915

New

more ambitious

Jersey, to develop

plans.

Seven or eight years previously

known Chapin moderately

were studying playwriting William Thompson Price,

had

both then, under an old-time

well.

its

"grand premiere"

may have

New York was and,

deplored incitements to racial and sectional prejudices in it, stirred his imagination to it must have conceive possibilities of period pictures in the classroom. Afore nearly current was the fine production starring that ex-

while he

Hugo Riesenfeld, former concert master at the Vienna Opera House, encouraged the production and distri-

Dr.

many

bution of

Arnold Daly, entitled "My States" and founded on Man Without a Country.

cellent actor

Own

United

Hale's

notable educationals.

The

Apart from the adventures Nolan, the

Wars

contained of

1812,

of the fictional

stirring

Tripoli

scenes

and Mexico,

famous persons, inand Burr in their tragic duel. Long after this picture had served the theatres, I tried to buy it for use in the "Chronicles of America" but a lawyer bent on recouping losses of a client's estate, held out for more than seemed reasonable, losing thereby a distinguished sales opportunity which never came for him again. introducing many cluding Hamilton

;

the War of Secesshould say "the War Between the States," which seems to be

The

sion

Civil

War, or

(or perhaps

today's preferred euphemism), had plenty of theatrical footage to offer the schools the mere "program" pictures "The Coward," with Frank Keenan and Charles Ray; "Madam Who,"

among

being

with Bessie Barriscale; "Secret Service," with Robert Warwick "The Copperhead," with Lionel Barrymore. Or, concerning the ante-bellum South, there was "The Bride of Hate," starring Frank Keenan again. In this last-named film ;

there were, as I scenes of early

recall,

some excellent

steamboating

the

when the tide of American population was spilling over the AlleMississippi,

ghanies into the West. And, for that matthe steamboats lived again less ter, rowdily in the screen version of John Hay's "Jim Bludso," with Wilfred Lucas. Dramatizations of Bret Harte's stories of the Forty-Niners Pickford in "M'liss," and Douglas Fairbanks in "The Half-Breed." There were at least two outstanding "Evangelines," one presenting Miriam Cooper, the other (astonishingly enough), Theda Bara, first of the screen "vampires." Lillian Gish helped to illustrate the seventeenth century settlement of Virginia Plantation with "Daphne and the Pirate." Bessie Barriscale did a story (Concluded on />o.</c" 402) recalled

witness

the

life

Mary

The Educational Screen

Page 402

jazz-orchestra din, maudlin love-making, and gridiron heroics the whole laid in an absurd "college," with high-powered siren for heroine and dull football star for hero. Fluff, thrills, lively action and mediocre acting. ( A Depends on taste Y) Unwholesome (C)No Wildcat Bus (Fay Wray, Charles Lang) (RKO) Rich hero (never worked) down to his last big car and devoted chauffeur innocently joins private-car-bus racket that is ruining heroine's legitimate busline by stealing customers and sabotage. But hero learns, turns, and saves all. Thick with chase stuff and accident thrills. Acting and story mediocre. (A) Feeble (Y) Poor (C) No I

(A) Discriminating Adults

(Y)

Down Argentine Way (Don Ameche. Betty Grable) (Fox) Gay musical with colorful, romantic South American background. Slight plot woven around love affair of American heiress and scion of prominent Argentinian family who raise prize horses. Lavish technicolor ensembles, catchy tunes, Latin rhythm. Charlotte Greenwood's clowning and Carmen Miranda's provocative singing are highlights. (A)Goodofkind (Y) Entertaining (C) Littleint. Dr. Kildare Goes Home (Lew Ayres. Lionel Barrymore) (MGM) Another in the excellent series. Young Kildare graduated and appointed staff physician to the great Dr. Gillespie, is forced to share his overworked father's smalltown practice. A village "preventive clinic," finally established despite heavy opposition, is the interesting solution of everything. (C) Doubtful interest (A) & (Y) Excellent Flowing Gold (Pat O'Brien, John Garfield> f Warner) Lively, credible melodrama of the oil fields. Crew races against time to bring in well before option expires. Embittered young worker, fugitive from law. takes over job when fine foreman breaks leg, and replaces him also in girl's affections. Follow fire, landslide, and reformation of hero. (A) & (Y) Fair (C) Unsuitable Foreign Correspondent (Joel McCrea, and notable cast) (UA) Finely directed and acted thrill melodrama of American news hound hurled into European mystery, intrigue and crime hunting for answers to World War 1. A feeble romance adds little. Continuous fast, tense, nerve-tingling action. Actually achieving a powerful and welcome "sermon" for climax (A) & (Y) Very good (C) Too strong Give Us Wings (Dead End Kids) (Univ.) The well-known "tough" kids doing their low-brow, roughneck comedy in the country instead of city shims. Ambitious to be air pilots, they sign up with dreary, sordid crop-dusting racket providing air thrills. They swagger, suffer and !

finally

triumph. (A) Mediocre (Y) Doubtful value (C) No Glamour for Sale (Anita Louise. Roger Pryor) (Columbia) Continuous dose of doings of nightclub addicts in a perennial atmosphere of booze, intrigue, philandering, blackmail and crime. Spotless heroine, prize attraction in "legitimate escort bureau." joins law to end ruthless racketeers* "date bureau" and. oddly enough, wins young detective hero ! (A)" Mediocre (Y) Unwholesome (C) No Golden Fleecing (Lew Ayres, Rita Johnson) fMGM) Hero overacts painfully trying to make funny the dull role of timid insurance salesman who sells huge policv to gangster and has spend rest of reels keeping his customer f.o^ alive. Hectic farce depending for laughs on dumbness and absurdity. (A) Stupid (Y) Better not (C) No Haunted Honeymoon (R. Montgomerv. Constance Cummings) (MGM) Lawyer with Sherlockian flair weds detective-story authoress and crime clues clog honeymoon. Suave, casual detection in Montgomery's best manner, pleasantly puzzling plot desoite slow tempo and improbability, real English backgrounds, sprightly dialog, with more character values and less violence than usual. (A) & CY) Good (C) Little interest T Married Adventure (Os a Johnson and the rest) (Columbia) Composite of Johnson films skillfully reedited into absorbing travelog summarizing twelve years* adventures, wonderful shots o*" animal life in Africa and Borneo, pxotic backgrounds in beautiful and strange lands, laughable comedy both animal and hu-

man, with .iiinerlp

thrills

aplenty in animal fichts and

perils.

fA> (Y) (C) Excellent of kind T Want A Divorce (Joan Blondoll. Dick Powell) (ParH) Creditable, sincere treatment of divorce nroblrm. well acted. Engaging couple happily married until he accents nartnership with RUC(enftal divorce lawver. Separate and it takes lesson of sister's suicide to recnnrile them. Mnny lighter moments, with Frank Fay rontribiitinor substantially. ( A) Rather good (Y) Mature (C) No trae-ir

Knnte Hm-kne All American (Pat O'Brien and notable casM fWnrner) Exnert. (Mailed rtipHimfltion of Rockne'*; extraordinary career, from Norwav to the Kansas airnlane crash. BfloHfyfny Ws place in American life and snort, and with ample tributo to Notre Dame. O'BriVn nrosv and over-literal at times but alwav earnest and appealing nmid gridiron thrills, whole^mp laughs, and sentimental moment! of real nower. (Y) A (C) Fine of kind

Youth

(C)

Children

yarn

into

artificial

than

in for

"punch." Sister fights for brother, whose heroic death releases her for hero. (Y) Doubtful value (C) No Spitfire out West (Velez, Errol)(RKO) boisterous farce in same vein of previBroad, ous films in series, and with same characters. Lupe her usual rowdy, shrieking self, but Errol's dual role of a droll English whiskey baron and his impersonation of the character which leads to ridiculous complications, are

(A) Mediocre

Mexican

(Y) & (C) Amusing Police (Cooper, Carroll. Goddard, Foster, Preston) (Para) Spectacular Technicolor melodrama of Canadian half-breed revolt in 1885. Much violence and bloodshed before uprising quelled by small valiant band of police, their number further pitifully reduced by treachery of love-sick half-breed girl. Overlong, more spectacle than drama, with incident, action and acting frequently lacking in convincingness. (A) & (Y) Cood of kind (C) No So You Won't Talk (Joe E. Brown. Frances Robinson) (Columbia) Mildly puzzling and exciting concoction with dual role of shy newspaper book-reviewer and escaped Alcatraz gangster it's Joe in both, merely labeled differently but all is obvious. Mediocre acting, I

Northwest

Mounted

antics, and Joe's love affair is mere comic grotesque. (A) Hardly (Y) & (C) Perhaps Spring Parade (Deanna Durbin, Robt. Cummings, Henry Stephenson) (Univ.) Gay, lightsome romance delightful for backgrounds, costumes, Viennese music finely integrated into simple plot, deft acting, humor (sometimes too elementary) vivid character interest, human appeal, needing no risque element for "punch" and centering round the sprightly and charming Deanna as the little country girl dropped into the teeming, glamorous, aristocratic world of Imperial Vienna. (A) & (Y) Excellent (C) Good though mature The Baker's Wife (Raimu) (French production by Paquol & Clair) Simple, realistic, compelling, superbly done continental comedy of rural life in Southern France. Village baker's young, beautiful but faithless wife runs off with shep-

usual

herd. Baker begins drinking, stops baking, and wrangling villagers unite to bring back wife and their daily bread. Masterful character act-

ing in absorbing picture. Erskine English titles excellent.

(A) Notable (Y) & (C) No The Great Dictator (Chaplin. Oakie, Goddard) of (UA) Masterpiece individual achievement, sparkling with scenes by Chaplin at his best in subtle pantomime, burlesque and satire, but little subtlety in other roles. Dramatic value suffers because of two parallel stories not interwoven, and the impossible transplanting of timid, lowly barber into world-orator of power and passion is a startling but unconvincing climax. Hilarious slapstick travesty of dictatorship.

(A) & (Y) Notable (C) Mostly amusing The Lady in Question (Brian Aherne. Rita

Hayworth, Irene Rich) (Columbia) Laid in Paris, true in background but no French spoken. Able character comedy of humble, honest, storekeeper with jury ambition. Finally called,

he sways jury to acquit unfortunate heroine, big heartedly takes her under his protection and endless troubles begin. Tempo and narrative uneven, but much thoughtful fun in continental manner. (A) Good (Y) Fair (Cl Hardly They Knew What They Wanted (Laughton, Lombard, Gargan) (RKO) Illiterate, big-hearted, likeable Italian grape-grower in California, woos. wins waitress heroine by mail, with aid of young foreman. Wedding delayed by accident to "Tony," heroine is seduced by foreman. Honest, believable, effective adult drama. Except for occasional overacting. Laughton's performance memorable. (A) Very fine of kind (Y) & (C) No Three Faces West (Charles Coburn, Sigrid Curie. John Wayne) (Republic) Writing banal,

and episodic, acting mediocre, rolifeless, and intended "comedy" labored. Only redeeming feature, expert role by Coburn as great Viennese doctor in exile with daughter, action jerky

mance

heroically aiding dustbowl sufferers in migration to Oregon. Feeble echo of "Grapes of

Wrath."

Too Many

(Y) Dull (C) No Girls (Lucille Ball, Richard Carlson)

(A) Stupid

(RKO)

Hilarious

World

Flames (Composite news Gripping pictorial

ganda)

(Para)

reel

proparecord of

modern war and Hitler's ghastly trail through Europe as seen by American, German and French cameras, with brief comparative flashes from original films of first World War. Irreevidence of the outrage and barbarity of Nazi achievement and grim need for nasistible

tional defense.

genuinely funny. \) Perhaps

Men Against

the Sky (Kent Taylor, Dix. Lowe, Barrie) (RKO) Thrilling airplane stuff woven

theatrical

human - about harebrained, penniless planeproducer, his fine engineer, (hero), a drunken ex-ace genius and his sister (heroine). Lowe's suggested philanderings (at his age!) lugged

mess

cabaret

dancing.

(A) & (Y) Notable of kind (C) Pretty strong Wyoming (Wallace Beery, Carrillo, Ann Rutherford) (MGM) Run o' the mill Western, with in typical role as grimy vagabond, double-crossing, stealing and shooting his way in General Custer's time. Atones by devotion to orphaned kids and achieves grotesque love affair climax. For Beery fans only. (A) Poor (Y) Worthless (C) No Young People (Shirley Temple, Oakie, Gr.eenwood (Fox) Second-rate vaudeville pair leave stage to give adopted waif a "home" in tradition-bound New England village. Hostility ended by hurricane heroics. Shirley lacks confidence because of her between-age, the feeble plot, or weak supporting cast. Hollow and hopeless as human-interest comedy for clowns cannot make characters real. And why have

Beery

around

)

Oakie and Greenwood sing? (A) Disappointing (Y)&(C) More or less amusing

Motion Pictures

Not for Theatres (Continued from fac/c 381) about John Paul Jones called "Borrowed Plumage." The past century's Indian Wars, those bloody, hand-to-hand conflicts which drove the unhappy redskins into present reservations, could ask for no more effective records than were to be had in the hard-riding scenes produced by Thomas H. Ince at Santa Monica, released lavishly under his old brands Broncho and Kay-Bee. Ince drew upon the supply repeatedly in his later features produced for the Triangle Program for "The Bugle

instance in

Call,"

the

first

important movie for William Collier, Jr., and "The Deserter," starring Charles Ray, stories of the U. S. Army posts

on the recent frontier. William S. Hart made numerous subjects with stories laid on the old. unfenced prairie, including "Wolves of the Rail," an interesting story of the coming of the Iron Horse. The Fox production, actually called "The Iron Horse," came later. And there were, of course, splendid films based on the penetration of Alaska

and the Canadian Northwest.

recall at

two as outstanding, "The Flame of the Yukon," starring Dorothy Dalton, and William S. Hart's "Shark Monroe," which had to do, I think, with the Bering least

Sea

fisheries.

was

treated

The in

old Spanish Southwest of Six," with

"Sister

Bessie Love; and there were, of course, other celebrated versions of the

many

thrilling

than

the

story of Texan independence, sensational "Martyrs of the

Alamo." Pictures dealing with the World were too numerous to mention, although D. W. Griffith's "Hearts of the

War

World" tice

necessarily calls for especial noit was made largely in the

because

fighting zones overseas, at the express request of the Allied Nations who hoped to profit from the propaganda which he could not well avoid putting

actual

into

it.

(To be continued)

Page 417

December, 1940

MOTION PICTURES NOT FOR THEATRES ARTHUR EDWIN KROWS

all

the

educational

film

American series about 1915. James A. Fitzpatrick was beginning to attract favorable attention for his "Amer35-reel South

Geographers' Feast

OF shown

Installment Twenty-two the expanding movement of two decades ago to supply school films exclusively, and a consideration of some specialists.

material

probably none had simpler and easier inspiration than pictures on travel. They always have been popular, and there always has been plenty of them. When Dr. Esenwein specified in the theatres,

ican of

Men

"camera

Letters" visits"

series

homes

consisting of Long-

Poe, Emerson, Whittier, WashIrving and others in the native literary tradition but he had not yet discovered his profitable line of after years in producing "Traveltalks." He made the fellow,

ington

;

in anticipating

geography the

future uses in

therefore, lie spoke adsurely did not mean, how-

classroom,

visedly. He ever, any more than I theatrical film of this

do now, that the order

should

without change into the to be supposed in the instances of historical material just mentioned, he undoubtedly meant that there was much valuable photography which a geography teacher, left to his own devices, might use effectively and easily in transplanted school.

As was

"Men

though, a

ently made her a scenario writer for leading theatrical companies.

Chester did not just arise out of nothingness. Indeed, it was strange, in a way, that the theatregoing public was so long discovering his importance. He had been a lecturer, years before, on the 1'ond

Lyceum Bureau

illustrating his films photographed

circuit,

and by himself. That was what brought him the arrangement by which he produced most of the early travel films for the Edison Company, the first of the American theatrical picture makers to go ex-

talks with slides

tensively into that phase. It will be reChester who also called that it was

supervised

the

making

Paramount's

sea-

have known

as a Westerner,

sur-

was born at Stowe. But he learned early

prising to hear that he to

1887.

His education, after the

roam.

stage, was at the Central School in Minneapolis, and at the

mary

pri-

High

UniMinnesota and Iowa. In 1914 he was a landowner and retail lumberman in the foothills of the Cascade Mountains, in the State of Washington. Just then he was puzzled over his small success in developing a dude ranch, and had almost concluded, in his own words, that if he couldn't bring the dudes to

moving

picture camera ever had been taken to the top of a snow-capped mountain in the

new

through having been glibly conceived and written. That part of the work was done by Katherine Hilleker, a young woman whose reputation therefrom pres-

Pacific

lieved to be the first time that a

have his day. His name? C. L. Chester. And he had formed an alliance with. the magazine Outing to conduct a profitable film business from a New York office at 200 Fifth Avenue.

stock; and the interpolated subtitles were in themselves major novelty attractions

the range to shoot his film, setting his tripod even on the summit of Mount Adams, 12,307 feet above sea level be/-

For three or four years he stood at the top of the line, his pictures released by Educational. The Outing-Chester subjects were more of outdoor life, as such, than mere travel, which comprised the usual

"Bob" Bruce

along

Until then he had used only a still camera. But now, with a movie box, he felt that the immediate environs of the ranch were insufficient; so he climbed

holiday, all were increasing the output. But most of these were just one-time or occasional producers. specialists,

south

pictures.

cameramen on busman's

the

who seem always

the ranch, he might be able to bring the ranch to the dudes by means of motion

theatrical material, suggestive which confronted any teacher who had been stirred by the visual education movement, was plentiful indeed. Museum exsportsmen's safaris, newsreel peditions,

had arisen

board,

versities of

the

Among

the

north

very young to be a director, being then but he was in his early twenties still earnest, unafraid and had plenty of poise.

own proper interpretations. Speaking of geography in its ampler aspects but no more ample, after all, than is embraced by covers of the usual elementary school textbook on the subject

figure

same release brand, an association which was to last fourteen years in all. To those, in various communities from

Vermont

his

to be found steadily producing new celluloid proofs of his travels under the

of Letters" pictures for Urban at Kineto, appearing frequently, therefore, at the Masonic Temple Building, where I He seemed first met and liked him.

;

a half-dozen years later, he

Now,

1915.

was

United States. His cameraman was Jesse and with Sill, of Portland, Oregon him Bruce made what he himself deScotch- Yankee nominates "a typical deal," whereby Sill was to crank the camera, furnish the film and develop and G.

C. L. Chester, who produced travel pictures for Edison, joined the magazine "Outing" to specialize in making popular films on American outdoor life.

After appreciating those qualities it was not difficult to understand why Urban, who was fond of discovering promising youths, had taken him on. "Fit/-." was born at Shelton, Connecticut, in 1895. His higher education startexl at Yale. About 1914 he came to New York to enter Columbia University, but went into films instead. Pictures not responding to his first advances as cordially as he had hoped, he opened a dramatic school in Brooklyn. But that was a mere stopgap, and he was soon at work for one of the lesser film companies, producing children's stories. That was the activity

from which

the

genial

Urban

took him. Robert Cameron Bruce, however, was then very thoroughly established in public favor with the superior product asmet Bruce sociated with his name. for the first time in these pages while reviewing the circumstances in which Edu-

cational

Pictures

was

incorporated

;

at ten

course,

cents per foot

from expenses of

living

apart,

and travel-

ing. Bruce's first picture, produced in this way, was "When the Mountains Call." As we have seen, it was destined to involve the fortunes of Earle Hammons and Catherine Carter that is, after Bruce reached New York with it, a trip which he paid for by booking the film from

town to town across North America.

the

breadth

Since that pioneer experience, Bruce has set up his cameras in many different parts of the world, returning in each instance to the screens of his own country, the visions of a true artist. The geography teachers of 1920 were just beginning to realize that these examples of loveliness on the earth's surface were coming from a single source through his use of an unusual identifying mark. The

(Bruce, himself)

who moved through

his successive scenes

to serve partly as

man

gentleman with the walking-stick in the old wood engravings of the wonders of nature for "scale," and

did

the

partly

tiny

provide a simple continuity

The Educational Screen

Page 418 was now always accompanied by a dog. That dog has long since been retired at ripe old canine age, but his master, vigorous and eager as ever for fresh literal and figurative mountains to conquer, continues to delight audiences with

the sheer beauty of his

shadow

paintings, now almost exclusively in color. Burton Holmes went on and on. So

did

Newman. Men and women with

far

embarked

reasonable

less

excuses,

A high spot picture-making argosies. proved to be "Around the World with commemorating the Spcejacks." 40,000-mile yachting cruise around the world, of A. Y. Gowen, Cleveland cement the

magnate. Terry Ramsaye edited that subject to six stirring reels for a successful

Paramount

release.

rolling stones gathered no moss, appears that they acquired film. Dr.

Even it

Sugden's Alaskan pictures were shown in 1919: Lieutenant R. T. McElligott's of the Arctic in the spring of 1922, the same year in which G. F. Kendall re-

turned with his films of India and the Far East. The traveler, Dr. Edward G. Salisbury, appeared in New York with 60,000 feet on South America (titles by Rex Beach and lecture by himself), Jan-

on all subsequent moattempts to interpret native, life in any part of the globe, was revolutionary and enduring. Curiosity soon turned, of course, to the

cook. It

man who had produced

future vocation.

plete. Its influence

tion picture

Flaherty.

through the Hudson's Bay country, North Ungavia and Baffin's Land. It was in the last named area, about 1914, that he bebut his cinematographic experience film he brought back then was lost

gan

;

the

Following the success of "Nanook" he was quickly annexed by the a

Celebes,

Bali,

Siam, Cambodia and Cochinas head of the Goldwyn-Bray-

China,

Powell Malaysian Expedition which

New York In

the

left

in 1920.

segregated

film

buildings

New

York's theatrical district, numerous offices opened and closed as temporary headquarters of persons who had small

come

to the

chief

marketplace to book

their prodigal footages.

Among them was

the Danish explorer Rasmussen, with his Greenland films, and Captain Klein-

schmidt, another veteran of polar travel. The Captain, with his stocky figure, weather-beaten face, and conversational grunts, carrying a can or two of films through the halls of the Candler Build-

ing to be

rewound or patched

new assembly, remains

vivid in

some

recol-

His chef d'ouvre probably was "Capt. Kleinschmidt's Adventures in the Far North," a five-reel version of his trip from Seattle to Alaska by the Inland lection.

glimpses of the characteristic surrounding life. The crowning geographical film achievement of the time, however, was "Nanook of the North," heralded as an industrial because it had been made with the cooperation of the fur house of Revillon Freres, but hailed as a masterpiece of its kind when released to the theatres by Pathe. It was the typical life Passage,

rich

story of the representative Eskimo, superbly photographed, authentic and com-

fire.

Hollywood producers. Despite their diffiin managing him, they enabled

culties

way through Borneo,

a bluff,

laced boots and mackinaws of the north woods, and he always has had as little use as they have for the furbelows of urban living. He was born at Iron Mountain, Michigan, and educated at the State College of Mines. His early engineering ventures kept him for several years roving the west coast of Canada, He thus developed chiefly northward. qualifications recognized when he was assigned to lead four successive expeditions

by the Prizma process. Dr. Vandenbergh's African pictures reached Broadway in February, 1921, and in April, Dr. O. R. O'Neil was reported to have

Sumatra,

Robert

the

him,

his

it,

slightly,

hearty, outdoor man, of about thirty-five years then, with a large capacity for living. One has seen many like him in

uary, 1917; and September, 1917, he was announced again to make travelogues of China and Japan, photographed in color

"bought the rights" to shoot scenes in Swaziland. (What a number of doctors there were!) At the same time, E. Alexander Powell, esteemed American war correspondent and voluminous writer of real adventure books, was photographing

knew him

directly also the later

"Man

and

indirectly,

"Moana

produce

of the South Seas,"

of Aran."

was 1925 before

the world

became

acquainted with another exceptional type of picture presenting the life in remote places, namely, "Grass." This time the continuity was not that of one "hero's" existence on earth, but the epic spread of the fortunes of a whole nomadic people.

They were represented by

a pastoral tribe

Persia which desperately (Iran), traverses the land in pursuit of nature's seasonal grow'th of vegetation, its chief in

means

subsistence.

which produced "Grass," principally

by.

Merian

The was C.

expedition constituted Cooper, a

wealthy and adventurous American, born Florida, who, after service in the A.E.F., wished to see something of the remote parts of the world Marguerite

;

Harrison, well known American press correspondent in Europe and writer on Asia, and tall, boyish Ernest B. Schoedsack, experienced American theatrical

cameraman. The Martin Johnsons had not yet begun their stride as film specialists on Africa but they were popularly known ;

for

interesting pictures of life in the South Seas. This extremely likable couple

were more than just expedition folk. Johnson had had a hard training in theatrical showmanship, and he turned it to excellent account in preparing his reels. He was of Swedish descent, born in 1884 at Rockford, Illinois. His childhood and youth were spent at Independence, Kansas, where he was educated in the public

schools.

His dreams of high adventure,

so especially frequent in lads of the inland areas, finally brought him a chance to help in building and outfitting Jack

London's celebrated boat, the Snark, and so

into

the

daily

company of

that

in-

corrigible rover when London had set sail in her. Anyone aboard that vessel

was expected to work his passage, and Johnson selected for himself the role of

is reported that he fulfilled the corresponding duty most creditably. However, about 1906, he had chanced to try

hand

his

cess

and suchad promptly decided his

at operating a camera,

that

His interest comprehended the distribution of films as well as their production. For a time he therefore operated a chain of five nickelodeons in southern Kansas, and later, he toured with Jack London films througli the West and into

was the only which embarked with London on the voyage around the world during which the novelist died, who completed the trip. That was in 1917. In 1910 he had married Osa Leighty, the present Mrs. Johnson, a girl from his

Canada.

Incidentally,

member

home

the

State. Thereafter his important ex-

peditions

Their

were made with her first

joint

of the South and shown in of

party

1913.

Seas,"

in the party.

was "Cannibals

film

produced in 1912

New York

in the

summer

Johnson travelled around the

world six times, spent twelve years in the South Sea Islands, one in Australia and two in Borneo. It was 1924 before he and his wife went to Africa to begin their five-year motion picture record of the vanishing wild life of the continent and we are speaking now. of course, of the :

slightly earlier time of the visual education movement. In January, 1937, Martin Johnson died as the result of an airplane

crash near Los Angeles.

Physical Education FILMS on

sport occupy a curious place between school and theatre. In the school

the department of physical education frequently attains an exaggerated importance in the curriculum sheerly because of its

popularity and, in the theatre, the man-

ager frequently considers that in promoting sports in pictures on the screen he is

encouraging

his patrons to find their rec-

But the selfsame popuwhich obliges school and playhouse

reation elsewhere. larity,

to notice physical education, has provided incentive for the production of unusually

made films in that line. The first machine devised

well

project

commercially the Edison invention of motion pictures, made and demonstrated by Woodville Latham in 189S, grew from the necessity of reproducing a prize fight, and Robert Paul's picture of the English Derby, in 1896, is esteemed among the

progenitors of the newsreel. In 1910 the idolized pugilist,

James

health

"educational

Corbett, made film" for Vita-

graph, illustrating how prize ring battles are won and lost, and also "educational athletic demonstrations" of physical culture exercises for men and women. Of course, the educational importance of prize fighting was greatly stressed in these films to justify the subject matter which, at that time, was in considerable disrepute.

In 1916 Selig produced a series of ten Feature called "Athletic Films," presenting stars in various phases single-reelers

of sport boxers, skaters, auto racers and other "athletes," including billiard playIn the autumn of 1917, Athletic ers.

Feature Films sponsored

Marty McHale, president "The Baseball Review" of

December, 1940

Page 419

the year mentioned. That was when Bernarr MacFadden, magazine publisher, became interested in the screen as a vehicle for conveying his ideas of health and

For one astonishing version of Greek classical age, which he

beauty.

in the

life

produced in feature length, he engaged Rialto Theatre, New York, for an invitation premiere. Previewing it for an exhibitors' trade weekly, I recall that the

managers who might book it, to present it "with dumbbell but MacFadden accompaniment" was a good sport and, when he saw that virtually all the other reviewers were in I

advised

the

theatre

;

accord with the view, he did not press the picture on the public, but treated it

far

reverse the

usual

showman's

identifying the theatrical needs with those of the school, holding that the theatrical films were hopelessly attitude,

wrong, even in their own place, for not being wholly educational. And, after all, that was as great an absurdity as insisting that school films should all be of

amusement type. As for the so-called

the

industrials, with their obvious "taint" of propaganda, there

were many small screens, once hospitable where their name temporarily became anathema. It was an interesting to them,

sign of the times that, when the school year began in Pittsburgh in September, 1922, the authorities sternly forbade the

as a useful experiment from the lessons of which he organized a monthly release

distribution of free pictures for children.

"Physical Culture Screen Magazine." General Film began distributing it November, 1917. However, it did not long endure.

the action

called

Circumstances then

may have warranted

but today an educator, who feels the threat of industrial attempts to propagandize school pupils, should be reminded that the great advances in ad;

film for beginners at golf was proJ. H. Taylor in 1919, and others,

posed by

including

known as "Grantland Rice Sportlights," a series still in high favor. It began in 1920, under the name "Sports Pictorial," Grantland Rice editing. Jack Eaton proand Pathe releasing. The FifAnniversary was celebrated with especial vigor in August, 1935, at which time the reel was being distributed by Paramount. ducing teenth

The Attempt to Walk Alone THERE was no question in the nineteentwenties, as there is occasionally today, about films such as these becoming avail-

sition

The shrewd showmanship which brought theatrical success to Osa and Martin Johnson also enhanced educational importance

wild

their

life

pictures.

and techniques vertising methods, since 1920, have convinced most manufacturers and retailers that advertising tests

thus

youngsters really doesn't pay, the interval then required for them to grow up and become discriminating consumers is too long for any appreciable sales value to remain in the

because

appeal.

With the schoolmen's frame of mind it was just then, so touchy about their independence and idealism, it was probas

ably

unfortunate

that

Appleton

New York

publishers of textbooks, should have joined hands with the Universal Film Corporation in 1922 to

Company,

"Appleton-Universal Text Films." Still, it must have been a source of some satisfaction to Dr. J. Berg Esenwein to

1922. And there were theatrically in many lesser sources, such as the Kineto Company, with the Urban reels, and

comprised two

Bray, with his salvaged items from the "Pictograph." But, in the first flush of the teachers' official discovery that their requirements were specialized and peculiar, they became harder to please with

cially opened, many schoolmen viewed the theatrical men entering it as poachers.

subjects.

Some went

notice

that

one

their

reels entitled

first

releases

"Commercial

Geography."

The

was

visual field

all

their

now having been own. Even the

offi-

now

variations, ad infiiiiluin and ad naiiseitin. of the old saws, "Seeing is be-

heard

;

The obvious need

especially

pre-

pared school films was too fascinating, even in the face of pervading technical production ignorance and meager funds, not to attempt meeting it. Some cases, naturally into line, as when of Clark University, long celebrated for his "chalk talk" on of the geological formation Niagara Falls, was persuaded in 1921 to redraw of course,

Dr.

fell

W. W. Atwood,

blackboard sketches before the cameras of the S.V.E. Another rather natural development in the same year was that a geometrician in this case Charles his

H. Sampson, of the Huntington School of Boston a reel of

should undertake to produce "Animated Geometry," not surprising because professors in that department of knowledge already had noticed

how

students

learning speeded up when their looked at three-dimensional

forms through

parlor

stereoscopes.

was provided, in 1921, by Harvey B. Lemon, of the University of

third instance

lingo.

Also, in the halls of education one

practical. theatrical films

might not be completely pedagogical, but had their good points the industrials might have propaganda intentions, but the propaganda conceivably might be constructive and industrials did teach manufacturing processes very usefully. And so on. Which is only saying once more that natural forces were restoring the balance so violently upset by the first tidal wave, overcoming the inertia of the next succeeding lull, and starting the movement upward towards the next crest, whatever that might be. they

able to educators within a reasonable time after the theatres had had done with them. Pathe, Universal, Vitagraph, Paramount, Fox all were releasing non-

theatrical

and accomplish anything

So they reconsidered. The

issue

mere

But in 1924 the purists were beginning modify their aims. They were learning

to ideal, but in slow, only partly satisfactory compromises. It was not possible to maintain an extreme po-

peared occasionally, but usually wove the technique of the game into a romantic or melodramatic story. Football received

Apart from the wealth of "slow motion photography" from the old Pathe Review, the most celebrated films embracing material which could be used in physical education courses and covering many varieties, were the productions

time was probably ripe for establishing a "Movie University." Part of the Curtis notion was that a connected drama school would produce the proper films. Little did he realize the even then existing opposition of dramatic and non-

from idea

celebrated subject, "King in 1926. Baseball films ap-

its best attention in the Pathe series made by Knute Rockne, of Notre Dame, about 1930. Fred Perry's tennis films, upon the basis of which he was threatened with the loss of his amateur standing, were made about 1935.

led to

again, although this time in a new connection, the eternal lesson that civilization does not advance in sustained strides

own

Basketball,"

was

education, writing in The Playground for November, 1924, voiced a thought, which others have echoed in the later years in the belief that they originated it, that the

peditionary Force was being coached with the use of films. Indiana University its

seasons later, Nelson Greene

propose editorially in Educational Screen that they be buried and forgotten. Exultant professional claims were made for the classroom picture, with extravagances which surely would have made Thomas A. Edison chuckle in his beard (if he had had a beard). And Henry S. Curtis, then of the Missouri State department of

theatrical aims.

Harry Cooper and Joe Novak,

subsequently produced golf lessons in film, although none was to attain the excellence or the popularity of the celebrated series made in the early days of sound by Bobby Jones. In June, 1919, the newspapers were moved to note that the rowing crew of the American Ex-

made

and "Pictures speak all languages" and of the 2,000-year-old utterance of the Chinese sage Mencius, "It is better to see once than to hear a thousand times" (usually rendered as, "One picture is worth a thousand words"), until, a few lieving"

Chicago, with films to teach physics, saving himself the embarrassments of cumbersome experimental apparatus which sometimes failed to perform.

(To be continued)

Page 15 January, 1941

MOTION PICTURES NOT FOR THEATRES the Agricultural Extension Department of Iowa State College, in 1924, ferwere made two reels on the use of

"Pay

entitled

Dirt."

That same

Indiana University extenAthletic Department, sion division, Bureau of Visual cooperating with the at the

autumn,

the

Instruction, produced

"King Basketball,

on the fundathe aforementioned picture stirred mentals of that game, a film which hopes when outsiders especially high been sold to learned that six prints had three in that and other universities, two months 104 towns had rented it at dollars per day each. H. W. Norman, secretary of the Buday dreams along by reau, helped effort to follow proposing a concentrated in the dethis example with productions health, of geography, physics, partments the

training agriculture, botany, physical

needed.

others

pioneer work of a single figure the early days of educational films.

and

versity of Wisconsin."

how Edison came

was compliment Dean

(Aha! So

that

opening prospectus stated, incorporated New York. Plimpton Epic Pictures of Of the commercial interests which with stood eager to provide the schools

and these included the regular theatrical exchanges mentioned none aphereinbefore as reedited

theatrical

material

a brief time peared more successful for in contracting with an important school Peters. In 1916, by system, than T. K. my records, he had been production suof the Florida Feature Film

pervisor

Company. According

his

own

state-

1898, ment, he began in pictures about and had taken his camera actively over some 90,000 miles in sixteen months, covOrient. He ering Europe, Asia and the

offering constructive velopment of visual

may have

been, they

were

F. S. Wythe a successful

tioned and he deserves identification.

was of

for seven years production

Thomas A.

Edison's

manager

motion picture

enterprises, with strong personal interest in the inventor's educational experiments.

promote

diprided himself later on having rected "at least one-third of the educational films in the library of the Uni-

relinquished a career as San Francisco attorney and produce school films.

claimed to have been the first man in Egypt with a motion picture machine, and in 1920 declared that he had spent the preceding nine years preparing for the introduction of films into schools. In the autumn of that same year he seemed securely in place as executive prdject exhaustively to One City system. only guess how successful his serv-

head of a film serve the

may

In speaking of Plimpton it is necessary to use a longer breath, for that worthy gentleman has not previously been men-

Frederick Stephen Wythe THOSE of Chicago and New York, who the responsibility of the visual educamovement upon their shoulders, were well curiously unaware of a remarkably conceived and well developed school film felt

tion

as early enterprise which had originated as 1918 on the Pacific Coast, and which, but for some untoward circumstances outside itself, might have supplied the field

heavily.

Even

the

the fact that

its

existence

Harley

astute

Clarke seems to have missed

despite called to

it,

was

attention. An important educator on Western seaboard had been noticeably cold to Clarke's S.V.E. product, and Clarke had written and asked him to sugwas gest something better. The answer a proposition to send him one of Wythe's

his

December

29,

1883, at

clearly to be traced to the days of Conqueror. That heritage, with some modern technical touches administered by the law school of the Uni"

William the

;

was Horace G. Plimp-

these pages.

line

where was the quantity to come from of if not from the old theatrical sources and supply? There were producers ready

or there

were ac-

in quired subsequently by Harry Levey an enterprise to be described later in

England when it was still called Northern Virginia. Beyond that the Wythes had been sturdy yeomen, in a

funds,

it;

New

in that requirements, one may say that less for quality period the need was much than for quantity. But, with insufficient

ton..

pictures

Twain's old "Hangtown" near Sacramento. His father was a Methodist minister whose ancestors, a few generations back, had helped to settle

number to give body to the visual education movement. Even granting the awakened sense of exclusively pedagogical

done

his

Californian, born Mark Placerville

cient in

through his Educators' Cinematograph Foundation, which, until mid 1937, was 70 still listed on the building directory, at Fifth Avenue, New York; Fred Lincoln of Boston, whose office, when he was associated with Parker, of Worcester, issued what are said to have been the film teaching syllabi, might have first

that

hereafter apparent, the reader may well pause to consider him. He was a native

insuffi-

reasonably well qualified to make subbut they had to be supjects to order Alfred H. ported in doing it. Otherwise, Saunders might have undertaken the job

believe

a young San Francisco lawyer, was the principal reasons figure of the undertaking. For

de-

education and the educational film calls for coordination of numerous educational forces." But how ever useful these isolated efforts

civic series to use as a model. Wythe Frederick S. Wythe

is encouragement when such production and material the renting attempted, by

The

City

the

"Col-

leges

criticism.

Board of Education, would with ten schools and modestly begin spread thence to the others.

York

Reber!) And, about 1915, I believe, he, his and some "qualified associates," as

presumably and universities have specialists who can plan such films," he wrote in 192 the Educational Screen for April. "Schools and organizations should offer

many

largely Twenty-three varied and important

to the

devoted

ARTHUR EDWIN KROWS

tilizers,

Installment

New York

might have been for, after having tested some of his biological reels before classes in P. S. 45 in the Bronx, and Number 62 in Hester Street, he com-

ice

mitted the tactical error of giving a large interview to the press. With incidental hows to Dr. Ernest L. Crandall and Miss Rita Hochheimer, who were reported to have been "most enthusiastic," he told a Times reporter that his films, correlated

with

the

standard

syllabi

the

New

of California, had produced a most promising new member of the Golden Gate legal profession. versity

The roster of his clients included some celebrated names, that of the "plant wizard," Luther Burbank, being, perhaps, widest known. There also was the Reverend Paul Jordan Smith, pastor of the Central Methodist Church in San Francisco. Smith's name may evoke no ripple of

interest

this

younger generation

;

World from West to

but, in the years just before the

the national press, East, featured it as the high symbol of a public sensation. Smith had come from Iowa, by way of Maiden, Mass., to a hor-

War,

rified

contemplation

the

San

Fran

cisco den of iniquity called the "Barbary Coast." He had initiated and led the cru-

The which finally wiped it out. achievement brought him many proposals sade

for additional reforms, including the idea of perpetuating the original example in a motion picture, that other communities

The Educational Screen

Page 16 might

from

readily

profit

The

it.

idea

shape of a scenario prepared by Grace Sanderson, a writer whose grandfather, I understand, had once been mayor of the city.

came most temptingly

was

Smith

intrigued,

in the

worked out

and

advice

pedagogical

tion.

supplied

make

it,

and hearty coopera-

to funds, the Junior Red Cross part of the money required to and the Federal Government

agreed to take $2,500 worth the University of California

prints,

acting

plans for the production, involving a pro-

treasurer.

headed by Crane Wilbur. The picture was actually made, and was released as "The Finger of Justice." By this time Smith was so interested that he resigned his pastorate and went East to arrange for countrywide theatrical

B. Wilson, superintendent of the Berkeley schools, was already enthusiastically interested in visual education.

distribution.

His visual education department, headed by Miss Anna V. Dorris, was to attain a certain celebrity among educators. His

fessional cast

Wythe, as Smith's attorney, naturally had opportunity to see how the matter was negotiated and carried through. It made him realize the sociological potenand he also saw tialities of the screen some others. Moreover, Abbott, chief cameraman on "The Finger of Justice," talked to Wythe about the possibilities of educational films, mentioning the name of a friend (a wealthy retired gentleman

whose income was represented largely in profits from a motor he had invented for the Victor Phonograph Company) who, with a

little

persuasion, might entertain a

proposition to produce. The gentleman was at hand, living at San Rafael.

To know Wythe was to understand how contact with a situation of that sort would stimulate his thinking processes. He was then, as he remained in later life, a

man

absolutely without the usual "con-

wisdom." He desired, above all things, to learn and he would learn from anybody, high or low, who had knowledge

ceits

;

remember his laughing remark me when first we met: "Be careful

to offer. to

about

exposing any useful information I soak it up like a sponge."

you have That was ;

literally

true;

but

Wythe's

Harry

was

In 1922. he

to begin those tests and

applications reported in a monograph published about 1924 by Educational Screen.

discussion,

Modern

]\lethods in Teaching,

written in collaboration with George C. Kyte and Herbert G. Lull, was one of the first substantial works on the specialized subject to be published in book form. By now the educational film bacilli

to take anything for granted, had asked himself why the interior of a fixed camera, which did not have to be carried around, had to be a tiny place, when a large, roomy one could be kept just as

ing

dark.

Wythe had organized as the Wythe Pictures Corporation and ;

tention

Home

in the

Defense wartime

activities.

And

presently they joined him in practical support. Among those who took shares were Charles Moore, who had

been one of the heads of the Panama-Pacific Exposition; Alfred Esberg, the president of the Board of Education of the Schools of San Francisco; A. B. C. Dohrman, head of the Pacific Coast Division of the American Red Cross, who also president of the largest mer-

was

cantile store chain in that area

to a less receptive experimenter, to plunge deeply into the work. He took an office from which the new enterprise might be more efficiently conducted, and, unable to be there constantly without neglecting outside obligations, approached a friend, an elderly, retired, former business ex-

erator

Among

the smaller investors

from the East,

to preside

there

for him.

This once active gentleman, with time heavily on his hands, gladly acceeded. But he was too much interested in Wythe and what Wythe was doing to be just a figurehead. His identity explains much of that attitude, for he was

hanging

MacNair Wright, whose mother,

John

with the great interest and ata number of wealthy San Franciscans whom he had met mainly

done

had multiplied beyond control in the young lawyer's blood. He decided, on the strength of this first experience from which he characteristically had gained about thrice what it would have brought

ecutive

he had

;

Robert

Oxnard, important in the affairs of American Beet Sugar and after whom Oxnard, California, was named and Tom O'Day, generous, broad-gauged owner and op;

Hippodrome Theatre. was Chamberlain, of the Sierra Educational News. Productions on the immediate working the

schedule comprised a series of films designed by Wythe to start school children on the road to better citizenship. In adto the two garden reels, already made, there were about fourteen others in the plan. It was decided to produce

dition

just a couple of this civics series at to see how they would measure up.

first,

make them, Tom O'Day summoned from Los

Angeles

his

friend,

Robbins.

Jess

Robbins did the work faithfully and well, and would

veteran picture director.

encyclopedic ones, did not just store information. His tireless mental process quickly digested,

Julia MacNair, had been an educator celebrated for her school readers. To fur-

accept nothing from

ther

and applied it. For him to think of the educational possibilities of motion

he had

were so encouraging that work was commenced quickly on the others. This time the director engaged was MacMackin, from the staff of the old American Motion Picture studios at Santa Barbara; the cameraman was Karl Weiden. But technical assistance of this sort was not all which Wythe had sought. At the outset he had realized the need of expert pedagogical advice. On the recommendation of schoolmen who had assisted him on the garden films, he now decided

mind, unlike so

many

classified

therefore,

pictures,

something about bott to assist

it.

him

was for him to do With Lenwood Ab-

in planning,

he formed,

Film Corporation. came directly from

his

purpose of real participation, conceived the idea that, while

Wythe was developing

the

educational

films business to a point of proper profit, there ought to be a subsidiary line to

pay

in the interval

and he had determined

tentatively, the Science

that this expedient should be a film lab-

However,

oratory.

nothing

that.

Wythe wanted where, place

to try out the idea, but

asked himself, was there a which an unpretentious film

he in

might be made to render a conspicuous service? It

was

in wartime, then, in 1918,

and committees on urging

all

Home

Defense were

civilians to save for the sake

of the soldiers overseas.

One

Wythe was not favorably disposed to As he said, it would be that much more to worry about two busithe thought.

nesses instead of one right then, to

plenty,

But

Wright

and he surely had occupy his mind.

insisted,

saying

that

he'd

build the laboratory at his own expense. When it came to that Wythe could no

gent pleas was to cultivate the home garden. And when Wythe went for advice to a professor at his alma mater, the Uni-

longer oppose his friend, so he worked with Wright at every available moment to make the laboratory a model institution of its unpretentious kind. I do not

versity of California, it was suggested that he should produce a film on home

told

of the ur-

gardens. He conferred about it with Charles Moore, head of the Home Defense group in the area, and that gentleman not only heartily approved, but assisted

Wythe

make many

helpful con-

tacts.

that picture was duly made, using "locations" in the suburban schools of

Berkeley and Oakland, where Educators Wilson and in Hunter, respectively charge of those systems, gave friendly

which have been about that laboratory from time but one point I do remember is

recall all of the details

to time

;

ices.

that

educational

the

that

director S.

far

should be

Bureau of

Education at Washington. Accordingly, and without personal acquaintance with Stebbins, he wrote to Philander P. Claxthen national commissioner, but received only a routine acknowledgment of his letter. Undaunted, he contacted a friend of his father who happened to know intimately an officer higher than ton,

Claxton, namely, Franklin K. Lane, Secretary of the Interior, and asked him for assistance.

ciently large for a man to step inside to see how things were going on there.

stances and

Anyone who has despaired over

for his serv-

results

C. A. Stebbins, of the U.

camera for shooting titles and doing trick photography, was made suffithat the

Wythe

The photographic

This

friend,

the

explaining

circum-

the complete worthiness of

the buckling of a film on a reversed camera movement, or over a refractory takeup, will appreciate at once the gre.-.t advantages of this arrangement. It came about merely

the enterprise to Lane, succeeded in bringing about the assignment of Stebbins to and Stebthe San Francisco district

because

series.

Wythe, characteristically

refus-

;

bins, therefore, actually did serve as educational director on the Wythe civics

served conscientiously, actively

Page 17

January, 1941 and

From

well.

that

association

Wythe

Wythe's

pared,

was temporarily

over.

prove his

by selling

had not been too happy at having been in that requisitioned from other interests

schools.

seems to have remained a little crabbed despite his irand he interest; resistible scholarly taunted Wythe, more than once, about his

pose.

summary manner,

produce educational films when he had had no training as a teacher. "All you know about pedagogics even now you have picked up from me," he averred. And, as Wythe remarked to me one day, guilelessly

presumption

in trying to

"Stebbins probably was right."

However, knowing Wythe and

was inherent

in his origi-

who

nal plan. Like the expert dramatist sees a play as incomplete without

the-

actors and audience, he always thought of the classroom picture as being only a part of the full visual situation; there had also to be teacher, classroom and pupils.

atre,

Seeing the finished citizenship reels without these related factors, therefore, They was disappointing. extremely seemed flat, uninspired, obvious even amateurish. But put them in a classroom

have seen them so successfully demonstrated; have them carefully introduced, intelligently applied and wisely addismissed by an interested teacher

where

So he relinquished

and took

tice

to the

He worked

had now to the

sets

his

law prac-

road for that pur-

at this successive phase

and unflagging

with his usual intelligence energy; but it was not easy. He found himself trying not only to sell school films, but also an advanced visual method which had not yet been officially recognized by the educators. His demonstra-

were admittedly

tions

brilliant

but the

;

Chapter VII -A

were certain kinds of producers with whose basic knowledge schoolmen in general could not presume to quarrel. All they could reason-

THERE

his maably dictate would be the use of terial. They might tell a man who had

spent the best years of his life photographhis shots ing birds that they didn't want of orioles and owls to be on the same reel for showing in the identical lesson pe-

by and large, they would be knew obliged to admit that he probably more about the habits of both than they did. Or, if a given educator did know more about owls and orioles, but recogriod;

but,

precious authenticity of this much already on the reel, he could realize and perhaps that, without great expense to dupliyears of leave, he could not hope cate the film. Hence the pictures made by these particular specialists gained a someeasier entrance

and footing

the

;

mit attention of youngsters at the stipulated age levels, and these remarkable films fairly glow with teaching life. Moreover, they did what exceedingly few school films made under supervision of qualified educators ever have done before or since they employed skilfully the long-neglected, but powerful factor so envied in the theatre, emotion.

Wythe's progress, thus being made on the basis of intelligent forethought, was generally smooth. There were, of course,

unexpected complications. The most diswas the sudden concerting probably, death, while asleep, of his first film business associate, the kindly, elderly John MacNair Wright. This occurred less than a year after the start of the enterprise. It left Wythe with the film laboratory which he really had never wanted. But Wright's son came on the scene and, in the fine spirit of his sire, carried on the

dead partner's obligations until Wythe was able to arrange with his newer associates to buy him out. In that laboratory, by the way, was developed and printed a theatrical feature film starring Dorothy Revier, produced in San Francisco. The makers couldn't meet the

bill.

But

Tom O'Day

loaned them a couple of thousand dollars to tide them over until they could regain their proper strength. The incident is interesting, because that picture was one

upon which the present, powerful Hollywood corporation known as Co-

of those

lumbia Pictures, took

When plete,

its

rise.

was comhad been pre-

the citizenship series

and teaching

syllabi

Los Angeles public schools. Then, hearing that visual education was booming in the East, he boarded a train with another set and came to New York set to the

City to try for better luck there. For the present, while he is in high hopes, and with plenty of humanly good reasons for

being

us leave him.

so, let

of Specialists

Had he made only one two pictures of this precious type, his work could not have been so effective in

generously large. or

breaking down arbitrary oppositions to classroom uses of motion pictures. A convenient illustration of what might have happened is the isolated case of Dr. Chance. Educators might have called an extra assembly of the children to view Dr. Chance's notable film entitled "The Cuckoo's Secret," but, with no successor of equal merit in the same department of learning, that, so far as the schools concerned, was virtually the end of

Birds, Beasts

were it.

and Flowers

the

nized

what

schoolmen wanted the supporting results of tests, for which there had been no would time, and for which they naturally not themselves supply the funds. Nevertheless, Wythe succeeded in selling one

Swarm

his cit-

izenship pictures as I do, I believe, without in any sense meaning to deprecate the fine service of Dr. Stebbins, that Wythe himself supplied much of the subsequently demonstrated teaching force of

the series.

faith

experience

production

soaked up professional information at the Stebbins, who usual, astonishing rate.

classroom.

The

gifted

who

Englishman,

Percy

conspicuously developed and applied the photographic principles of compressed action the "bud-to-blossom"

Smith,

first

was trained in teaching methods but before he began his brilliant work they were approaches peculiar to the

man

;

English

system

and

therefore

did

not

American curricula as native teachers wished. Even Ms reels, therefore, were altered many times from his original arrangements, making them conform with dovetail into

"THE CUCKOO'S SECRET" was actually one of several remarkable studies of bird made by different individuals in England, each for the purpose of settling some moot point about the habits of the

life

given subject. It is singled out for mention because it became the best known of the group at that time, and also because it set the example for most of the others to

follow.

York leased

was

the early

by Bray;

shown summer of

first

but,

New

1923,

of course,

re-

had

been screened in London months before Its that. production came about fortuitously (it was not I who said "by

when the ornithologist who make it happened upon an English

Chance"),

was

rural district in

which cuckoos were un-

recast

usually many. That was in 1918. He realized that the opportunity for proving the long-disputed habits of the robber bird was exceptional, and spent several

say, with

successive seasons

local

and regional needs in the United But they have been pruned and

States.

more gingerly than has been done, John Doe's "Life on the Farm," upon which subject material equally good

might have been obtained by almost anyone with a movie camera; and had Mr. Smith, or his representatives, insisted on a hands-off policy to preserve the integeducators rity of his arrangements, the concerned probably would have yielded because F. Percy Smith, with presumed flaws, is vastly better than no F. Percy Smith at all. F. Percy Smith had many imitators, and /or emulators; and, as the volume of such material increased, the force of his be possible insistence that no "reediting" done, was necessarily lessened. But even the emulators, in his case, found the work tremendously difficult and out of all pro-

studying them. and circumcarefully chosen, he engaged a

1921,

stances

with

locations

to photograph the telltale showing the cuckoo substituting its own egg for that of the intended foster parent, and the infant cuckoo ousting the proper children from the nest to

cameraman situations

obtain

all

the parental attention.

pro-

another picture record in 1922, using a slow-motion camera. He thus cleared up a highly debatable matter and

duced

earned the

encomiums

of ornithologists

throughout the world. Nevertheless, "The Cuckoo's Secret" remains an irregular

marportion to the comparatively small gin of profit; so that kind of picture remained a rarity anyway, and respect for it was generally maintained.

item for educational purpose. And it illustrates once more, the greater importance to the visual education movement of having fifty fair-to, middling reels covering the curriculum, than having just half-adozen masterpieces and no related subthe gaps between. jects to bridge

Smith's position was especially strong own, personal output was so

(Continued on page 42)

in that his

Page 42

The Educational Screen of

quality

J SVE Kodachrome Slide Catalog The Society

for

Visual

Education, 100 East Ohio Street, Chicago, Inc., has just issued their first catalog of -2x2 Kodachrome Slides. It is an impressive and comprehensive compilation of slides assembled expressly for classroom use. The thousands of transparencies listed in the 62 pages represent only the nucleus about which the library will be built during the coming year. A second section of this catalog

already in preparation and will appear within a few months. The catalog has been developed primarily for use in the schoolroom, and the individual slides are listed alphabetically under the following curriculum headings Fine Arts, Geography (Foreign and United States), History, is

Literature, Natural Sciences,

Patriotic,

The Notation shown on the chart was arranged by Milo Fields, a music teacher connected with in

pleasing organ-like effects. The face of the chart is so designed that every detail to be taught may be plainly seen.

The range

is from low B-flat to A, covering the range of the average soprano voice. Chords may be demonstrated without moving a single part. The science of chord construction may be vividly impressed upon the pupil, as the tones may be prolonged or suspended

The different scales are indefinitely. printed on the chart, thereby giving the

and

slides),

consist-

information on the slide 100-watt Vokar projector, and out-

Complete

the public school

Wells County, Indiana. The construction of the keys and air chamber were fashioned by an accordian manufacturer, Cris Zuercher, of Berne, Indiana. The tones are produced through tongue reeds, giving them system

the

ing of scenic, travel and pictorial subThree sets of Art Slides, ten jects. slides to a set, furnish art studies of the female form for the use of art students and teachers. sets,

fit for making 2x2 slides, can be obtained from Art Slide Co., Sippo Lake, Canton, Ohio.

Motion Pictures Not for Theatres (Continued from page 17)

From the standpoint of visual education, not only may the picture plan to be top restricted, but the producer's sphere of

may

operations

narrow

needlessly

needlessly, that is, if the producer expects to make the living profit to which he is entitled.

Robert Bruce,

was too canny

limit

will be recalled, even his first

motion

and Travel, Religion, Soand Water Transportation,

picture to the vicinity of his ranch, although his original thought had been to attract the Eastern dudes to it.

Despite the current world crisis, the Society has been fortunate in acquiring Kodachromes of almost every foreign country, photographed in natural color on the actual location pictured. The foreign slides feature places of

Nevertheless, one finds able motion picture photographers living closely to each

Recreation ciology, Safety.

important tourist center, specializing in "views" of the local "sights," the postcard perquisite commonly part of the business.

This observation is possibly belied bj' the records of the Yellowstone Park Film

and geographic, and costumes and manners of the people. interest,

Prices

historic

are

Eastman

50c each for slides cardboard Readymounts,

Company, which was organized at GarMontana, in 1917, and Best's StuYosemite National Park, in California, which has produced a long series

diner, dio at

or S.V.E.

60c each

mounted in the new glass Slide Binder. separate listing of their "Library of Religious Filmstrips and Koda-

chromes"

(Catalog 1940-41) has also been compiled by the Society, presenting material recently acquired or revised. The Picturols are classified under Religion in Art, Episcopal Sets, Peace, Temperance, Sermons, Sunday School Lessons and Bible Study, Geography of the Holy Land, Life in Biblical Times, Missionary Study,

Hymns.

Chart devised to teach music.

key signature of any chosen correct to

flats

relation

scale.

and

sharps

notes,

The

one another are clearly shown.

Vocational Guidance Slidefilm

A the

sound

Market Place,"

tion

aids

"Youth in a welcome addi-

slidefilm, entitled is

the limited number of visual available for vocational guidance to

work.

This film, produced especially high school and college students, pictures a young man's introduction to the seven major basic qualities essential for finding himself in the world of work, and is drawn from hundreds of for

De Vry Movie News The De Vry Movie News,

published by Corporation, 1111 Armitage Avenue, Chicago, Illinois, is now ready the

DeVry

for distribution. Of particular interest and value to those in the Visual Education field, this well printed, newsy, pictorial

publication is those requesting same.

sent

Free

Music Note Pitch Teaching Device

novel musical instrument has been designed for teaching music in the classroom. It is pleasing to the eye, compact and portable, measuring 30"x36", and at a finger touch becomes a dynamically animated object displaying the note on the chart and reproducing the correct tone desired at the same time, thus appealing to the three It senses, sight, hearing and touch. shows the student of music with his own eyes, what he may expect to hear with his ears.

reels

know.

actual incidents. It points out the real need of youth, and suggests a virtually untapped field for educators and others who wish to help meet that need.

Complete sound and projection equipment is shipped if desired, along with the picture, by its producer, A. Gordon Bradt, 818 Judson Avenue, Evanston,

concerning that Best's

Perhaps

area.

had

don't

more than

I am not forgetting that Arthur C. Pillsbury made some of his finest flower pictures in a secluded studio at Yosemite. So the Yel-

ordinary sightseeing interests.

lowstone concern seems a better case in It was headed by Howard Eaton, a well known guide to the Yellowstone country, with W. S. Berry, a photographer at Gardiner since about 1902, as point.

secretary and manager. To be sure, there is an inexhaustible supply of photographic material in both of the wonderlands mentioned but how are organiza;

tions in

which merely capitalize the landscape

its

scenic

aspects

and non-theatrical they are

make

fickle

interests

their

theatrical

being

specialties

what pay?

they had enlarged their spheres to cover all of the national parks, or even If

had added a few more

to make a regional surely could have found a receptive, steadier market. Results

group, they

Illinois.

2x2 Slide Sets

might still have been cursory, but they would have been less repetitious, too. In

Full double

35mm

twenty mounted

size

2"x2"

slides

slide sets

a set

are

offered by Art Slide Company for one dollar a set. Titles of some of the sets indicate the subject-matter: "Country

Paths and Roads," "Flower Collection," "Trees," "Lakes and Streams," "TableTop Antics," showing comical antics of puppets, "Assorted Views" of the piled as samples

(2 sets

com-

photographic

other words, the fiddler would have

tunes in his repertoire. For it is a fact, now iterated several times in these pages, that just a few subjects are of small value to either the producer or the field he serves, whereas a large and varied

supply of even ordinary ones, organization and maintenance.

(To be continued)

justifies

February, 1941

Page 61

MOTION PICTURES NOT FOR THEATRES By

ARTHUR EDWIN KROWS

RAYMOND LEE DITMARS distinctly a producer DR.was who had made hundreds of subjects specialist

important to natural

science

courses in

whose authoritativeness in was scarcely to be challenged.

the schools and his

own

line

a scientist, he ranked first as a curator of reptiles but had he confined himself to reptiles in his film work, he would not have ;

rendered more than a small fraction of the important service which he has given to the non-theatrical field these

was estimated,

many

years.

December, 1935, that, during just the preceding twelve months, approximately 90,000 school children had viewed the films he had made, distributed by the New York Zoological Park. It

Installment Twenty-four Masters of the extraordinary powers of the camera and their notable public contributions to nature study and biology.

year in which he achieved additional fame for supervising the assembly of Urban's "The Four Seasons." And, in the concluding month of 1922, he aroused a

storm of controversy recalling the torrent of invective and praise which had broken over Darwin, Haeckel and others of that once radical group, by exhibiting a film on "evolution" at All Angels Presbyterian Episcopal Church in New York City. William Lovell Finley, and his wife, Irene Finley, were known on the lecture circuits for their superior wild life films, especially of birds, before Universal ac-

Naturally, material of be appraised better by closer students in those particular lines. that

interested

specialists, therefore, have in their position and

many in number. The reference

remained not too

"Hollywood camera-

men"

implies, of course, those connected with the professional, amusement studios.

As a matter

of fact there are scientific photographers who maintain headquarters in Southern California mainly to avail themselves of the same better facilities

enjoyed by their theatrical brethren. The Clifton-Allen Wild Life Pictures emanate from that area, and the Allen brothers

who produce

them, William H.

E., have done other useful scientific work in recording on film evi-

and George

life and antiquity of the west coast of the continent from Alaska to Central America. They are native Californians, long known as lecturers on animal life and primitive people.

he had had several years' experience as an assistant curator of enanimals

tomology at the American Museum of Natural History sent him up to the cabin in the Bronx one Sunday afternoon to see what was going on there. But, in the course of the Ditmars interview with Director Hornaday, Ditmars revealed his personal interest and was promptly engaged to assist in making the Park one of the most notable of its kind in the

may

unshaken

period, I was playing "cops and robbers" with other lads of my own age, in the 524 acres which the founding Society was preparing to fence in. I remember very well, indeed, the temporary cabin which was the first headquarters in the field, with the bear cub chained to a tree in front of it. I believe there were also a young wolf and a snapping turtle. At that time Ditmars, about twenty-two years of age, was a reporter on the New York Times. The city editor, recalling

young man was

subjects.

sort,

The

that

the

Nature Magazine. Motion pictures of wild life in general were made by many transient photographers sometimes Hollywood cameramen on vacation, unable to resist pleasant opportunities for "shots." One such was William E. Hudson, newsreel man. But in films produced such circumstances have necessarily been more remarkable for their camera work than for their amount of important information about of

their

He joined the staff at the Park in 1898; and I find particular interest in his story of how it came about, because, in

that

Bray's "Pictographs." Much of Finley's work has been done in company with his son-in-law, Arthur Xewton Pack, editor

dences of the

An Dr.

Raymond Lee Ditmars, of the

York Zoological

Society.

New more

interesting story in this department is that of Norman

picture-making, of

McClintock,

New

Brunswick,

New

than

quarter of a century since he began his notable photographic work of making natural history popular.

Jersey. His father was Oliver McClintock, a well to-do carpet and rug merchant of Pittsburgh, who trained and employed him in his own line. In his

In 1913 he erected a small studio at the rear of his home at Scarsdale, New York, for the production of animal movies. The

quired a fine selection of their output for theatrical release in January, 1918. Since that time the Finley pictures have served

early

were used first in his lectures. But 1916 they became especially well known to theatregoers as a series entitled "The Living Book of Nature." In successive numbers, under that name, they ran for more than three months at the Strand Theatre on Broadway, and then were distributed to the rest of the country through Educational exchanges. Earle Hammons, head of the releasing concern, observed at the time that the posters prepared for this series, were the first ever to be especially designed for an educational subject that is, which were not

extensively in schools. Finley was born at Santa Clara, California, in 1876, the same year in which Ditmars saw the light at Newark, New Jersey. In his early twenties he appeared in New York as a budding magazine writer and, at the age of about thirty, became a lecturer for

world.

films in

mere photographic enlargements.

feel

that this claim might be disputed but I am not prepared to enter contrary evi;

dence.

longer

1921

Ditmars

series

began releasing a through Pathe the same

manhood young Norman had been

caught by the fascination of amateur still photography, and he dabbled in it with the amateur's usual limited equipment. In 1908, however, when he was about forty, he narrowed to the especial work of photographing wild animals in motion. He was so absorbed in it by 1914 that he resigned from his father's busi-

was then, also, that he became the husband of the other nature lover of

His ness to give it his full attention. chief difficulty, he found, was coming close enough to his timid subjects, so he concentrated his efforts still further by

the team, a girl from his home State. In 1911 he was appointed game warden of

employing telephoto lenses with which he could photograph them from a reason-

Oregon, and that led him to a five-year term as State biologist. It was in the Oregon connection that the Finleys began the motion picture work which has resulted so happily in some of the most delightful woodland studies available in this coun-

able distance.

the National Association of

Audubon So-

cieties. It

try.

They

portantly,

first I

reached the theatres im-

believe,

short

items

did

not originate the

method, but there were still to be overcome in Clintock are

provements

now

many problems and to Mc-

it,

attributed various im-

in the technique.

In 1917 he took up big game photography on the same principle, producing a number of interesting films which he

Page 62

The Educational Screen

used to illustrate popular lectures given by himself. About 1925 he joined the University of Pittsburgh faculty, with the title photo-naturalist, a helpful and convenient term apparently of his own devising. In 1931 he found a similarly de-

one of the Triangle directors, had just been assigned to produce a story entitled "The Microscope Mystery," and it was for this film, starring Wilfred Lucas and featuring Constance Talmadge, that some extraordinary "microbe actors" were to be employed.

scribed post at Rutgers College. It seems inevitable that the man of scientific bent who takes up motion pic-

The story for the photoplay was written by William E. Wing, one of the veteran scenarists on the D. W. Griffith

ture photography and, instead of depending on a professional cameraman for his results, is obliged for his own success personally to study the technical details

to exploit a contrivance built by Lewis E. Tolhurst, of Los Angeles, a young microscope enthusiast. With Tolhurst's device, it was alleged, one could magnify and photograph many minute "lot,"

concerning lenses, photographic emulsions, laboratory processes, actinic values and so forth, will branch out, sooner or later, into time-lapse subjects and microphotography. McClintock conformed with the

rule,

and presently became a

cialist in that

plant called

shown

its

numerous time-lapse studies of the vegetable kingdom. Industrially he was known also as "photo-biologist" to Kopin

Research Corporation. It was following his death in 1938 that Dr. Earle B. Perkins organized the Department of Biophotography at Rutgers. No American has had greater success with the time-lapse method than Arthur pers

of Berkeley, California, a lecturer in his especial line of botany. He was born at Medford, Massachusetts, of parents who Pillsbury,

widely

known, popular

both were physicians. Taken to Califorin 1883, he presently entered Leland Stanford University where he became a classmate of Herbert Hoover, nia

in engineering in 1894. His invention of a panoramic still camera, with a swinging lens, brought his appointment as official Government photographer for the United States Census Bureau in

majoring

Alaska during the gold rush of 18981899. As a newspaper photographer in San Francisco in 1906, he photographed the ruins, caused by the earthquake and From then until fire, from a balloon. 1907 he held the photographic concession in Yosemite National Park, where he maintained a studio. In 1912 he began his series of motion pictures of the wild flowers of the Sierras, and soon afterward undertook applications of the timelapse method, his engineering training, of being of vast assistance in devising proper equipment. His first motion picture to attract general attention was "A Springtime Miracle," showing the wild flowers of the Yosemite coming magically into blossom. I believe that course,

this

machine that he had gone into partner-

spe-

study of the adaptation of

environment which is ecology. His larger results were

life

living specimens not previously susceptible to such handling. Wing was so certain of the great future for the secret

was released

to the theatres origi-

nally by Bray.

His next major

effort,

after thus ac-

Lewis

scope. Once more he essayed the task of building efficient photographic apparatus,

spending two years in incidental experiments at the botanical department of the University of California, where Dr. Harper Goodspeed placed complete facilities at his disposal. Success rewarded his efforts, and he then branched out into film studies of all microscopic life.

Tolhurst

(left)

confers on pro-

with scenarist William Wing duction of "The Microscope Mystery."

was who made the remarkable life story of the fly for Eastman Teaching Films. Today, on his letterhead, one reads that Arthur C. Pillsbury, who lectures on "Camera Explorations in Plant and Animal Life" and is president of Pillsbury Pictures, Inc., at Berkeley, California, also produces "Microscopic, X-Ray and Lapse Time Pictures." Louis Pasteur

made

same progress from the vegetable into the animal kingdoms, from studies of the fermentation of beer and the

wine to those of silkworms, chickens and Only,

sheep.

main most

Pillsbury

preferred

to re-

on the vegetable side, even if "Pillsbury's Flowers" occasioned too many puns involving "Pillsof the time

bury's Flour," product of the celebrated millers at Minneapolis. next technical Pillsbury's greatest problem was to find a satisfactory color

His chief interest always being botany, it was only natural that he should

process.

be discontented to render his flowers exclusively in black and white. He had tried most of the processes, he told me one afternoon in 1932 when he called to ask if I knew of a better one, and at that time was obtaining his most satisfactory results with the old Pathe hand-cut stencils. That particular work was done with

two machines purchased from the New York office of Pathe, which had imported them from Paris but had no apparent use for them then. A little later I learned that the Technicolor people were assisting prolonged tests with their cameras at Berkeley; but in 1937, in his book, Picturing Miracles of Plant and Animal Life, he stated that he had found Pillsbury

Eastman Kodachrome

complishing the compression of time, was to shorten distance. He wished to show the fertilization processes previously visible to the eye only through the micro-

the best of

all.

Biological Experts

AFTER having had a

casual reviewer's

The ship with Tolhurst to develop it. promise, however, was more thrilling than the performance. I regret to say that the latter was rather flat. The "cutin" examples registered the possibilities of magnification, but showed little or no action in a very narrow field, which is to say that the audiences saw only the sort of thing which had been known to them for a long time in their magazines and newspapers. In reality, though, young Tolhurst had hit upon something important a relatively

cold

One

light.

the

serious

problems in microphotography had always been to illuminate the subject sufficiently to photograph it without at the same time burning it up with the concentrated heat. His apparatus was indeed to have a future usefulness, although not as much in the way of fictional material as Wing had imagined, for Tolhurst pro-

own thenceforward as a popular scientist, and became perhaps the most formidable competitor of F. Percy ceeded on his

Smith

in that line.

If heat of illumination

handicapped the

what must have been the predicament of Wilson A. Bentley, the New England "snowflake man," who made biologists,

photographs of dew condensation and frost formations through the microscope? Bray's "Pictographs" used short lengths of film on his studies, produced in Bentley's

own dooryard

But

then

Vermont. problem of high temperatures could not have been of much trouble

while

again,

when

at Jericho,

the

using

daylight

outdoors

mercury hovered just above

the

zero.

At the Triangle time Tolhurst was about twenty-eight years of age. He had studied law, I understand, and had been admitted to the California bar. What had new curious direction seems, an item he had read somewhere about the optical firm of Bausch & Lomb bringing out a projection started

him

had been,

in this

microscope.

Now,

encouraged

the

experience in seeing early F. Percy Smith and Dr. Comandon experiments in micro-

mere

I was interested, in the autumn of 1916, to hear of some pioneer work in the same direction, accomplished by an American. It was reported by

time to producing scientific films, earning living meanwhile, by working in a repair shop. About 1924 he won the interest of Sol Lesser, president of PrinPictures Corporation, who concipal tracted with him for twelve subjects and

photography,

Carlyle Ellis, from the Triangle Studios Los Angeles to the publicity depart-

New

ment

then.

Ellis's

York, where close

friend,

was

situated

Paul

Powell,

fact of the Triangle picture, he put Blackstone aside and gave all his spare

his

arranged for their release through Educational under the general title, "Secrets

February, 1941 Life."

have

intent of the

Page 63 doubt

little

the

that

showmen who took Tolhurst

up was to ride on the popularity of the F. Percy Smith material by imitating its

convenient bit of likely evidence was that Tolhurst's "The Fly" concluded with the star performer on its back balancing a ball on its feet, a circus turn which was one of the most admired items of the old Urban releases produced by Kineto's "educasensational points.

and scientific staff." The Bausch & Lomb projection micro-

tional

scope appeared about 1915, and, as that apparently dates Tolhurst, it seems that another pioneer must have started his own career some two years earlier. George E. Stone, of Monterey, was then a student at the University of California, but he already had made up his mind to devote his life to educational cinematography. According to his own story, he began by studying the existing situation, and concluding that the dividing line between theatrical needs and those of the school

was so sharply drawn

that, in or-

der to serve the latter properly, office appeal" must be ignored.

all

with especial force the need of color for adequate representation, and Stone's inquiries as to how he might obtain it, brought him the post of manager of the feel

accompanying

officials,

working intensively

wood producers as

usual

to use their process, and,

in the

new

introduction of

methods of that

film

meanwhile, were persuade Holly-

sort,

arranged for

inclusion of short color sequences in the feature photoplays. For upwards of a

year Stone was in the film capital, therefore, supervising the making of such interpolations. But, late in 1923, he returned to his attractive, compact little studio

Carmel-by-the-Sea to

his intelligent, constructive cause of visual education.

resume

work

the

while he went on a film-making expediAmerica. Further interruptions were occasioned by depleted funds and college requirements for a degree. But in 1916 he was joined by a volunteer assistant, Professor J. A. Long,

further

cir-

culation.

The tion,

shift

won by

that single produc-

which was made, largely with makeequipment, for an actual cash outlay

not counting personal overhead brought Stone It reputation as well as encouragement. returned his money investment, and added profits and a certain renown while he went off to war as a member of the Pho-

only

services

$2,000

and

tographic Section of the Signal Corps witnessing the Battle of the Argonne and participating in the Allied occupation of the Rhine. Returning home, the first years of peace found him producing another four-reeler entitled "The Living

World," two single-reelers called respectively, "The Flame of Life" and "Food," and a double, "Malaria and the Mosquito."

The last-named was taken over by

the

Rockefeller Foundation, the same group which was doing such useful work with the George Skinner production, "Unhooking the Hookworm," but the other subjects

were

curtailed

their

earnings when Stone's distributing agent suspended full operation during a readjustment depression in 1920. All

who

film

the

living

mechanisms

was

How-

surely not excessive.

ever, nothing sensational seems to resulted. In 1920, schoolmen who

ation.

he held that school film duction must ignore the box

prooffice.

"cinema-biology" witnessed the rise of another specialist in the person of Charles

Herm,

praise

torical

have were

Institute of

New York

set

its

elaborate apparatus for photography of this nature. It was designed by Heinz Rosenberger, a specialist in microscopy who then was made director of its oper-

ters,

its

arise, there would also be hisand geographical subjects for colleges and universities. For so ambitious an undertaking the stipulated sum of

might

own

America

for

duction of scientific films. Preeminently, the output would consist of pictures of surgical operations and botanical life, but, just in case opportunity for expansion

About 1923 the Rockefeller

showings

contract

wards with a plan to erect in that neighborhood a studio for the extensive pro-

Medical Research in

George E. Stone's studio-laboratory Cerat Monterey, California, 1925. tain that no man can serve two mas-

the

City, but, in this case, there was something more tangible than a plan. It was a three reel subject called "Microscopical View of Blood Circulation."

tion to Central

tained

lectures.

San Diego Chamber of Commerce was approached by F. R. Ed1916

watching the swelling visual education movement, had their attention attracted also to the Scientific Film Corporation, situated on Dutch Street, in New York

aside

in the army camps in both and France. Its distribution stimulated by the war machine, it went around the world. And about 1920, in Carter obpeacetime, Mrs. Catherine

$75,000

In the latter part of 1920 those who were interested in the fair progress of

"box

and together they completed the four-reel subject. It was entitled "How Life Begins." Prints were sold widely to educational and social service institutions, and the Y. M. C. A. adopted it for regular

1930

The Prizma

test the accuracy of this hypothehe planned a motion picture on the subject of sex education. He made the

them

of all public-spirited Floridians. In

roughs," the story of the Rookwood Pot"Magic Clay," and "Trout."

teries entitled

scenes in 1914, but put

laboratory in addition. made a prospectus, incidentally, strong bid for cooperation and support biological

he was releasing about seventy-five subjects of four hundred to five hundred feet each, but had begun a new concern, still at Daytona, called Herm's Bio-Cinema Sound Products, Inc. At that time about ten of the films had been "scored" with

Western Branch of the Prizma Company. By the Prizma process he produced eleven one-reelers for theatres, the most notable being "A Day With John Bur-

sis

first

rine

The

the

American Museum

Natural History. Herm, writing at that time in the Bulletin of the Affiliated Committees of Better Films, proclaimed the great need of biological motion pictures. The field was much neglected, he said, and went on to specify the advantages which such reels have over regular animal demonstrations in the classroom. At the start of the second year of Harley Clarke's S.V.E., January, 1921, Herm appeared in Visual Education as author of an illustrated article headed "Motion

Pictures

Teaching Biology," and

He was

also given permission to within certain reasonable limitations, for outside work, which he promoted under the name Rolab. Conse-

use

it,

quently,

Rosenberger's

ducers

needing

year later he had closed his Pelham removed with his equipment to Rio Vista, a suburb of Daytona, Florida. He announced that he had organized the Florida Institute for Cinema Biology, had acquired a plot of ground to be used for botanical experiments and "animal husbandry," and would shortly have a mastudio and

short

lengths

such

With this apparatus have been produced many important films, including demonstrations of work by Dr. Alexis Carrel with living cells, and of the late Dr. Hideyo Noguchi on Leishmanias and

Trypanosomas.

For the present, however, this is going too far into the departments of higher, professional education. It is the author's intent to discuss that phase in a later place, reserving to the present subject of school films those activities which

have been mainly for grades below the college level.

Stirrings

the

exhibition of microscopic films which he himself had produced there.

services

material.

autumn of 1923 his friends and neighbors, who had wondered why he had left the Museum, were invited to his home in the New York suburb Pelham (not far from the Ditmars studio), to see an

expert

and exceptional equipment have been requisitioned frequently by commercial pro-

Abroad

OVERSEAS nations had been too hard hit War and by circumstances growing out of the World War to make by the World

great immediate progress in visual education. There was plenty of favorable no doubt, but insufficient disposition, funds to provide the proper equipment

and

organize necessary audiences. BeWar the European school experiments apparently had been as tentative as they had been in America, using fore the

borrowed

theatrical films for the greater

part, the old identical with

Urban catalogue

almost

that

Kleine,

George

Page 64

The Educational Screen

which, indeed, had been modeled upon it representing the then current idea of motion pictures in the schools. About

some particular

1914-1915,

interest

had

been aroused by a pedagogical films survey conducted at Geneva, Lausanne and Neuchatel, but the accumulating storm clouds quickly' disposed of all that. Russia, the first nation to retire from the World War, I believe, seems also to have been first of the nations abroad to show a marked revival of interest in educational possibilities of the cinema. Films had been reported in the schools of Muscovy as early as 1916, a full year before the abdication of the Czar and two years after his regiments had gone to the front against Germany. In 1918, the year in which the unhappy Nicholas II and his family were assassinated, and a year after

Kerensky's provisional government had taken command, a call for America's

came from Siberia. The was signed by the "Culture EduUnion of Altar District," and it

educational films request cational

need

portable projectors and U. S. motion pictures "for outsidespecified

Conservative England probably could not be expected to move on sheer impulse in welcoming a teaching innovation such as this, although one might have hoped for a slight impress caused by Urban's long pounding at the gates. It was at least encouraging, about 1923, when a British Cinema Commission of Inquiry, established by the National Council of Public Morals, appointed an Educational Committee, and sent its chairman, Dr. C. W. Kimmins, to the United States to study the phenomenon at its most conspicuous source.

Whatever

his ultimate report

sued a generally favorable opinion at the Imperial Educational Conference in London in 1924. It was stated on that occasion that a strong prima fade case had been established for the real value of films as supplementary teaching aids, their best potentialities that

that

industrial

The

processes.

were entirely

This was the first important step of the Russian authorities to use one of the greatest known disseminators of information to teach civilized opportunities to a

with the

of which, from an American point of view, were incredibly low. Precisely how America, then extremely friendly to a nation which also had won its independence through revolution, responded to the

and

way

probably would be in helping to impart nature study, geography, science and

of-school education."

suddenly released peasantry which could not yet read, and the standards of living

may have

been, another committee, that on the Use of the Cinematograph in Education, is-

and in They were

reservations

fair

facts.

tion of historical films

was

accord

strict

that producstill too costly

permit a practicable study of their possibilities that no satisfactory evidence had yet been offered to prove advantages of motion pictures in literary courses, that the cinematograph should not be too frequently used to show simple processes which the teacher might demonstrate directly, that the film should be adapted to the curriculum rather than vice versa, to

and that the educational film proper had yet to be evolved through the collaboration of film technicians and teaching ex-

Yorke. In 1926 the Russian Government requisitioning from Leningrad, ordered from Germany 2,000 projectors to be used ex-

Of the reports of the Cinema Committee of Inquiry, none was more interesting than that which appeared in 1925

clusively

native

educational

institu-

At about the same time, in Moscow, the Association for Scientific Cinematography opened a combined studio and laboratory to train producers of technical films. Remember, however, that, in a very considerable sense, even the theatrical pictures in Russia during its reconstruction, have been "educational" in tions.

purpose, making the situation there unique, and its lessons not always applicable to very different conditions in the United States of America.

While the Peace Conference was meeting at Paris and Versailles in 1919, the new Germany was producing and using so-called

educational

1920,

word came

strict

department of

films.

October,

an especial and censorship had been

that

there to control them. In 1923 even the diminished and debt-ridden Austria had appropriated a fraction of its meager income for a supply of school

established

The extended production of educational films in Germany was to be noticed particularly about 1926, when many films.

were produced by the kultur-film departments of regular amusement-purveying studios,

UFA

the

Berlin

(Universum

organization

called

Aktiengesellschaft) represented oftenest in the output.

Film,

Recollections of early as March, 1896. both these significant facts remained with the French people, and opportunities to restore the happier situation were recognized. In the summer of 1920 one heard

French Ministry of Agriculture had plans afoot to teach farming with films. A bit later one heard of a Paris article of importance entitled "The Educational Film" in School & Life ("Le that the

Cinema Scholaire" in L'Ecole et la Vie), and he wrote by L. Crebillon

edited

;

therein concerning a library of 600 reels at the Pedagogical Museum, available to schools on a modest rental basis. What

On geography, monabout natural history, 175 appertaining to hygiene, 33 industrial, 41; physics, 12; sports, 21, and here I knit my brows in perplexity as I round out the list (somewhat short of 600 but still imposing enough), with 26 "on huntwere these reels? 275

sieur,

;

ing."

The French interest, possibly stimulated by English activity across the Channel, was to reach a sensational peak in November, orate

when

1927,

discussion

the

burst into elabFrench Senate.

;

do not know, but, in all likelihood, some of the reels which went to far-off Siberia were shipped from the Y.M.C.A. in New York City by Walter I

appeal

seen it stated that the first French extra-parliamentary commission assigned to study ways and means of applying the cinema to education, functioned as

perts.

as a book entitled The Cinema in Education, under the authorship of Sir James

Marchant. This concerned

in large part, of the film in

psychological value and described ingenious, revealing experiments in which the teacher was first made acquainted with the picture,

the

class,

then deprived of

and expected to make

These a creditable showing without it. experiments and findings stimulated further research, with Dr. Kimmins prominently active. An even happier endorsement of teaching films was made in 1926

Oxford by the Education Section of the British Association. But a serious

setback occurred of the publicity in 1926, the

serious mainly because was given when, also

London

County

Council

ruled against school films, explaining that had been conclusion this regrettable reached after studying the report of a recent

York

survey

conducted

the

New

City schools.

was commonly said of the France the nineteen twenties that the War Had bled her white, but plenty of her famed Her film Gallic resiliency remained. industry once, and not so long before, had dominated the world market. At the same It

savants had speculated with great penetration on the possibilities of the cinematograph in education. I have

time her

There the entire matter of what motion pictures might and might not accomplish in the classroom was debated once more, and, when the evidence was all in, a resolution was passed requiring the delighted Minister of Education Edouard Herto prepare a bill permitting riot, no less reasonable use of films in

all

branches of

public instruction. M. Herriot had long championed the cause of school films.

Only the year before he had established a commission to study the matter, with headquarters in the Pedagogical Museum Paris, and the findings of that body had greatly fostered the new movement. French schools were, of course, already at

using films. In the City of Lyons, the collection of material for that purpose was said

have

different

1,400

embraced

approximately rather

subjects

encyclo-

one might say. Another 1926 event in France was the foundation at Paris of the Societe des Films Scientifipaedic,

ques

Documentaires, to produce edu-

cational pictures exclusively.

Mussolini's

Rome, October

Black

march to was not at once

Shirt

22, 1922,

conducive to the development of educational film projects

two years

later,

in Italy,

native

but,

about

pictures of this

type began to appear increasingly, and presently Mussolini's state educational films division, called La Luce, was at work, endeavoring to produce in a short

time an extensive library of pedagogical and industrial material. This was to lead in

part to

of the

the

educational

film

section

League of Nations. La Luce Na-

was originally a private enterprise called the Sindacato Istruzione Cinematografica. November 5, 1925, as tional Institute

L'Unione L.U.C.E. Cinematografica Educativa it was recognized, approved, and its services adopted by the Government.

(To be continued)

Page 107

March, 1941

MOTION PICTURES NOT FOR THEATRES COMMITTEE

appointed in 1925 by the Swiss Student Federation at Basel, to study the future of school films and to find expedient ways of realof izing it, was also to lead to the League

So was the Belgian group, Les Amis du Cinema Educatif et Instructif, Nations.

late in 1926 at Brussels.

formed

of course, that there is no attempt in these pages to present the European non-theatrical What it is hoped that these forstory. eign references will accomplish is to orientate the various leading national developments, and to refute chauvinistic notions that non-theatrical films are an

should

control of motion pictures in the school.

ARTHUR EDWIN KROWS

The 25th installment recalls the pioneer work of fifteen or more years ago to explore advantages and set up a practical

clear,

Weber were among the educarendered practical and thoughtservice here with miscellaneous writ-

Joseph tors ful

who

were well mixed One of their major points,

ings in which

with

facts.

theories

which was not heeded by producers at large but which should have commanded their sharp attention, was that presentaThe is not identical with learning. simple fact of placing a mass of infor-

tion

mation on the screen before a class, does not by any means make certain that the A repupils will therefore absorb it. ceptive attitude must be built up previously in the learner, and the information

schools

Hungary, and,

all,

have

when

not

are

no whit wiser for our should have been suf-

Which

staring."

ficient answer to the objection of many teachers that motion pictures could only induce laziness in pupils by making it easier to absorb information, and therefore could be of small value in stimulating thought, forming sound habits and

inciting to useful action, which, I underamong the main purposes of

stand, are education.

It should be remarked in passing that others had thought along the same line None had put it clearer or as Painter.

more pungently than Matilda Castro 1922,

Screen, in the spring of she observed that, "Pictures

Educational

Many exclusively American property. lesser evidences of progress overseas, such as the school experiments in Sweden and the adoption of films in the touched upon at

thinks,

when

are focal points in the psychological approach, but are not substitutes for explanation or the imagination." These facts were only those which applied with equal force to the school textbook, and, by the same token, they had

been

the larger a century

history is told upwards of hence, it may be that those will appear as more significant than anything accomplished educationally in the United

been

amply

What had ly

tested

to be

about

films

and

fully

accepted.

worked out pedagogicalwhat the was, first,

was very evident, in the early nineteen-twenties, that nobody knew much But it was also about visual education. evident, even in the absence of reliable

the screen could do better than any previously utilized teaching instrument, and next, how specific pictures might be made to serve efficiently within short, to explore their in those limits advantages and to establish their conBut the ensuing tests were not all trol.

that that large part of it which embraced motion pictures was worthy of

little

States.

The Educators Have Ideas IT

tests,

The film producer, conmechanical mastery of his machine, and possessing effective experience with theatrical audiences, thought that he knew also what the pupils ought to have, but he himself had to learn in

school spectators do not view the screen with the same mental attitude which characterizes those on amuseAnd the teachers, while ment bent. aware that these two audiences were different, could not yet tell precisely why, and had the further disadvantage of not

knowing how to handle film. Those educators, who ranked as cent

pioneers

the

movement, were

visual

re-

education

at pains to be articulate

about the problem. They studied immediate symptoms and delivered shrewd hypotheses

means

conventions

their

teaching colleagues addresses at educational

and

articles

professional In many instances the chief magazines. concern was to ticket the symptoms with names. This was natural enough, and was to be expected in

but

any new development,

was dangerous,

too, for, while it necessary to apply and de-

and fine terms, terms imply pigeonholes, and pigeonholes encourage didactic thinking and that delusion which mistakes an acqaintance with names for actual knowlis

right

edge.

Frank N. Freeman, A. G. Balcom, F. Dean McClusky, Ernest L. Crandall and

made

realization of this.

Many

of the

show how smart they were by "proving" were obsolete. Others would screen any ordinary picture which came

his

that

people, who approached the matter on their own small initiatives, did so to

development. fident

medium

that textbooks

Edouard Herriot,

as French Minister of Education, favored school films.

In 1926 he established a commission to study the matter in headquarters at the Pedagogical Museum in Paris.

must be so presented

that it is corresunderstandable. Here are unmistakable clues to the respective functions of teacher and producer, and, indeed, to a full working philosophy on the entire subject. Speaking of which recalls the important articles by George S. Painter, professor of

pondingly

philosophy at the New York State College for Teachers, starting in American

to hand, in a classroom, without preparation, as they might give a mirror tentatively to a monkey, to see what happened and with no precise expectation of what the result might be. How simple such alleged "tests" might be is well illustrated by the much-publicized "experiment" conducted in March 1922, by the Chicago Board of Education to determine what sorts of picture should supplant the lurid movies com-

monly held to be juvenile favorites. A program of supposedly educational subjects was screened successively for

free

1925,

entitled

about 4.500 children expectation being that much could be learned b\ measuring their ap-

"The Psychological Background

of Vis-

plause.

Education for ual

December. In

Instruction."

that

place

was

enunciated, clearly and distinctly, the caution that mere perception is not learning, either.

"Knowledge does not pass ready-made Professor Painter not merely to have sensations and feelings it is also to put things together and to interpret them and appreciate to some extent what the sensations mean. Simply to stare at things does not give us knowledge of them; unless the mind reacts, judges, into

the

there.

mind,"

said

"To observe

;

four

audiences of

each,

the

A geographic lesson on Egypt fared poorly, and so did scenes of a royal wedding, but a slapstick comedy reel, and a shot of a turtle withdrawing its And head were uproariously received. the whole conclusion seems to have been merely that it was all "confusing." What were referred to as "school films in the early years, were generally mere screenings of odd theatrical subjects where motion pictures had not been used before. They were extests" of

pected to provide only an "enrichment" and the circum-

of the educational yield,

Page 108

The Educational Screen

stances were not "controlled" in any sense which would have been acceptable after the start of the visual education movement. This, of course, was only because educators at large were not previously familiar with even the machinery of exhibition. As scientific procedures

life

human

picture in comparison with of education. Frank in

Freeman,

Visual Education in

made a searching

educational

the

1923,

classification of

others

films;

types tested the

motion picture's economy of time. These were useful investigations. Plenty more were not. Some were rather silly. But then, concerted movements of any worthwhile kind always have their lunatic fringes.

The known

scientific

mind proceeded from the

unknown carefully, but not to borrow clues from other fields. The film was new in the school but not so new in the theatres. There was a large amount of material out of which a careful observer might build hypotheses. "If such-and-such is done," he could say, "thus-and-so probLet us try and see." ably will happen. Thus the scientist established his goals did

the hesitate

into

advance and always

was

knew what he

trying to find out, the ultimate re-

sult showing him merely whether he was or was not correct in his original Nor were these goals hapassumption.

hazard, but they built steadily atop one another to larger goals which ultimately would show the entire place and function of motion pictures in visual education. In 1915 had come an authoritative, highly original attention to the subject of

what motion pictures might do to affect the human mind, which should have provided educators with

many

valuable clues

No doubt they procedure. would have, had times and personalities been different, for Hugo Munsterberg,

proper

brilliant professor of

psychology at Har-

was a German, and the World War was then rapidly drawing America into it. Theodore Roosevelt publicly denounced him for "hyphenated" activities. Lesser objections were that he was a "sensationalist," and strongly "commervard,

cial"

their

for assisting large corporations in work of industrial research. But

was

1915

Munsterberg, his imagination caught by the camera magic of Annette Kellerman's mermaid picture, "Neptune's Daughter" had begun his inHe genious investigation of the films. spent the summer of that year in close attendance at the theatres and in visiting it

that

the major studios, then situated in the East, and in December, 1915, the Cos-

mopolitan Magazine published his

first

belief in

things-as-they-are.

will

were articles published in newspapers and magazines on successful uses of the cinematograph in teaching English to on the film foreigners in Washington teaching of geography, as the admirable one written by Edith P. Parker for Visual Education and on motion pic-

It is

many persons in charge of motion picture activities in schools, or otherwise to observe critically vitally interested, the reactions of classroom audiences. And, to preserve their findings, there

establish the relative effectiveness of the tools

laboratories,

stirred

of Plant Life", "The Animal Kingdom" and "Chemical Action in Aluminum", are to be recalled with honor.

motion

asylums.

be recalled, of course, that the start of the visual education movement It

lyn Teachers' Association in the autumn of 1912, when the pictures exhibited to classes included "Hiawatha", "Wonders

other

to reveal the inner

men, experiments

no real consequence, and no reflection upon a splendid prophetic judgment, that in the same book he remarked that the addition of voice would ruin the artistic effect of motion pictures. Those were days when the film was loved for its silence; all he had done in that instance was to succumb briefly to the

Brook-

Joseph J. Weber's doctor's thesis Columbia University in 1922, essayed

in courts of justice, in

such explorations left much to be desired, but, considering the primitive state of that division of the field then, even the simplest demonstrations were significant. In that light, such pioneer efforts as the school "tests" of the

new instrument

as a

;

Hugo Munsterberg

Harvard was

one of the first to use the motion picture as a measuring instrument in studying vagaries of human behavior. important articles on the subject, Go to the Movies."

;

tures

"Why

When

Paramount started "Pictographs," Munsterberg was invited to be

physics

as that

classes,

useful

comment prepared for the same magazine by Harvey B. Lemon. David Gibbs, superintendent at

of schools

"An Experiof Time in

Meriden, Conn., reported

ment

Economy

one of the first contributors. He responded with a series on "testing the mind," designed to provoke the active the audiences which participation of might see it and these pictures are still

Instruction by Use of Motion Pictures" in the pages of the Educational Screen; in the New York Times were described the reactions of school children when

obtainable, I believe, in the Bray Library. He also undertook, but unhappily did

gaged

not complete, experiments in the use of motion pictures for the teaching of history. Reports of this work brought him a heavy correspondence, and there is extant a letter, dated April 5, 1916, in which he replied to a Mr. Edwards, who I suppose to have been none other than F. R. Edwards, the ambitious educational film enthusiast of San Diego, commenting favorably upon the gentleman's plan to specialize in producing school pictures. He heartily approved the Edwards proposal to present the Montessori system on the screen, hoped for much on geography because of glaring omissions in popular knowledge of that, and, holding that "the greatest trouble in the movi. g picture world today is the lack of discrimination and differentiation," remarked that "In a few years such differentiation will be demanded everywhere, and one of the first steps toward it ought to be a clean division of labor among the producing companies. I welcome it as a very promising step that you intend to specialize in the educational field and to set this off as a great work of its own, separated from the mere amusement plays." But Miinsterberg's enthusiasm for the films was des:

soon to lose 1916 he died.

tined 16,

its

force.

December

Miinsterberg's book, The Photoplay a Psychological Study, published in 1916,

who

seeks in its generalizing pages the proofs of the author's penetrating thought about educational films. Dossiers in the newsbe much more paper morgues will informative about his widely varied experiments in making the screen serve will disappoint the student

they saw

themselves on the screen en-

in various projects

;

"Pathe News"

cooperated with educators in tests for fourteen weeks at Junior High School

No. 64, Manhattan, to see how films might be used in teaching current events, a study to be followed later by similar tests

and

the

Boston.

public schools of All of these are

Newark random

illustrations of the

strong desire in this period to reduce a powerful new educa-

law and order. conduct tests on a satisfactory basis required more time and effort than the usual schoolman himself could afford to give. To obtain the requisite funds for

tional force to

finding such unpredictable results was not However, realizing that one could

easy.

not ordinarily reach an objective without taking certain preliminary steps, Frank N. Freeman, of the University of Chicago, concentrated temporarily on those steps, and, in the spring of 1922, it was announced that the Commonwealth Fund of

New

York, an endowment established

to assist research

work

various

lines,

had granted him $10,000 for a twelvemonth effort to determine the value of motion pictures in child education. Frank Nugent Freeman, Canadian born in 1880, early removed to the United States, and rose rapidly in his chosen field of psychology. His first services in this department of knowledge were at Yale, where he had received his Ph. D. in 1908, but in 1909 he became an instructor at the University of Chicago, gaining the professorship of educational psychology

there in 1920. Many side endeavors, represented in committee memberships and editorial connections, added to the ready

proofs that he was an excellent person to conduct this important survey. He was sharply alert to the existing facts of the

Page 109

larch, 1941 movement, and had an intimate

visual

acquaintance with the current work of Harley Clarke's Society for Visual Education, carried on, as most of it was, by his own colleagues at the University. His clear idea of the needs was exressed in a formal statement which ac-

ompanied the announcement

of the grant,

aimed, he said, to solve two main roblems first, what might be taught best

motion pictures, and, second, to find vays to improve the pictures themselves. "I am of the opinion," he declared, "that the film is not so far superior to other methds as to be substituted in a wholesale way, but that it has its definite field and to

excellently adapted

certain

things

ems beyond doubt." He observed

that

such as biological and nature might be set apart, as "strictly educational," from those having itertainment values and therefore being the nature of literature. Recognizing eful results to be obtained by presenting

ome

films,

subjects,

itudy

the University of Chicago, who, in July, 1924, thrilled his colleagues by showing them films of atomic collisions. In truth, the magic of the film was

made more

accessible almost daily through the forces of industrial competition and the discovery of new uses, such as the start of their employment by engi-

being

neers for simultaneous meter readings.

application was in the motion and time studies which had grown out of the pioneer experiments of

more extended new

Taylor. For years Taylor, "the father of efficiency systems in America," had been using the still

Frederick

known

study manual operations in and it was only a step further to apply motion pictures to the same end.

camera

factories,

Frank ~B. Gilbreth did it first in 1912. John Patterson employed Jam Handy to make some for him in the N.C.R. plant at Dayton about 1919. Others carried on the work of Taylor, especially Lillian

which the child had previously seen, the giving of "vicarous experience" thereby, he showed at he same time a commendable caution, was rather sure that motion pictures iltimately would not spread over the en-

And he saw

curriculum.

needs

jet

his

Commonwealth

survey,

and collaborating on his report, were: F. and H. Y. McClusky, H. W. James,

linger and Jean A.

Thomas.

New Resources WHEN

ing the pictures themselves as a coordinated aim, he was also giving due conspicuousness to the fact that no tests ould be final while the mechanical possibilities

were

being developed. It was true that most of the materials for school films had long existed, but many important advantages were out of reach of educators for divers practical reasons. Besides that, there might come a day still

when the films would acquire also speech and a third dimension. Anything needful might happen. Already the wizards of the lens were taking photographs in darkness. And there was Dr. William Draper Harkins.

In 1922 the Commonwealth

Fund gave

Frank Nugent Freeman$lo,000 that he might determine the actual worth of motion pictures

in child education.

Moller Gilbreth and her husband, consulting engineers in scientific management. For these needs C. P. Watson's Nova-

Dr. Freeman spoke of improv-

Hoefer, Edna Keith, Shaw, D. E. Walker, Nina

professor of physical chemistry

The

well

known

sculpter

New York

City consisting largely

shots

views

faster-than-normal" was insufficient. Clever mechanisms were being devised in those places to take upwards of a thousand pictures per second for slow

Hollis, Caroline E. C. Rolfe, Lena

shots

beautiful

still

photographs

way

to the reputation he has

since, of being an outstanding specialist in the line. The collection of

Beg-

where "traveling" or "follow" were especially necessary, were greatly improved by Carl Akeley's invention of a device for photographing in the field,

well on his

graph was usually and perhaps always a satisfactory answer, but really high speed cameras held interest in other scientific laboratories where the "eight-times-

Reeder,

cinematography on high. Motion pictures in the air and generally

enjoyed

He was

photographs, their making set precedents for the improvement ot

still

many

Maxwell supervised the work, much of which was done by A. B. Wetzell, a flying cameraman who was then

Freeman's broad opinion, and, in Febru1924, just after he had edited his report on tests with school films in and around Chicago, they seized upon a arbled account of his speech at the latest J.E.A. Convention and made it appear at he had condemned educational pic-

Freeman

were

tionally clouds.

anticipate

quick to correct the story, oving readily enough that he actually ad heartily approved school films, and ad condemned only the exaggerated aims made on their behalf. Assisting

40,000 square miles of Alaska, while soaring photographers, working for the U. S. and Illinois Geological Surveys, completed an aerial picture of the City of Chicago on a scale of two and onequarter inches to the mile. Although these

from the air, and engaged to produce it Hamilton Maxwell, an English aviator who had made some excep-

ary,

iires.

The U. S. Navy, using airplanes summer of 1925, mapped about

the

film of

hypotheses, were presented book Visual Education, ublished by University of Chicago Press. to

feet.

his

Newspapers were eager

devising means to take pictures of large areas secretly at night, through fog and from an altitude of more than 5,000 in

About 1925 the public relations department of the New York Edison Company became interested in making an industrial

original in

Army Air Service, and Dr. S. M. Burka, an expert photographer who assisted him

shots of athletic events.

hould be, how much should be explained by the picture captions and how much by he teacher. The conclusions reached by Professor Freeman, generally confirming

1924

photography

more remarkable than Lieutenant Frank W. Goddard, a flier in the

and taxidermist here provided a camera recalling fitienne Marey's "photographic gun" of 1882, which was designed to register birds in flight and could literally be aimed at them and moved steadily in line with their progress. The Akeley camera remains today unexcelled for newsreel

discover, in his survey, how much a child of given age and development could aborb from a film, how long a school film

his

aviation

pioneers

wild animals.

pictures of objects

tire

New

arose, none

projection and study. The subjects were movements of air waves, bullet trajectories,

speed of chemical reactions, and The names of Dr. Richet and

so forth.

Legg, the latter of the Westinghouse Company, were outstanding among those of such inventors. The underworld of the ocean, so dramatically opened to popular view by the Williamsons, attracted others, and one heard of films photographed with the Sisson deep sea diving machine, and of a new submarine camera developed by Dr. Paul Bartsch and Andrew Cramer, respectively curator of mollusks and instrument maker at the National Museum. J.

cellent

made on

that

occasion

the

time

and

for

was ex-

exceptionally complete as a presentation of Manhattan from the air.

Through the early twenties even the ordinary camera became conspicuous for its ability to do tricks. It was the result of a foreign influence. The technicians of Germany, in particular, were just beginning to discover the facility of the

they were covering acting and studio equipment with photographic stunts. Barring the notable work of such directors

taking device, deficiencies

and

story,

F. W. Murnau and Ernst Lubitsch, most of the German effects were mere mechanical exercises which the American film studios had toyed with, too, in earlier years, and put aside in the certainty that they distracted the spectators from the

story. As soon as the audience begins thinking of the camera, the experienced native producers had said, beware the breaking of the emotional spell of the With that decision made, they play. worked to make the camera inconspicuous. But now, with all the superficial appearance of important novelty of "breaking the shackles of art" here were the Germans (and presently the Russians), with freak angles, "zooms," "follow

shots," distorting lenses, "montages."

(To be continued)

Page 150

The Educational Screen

MOTION PICTURES NOT FOR THEATRES By

Installment 26 is a further chapter of two decades ago. While experimenters explored

novelty techniques in non-theatrical pictures, research specialists were finding teacher-training ways, means and standards

ARTHUR EDWIN KROWS

younger critics, ever ready to deprpHE recate the of in

findings experience which they did not happen to participate had only to look back to 1915 to see [_

virtually all of these methods full blown in Mack Sennett's Keystone Comedies, if

satile genius, Tony Sarg, the illustrator, was in a way responsible. About 1915 Sarg, financed and other-

wise encouraged by the noted stage producer, Winthrop Ames, had turned the main stream of his abundant energy into giving marionette shows, thereby becom-

Gaumont's "Reel

The

idea

ham,

films

was

in natural

York

them, and they hailed it as progress. So Hollywood producers said, "If this is what the public wants, let us revive it, too." Forthwith they turned their better

of comic episodes performed in silhouette by "prehistoric" characters. Unhappily

equipment to imitations of the fashion,

the

"father"

acknowledged

modern puppet movement

the

America.

presenting the puppets in sequence, and there presently came to pass a series of novelty shorts entitled "Tony Sarg's Almanac." For this release Sarg prepared a number

they were not especially funny, but they were masterpieces of detail in motion.

but down in their hearts their seasoned convictions remained, and they heaved a sigh of relief when the fad began to

on main

titles

for

"camera

ef-

The Puppeteers IN

period of the early twenties, attention was drawn to a fresh departure along a road opened long before by Commodore Blackton, when he worked magic with animated toys, and more recently noticed when Jack Leventhal made life patterns with blocks to train the soldiers. For this newest spurt that verthis

human

beings were,

approximately four feet tall, with other surrounding subjects in pro-

The

articulated joints

were moved

anything ever accomplished by Max Fleischer in the early days of his amazing Ko-Ko save when a figure made a turn and went in another direction. as

This was always done with an odd, catlike swiftness, the reason being that the

was only a two-dimensional prowithout thickness. All properly in keeping, however, with the convention figure

a clever

precedent which his fellowworkers in the line were quick to seize for themselves. Then, as Alvin Knechtel became prosperous, he was able to indulge in his hobby of flying. About 1930 his ship crashed and he was killed. fects,"

lying flat in the horizontal plane, substantially the same arrangement used for animated drawings save that his field

by bit between exposures, with a mathematical accuracy and artistic delicacy which gave an entirely new screen pleasure. Movements were astonishingly detailed and varied, fingers and toes twiddling, eyes opening and closing, bodies breathing, and all as smooth-flowing

celebrated optical printer. It would have been child's play also to John Holbrook. But they were "old-timers," and the present demand was for "new blood." None in this eddy of the youth movement reached the temporary fame of Alvin

credited

ures

bit

at a premium. Carl Gregory could accomplish most of them at home on his

delight of new audiences. In Hollywood he even attained the distinction of being

With a camera poised overhead, Major Dawley photographed the silhouetted fig-

all

were

found a place for his especial talents. He rang the changes on multiple exposures, shooting through prisms, zooming and performing other cinematographic sleightof-hand to the mystification and presumed

work.

portion.

its

young photographer whom I knew when he was an obscure but promising technician at Pathe. At the proper juncture of time and tide he

City, acquired a modest, but enthusiastic and efficient staff, and went to

ures representing

height, the services of cameramen who could best perform these fantastic tricks

Knechtel,

New

believe,

schoolmen now attentive for being at the awakening of a visual education movement, the foreign jolt to attention had an added importance non-theatrically.

was

Herbert Dawley outfitted a home town of ChatJersey, not far from New

actor.

small studio in his

camera vision was much larger than His animation table was so very sizeable, in fact, that he and his entire technical staff could sit upon it to confer, and frequently did. The cut-out fig-

proved useful in reminding true artists of resources which might otherwise have been forgotten or ignored. And, with

reaction

and

usual.

Nevertheless, this disruption of slowly perfecting professional method has

the native

October,

wane.

When

about

Sarg, with his manifold interests, was obviously too busy to execute the appalling amount of labor involved in these productions personally. That phase was cared for by Herbert M. Dawley, artist

they did not care to go further back to the days of ficlair, Thanhauser and Lubin. But in those far-off seasons films had been despised by the intelligentsia, and fledgling reviewers were conscious of nothing but the echoing scorn. This foreign resurrection now was new to

ing

Life,"

1916.

file,

of presentation,

Herbert M. Dawley's startling recreations of prehistoric life opened a new vision of possibilities in using movies for teaching apparatus.

seemed to be smooth animated just extraordinarily drawings. Actually, they were pictures of the

uninitiated

beautifully

they

two-dimensional

articulated,

shadow puppets,

by those of the old Chinese shadow theatre, photographed, however, by the well known clearly inspired

animation "stop-motion" principle.

As shadow first

these were not the recent series of performances on the film had

plays

upon the screen.

silhouette

silhouette.

there been at that time any considerable groups of dilettante photoplaygoers, these interesting efforts might have found a truly appreciative audience, for

they had

Had

that entitled "Inbad the Sailor," produced with human figures by the illustrator C. Allan Gilbert, under the Bray patents, and released through Paramount

been

beginning January, 1916. So far as puppet plays in celluloid were concerned, they also had been occasionally known.

all

man shadow

the

charm

of the old Ger-

their meBut the order in America then was for mass entertainment racy, violent, vivid. The deliberately slow pace for proper enjoyment of the quaint fun, was found boresome by a restless crowd craving excitement. How could a silhouette complement of a thumb and four fingers on one hand, as Dawley showed them, hope to be noticed by theatregoers who still have rarely observed that Mickey Mouse and the other merry conventional screen cartoon characters of this present day, have only three fingers on each hand as a draughtsman's

chanical

plays

without

limitations.

convenience ?

The finally

"Almanacs" for

became

non-theatrical

use,

available

and,

with

One

of the earliest in

my own

recollec-

renewed hope. Major Dawley turned to

tion

was a marionette

baseball

game

that

field

with his equipment.

The edu-

Page 151

April, 1941 cators admired, but could not afford to A few industrialists consented to

Society of American Magicians gave a testimonial dinner to Sir Arthur Conan

General Motors was among them. For that corporation Dawley produced a moving frieze representing the history of transportation. It was entitled, "Man's

Doyle, eminent author, creator of Sher-

buy. try.

mquest of Time." Although there were so few

these

rich

employ the Major was not

talents,

Like Tony Sarg,

completely frustrated. he was blessed with

other

For instance, peteer, and a good one. ette companies he went

abilities.

fascinating was a pup-

With

his

marion-

on tours.

ap-

peared as an actor in stage plays. He painted designs. Over the pleasant countryside where he lives, they still talk about his stirring performance at the local little theatre in Barrie's

"The Old

Lady Shows Her Medals." I recall his stage management of a new Broadway play by Austin Strong. He has taken from an overnight case in my office, and walked across the floor for my pleasure with an uncanny simulation of life, a yard-high Ichabod Crane that had efficient

thousands in Dawley's own dramatization of Irving's "The Legend entertained

of Sleepy Hollow."

\Vhile working

with

two-dimensional

figures in time-lapse or stop-motion pho-

Dawley had been devising ways and means to present three-dimensional animated figures on the screen. Of course, regular marionettes might have served tography,

and, when it came to presenting persons, what could be said against trained actors? Merely that Dawley was here,

thinking of simulating a life which mankind supposed to have existed but probably never actually knew, the period of the dinosaurs and the other strange creatures

Cuivier

may

fabulous, prehistoric world. have "restored" a fossil beast

lock

Holmes,

ture

of his story "The Lost Major Dawley read the news-

paper accounts June 3, and immediately entered a strenuous protest, alleging infringement of his patents and declaring that he would halt the "Lost World" picture by injunction. it

transpired,

California,

subject called

Ghost of Slumber Mountain,"

"The which

prehistoric monsters were shown in credible motion. It attracted attention briefly,

and then, being

followed

other of the same sort,

beam

by only one "Along the Moon-

Trail," became quickly

forgotten, save for the fight between a dinosaur and a hrontosaurus, which reappeared in later

years

introductory

material

for

in-

dustrial pictures dealing with the history of coal and oil. The bookers remembered

"The

Ghost of Slumber Mountain" a longer than usual because it was reported that its foreign rights had sold for the highest sum then paid for a onereeler. If the educators noticed it, they made little or no comment, and seem not to have been stirred to inquire into further possibilities. Yet, both subjects mentioned were shown currently before the little

American Society of Zoologists. The evening of June 2, 1922, at the Hotel McAlpin in New York City, the

actual producer, Willis O'Brien, em-

former cartoonist on the

San Francisco Dally News, and sculptor's assistant at the San Francisco World's Fair in 1913. statement, subsequently made by to inquiring reporters, revealed the basis of his claims and the extent of

The

Dawley

labor to produce his own "dinosaur With the permission and cooperation of Professor Henry Fairfield Osborn, director of the American Museum of Natural History, he had made carehis

films."

fully-checked preliminary drawings of the evidences there concerning prehistoric

and had squared each "key position"

life,

represented figures with paleontological data. His patents covered articulated metal skeletons, artificial sinews of

his

and an

elastic

substance of his

vising for hides.

These

secrets,

own

de-

he sur-

mised, had been applied without authorization by a man who had formerly

July, 1920 she

single reel

was

The

ployed by Watterson Rothacker in Chicago. O'Brien was a native of Oakland,

rested motion Sarg and he had long been intrigued by dreams of those dimly distant fairy tale monsters, and why not

leased a

"psychic"

picturization

World."

Accordingly, late in 1918, Dawley re-

was

and "preternatural." The reel had been produced, Sir Arthur confessed later to his friend Houdini, as part of an intended

stood the intricacies of photographing ar-

try it?

monsters,

prehistoric

assisted

;

leader.

morning Sir Arthur presented his own "act," which proved to be a motion pic-

from a single remaining bone, but Dawley planned to show the same animal living and breathing. As a puppeteer he understood action in the third dimension as a motion picture technician he under;

spiritualist

a long session filled with mystifying demonstrations. At one o'clock in the

him and afterwards worked

eager to try out his little figures on the screen, and, lacking the money to do it himself, proposed that the Association should pay the actual out-of-pocket cost, he, Buffano, to supply the play, the puppets and the operators. Galdston agreed, and called in Carlyle Ellis, with whom I

was

associated at the time, asking him, basis, to con-

on the same experimental tribute

the

I relished camera adventures, ferred the production to me. The story, not to exceed one reel,

woman terson

"the

only

and stated that in had purchased from WatRothacker the screen rights to producer,"

"The Lost World" with the understanding that O'Brien and Dawley were to be employed to work out models and plan the method of photography. But the storm presently subsided, without further squabbling in public, and several years later "The Lost World" was produced with O'Brien credited for the model work. Much later O'Brien also did the "miniature" animation for the sensational film of the same production order called

"King Kong." Some of the interesting further history of the upright and righteously indignant Major Dawley will appear later in these pages. I suppose that I myself was a lesser in puppet pictures, in the nontheatrical sense, at least. It all transpired about this same time, when Dr. lago

pioneer

Galdston, connected with the New York Tuberculosis Association, as it was called then, decided to attempt such a film for

propaganda purposes. since has

Remo

Buffano,

become celebrated

was then a struggling puppeteer

New

York's Greenwicli Village.

his

who line,

living in

He was

re-

was

health habits to children, and the central figures were to be a princess,

representing good health, and a dragon, symbolizing disease. Buffano, filled with the Italian puppeteer's usual plots of the crusading knights of Christendom and the wicked Moors, had written a characteristic

adapted

story around these elements. I into continuity form, and, after

script had been approved, Buffano and his wife costumed the puppets and designed the scenery. The background was painted in the usual way, to be viewed from one position. But the camera so, while Bufrequires many positions fano looked on a little disapprovingly at first, we rearranged his settings for our varying camera angles. We started at eight o'clock one morning in a back room of Frank Tichenor's office suite in the Candler Building. Buffano, his wife, and a couple of other operators worked the puppets, and Walter Pritchard turned the camera crank. At five minutes to midnight we put the last scene in the box, and the night watchman

the

;

The resultant Hungry Dragon," was well

put us out.

subject, "The liked and saw

long service.

The Surge

described herself as

first

teach

Rothacker.

films,

production factors

that

for

these charges then werr -idd d those of Catherine Curtis, who, with careless disregard of some other ladies

film

for nothing and then at cost. Ellis consented to the latter plan, and, knowing

Color

PROBABLY the greatest concerted improvement had been

at technical

natural

practical

they were

color

process.

The

had their

methods

synthetic

efforts

to find

place, but not accurate renditions of the

original scene. It is no wonder that the theatres sought it, for color is emotional

most non-theatricals

in its effects, but. in

where emotion

in the popular sense

was

need was pronounced, too. Surgeons wanted to be able to distinguish veins, tissues and bones in their

not

favored,

the

films of operations botanists required color for their flowers industrial pictures called for natural colors of foods and ;

;

precise shades

and

tints

in textiles.

achieve this end Kinemacolor had made common property a useful principle known to scientists since 1861 when Clerk Maxwell had demonstrated it in a lecture before the Royal Institution in London. It amounted to this: Take two separate photographs of the identical scene through red and green filters. By projecting the prints through similar filters simultaneously, or in quick succession, presto, you have a colored picture! It seemed very simple, and it still seems simple to those who have never tried it. Kinemacolor used the succession plan, running its films twice as rapidly as the ordinary black-and-white kind. The im-

mediate,

serious

drawbacks

were

that

Page 152

The Educational Screen

usual theatre projectors were not geared to such speed, the filter mechanism was extra equipment, and, of course, no ex-

The two separate, films perimposition. bearing the images were each of only onehalf the thickness of regular film, and the

Rochester, which renamed it Kodacolor and, because of certain mechanical limitations and a desire not to disrupt exist-

wished to go making such changes

presently realized scheme was to cement these together, thus making a combined positive which might be shown effectively

company customers, introduced

hibitor

assured

to the until

expense of he could be

a steady supply of popular requiring them. A difficulty, which was seen to be graver than was at first suspected as the early novelty wore off, was that the range of red and green in combination does not fully match that of the spectfum. The three basic pigmenpictures

tary colors are, roughly, red, yellow and blue, and green is a combination of yellow and blue, which, on a filter does not resolve itself so readily into its components.

The

from those

primaries in light are different

green and blue-violet. There could, of course, be a third filter and a third picture to corresin

pigments

red,

pond, but the film would then have to be run at the tearing speed of thrice the

normal

rate.

The

practical

line

seemed

obvious.

The

actually

on each individual

development colors must be picture

for

normal projection without filters. That answer was worked out temporarily in the next successful

process called

Priz-

on any regular black-and-white projector. In uninformed "Rialto" or "Film Now" gossip, this was commonly referred to as a "split film" process.

December,

1916,

("Doc")

great favorite in New York's motion picture circles, left for Jacksonville, Florida, with a company of players Willat, a

and production

assistants,

make

the

Technicolor dramatic feature, "The Gulf Between." This production was shown completed to admiring reviewers on Broadway, October, 1917. The backers first

had their troubles, however, and Prizma was not affected at once by the competition.

Associated with the Technicolor group, and destined to become the foremost figure in it, was Herbert T. Kalmus, a

shrewd, able chemical engineer. He was a New Englander, about thirty-six years of age, graduate of and one-time instructor at the Massachusetts Institute of

for

16-millimeter

tri-color

into

the

filter,

lens

exhibited at the Ameri-

Sea," with Anna May Wong, "The Black Pirate," with Douglas Fairbanks, and

of Natural History in with a lecture by Dr. Ernest

New

"Becky Sharp," with Miriam Hopkins.

Fox

Yale.

The "Black Pirate" period, about 1926, boasted a two-color, double-coated film. The "Becky Sharp" heyday, beginning in 1935, glorified a lithograph process called "imbibition," using three colors superimposed by gelatine matrices holding the respective dyes, over a black-and-white key image made from the green negative. For the non-theatrical producers who could not afford the rather expensive leading color processes or could not obtain them at all because on small orders service sometimes could not be had for

when Prizma was can

Museum

York,

Nichols,

professor

February 20

made

physics

its

theatrical debut

on Broadway. In September, 1917, it was announced that the world traveler, Dr. Edward G.

at the Strand,

would photograph pictures of China and Japan by the process. Another Salisbury,

celebrated

traveler, Dr. G. A. Dorsey, to photograph the vessels of

undertook the U. S. Navy, and his Prizma films resulting were shown in the first week of January, 1918, at the 44th Street

Theatre,

was now

New York

City.

Prizma, Inc.

well launched, and a staff organized. Among others engaged

was was

Howard Gale Stokes, until then and for seven years previously copy manager of the New York Telephone Company. Stokes became production manager of Prizma Educational Color Pictures, a year later editor of the Capitol Theatre Colorland Review made by the Prizma process, and in 1920 executive vice-president of Prizma, Inc.

Nearly fifty distinct color processes for have appeared in the quarter century reviewed by these p?<res. and most of them were known basically when Prizma was in the lead. Technicolor, which was films

several months Brewster Color, provided by P. D. Brewster, president of the Irvington Machine Company, manufacturers of motion picture equipment in the

New York

fitted

used

and no negative. Experiments which bear promise of providing prints are along the lines of re-photographing the projected image on lenticulated film. subject,

Kodachrome

Eastman

the

film

process

having

several

coatings, each layer sensitive to a different color. Commercial advantage in all of these

processes requires low initial cost and a cheap provision of duplicate prints of uniform quality. Production charges are

gradually

descending.

Duplication

yet practical in all cases. The problem of their uniformity still has vexatious aspects involving unsatisfacprints

not

tory dyes, uncorrected projection lenses and uncontrolled projection light. Under unceasing, intelligent assault the problems are breaking down. Quite certainly the non-theatrical field will one day have color, true in value, nominal in cost, plentiful. But, in those early years of the visual

education movement, proper color,

away

from the amusement screens, was just an empty dream. Training the Teachers WITH the first sweep of the post-war visual education movement it became increasingly clear that a problem correlative

was

how

with that of providing school films to teach teachers to use them. Not to apply them, that is (although that serious enough), but how

metropolitan area, was favored until the gradual disintegration of the Prizma organization made that pro-

was a question

cess easily available. The technicians divide color processes into two broad varieties, "additive" and

where to get all the various items required by the whole activity. It was especially necessary to meet this problem because so many eager school pioneers were depending for their results on second-hand machines and worn theatrical product. For those able to afford new equipment and lucky enough to have

"subtractive."

image

the

additive

method

images are obtained by mixing

colored colored

in the subtractive the already in combined colors on

lights, is

the film.

About 1925 the to arrange a real

more important

known

this

supplant Prizma in popularity, was as a name, at least, in 1916, when the corporation started in Boston with a method requiring the projectionist to keep two separate color images in su-

The

its own color separation of the rays reflected into the camera by the image. As it would be extremely difficult and perhaps impossible to make contact prints upon similarly engraved positive film, the negative is developed beyond the usual point to convert it into a positive. As a positive it is then projected through another tri-color filter, and the result upon the screen is generally very lovely. The only grave trouble is that there is but one print of the given

The

begi'n about 1912, but his first important public showing did not occur until the evening of February 8, 1917,

film

bands,

light

"subtractive."

work had

aperture.

vides

firm

the long transitional period it resembled other existing processes, and usually on each occasion another "first Technicolor was produced. Among those feature" other firsts have been "The Toll of the

exclusively

for the Canadian

Government. Under his hand the Technicolor process changed and grew into something finer and more practical. At various times in

by first

an especial sort, being engraved with hundreds of tiny round bumps, each of which separately reflects the three colors of the filter and thus prois

business

experience working in department stores. In his Prizma process he photographed red and green images, too, but, in printing, put them one behind the other front and back of the film, and colored them directly there. His experimental

projectors

(Kodacolor is not to be confused with the later and more generally familiar Kodachrome.) It has become known also as the "lenticular" method.

traveled, cultured, recently director of the Research Laboratory of Electro-Chemistry and Metallurgy

widely

used

processes

in 1928.

ma, by William V. D. Kelley. Kelley was born at Trenton, New Jersey, in 1877, ended his formal education in high school, and is said to have had his first important

Technology,

color

theatrical

ing

forces were gathering American debut of one

color process.

Still,

even

had been invented as early as 1908,

France. The rights to that so-called Keller-Dorian process were bought about

1925 by the

Eastman Kodak Company

to obtain splice

and operate projectors, how to

film,

how

to care for the picture

supply, and

there were, of course, the usual printed instructions provided with every machine. it,

Such a booklet was James R. Cameron's Motion Picture Projection, distributed, beginning in 1921, by the Theatre Supply Company, of New York. (To be continued)

Page 198

The Educational Screen

MOTION PICTURES NOT FOR THEATRES

DeVry's School and how Business came to produce its own motion pictures and to set up departments in all major lines of American commerce and industry.

Part 27

ARTHUR EDWIN ZROWS

of the earliest guides,

and one

ONE

which many educational

film pioneers will recall with gratitude for

its serviceableness at the time, was an eighteen-page bulletin, Motion Pictures and Motion Picture Equipment, issued in 1919 by the U. S. Bureau of Education. Its authors were F. W. Reynolds and Carl

Anderson. Another pamphlet on the subject, six pages thicker, entitled Organization for Visual Instruction, was distributed by the same agency in 1923, authorship here belonging to William H. Dudley of Wisconsin. In 1922 was published Motion Pictures for Community Needs, by Gladys and Henry Bollman, probably the first of the full-sized books devoted to the particular problem. The useful Motion Pictures in Education, by Don Carlos Ellis and Laura Thornborough, appeared a year later. The year after that came

Visual

Education,

for the

Commonwealth

or were actually made available in most of the important institutions of higher learning in America. Crossing a friendly frontier one may mention, too, the Visual Instruction Service instituted at the Canadian University of Alberta early in 1925.

the regional centers of non-theatrifound it necessary to issue catalogues of their available reels, they included in their pages practical instruccal distribution

tions

on the care and handling of

films.

The

projector manufacturers added generously to this advice, but none went as far as the De Vry Company, of Chicago. In 1925, from July 27 to 31, inclusive, this

concern began the

summer in

visual

schools

first

for

of a series of free

workers

accredited

education.

types were projected for the guests each day there were stimulating daily roundtable discussions, a leisurely and thorough tour of the factory, a visit to the studio and laboratories of the Rothacker ;

Film Manufacturing Company, and admirable formal talks and demonstrations by Dudley Grant Hays, Nelson L. Greene. F. S.

Dean McClusky (then

Wythe,

made

director of research at Purdue University), and C. E. Egeler, who told

just

about industrial his

work

at the

films

represented in

Nela Park Division of

the General Electric

Company. was received with augmented enthusiasm by more than twice the original number in attendance, some coming from as far down south as Texas

The 1926

session

and Georgia, and as far west as Nebraska. A. P. Hollis, now film editor of the

De Vry Company, charged with

Freeman

preparing

report Fund. But we are

school programs to be used principally with company projectors, appeared this

thinking now of the advice available on the sheerly mechanical handling of films rather than recommendations for experimental research.

time as author of a new and useful book, Motion Pictures for Instruction. The last week in June, 1927, was occupied by the third session, and the program for that, announced in the spring before the

the

editor of the Scientific American.

Austin C. Lescarboura, his

who had

The Cinema Handbook

school year, aroused much in those who anticipation wished guidance in using visual aids in classrooms, churches, clubs and all other close of the

published helped

pleasurable

in 1921,

the beginners materially with a series of called "The Mechanics of Visu-

articles

Moving Picture Age during 1923 to 192S, in the same magazine. Dudley G. Hays wrote inform-

non-theatrical

ingly about film methods current in the Chicago public schools ; A. G. Balcom

this

alization" in

via Educational Screen, of what he was doing in Newark with motion S.

;

Upjohn explained

school described

;

experience in the city of New York; and A. W. Abrams from his with the Visual Instruction Division of New of

his

York

State.

This represents a mere cross-

section of the available information.

was much more

There

who would

take a few extra pains to look for it. The cry had been raised, more insistently than usual, in the nineteen twenties, for formal teacher training in visual education. Loudest among the voices in favor were probably those of W. M. Gregory, A. G. Balcom and F. D. McClusky. Howfor those

ever, the work had already begun. Probably the first course of the kind granting

was

offered in 1918 by the School of Education of the University of Minnesota, and, in the next half-dozen years, credits

similar courses

were

either contemplated

all

named Thomas Fletcher. His story was somewhat complicated. Years before, this human dynamo had built up a large and

his

Joseph work at the UniJ. Weber versity of Arkansas; Anna V. Dorris discussed her visual education setup at Berkeley; Charles Roach his at Iowa State College J. H. Wilson and Bernadette Cote theirs at Detroit; R. S. Corwin, visual education activities at the Milwaukee Public Museum E. L. Crandall advised variously from the standpoint procedure;

for

admirable undertaking because of an upheaval in the affairs of Herman De Vry. The disturbance was most unintentionally caused by a remarkable salesman

told,

H. pictures Los Angeles

exhibition centers,

were to be touched upon constructively. There was presently to be a gap in

From

1922.

While most of the other pioneers were theorizing on school uses of films,

Andrew

cialized in

Phillip

Hollis

boxes

That opening session, which so admirably set the pace for those in later years, and, indeed, presented sufficient example for the constructive discussion of film applications at many teachers' conventions elsewhere took place at the De Vry factory. Twenty-five persons, more or less well known in the work, enrolled as students, the most traveled being those from New York, Pennnsylvania and West Virginia. Herman De Vry, A. E. Gundelach, his vice-president; G. K. Weis, his factory manager, and others on his staff were present to demonstrate equipment and to answer possible questions about projection problems; but the conduct of classes was left to the capable administration of Andrew P. Hollis. formerly in charge of visual extension work at North

Dakota

Agricultural

member

College,

later

Frank Freeman's research committee, and, later still, managing editor of Educational Screen.

Educational

reels

several

organization to sell music under the "Regina" trade mark. Soon afterward the new century swept in, scattering its prodigal inventions, and the automatic piano became popular insuccessful

spe-

meeting practical needs.

different

stead.

Fletcher's sales organization could to sell music boxes, so he

no longer hope

replaced that line with player-piano music rolls standardized at eighty-eight notes. Barely had he become established there

when

the improved phonograph supthe player-piano as an active market item. Still undismayed, Fletcher turned to a portable phonograph with a battery-driven motor. Then the radio

planted

spoiled that. Even then undiscouraged. he turned his organization to selling lowbut in this case he priced radio tubes was sued for patent infringement by the ;

Radio Corporation of America, which bought out his claims on his agreement to desist in that competition.

for amateurs now pictures him, and he acquired for his preliminary stock in trade a combined camera and projector. The name under which he began selling it was not intended

Motion

attracted

Page 199

May, 1941

was no

there

particularly, for after the harsh

article

tl this

identify

telling,

experience he had been through, when he might have to abandon it and take on When he looked for a name, another. someone seems to have suggested "the

But X-Y-Z had Corporation." been used by many others, as any convenient telephone book will show. Nev-

X-Y-Z

ertheless, the idea

seems to have appealed

to Fletcher, and he took three other lethis

ters

concern

became

the

"Q-R-S

Corporation."

The motion

experiment indicated a worthwhile, enduring market at so Fletcher decided to enter the field really considerable scale. Deter-

last,

picture

that

ining :nt

the

he wished to

motion sell

equipVry's, he a million

picture

was De

out De Vry for half cash and a million dollars in

ight

Corporation. De Vry, enthusiastic over Fletcher and his project turned his cash into the business and became a vice-president. Improved machines were designed and expensive dies large

in the

quantities required for mass sella bright future elaborate pro-

With

ing.

motional plans were laid. But, with resources now invested more product than in sales organization, Fletcher could not hope to show his customary agility in the face of storm. The great Depression and a combination of lesser adverse circumstances suddenly ran the shares of stock down in value before uc the marketing stage could be

QRS-De Vry went under, and ry little was recovered. Fletcher stood bly y as long as he was able and then, in eached.

declining years, was obliged to face the bitter prospect of starting over again his

from the bottom. nearly wiped out.

De Vry

himself was However, when the took place, De Vry

inevitable auction canvassed his friends and raised enough to buy in the factory and the equipment, including the new dies. Putting it all to work, as he very well knew how to do, soon cleared his indebtedness and the

De Vry Corporation resumed from had been interrupted. As it happened, even had De Vry been ble to repurchase the factory, he would it have been as completely without

here

sources as his friend Fletcher, all beof a project into which he had

.use

ie tentatively about 1928. At that time Mr. Carpenter had approached him ith an idea for selling stocks of short ilms and cheap projectors to students

idying :ords

electricity, just as phonograph and portable machines have long

'en sold to home students of languages. hat unpretentious business was organed first as the National School of Vis-

Education and, shortly after, as the Forest Training Corporation. The Forest in question was Dr. Lee W.

Forest, a close friend of DeVry, who a direct interest in the undertaking and, to promote it, lent his name so cele-

brated

the

electrical

realm.

the

had not gone especially well but De Vry's head bookkeeper, Theodore Lefebre had asked and obtained rmission to see what he could do to start

climbing

steadily

ever

since.

programs were worked out and assembled by F. S. Wythe, who was then engaged in preparing the regular actual

De Vry Library. not surprising that the continuity of the De Vry Summer School was temporarily broken. But it is not surprising, either, that a service so definitely films for the

helpful was thereafter resumed. The new name minimized the De Vry connection,

because

probably

over-zealous some from commercial

critics objected to gifts

and it was then known as the Conference on Visual Education and Film Exhibition by the De Vry Foundation the last words presented interests

small

say "preferred." the past tense, because the admirable, dynamic, lovable Herman A. De Vry died suddenly on March 23, 1941, at Chicago. letters.

June 22 to 25, 1936, was designated as the "sixth" session, and the place was not the factory but the Francis W. Parker School

was then

listed

Chicago. A. P. Hollis as "Educational Direc-

The advance in his status was nominal his duties, so admirably performed on the first occasion, remained

tor."

;

same

substantially the

a tribute to the

soundness with which they had been conceived

With

originally. 19 to

;

National

sesful-

pioneer usefulness, this De School was discontinued.

Vry

June

filled

its

Summer

ninth

the

having

sion,

1939,

22,

Chapter VIII -The Customer Does

QRS-De Vry

were prepared to manufacture them

The

The organization name became

stock.

the

been

has

modest philanthropist preferred,

as the

illars

improve the situation. Under Lefebre the project attained a profit of approximately $30,000 in the year 1935, and it

;

only the teacher that he knew his

NOT

was persuaded

own

require-

ments better than any mere film producer could hope to do, but the feeling was shared generally by the picture man's other clients in industry and social service. In the client's first production experience the alleged film expert was permitted to have his way, but, when his work fell short of the client's expectations, it seemed that one man's judgment on what it ought to be was as good as

another's.

The trouble may have been that there was non-theatrically no satisfactory system of distribution, such as theatrical producers had, to prove the values of the given work by measuring mass audience reactions until any picture could have that thorough test of service, what a non-theatrical film should be necessarily ;

remained a matter of opinion. Besides, as the American "merchant prince," Marshall Field, said,, the customer is always

(Of

right.

have

ducers

course, non-theatrical pronot invariably recognized

In December, 1913, for instance, a firm in Detroit was taken to court for refusal to pay for a film which this.

dental

when he had found how little he really knew about the process. But it was more than a coincidence that, in the

half-dozen years directly fol-

lowing the Armistice and Peace, so many customers in America decided to produce

own

their to,

films

to write their

and

title

what

or,

own

amounted

scenarios and cut

cameramen employed

the

brought in. They called that "production." "Why should the decision have been so general, and why should it have been just then? One may only guess why, but whatever the reason was, I suspect that it was complex, composed of many contributory causes. Among these, no doubt,

were the flood of publicity in newspapers and "fan" magazines, telling how everything in the way of film trickery was done, and the extravagant advertising of

manufacturers of cheap camera equipment declaring that motion picture production was now so simple that it was really a layman's pleasure.

There were profounder moving causes which grew out of (and accompanied) great economic and social changes. Of these the mere need of volume in nontheatrical

production was one.

half-

had been produced for it.) That "might makes right" was not, however, the customer's full justification for his belief that, having seen one of his pictures made, he could do a better job than the seemingly eccentric fellow who had hired and commanded the crew before. Nor was the customer justified by

dozen pictures a year were enough to warrant the appointment of an employee

the prospect of saving money by doing it himself, for economy, in this line, is

ideas,

in informed, skilled management. Nevertheless, this money fallacy was frequently the precipitating factor if one discounts the common side determinant,

mainly

that

the

ployer's stake,

customer's man, with his emhis own) investment at

(not

thrilled

himself, a D.

the prospect of being, Griffith or a Cecil B.

Mille, telling players what to do and to aim. I have heard

cameramen where

it said by professional non-theatrical producers that the best to be hoped for in patronage was an order to produce every other picture for a customer the inbetween subjects he usually "produced" ;

himself,

returning

for

professional

help

to see that they were properly made, to care for the prints and to arrange for distribution, such as it was. But that the pictures should be made was undeniable.

Motion pictures by now were universally recognized to

for

their

influence

pOA'er

human

spread

and

action,

there were certain reasonable fitting

places

ways and which they might be

shown. National

magazines brought attention extraordinary manner in which American photoplays were unintentiop'*' opening markets for Americ?" - " Recalled from files a to

the

now

before me,

Freeman. Post of Janu\

is^!"'"

American

briX seen in the atniv

movie

at Karacli

foundations of a how a

potamia;

suited in steel watel\

'cf.' -' 5

Page 200

The Educational Screen

how a similar hint from the replaced human labor to load coffee in Brazil with a Yankee conveyor Railway

;

screen

;

how even our "Wild West"

films helped to modernize cattle-handling in the Argentine; how a glimpse of a modern

dredge in a Rocky Mountain drama improved irrigation in India. Another arwith the same purport was Frank Tichenor's "Motion Pictures as Trade Getters" in the November, 1926, issue of ticle

the Annals of the American Academy nf Political and Social Science. Still another

was "When

Movies Go Abroad," by

the

Charles Merz, in Harper's agofine for January, 1926. There were numerous published articles written in the same strain by Dr. Julius Klein, who in that period was actively connected with the U. S. Department of Commerce. Nor were the other nations unmindful of the situation. In 1925 Germany had imso

posed

many

restrictions

Yankee salesmen"

"silent

Results were so gratifying that in 1896 he instituted a department in the plant to produce photographic lantern slides, placing Otto Nelson, 29-year-old enthusiast from the advertising and mailing in charge of it. Nelson had section, plenty to do there, first because the stereopticon was used not only in vocational guidance but in promotion of employee welfare in general, and then because Patterson's revolutionary methods became so celebrated over the land that he gave illustrated lectures in many distant cities to explain his gospel, needing, of course, plenty of illustrative material. In addition, a plan was presently inau-

gurated to present lectures on the improved working conditions to the hundreds of visitors who came to Dayton to see the "first

model daylight factory."

follows

the

by the

intensified

demands

the

World War, and was a chief one may look to Big

First

the

principally

lines

porate organization had ended of the individualist in industry.

the

era

YET

was one

Departments

of the most downright

individualists in recent

who

established

American history the

possibly

first,

surely one of the earliest, customer's departments of film production. This

and

own

was John H. Patterson, founder and head of the National Cash Register Company at Dayton. About 1894 some $50,000 worth of his cash registers was returned to the

started a rigid investigation, moved his desk out on the factory floor to find the trouble, and apparently discovered it in the unhappy

factory as defective.

condition started

made

his

improving the

situated

that

once and condition,

workers.

where the plant was now known as South Park but section

contemptously called "Slidertown" one of the finest industrial places in

then

the area.

As workmanship

there obviously

had not been of the best else those deective machines would not have been to

him

he resorted to crudely a stereopticon

credi wn lantern slides and of Ed? cn ms workers their nesota,

similar

nearby

ct? n

mistakes, rent-

synagogue as a place of

was

the days of Slidersaid that the com-

pany had in its vaults approximately 250 reels of motion picture negatives on travel, manufacturing processes and other educational subjects, together with 100,000

Morgan

associates especially recogthe general situation opportufor large scale financing of pro-

The

factors

Harvester

W. M. Gregory of Cleveland, militant pioneer in the development of Visual Education and a leader for more than a quarter of a century in applying it to practical school needs. In

Institutional

such

organized of

interest"

United States Steel Corporation and the International Harvester Company.

previously existing or previously efficient

upon large numbers of individual sales, where visual demonstrations of product were especially important, and where cor-

town. In 1926

duplications of service, celebrated "communities

where

machinery, where profits depended

Company from

ister

nities

consumers of given products were reached directly by manufacturers who had no sales

(3 reels), and

Beautify Your Community" (2), which presented the story of the regeneration of the National Cash Regto

tected investments, and, in their ensuing work to suppress ruinous and needless

desideratum there, Business for initial proofs of the customer's direct interest in film production.

came

"How

pont nized

unprecedented

as the expansion of markets

"Men and Management"

and effort to industrial reorganization, and to an extent were recognizing the standards of employee welfare set so remarkably by Patterson. The J. Pier-

film."

As the nationwide organization of Big Business was an outstanding phenomenon of American life at "the turn of the century,"

mented with "Getting the Most Out of Retailing," were taken on the road by five lecturers, who presented them in the next few years before many leading chambers of commerce and other organized retail groups throughout Canada and the United States. In later years productions were made for Patterson by Rothacker, including,

are unable to afford material offered by the regular rental agencies. In the events leading to the disastrous financial crash of 1907, American business leaders were giving serious thought

protests

were made by the United States embassy at Berlin. And, as for England, to the globe-trotting, observant Edward, Prince of Wales, the. present Duke of Windsor, was attributed that much-quoted remark, "trade

Kinemacolor. Prints of of a Merchant," supplethose of another called

"The Troubles

stereopticon slides. The film service lends reels to local schools and churches which

upon these

that

with

contract

1901

Patterson

observed

that

the

rapidly improving cinematograph offered wider possibilities, so he summoned a

cameraman with Edison Company graph some test

his in

equipment from the

New York

scenes

to photothe factory.

This venture also proved successful. Accordingly, motion pictures thenceforth became regular attractions along with the stereopticon slides. The Edison work was followed by service more conveniently obtained from the Essanay Company in Chicago, and Essanay therefore produced films for Patterson in 1903 and 1904. About 1907 Nelson left the N.C.R.

organization to join Essanay. He spent a year there, another with Bell & Howell, a third back with Essanay, and finally returned to Patterson's employ. In October, 1917, the company showed, for the first time publicly, two films

produced by Essanay, "The Troubles of a Merchant and How to Stop Them" and "The Function of a Cash Register." The first received especial attention from theatrical producers because it was said to have cost $10,000, a large sum for an industrial in those days. There also had been, the reader will remember, a $30,000

constituting

were

International turbulent,

especially

emerging, as they did, from a history in which competition for sales was just short of cutthroat, although it marked also

the

first

considerable

introduction

of the installment purchase idea in America. It is said that the heads of the various

harvester companies, which arose on Cyrus McCormick's invention of 1831, were so fiercely antagonistic that when George W. Perkins of the Morgan firm tried to bring them together, he was able to treat with them only after he had installed them in separate rooms of his

Taken

office suite.

of their public

impaired izations,

together, the cordiality relations had been sadly

in clashes with farmer organand there was an enormous in-

diplomatic job to be done, after the industry had been reformed, to promote a better understanding of it by ternal

persons outside.

The

officers of International Harvester,

Chicago where Cyrus McCormick had planted his original factory, are loath to remind a quiesat

their headquarters in

but public of those fighting days they recall proudly (if somewhat vaguely) that, "years ago, when the making

cent

of motion pictures was still in its infancy, the International Harvester Company of

America was one of the the the

plan."

One

Farm,"

theatrical

film,

with

star

first

entitled

the

Beverley

then

to adopt to

"Back

celebrated in the

Bayne

(Continued on fagc 223)

Page 223

May, 1941

mono

announce new products and developments

firms

New

Recording Firm in Educational Field Recorded Lectures, Inc., 737 N. Michigan Avenue, Chicago, is one of the in the field of production It supplementary aids to teaching. a complete organization for "audible

latest arrivals

of is

supply to the teaching material in

will

publishing." school field

select

form of electrical transcriptions of the highest quality in all branches of the President of the new comcurriculum. the

is Gerald T. Stanley. "Recorded Lectures" offer the most practical and economical means for exchange of ideas,

pany

for personal communication of thoughts, and theories by our great teachers.

Leading authorities in all subjects may be heard in every classroom in the land through the simple medium of the ro-

the work progresses, it will be possible for all institutions of learning, large or small, to develop their own libraries of recordings perfectly selected

meet their own

collections

unique

will

reference

specific needs.

constitute

material,

cessible, usable at the exact sired,

Such

wealth

instantly

moment

of acde-

and permitting unlimited repetition

be needed. The values derivable from such materials will increase indefinitely with growth of the schools' as

may

collection

an ever-widening range of

Presto Turntable

stilled forever.

To meet the demand on sound equipment distributors for a higher quality recording and record playing turntable,

"Recorded

not propose to choose its own subjects for production. The fullest cooperation from the entire teaching field is cordially inAll comments and suggestions vited. will be welcome, as to what topics should be treated, what problems argued, what controversial matters should be presented from both sides, and what outstanding American scholars should be called upon for discussions within their special

Lower Screen Da-Lite

playing electrical transcriptions at 33-1/3 revolutions per minute or ordinary phonograph records at 78 revolutions per minute. Such equipment can find wide use in schools and colleges. It can serve music appreciation groups with Victor and Columbia records, or other recordings

from any source. Dramatic classes may hear and study masters of the stage from Mauric Evans to Orson Welles. Other departments may hear their own appropriate material, from outstanding sources of authority, and with endlessly repeated renditions from day to day and year to year. The master utterances of

Company announces

reductions

their

the

prices

third

price reduction in

schools, universities and clubs. All sizes of this Model B Screen have been rein

now

The 39" x 52" size, for now only $11.50. The 22"x32"

price. is

the 30"x40", $7.50; the 40"x40", $9.00; the 52"x52", $13.50. All prices are slightly higher on Pacific Coast. These are only a few of the typi-

heavy, live rubber tire is A metal

on the motor shaft drives

directly

against the tire, eliminating idler wheels, rubber-tired pulleys and other parts which

wear

rapidly.

moved

slip-over

pulley

re-

change speed from 78 to 33 1/3 RPM. The motor and turntable are mounted on a steel base ready for into

in portable or console phono16" record and transcription

stallation

graph players.

The 11-A

recommended

for use in

school reproducing systems, sound effects equipment used in radio stations, record-

ing and motion picture

high quality

studios

home recording and

and for record-

ing playing combinations.

$6.00;

cal values

among

the

Model B Screen. A has also been added. Da-Lite's

many sizes of the new size 84".\84" tripod

screen,

is and pivotally permanently attached, also will have reduced prices on 7 of its 12 sizes. The popular 39"x52"

tripod

is now only $20.00. Veteran movie makers may recall that this is the price at which the 30"x40" Challenger used to sell back in 1932.

size

Owners

still

cameras

who

enjoy projecting Kodachrome slides will be glad to know that all of the square sizes of Da-Lite Challengers have been reduced

The 40"x40"

Motion Pictures Not for Theatres (Continued from paye 200)

convenient

consisting of glass beaded surface, springroller-mounted in a metal case to which a

in price.

to the rim of the table.

the

Da-Lite's popular hanging screen which consists of a glass beaded fabric, springroller-mounted in a metal case, is largely used in classroom and lecture rooms in

example,

capable

commercial recorder.

The new Presto 11-A employs a cast aluminum turntable precision machined to dynamic balance. The table revolves on a

pulley

sizes of

"Recorded Lectures" constitute a supplementary aid to teaching that is most perfectly under the teacher's control and at an absolute minimum of time and effort. No audio-visual aid can be more readily accessible than an indexed file of no setting up of transcription discs equipment can be so simple as the mere As placing of a disc on the turn table. for means of sound reproduction, the problem is extremely simple. Many schools are already equipped with phonographs or a combination radio-phonoit graph. is a very easy matter to secure, through Recorded Lectures, Inc. or on the open market, an inexpensive piece of equipment, with a good reproducing head and arm and a two-speed turntable, which is

Prices

Screen

past five years.

model

of their

fitted

Da-Lite Screens. Greatly increased demand in the past year has resulted in economies in the manufacture of many of the sizes and has made possible the lower prices. This constitutes

released as a separate unit the dual-speed 12" turntable formerly sold only as part

shaft well.

Announces

Da-Lite

many

Presto Recording Corporation, 242 West Street, New York City, has just

55th

single ball bearing as the base of a bronze

duced

For schools not so equipped,

does

Inc."

Lectures,

fields.

subject matter.

;

of interest to the field.

our greatest scholars can still be listened to in classrooms after their voices are

important

tating disc.

Where the commercial

now

only $16.50.

The

12 sizes of the Challenger ranging from 30"x40" up to and including

70"x94", from $12.50 up, meet most classroom needs where portability is a factor.

Da-Lite Screens have been famous for their fine picture quality, convenience and literature durability for 32 years.

New

containing all of the new low prices will be sent upon request. Write Da-Lite

2723 N. Crawford

Screen Company,

Inc.,

Avenue, Chicago,

Illinois.

role, produced for the InternaHarvester Company by Essanay in

leading tional

1911, has been called "the first full length industrial motion picture made in America." Adoption of the film plan was reel

surely early, although I am uncertain of the date." It is positive, though, that in

1915 the Agriculture Extension Depart-

ment

of the International Harvester

pany maintained

active

Com-

supply

lantern slides, charts and motion picture reels for "free" distribution in rural communities, and that ful

was

sufficiently use-

and important for relay distribution

by agricultural colleges, universities, nor-

mal

schools

and state museums.

The

concern usually keeps about twenty-five motion picture subjects actively in circulation, such titles as "The Triumph of Tractor Power," "Hogs for Pork and Profit" and "Business Management of Business Hens" being representative of those in the

list.

(To be continued)

June, 1941

Page 241

MOTION PICTURES NOT FOR THEATRES By

ARTHUR EDWIN KROWS interests did not neces-

mean

sarily

Installment 28 a few more notable cases in which certain large users of non-theatrical films have undertaken to produce their own.

MERGING independent

that the

previously

concerns

lost

their

nary worker's knowledge of his own industry and to impress upon him the value of careful, clean and faithful operation.

individuality, and it often happened that separate divisions handled their own mo-

pictures, showing conditions as a visitor

tion pictures, although as time passed a greater degree of coordination and elim-

would see them if he were privileged to go through the various plants and observe

ination of duplicate endeavors were accomplished within the organization. That

successive steps of production but the safety angle was always emphasized, and thus they played an important part

was true of several of the leading subsidiaries of United States Steel. Even today, on special request, American Steel &

Wire Company can supply on

single

reel

manufacture of electric power cables, or fence. National Tube Company has maintained two silent films to date, one in six reels demonstrating films

the

principally the four leading processes of

making pipe and

Superficially they

the

supervision

Good

Will

prevention program which to eliminate hazardous con-

did so

much

and practices and generally to improve working conditions throughout the steel industry. The first U. S. Steel ditions

welfare film was

"An American in

1912

in the the second

Making," produced was "The Reason Why," made ;

in 1917.

tube,

the

by Telephone

IF to John Patterson is due the development of employee welfare

company Theodore

meed of

Vail

initial

as a America, to should be given a

responsibility

;

in that accident

eliminate

will

possible misuse of "clips."

were general "process"

and another in devoted to the seamless method.

three,

such

praise for proving another

pany responsibility

com-

in public relations.

more admirable work has been done

that respect than by the Bell Telephone

System which, beginning in 1881, he was In chiefly instrumental in organizing. that case, however, there was no question of

reform,

because

the

Bell

enterprise

had held a clean record from the start, and had won public sympathy as the abused party in bitter attempts by the established previously telegraph companies to suppress it. Moreover, the charge of monopoly, so frequently thrown

Universal Atlas Cement Company now has three single reels, one presenting the

Big Business, never had any real point as applied to the Bell interests. The consolidation of industry as a public benefit at

stages of manufacture of this interesting product, another showing its application in general construction work, while the third illustrates how the material is used

exhibited on

never has been more clearly evident than in ending the nuisance and confusion of having to maintain in each office and home two or more competing telephones. In 1899 the expansion of the Bell Com-

interesting to recall that seventy-five separate reels of motion pictures produced by United States subsid-

pany into the American Telephone and Telegraph Company brought the industry into its stride which it has ever since

building. Similarly, American Bridge Company has film records of several outstanding examples of structural in

highway

steel

work which are

occasion.

still

were shown

in continuous sequence Panama-Pacific Exposition in 1915. In most cases, however, the earlier films, made independently, are now obsolete and unfit for general distribution, although they remain of considerable

so worthily maintained. But, in the organization's prosperity, it involuntarily joined a class which had become distrusted through demagogic appeals to

value for record purposes. Film production of this great organization has been entrusted to various established motion picture concerns, a considerable portion of the work having been

ship by thousands of stockholders, none of whom possessed as much as two per cent of the whole, for instance, it still

iaries

the

popular hatreds and fears. favorable might be said for it,

in 1940.

The

latter subject was also prein silent form for special use.

pared Coordinated film activities were first undertaken for United States Steel by the U. S. Steel Bureau of Safety, Sanitation and Welfare. This Bureau was organized in March, 1911, to keep the subsidiary companies advised concerning latest and best methods in accident prevention and welfare work, under the sympathetic and intelligent direction of the late Charles L. Close. Mr. Close be-

the

came greatly ities

interested

the

possibil-

Efforts of John H. Patterson to fulfil his social responsibilities were to

make him an almost legendary

fig-

ure in stories of American industry.

just another Big Business, rich, powerful, far-reaching. Its early struggles were forgotten by an older generation too bewildered by the swift march of progress

Workers were generally proud to appear in the films, and they were frequently seen, usually as operatives but sometimes merely to emphasize the huge size of the machinery used in the plants. Embarrassing circumstances sometimes developed through over-anxiety of workers and foremen to be sure that they and their departments looked their best, but this condition was soon overcome, and unintentional posing and "mugging" were avoided as experience in taking pictures was gained. Intelligent cooperation of the camera crew is

obviously

essential

for

the

presen-

tation of an honest picture of conditions as they normally exist. This accounts for

Mr. Close screened the films to good advantage to broaden the ordi-

nate

the reluctance of United States Steel subsidiary companies to permit indiscrimi-

picture-taking in their plants, or even the taking of any pictures without

upon the new. Benevmight be now (so the

to impress the facts

olent

using films for the benefit of employees, and those he acquired were widely used and studied by other concerns similarly interested in employee conditions.

owner-

was

done by Loucks and Norling

in connection with the six-reel silent "Story of Steel," which was made in 1926 and revised several times before it was finally retired in favor of a seven-reel sound film

Whatever its

though

specious agitators said) it could, in its strength and in the hands of unscrupulous leaders to come, be converted into an irresistible

juggernaut.

The assumption

was fallacious and even vicious, but there were many ears willing to listen. It is basic

human

nature to

distrust

the

strong neighbor, so, for the Bell System, as for all other great corporations (including Government itself), it became an added responsibility not only to serve the public faithfully and well, but constantly to reassure its fickle members. Despite the sharp failure of foreign Government operation of communications industries abroad, the Bell System narrowly escaped federal confiscation in war-

time on the ground that it was a vital public utility which should not be permitted to remain in private hands. The

Page 242

The Educational Screen

danger no doubt explained the redoubled good will advertising of the System at that time, and its heavier embarkation into motion picture programs. Howard Gale Stokes, copy manager in the adver-

was

department,

tising

the Brooklyn Edison Company was starting a film section, their warm recommendations brought him command of that place. After his departure from Western Electric, most of the silent camera work

there

conspicuously

active in opening this phase, in 1916 to 1919, arranging for production of the Bell

earliest

System

pictures,

industrial department, as Goebel attained, Brooklyn Edison situation was not

the

although

he left almost immediately thereafter for a connection lasting several years, as already related, with Prizma. When a reputable house is distrusted, the most obvious proof of good will is to

unusual. The customer, believing honestly that he knows his own product best, and,

through his advertising writers, that he can express his purpose effectively on frequently seeks for his production only men who know

suspicious parties in to see that it contains no evil devices. Consequently, the first usual step to be taken

any well-founded picture program inby a reputable Big Business is to photograph its processes before defining its service. The Bell System now did primarily that, creating its most active film department in the Western Electric Company, the division which manufacstituted

all

its

Truth to tell, he frequently does very acceptable jobs in these additional departments. For example, the film sectrouble.

tion of

Under Charles Wisner Barrell themotion picture program of the Western

was

men

Company ran smoothly during fourteen years of world unrest.

Electric

completed

it.

was duly published

American corporate In 1923 he became president of

1916, but Barrell would accept nothing for his part in placing it because a house

the Association of National Advertisers, and he was even then also president of the Audit Bureau of Circulations.

other than Scribner's brought it out. I was soon able to repay part of the obli-

relations

business.

With the company policy decision made, Thomson began looking for a man to head the new section. He approached Rufus Steele, but Steele was then more interested

of the

plans

National In-

Conference Board. Invited to suggestions, Steele told Carlyle Elto apply, but Ellis, already embarked

dustrial

gation, however, by arranging for his employment on the publicity staff of Triangle Film Corporation. It was there that

he gained the friendship of Carlyle

own

his

film

polite attention. a friend of Ellis

business, gave only a little later Steele met

on the street and inwhether or not Ellis had seen Thomson. The friend did not know, and

quired

hearing the details, suggested that if Ellis was not interested, perhaps he himself might be considered. And that, as developing circumstances presently made clear,

The

was the way of destiny. friend was Charles Wisner Bar-

one of the best possible men for the and Thomson was quick to think so and to act on his first impression. Barrell was of excellent character, had had sufficient experience, and quickly demonstrated a passionate devotion to duty. As a matter of side interest, it may be remarked that he was a descendant, in

from the Pacific

Coast

Eastern scenario

As head

who

1792, of Captain Robert Gray sulted in the discovery of the

which reColumbia

River.

happened,

was accidentally but

happily responsible for bringing Charles Barrell into the motion picture business. About 1914 he was connected with the

New York

publishing house of Charles Sons. Persuaded of the need of a certain kind of book in the sales list, he set forth to find a possible manuScribner's

script that I

on the subject and was informed had one such in work. With his

timely assurance of a waiting market,

the

duPont Company,

Balti-

more, was nominally headed for some time by Henry Hesse, a cameraman previously employed by Frank Tichenor at Eastern Film Corporation. When the Prizma Company's end was seen to be inevitable, about 1924, Howard Stokes left his vice-presidency there to return, at the invitation of J. D. Ellsworth, one of the pioneer sponsors of industrial films, to the American Tele-

phone and Telegraph Company, where he became executive head of the motion picture department. In that place, and now with the further background of havsupervised the production of about one hundred color shorts for theatrical, educational and industrial use, and having

ing managed the Prizma Jersey City laboratories for some time, he devoted his

ing,

talents and experience to the making of a number of films notable for their accurate reflection of the high-minded Bell

cess to laboratory

System

where he might have convenient acand projection facilities. When Rowland Rogers began his own business elsewhere in the same building, using students from his production course

Columbia, Barrell moved his quarters there and, about 1923, went to the address which he was to maintain for many years thereafter, at 121 West 41st Street. This at

and

Boston,

came to know Steele. Western Electric Mo-

tember, 1918, Barrell took an office in the celebrated old Masonic Temple Build-

place,

of that Joseph Barrell of helped finance the voyage, in

of the

tion Picture Bureau, starting about Sep-

rell,

line,

lately returned studios to become

editor, and, in turn,

job,

the direct

Ellis,

who had

make lis

ing his opportunity, may assume directorship and become a film editor with little

physical equipment. There,

charge of publicity and advertising, Philip Livingston Thomson, who had been with the organization since a year after receiving his A.B. from Harvard, and already one of the best known public

how

photograph and see the film through to the stage of release prints. In such circumstances, a clever cameraman, watch-

tured

actual

paper,

the

invite

was done by Walter Pritchard. cameraman's rise to command of an

equipped with vaults, cutting-room

projection booth, had lately been vacated by C. L. Chester. Now it was taken over jointly by Western Electric,

George Zehrung and

his

Y.M.C.A. Mo-

tion Picture Bureau, and the United Cinema office of Wellstood White.

At first merely writing the scenarios, contracting for production and arranging distribution, Barrell soon developed as an able director himself and, in the fourteen years of his connection with Western Electric, achieved a distribution record of having more than a million feet of simultaneously in circulation. His in the early years was James Goebel, an alert young technician who had received his first training at Vitafilm

cameraman

graph, where his sister, Anna, was librarian of the scenario department. Jim was that sort of worker who could be trusted to use his own judgment in difficult situations so, when word reached telephone executives who knew him that ;

policy.

Most

of these subjects, aiming at the promotion of public good will, were not the customary demonstrations of manu-

facturing

were

processes,

many

useful

other situations

these

they were, rather, enlightened and enlightening interpretations of service after the making of product had been completed and it had been made available. This unusual type of accomplishment was to be expected, for

Howard

;

Stokes, in his earlier

connection with the Information Department of the A. T. & T., had become widely known as the originator of the successful and much admired "courtesy advertising" of the organization. In wartime, when nerves were frayed, and the entire

nation

was

irritable

Stokes did an important the celebrated slogan, the Smile Wins."

and

jittery,

bit

by devising "the Voice with

A few of the early A. T. & T. pictures had been produced by Alexander Leggett, who, it will be remembered, was advertising man as well as producer. But now, with larger plans, it was decided to more directly. undertake production Stokes looked about for a proper assistant, and presently decided on Jerome M. Hamilton. (To be continued)

Page 284

The Educational Screen

MOTION PICTURES NOT FOR THEATRES \\TERRY" HAMILTON was

then,

assistant

but not for

aback,

at once to learn

was naturally taken long.

Hamilton joined Stokes

charge of lectures J and motion pictures in the General Information Department of the Bell Telephone Company of Pennsylvania. He had come there in 1922, when Leonard Ormerod, who headed the Department, had just requisitioned camera and lighting equipment for film production. When the apparatus arrived, Ormerod sent for Hamilton, indicated the strange tools, and told him to "get busy."

The new

and

proceeded

what the apparatus was

about and, in the next five years, to expose approximately half a million feet of negative for the production of about a score of exceedingly serviceable pictures ranging from one to six reels apiece. During the first year he composed all

October, to

join

New York

1929 Stokes resigned Electrical Research Products, 1927.

and they generally did in

Philadelphia

couraging to prove that the method was effective, and when Arthur Loucks, then representing Bray Pictures, called to soa production order, he was commissioned to make a professional subject, a screen cartoon entitled "Treat 'Em Right." This, presenting common abuses of the telephone, became popular, selling some ISO prints and being exhibited throughout the Bell System. succeeding licit

"My Hero," was proby Loucks & Norling, who by this

industrial cartoon, left

Bray and

set

up their

own

independent business. Carlyle Ellis made several productions for Stokes in the silent films period, and

wrote continuities for a couple. For all in contact with Stokes and his high conception of the work to be done with films in public relations it was a I

who came

stimulating, elevating experience.

From

time to time unworthy enemies of Big Business have tried to impugn the fine motives back of these Bell System good will films, alleging their misuse as propaganda in rate drives but no such charge has ever been made to stick when the facts have been investigated. ;

Instruction

Section,

using

loyal,

of his peculiarities

Utilities

self

example set by Edison himproducing educational films, the the

electrical interests were not as prompt as might have been expected in institut-

film

ing

Edison leader,

Bateholtz,

General Visual

films.

the sec-

years. He of much ability, conscientious but rather an odd character.

was then aged about 36

tion,

was a man

was a widespread

boast that he had never remained over-

System.

WITH

its

who headed

One

Companies of the

departments.

The New York

Company, stirred by its active Arthur Williams, who died in

night in New York City which he evidently disliked. But despite the quirks,

which

attributed

friends

his

in-

an excellent establish the General Electric Film Service. He took his duty with a seriousness which is indicated by his enrollment in the Society of Motion Picture Engineers in 1918, and by the different

health, work to

Bateholtz

did

long continued circulation of the subjects prepared under his supervision. He retired from the Section about 1928, being succeeded by John Klenke who, in 1931, relinquished the place in turn to John G. T. Gilmour. Gilmour, born in Schen-

ectady and educated to a B.A. at Union College, had been cameraman and production manager in the department for some time previously. In November, 1939, Gilmour was transferred to the General Electric television station, W2XB, the vacated film post being filled by Charles R. Brown. Of late years, in circumstances which will be sketched later in this his-

many sound films have been produced for General Electric, but in the tory,

Pittsburgh.

duced time had

that prosubjects.

the

that

instituted

for the use of Associate

from and

His camera had a "stop-motion" attachment, so, after his first production year, he undertook to photograph his own technical animation with an improvised setup. Results were sufficiently en-

Company

and

personally developed some of the negative. By way of rounding out the experience, Hamilton had also served an apprenticeship in finding audiences. When he had produced a sufficient number of subjects to warrant the undertaking, he had organized a regular distribution, shipping telephone films to theatres that would established

Bureau

Picture

Electric

and Hamilton was promoted to succeed him. Since then Hamilton has supervised all American Telephone and Telegraph motion picture productions made

own scenarios, directed, photographed and lighted every picture, then wrote all the subtitles, and edited the footage. He even

run them

their

tion

Inc.,

his

centers

more about groups own propaganda

still

duce

ARTHUR EDWIN KROWS

1927,

The first detailed history of non-theatrical films continues with Part 29

active

list

films

silent

non-theatrical

distribution

source remain about

fifty

available

for

from

that

technical

and

popular subjects.

To Telephone Company opportunities for service Jerry Hamilton brought first-hand acquaintance with films. 1937,

produced a few pictures on power

production and home appliances, and two or three on the broad contribution of electricity to civilized life in the great city; but the movement in that division of industry did not at once get into its stride.

Then came

the General Electric

Com-

pany of Schenectady, New York, which had waxed rich and powerful with the unfolding of an electrical age, and which had learned to respect public relations through both its organization by the Morgan group, in Wall Street, and the heavy investment of its surpluses in public utilities. Before the First World War it had a department issuing lantern slides and the reader will recall that, in the summer of 1916, the Reserve Company of Cleveland was preparing to produce a General ;

Electric film on the history of illuminato be entitled "Flame Eternal, a Drama of Light and Love." But it was

tion

Two

well

organizations which

goYie into large scale production for theatrical release of industrial subjects, only to be reduced suddenly, were the

Motor Company, with its "Ford Educational Weekly," and the Canadian Pacific Railway, which allegedly spent about half a million dollars in the purchase of the old American Gaumont plant at Flushing. This railroad particular project was terminated on the generally Ford

excellent advice,

said,

of the cele-

brated public relations counsel, Ivy Lee, just when authoritative journals were hailing the intended work as "the broadest

gesture so far in industry rising educational possibilities of the

the

screen."

American

railroads

were actually much

disposed to use films in public relations work. The very nature of the business offered

innumerable

opportunities

for

producing attractive pictures which would be welcomed in theatres as well as in churches, schools and clubs. Ray-Bell shot the

100,000 feet of scenic material

Northern Pacific

not until about the

New York

the

of the

same time in which Western Electric established its Mo-

known

had

1925,

for

and the

Central also considered reels then. But the In-

same character

Page 285

September, 1941 terstate Commerce Commission, given increased powers as repeated investigations revealed irregularities in rail practice,

Pictures

method

whereby

guided by its thoughtful advertising chieftain, Franklin Bell, announced new reels on food products, and bewailed the lack of a proper color process with which to glorify its tomato ketchup, chill sauce and soup. In Kansas City Paul Kendall

the

expanded

new way to cultivate good will, was make films which in themselves were

of undeniable value to employee welfare more generally, of public benefit. Thus, there was nothing but praise for the Central Railroad of New Jersey when,

summer

of 1917,

its

was

warmly supported by

1923,

for

of the prolongation of life and the proper safeguarding of property. None of these

a favorite cause

Safety campaigns of the Public Service Corporation of New Jersey owed their effectiveness almost as much to A. J. Van Brunt's personal drive as to force of the utility itself.

the Public Service

further instance, the

Nevertheless,

the

Public

Service

New

Los Angeles. H.

understand, of the old Edison Company. I was well acquainted with Van Brunt

producer.

and even produced some of his subjects. He made a new one annually, as a rule, using employees of the corporation as actors. His department, at the headquarters in Newark, was ruled with the proverbial rod of iron, but was pervaded by real respect and affection for him on the part of John Orth, his first assistant, his pro-

William Alexander (who was

jectionist,

Balcom's

also

chief

projectionist

for

the public schools of Newark), and his various other direct associates. It is undeniable that Van Brunt, who died sud-

denly age,

his office about

1934 at a ripe contribution to the of life and limb in a wide beyond the borders of his

made a marked

protection

area, far State. It may be added that he enthusiastic and active member

was an of

the

National Safety Council. The New York Central Railroad found the

I.C.C.

barriers less difficult to

mount when

made

films

for

sur-

farmers

through its Agricultural Department at Chicago. From the regular advertising department, in New York, others were addressed to the farmers of the Hudson

had worked

position at the

way Thomas

his

and Ince belonged Triangle Film Corporation, where Carlyle Ellis, Charles Barrell and I were also then employed. It is said that in the production of "The Birth of a Nation" he was one of Griffith's fifteen or so assistant directors. After the War Bernard made his way East and after working briefly at Universal, set himself up as an industrial Ince

importantly

in his later years,

into a publicity

Jersey or its earlier organization, if the corporation does not date so far back probably should go the pioneer status, for its celebrated director of safety education, Alison J. Van Brunt, is said to have supervised the making of a film in the department of his especial interest, about 1904. It was one of the side industrial productions, I

Corporation of

Long-

other Big Businesses of the day, kept film propaganda beyond vile accusation by their happily discovered themes

own photog-

Boston Elevated Railway made a safety film in cooperation with the Boston Conservation Bureau.

section of the

their

Corporation of New Jersey. However, the approach was not peculiarly New Jersey's.

film

all

rapher. Felix Guyette, working under direction of Charles Davenport, produced

a reel on safety. This

his

Lumber Company, instituted in 1915. The insurance companies, suspect with

Bell

or,

in the

machinery which scooped and rattled coal from the bowels of the earth. The Heinz Company of Pittsburgh,

"regular" lines of business could avail themselves, without serious criticism, of the

modern

seems that he did. In all likelihood it was the imminent, rigorous investigation of public utility companies which arrested the natural use of demonstration films in various forms of municipal service such as urban transit, lighting and water supply. successful

by the Goodyear Akron, Ohio, showed

The New England engineering firm Stone & Webster unreeled the saga

One

that concern to be waxing enthusiastic over what latex could do for aviation.

sternly limited advertising appropriations. It was this situation, no doubt, which impelled Ivy Lee to advise the C.P.R.R.

sponsored

Rubber Company,

Studios, to the

He was

competent, hard-work-

ing, and quickly became popular. Barrell gave him a few directing jobs for Western Electric, and he acquitted himself creditably there. His principal clients otherwise were the Jersey Cattle Club, the Masons and the New York Central. He had his two sons at a private school outside the city, and I remember that he used to make a picture for the institution each year to pay for their tuition. But one day along came the Florida land boom and he was caught in it. When that exploded, and most of his prospects with it, he landed for a breathing-spell on his father-in-law's ranch in California. Eventually lie made the connection which he held until a grave illness in 1941, of reporter on the Los Angeles Herald-Express, the same newspaper which had employed him thirty years before. The topsy-turvy motion picture business is

with ironic coincidences like that. have just counted the names of over hundred industrial concerns which,

filled I

five

the "silent" period of the half-dozen years prior to the popularization of talking pictures, had so-called motion picture departments for the distribution of films in

produced expressly for themselves.

Some They

Valley. Three or four of these were produced for the Central by J. L. Barnard, and given distribution through granges.

were sizeable and

"Barney" Bernard, as we used to call him, had been a newspaper reporter in

Company were stressing explosives rather than their many present by-products.

all

were

serious.

generally told just manufacturing stories. The duPonts and the Hercules Powder

made

than

the

more genuinely

useful job of it Metropolitan Life Insurance Company, guided by its Third Vice-President In Charge of Health and Welfare Work of Policy-Holders, Lee K. Frankel, and later, by his successor, Dr. Donald B. Armstrong. Several of the most successful silent productions for this account

were made by Carlyle Ellis. The subjects were chiefly on prevention and cure of tuberculosis, diptheria immunization and periodic health examination.

Benefit of Clergy

THE

clergy had been interested unremittingly in the church uses of films, as these pages have amply indicated, from the start of the industry yet, here was even an added effort of the customers at ;

this time to take

hands.

matters into their

own

however, the interest was not in that simple informative content of motion pictures in which schoolmen were so greatly concerned, but in their emotional powers, which the theatrical men themselves esteemed. As a matter of fact there are many this

direction,

points of identity in the forces of drama religion. Despite their frequent fall-

and

ings-out,

climes, ritual,

the theatre,

has

had

its

all

origin

and has grown

times

and

religious under the foster-

ing care of the priests. Apropos of this, it is ironical that in 1922 the editors of the Christian Herald should have invited audiences "to illustrate the relation of movies to the church." It is perhaps more pointed to remark that the Reverend William Sheafe Chase, while one of the most uncompromising leaders of the movement to censor motion pictures, purchased a Simplex projector and showed films occasionally to his

Sunday Schools

and

adult congregations as rector of Christ Church in Brooklyn, New York.

There may be close resemblances in the respective dramatic tastes of church and theatre, but there are sharp differences at the same time. Because there are,

clergymen wanted films of their own.

They wanted them sons. I

also for doctrinal rea-

have been told that approximately

fourteen separate film versions of the life of Christ have long been in active cir-

(Continued on page 292)

Page 292 At

Proceedings of the D. V.

the present time, a study

being

conducted by the writer in order to provide more reliable classroom use. This investigation is being carried out with the aid of a grant from the Committee on Scientific Aids to Learning of the National Research Council.

For use sound

in this study, a series of six slide films are being produced on

month or two

after

the end

third

be used of

the

experimental period, as a retention test. The comparisons planned in this study are by no means all of the interesting and worthwhile comparisons that might be made. However, the major purpose of this

experiment

to provide reliable

evidence

employed.

That is, they attempt to parand supplement the usual general science course and textbook. Each film has a presentation time of fifteen minutes, and contains approximately forty

tion should be available

allel

(An experimental

of the

ness

room

use.

the

sound

The

practical effectiveslide film for class-

results of this investiga-

by next spring.

version of one of the sound slide films to be used in this study was shown at the Boston meeting )

trial

pictures.

Since only one side of the record

re-

minute script, two complete scripts will be used for each film. On one side of the disk will be recorded a general overview of the material, to be played with the first showfor

quired

the

The other side of the ing of the film. record will be played the second time the film is shown, and will provide a more factual and detailed treatment of the same material. In the experimental use of the films, each film will be shown

three times, over a period of two weeks. The second script will be used for the second and third presentations. The evaluation study will begin the

week of the fall semester, and run for twelve weeks. Ten coopeiating science teachers, and approximately 800 third

ninth-grade students will participate in the experiment. All teachers will be using the same textbook and the same teaching plan. The classes will course in science for these

general be the

first

students.

experimental groups are to be All five groups will take the used. usual general science course normally They will all use taught in the school.

Five

same textbooks, have the same assignments, and see the same demonstration experiments ordinarily used in the The controlled general science course. differences between the groups will be the

in the additional materials they will use. Group I will see the sound slide films.

Group the

will

teacher

see

will

the

read

slide

the

film,

script

and (the

same

script used for the records). Group III will use the recorded sound, but will

Motion Pictures Not for Theatres

each to

from a single New York library, meet some especial need of some

before the First World War interfered with the peaceful course of development, was the fine Italian passion play "Cristus." It had been completed about 1915, after approximately two years of elaborate production ranging over authentic locations in Egypt and the Holy Land.

feature

was the

re-creation of world-

famous paintings in tableaux. The producer was Count Guilio Antamoro, the scenarist Fausto Salvatori, the sponsor Cines. With a record of "more than 1,000 performances in Paris, Rome and Madrid," it opened at the Criterion Theatre in New York, May, 1917, prepared for a run. But the Broadway public, it seemed, was in no mood then for the retelling of an old story about the Prince of Peace, how ever beautifully it may have been done, and the attraction was obliged to close.

Produced by Romans at about the same time, directed by Armand Vay, the cost of approximately three million dollars de-

frayed in part by the Italian Government, was a long film on the Old Testament: but this did not appear publicly in Amernon-theatrically

French

series of

At the beginning of the experiment, a standardized intelligence test and a General Science background test will be given. The results of these tests, together with information as to age, sex, etc., will be used to define the groups. general test on the material to be covered in the twelve weeks of the experiment will be given before any of After the complethe films are shown. tion of the work pertaining to each film, every two weeks, a test on this particAt the end ular material will be given. of the twelve weeks a second form of

Film Company

and

In the spring season of 1917 one heard Unique Film Corporation of New York, which expected to produce Catholic

Truth motion pictures. From Madison, Wisconsin, in October, 1917, came the report of the Trinity Film Company, to pictures "having biblical, educational and industrial

his-

tings," started, so 'twas said, by A. ian former director for Allison,

Dor-

London Film Company and

with

later

set-

the

Pathe. The strong film activities of the Methodists, 1915-1920, covering the employment of D. W. Griffith and the sailing of eighty-six missionaries with propa-

ganda reels, have already been mentioned. There now began a Lutheran Film Division, distributing from New York, and, in the same city, the Board of National Missions of the Presbyterian Church of the U. S. A. organized a motion picture program. There is more concerning the Presbyterians on a later page. The Lutherans have clung to the idea. Virtually all of the twenty-five Lutheran Colleges already have films in promotion of their own endeavors, and these enjoy a regular and fairly extensive circulation. In June, 1938, the National Lutheran Council reappeared with an even more elaborate project, although Dr. Ralph H. Long, the executive director, pointed out that the plan had still to be approved by the executive committee. However, a study of possibilities was even then under way. The idea was to serve Lutheran colleges, churches and missionary societies

;

and for them six general types

of film were to be provided, to wit 1.

Films covering

phase of within the Lutheran activity Church home, foreign, and inner missions colleges, academies and seminaries brotherhood, Luther League and Missionary summer camps, Bible Society schools, district and national conventions historic church buildings, monuments and localities. A newsreel, issued monthly, incorporating outstanding current events in the Church. A series of films covering the history of the Lutheran Church in America from the time of the every

;

these

first settlers until 4.

clergy.

An interesting story probably could be told by survivors of the Bible Film Company, which was launched in the unexpected place of Las Vegas, New Mexico, in December, 1916. Production was announced to begin "in two or three

months" on the company's property

Montezuma Hot

but after that the record

;

suppose that foreign productions, even while they were being planned, exerted a certain force of example upon our native line,

Springs. Harry C. Grigsby of Los Angeles, was the reputed financial backer, and the president and

of the

America are usually kept well informed about what other nations are

doing in their

1917,

stops.

entitled

May,

become director-general of the Bible

twenty one-reel biblical

Group IV

travelogues

Edwards, manager of the Pathe Exchange at St. Louis, Missouri, resigned

when it was released by Harry Levey. And the

and the

will use the picture booklets, teacher will read the script. will be a control group, and Group will use no extra material.

publicity manager.

ica until late in 1922,

Pilgrimage to Palestine," was not distributed by the Pathe Educational Department here until 1925. But central church organizations

have booklets of pictures on their desks (the same pictures as in the slide film).

Worth, Texas. Roger Topp, prominent Los Angeles business man, was secretary-treasurer, and Phil H. Le Noir, of Las Vegas, appeared as scenario editor-

torical,

particular faith or denomination. The last important frankly religious picture to reach the screens of America,

general manager was named as Dr. A. L. Andrews, a prominent minister of Fort

produce

(Continued from page 285) dilation

The Educational Screen

Meeting

the general test will be given. form of this general test will

These subject of General Science. films are designed for use in the manner that visual aids are most commonly the

the present day.

series of religious films of Bibical characters and events for use in Sunday schools, vacation

Bible schools, and general religious education. series of problem films, depictsituations life centering ing around ethical, religious or social for use in problems suggested regenerating discussions. Religious and educational films from other sources.

(To be continued)

Page 333

October, 1941

MOTION PICTURES NOT FOR THEATRES KROWS apparently no public announcement of further development of this large proposal has

ALTHOUGH it is

useful to notice the plan

because it illustrates so in this idea of what clearly the churchman's be. films useful to him should In 1922 the Reverend John E. Holley, menwith the pictures "of every spot he had protioned in the Bible" which duced in the Holy Land with the backing detail

was of Albert Krippendorf of Cincinnati, to arrange their in New York seeking

He was then operating under name Geographic Film Corporation.

distribution.

the

when

dent of the University of Puget Sound, and a man, Yankee born, with the extraelected a ordinary record of having been State senator in Mississippi. In a small office in the same building, not far from that in which Boone and Holley were working out their respective minister nursing still plans, was another another church film project. He was the

Rev.

James

Shields,

and

Methodist

New

Jersey

Episcopal persuasism, State Superintendent of the Anti-Saloon name PlyLeague. On his door was the mouth Pictures and a line of explanation that from here was distributed "The

fellow clergyNaturally attracted to a man in the line, he had taken up tempo-

Temple

Building.

Boone had

F. S. Wythe, sublet desk room also to who had lately arrived from the Pacific to Coast with his civics pictures, and Rowland Rogers who had left Bray.

executive

sat

command.

York house truly

the "Pal," was a prince of Constantine, thus conferring a of nonroyal touch on the field as

theatricals.

titles

and

teresting,

edit the film generally,

talented,

cultured

named John Michael

Flick.

in-

young man

did a

job with material which was not especially striking for, with all due respect to the shrewd intelligence of Dr. Holley, he lacked directorial exHe had I always liked Flick. perience. the purged kind of character which could learned

and

efficient

have emerged only from long adversity. One day I learned what he had been Austhrough. He had been a soldier in tria at the start of the First World War, but had been captured quite early in the He languconflict on the Russian front.

ished from then, until the coming of peace,

When he had a Muscovite prison. completed the Holy Land Pictures they

were put

into circulation.

distributing concern, especially orwas called the Krippendorf-HolFilm Libraries. As special booking re-

The

ganized, ley

culpresentative, for awhile, was a kindly tured gentleman, Julius C. Zeller. Dr. Zeller

was a one-time

minister, former presi-

wealthy persons who,

hobnobs with leisure

the

their retirement, are disposed to bargain a percentage for with God

by yielding He has to the conduct of His works. show these previously tight-fisted benefactors the way and in terms which they In time the hard battle reacts can see.

James K. Shields brought up

his

elder Shields

was never a

precipi-

bide his time. But, after "The Stream of Life" had proved its capacity for success, he In another production.

man.

could

always

contemplated six-reeler, it 1921 appeared another written by himself, but this one directed for him by William Brotherhood. "A Maker of

Men" was

its title, I

produced by

believe.

About

was

also a two-reeler, It was deBrotherhood.

a year later there

Success of Rev. James K. Shields in making films pay has long inspired the other church efforts to produce.

signed to please and tactfully to memorichurch benefactions of an Ameri-

alize the

That six-reel film, "a Life." moral regeneration and faith drama Dr. restored," had been produced for Shields in 1919 by Plimpton Pictures Corporation, using a scenario composed Stream of

When Fowler's work was roughly adsubvanced, there was called in to write

service, is of necessity

trained promoter.

The

Stokes still The back-

in social

engaged

tate

photographed

grounds were pastel drawings especially made by Paleologue. This artist, well known in art circles of Paris and New

But the clergyman much

entailed.

minister, especially the

tribution.

the scenes in accordance with Holley's was to have main plan. Part of that plan by the Prizin

ma Company where Howard

pounding dimly seen, which

son Wendell, and he, sitting daily in the Plymouth Pictures office, thus learned to anply the gruelling powers to a kind of record accomplishment in church dis-

and who had photographed the fifty-odd reels of material which he now possessed. Fowler's present duty was to assemble

color,

films still in silence.

bution accomplished in question was withNone but James K. Shields, out effort. of the himself, can have a fair conception the the wheedling, patient scheming, the inhaggling, the counting of pennies, towards a goal but cessant

picious school,

Holley still had in his employ Larry camFowler, the one-time Thanhauser eraman who had accompanied him abroad

titles

magic

their

The objects of his on the clergyman. attention soften and eventually contribute, but in the meantime the minister, off his and susguard, tends to become callous In this hard as once were they.

Boone in the rary quarters with Ilsley Masonic

non-theatrical

worked

ARTHUR EDWIN

been made,

Religious and medical departures in those recent years

Port 30

by Dr. Shields, himself.

How ture

ever much man may have

the professional picsneered at the result,

the fact remained that Dr. Shields

knew

ten have had years of service it is said to more than 10,000 paid showings. Its ex-

his

customers.

hibition

was

In this

essentially

film's

first

non-theatrical,

its first large pre-view, indicating a usual beginner's vain thought that a propaganda film will be snapped up by the

but

regular playhouses, was one morning October, 1919, at Roxy's Rialto Theater in Times Square, before an especially I audience. "hand-picked" invited, thought of that one other morning in 1940, when American newspapers hailed in

English "innovation" just brought about by a church group in London that the

had engaged a theatre in which a "trade show" for the clergy.

to present

from the It is not to be supposed, foregoing bald statement, that the distri-

can merchant prince.

was

called

"The

Boy John Wanamaker." in broad were now looking more intently at the church opportunities for films, and from among

Other

these

ministers

aspects

came

social

forth

engaged service

man we

already

know, the Rev. Baul Smith, nemesis of San Francisco's "Barbary Coast." Strongly impressed with his experience in making "The Finger of Justice," as

Wythe had

New York

been, Smith had come to to live temporarily with his

brother, on Staten Island. He now had the persuaded the executive head of Methodist Book Concern of the

wealthy

It was his idea to opportunity. organize a production unit to tie in with the Interchurch World Movement, where H. H. Casselman already headed a so-

great

called Graphic Department and had shown In fact, considerable interest in films. late

1919,

the

Interchurch

World

cooperation with Corporation, had sent two film-making expeditions respecAmerica to tively east and west from acting in Educational Pictures

Movement,

Page 334

The Educational Screen

show the work one

the

Near

Far

of the foreign missions,

photograph

the

East,

The

East.

North Africa and

other to cover the

expedition had

Asiatic

been under the general direction of Arthur V. Casselman, Secretary of Missionary Education of the Board of Home and Foreign Missions of the Reformed Church.

Smith formed the unit, indeed, obtaining $50,000 with which to start it; but its with

connection

only

Interchurch

the

World Movement was through ing boards of directors. The name he chose for the

was

interlock-

Church Film Corporawas described as an interdenom-

was hoped,

5,000

American churches

in a great exhibition circuit.

gram was prising

distinction also in that line.

now,

his

interested

means

retirement, he had become the motion picture as a

of extending the

new

pro-

com-

to be supplied each week,

modern drama, a comedy, a

felt

begin the enterprise with the impressiveness which he believed necessary to sell stock for its development, Smith

about 1921, virtually the entire second floor of the celebrated old Flatiron Building at 23rd Street, where Broadway and Fifth Avenue come toleased,

Henry Bollman, who,

after leav-

ing Community had tentatively begun a business called the Library Film Service, to

son

Batchelor, director of the

manage

the setup

who had been

;

Bron-

publicity

Hundred Million Dollar Red Cross campaign in 1917, was en-

gaged to prepare a prospectus; and one Paul Marts was assigned to publicity.

With

these reinforcements of his

own

magnetic personality, Paul Smith gained pledges, it is said, of approximately $870,000. But, of the money he actually re-

was reported

ceived, the original $50,000

gone

salaries,

overhead and

miscel-

Old Testament. He wanted his pictures to meet ecclesiastical requirements at the same time he intended that they should have technical finish comparable the

;

with that of regular theatrical features. achieve these ends he organized Sacred

made himself answerable

the message.

was

not having suitable films, so he undertook to make a non-sectarian series on

day School and at evening church service. In productions to be made by the Corporation, no players were to be starred or featured all were to be subordinated to ;

Films, Inc., at Burbank, California, early 1921. For the church standards he

;

for

technical

excellence he enlisted the supervision of his friend,

Edgar

Banks.

This distin-

left

for

his

six-

ington, his age about sixty, his birthplace New Haven, Connecticut. He had recently retired of as rector

church at Hot

from a four-years service a

Protestant

Episcopal Springs, Virginia, with in-

Hollywood, with Wilfred Lucas as the

The following year speaker. the series was taken over for church reoff-scene

by the Bell & Howell Library. And has been presented also by the Harmon Religious Films Foundation.

lease it

Harwood Huntington's

venture was

under-publicized, a 1922 church film enterprise in Philadelphia was given probably

more expectation than

deserved by too

many

All emerging optimistic reports. from it appears to have been one produc-

be sure, that single motion piccelebrated story, and the man in the last analysis back of the venture was, an almost idotion.

was a dramatization of a

ture

lyceum lecturer who had told it approximately six thousand times to enthusiastic American audiences and earned thereby an estimated four million dollized

The

atheist

was "Johnny Ring and Sword," concerning an army officer and his Christian

orderly

who was

lars.

story

Bible, but who had so strong a sense of duty that he gave his life to save his

climbed to the summit of Mt. Ararat; he

occurred

;

had written and lectured widely in the learned places on Oriental languages and ethnology. But. above all, he brought to

Captain's

forbidden to read his

sword the lecture in which it was entitled "Acres of Diamonds," and the lecturer was Russell H. Conwell, variously newspaper correspondent abroad, author, lawyer, Baptist mincaptain's

;

new work a real enthusiasm. They produced fifteen one-reel episodes "The Creation," "The Migration," "Sac-

ister

"Cain and Abel," "AbraLot," "Isaac and Rebecca," "Noah and the Ark," "Jacob and Rachel," "The Deluge," "Isaac the Boy," "Jacob

Conwell, nearly fourscore years of age and full of honors for his achievements and benefactions, was acquiescent rather than active in the formation of Temple Producing Company to make the motion

this

rifice of Isaac,"

ham and

and Esau," "Abraham and Sarah," "Ishmael" and "The Return of Jacob." The work was done with dignity, adequately without lavishness, and with considerable pictorial effectiveness.

Than Dr. Hunting-

ton there never

was a more

film producer in

Southern California.

self-effacing

when Henry Bollman

months interlude with the Educational Films Bureau of Lincoln & Parker at Boston. About all Smith had left apparently to show for his attempt, when he relinquished it, were five reels of scenics used to illustrate the Psalms, and an animated subject made by F. A. A. Dahme, entitled "How Brooklyn Bridge is Made." A little before Paul Smith had come East, another clergyman with film ideas had gone westward from the Atlantic seaboard. His also was an interesting personality. His name was Harwood Hunt-

That obviously needed improvement was added under other auspices in 1934, sic.

Babylonia, bringing to light there that white figure which is said to be the oldest known statue in the world he had

cient

parted virtually unsung. Then the film venture, begun with so much intelligence

quarter the handwriting was therefore on the wall, and that was the time

producer, the "scoring" of these interesting films with voice and mu-

the

first

three months, the end of the

first

educational

guished archaeologist was a recognized authority on early Semitic manners and customs. He had excavated ruins of an-

shunned personal publicity of any sort. Consequently, when he died in January, 1923, in his Los Angeles home, he de-

laneous expenses in the and the rest in a year.

with the cooperation of Walter Yorke, to arrange, through a New York

vainly,

was taken on

message of the

that the chief obstacle

newsreel, and an industrial or educational film. There was also to be a weekly biblical film, which might be shown at Sun-

gether.

More-

over, he had studied law, and practiced as a member of the New York bar. But

new concern

inational undertaking, ultimately to serve, it

won

church.

International

tion.

between work as volunteer chaplain of the wartime Army camps in southern Florida. Before that he had been a missionary in China and Korea. His early training, in the United States and Europe, had been as a chemist, and he had

and promise, collapsed. As far as Archaeologist Banks was concerned, though, he could not forget now that he had been innoculated with the production virus.

went off to Florida, and presently was remarked as president of the Seminole Film Company. Various applicants wishing to handle the distribution of Sacred Films appeared. But the producer's widow was rather particular and not in a position requiring haste. She insisted, in accordance with her late husband's desire, that the series be handled worthily and without the "circusing" that custom decreed was necessary to a quick return on such an investment. For a long time Walter Yorke was one of the distributors permitted to serve her. When sound came in I tried,

and, in 1888, founder of Temple University, Philadelphia, of which he had since been president.

picture version of

Johnny Ring's story, gained importance through its implications and because it was in the nature of a tribute to a lifetime of noble service. The great man died in the last

but

all

month

of 1925.

The

president of

Temple

Films was Dr. MacCurdy, Conwell's assistant pastor. I have heard, without confirmation, that lotted to carry

some

of the

money

al-

on the work of Temple Films came from the Edward Bok prize which was awarded to Conwell as "Philadelphia's most useful citizen" in 1923.

Among

the pretentious

beginnings at

church production should be mentioned the Historical Film Corporation of Amer-

which showed great activity in 1919 near Los Angeles. It was financed by J. A. McGill, who controlled a chain of theatres in the Northwest, and the director was Raymond Wells. Purpose was to film the entire Bible "from cover ica

to cover" or, specifically, to

make

two

years time 52 two-reel episodes beginning with Genesis and ending with the Ascension of Christ.

The

organization's

first

"As We Forgive," appeared in autumn of 1920. I have no infor-

release,

the

mation concerning subsequent offerings under this corporate name.

Page 335

October, 1941 In

1926

the

became unex-

Catholics

movement pectedly active in the church when an elaborate film was photographed at the 28th International Eucharistic

Corporation, and everything importance was recorded,

seeming from the Papal legate's departure from Rome, to and including the dispersal of the Congress.

The completed

delivered to Cardinal

held

Council

Paramount

con-

department

Pictures.

Con-

gress in Chicago. The production staff, equipment and materials were provided

by Fox Film

Catholic

National

tract with the non-theatrical

subject

was

Mundelein, Arch-

Work for the Doctors "customers" responded more vigorously to the studio fascination than leading members of the medical profession. In truth, they had a superior justification, because, in producing medical

pictures especially sequences showing deabout all that a film man tails of surgery

bishop of Chicago, and an especial Italian was prepared and presented to His Prints were Holiness, Pope Pius XI. subsequently exhibited in theatres of the

can reasonably do is to set up his camera and lights and photograph what the doc-

larger cities, with ecclesiastical requests for priests to urge parishioners to attend.

and co-star with the

version

May, 1927, brought public announcement of another Catholic film undertaka lay ing, this time the financing, by group in Pittsburgh, of an expedition to photograph the shrine of Our Lady of Lourdes. But what stirred Catholic interest much more were the reports^ beginning in the autumn of 1926 and gaining steady confirmation as the months went agreement with the Holy See, was planning to produce religious films through the newly founded Institute of Religious Art and EducaThe subjects would be tion at Rome. made on a strictly non-commercial basis, on, that Mussolini, in

was stated, each with authorization of Church dignitaries, and the fascist government would require the showing of one on every theatrical program in Italy as soon as they were released. A sixreeler entitled "His Holiness, Pope Pius it

XI," and "Treasures of the Vatican," in five, came to America from this source early in 1927.

the

summer

1919

had been

that the National Catholic Council was preparing to equip churches and schools throughout the country with projectors; but apparently that large plan

announced

became bogged down on the way to its realization. It was towards the close of the same year that a remarkable statement of the Catholic position on church

was made

National Catholic Council Bulletin by Charles A. McMahon, chairman of the Motion Picture Comfilms

in the

mittee of the Council.

Referring to the Prot-

large uses of the screen by "our estant brethren," he continued :

"It need hardly be stated here that as long as Catholics continue to be blessed with the light of faith and the privilege of worshipping their Creator by assisting at the holy sacrifice of the mass, there will be no need of resorting to the sensational methods which other denominations have adapted for the purpose of increasing attendance in their churches. While Catholic pastors will never have occasion to introduce the motion picture into their churches as an integral part of the church services, it should be noted, however, that the motion picture is being used in ever-increasing measure in our Catholic parishes, schools, colleges and .

institutions."

Mr.

McMahon remarked

bids

tor

here.

trivia.

The

The doctor

rehearsals is

director

The

patient.

opin-

man may

venture are

doctor alone

knows what

The

conveniently illustrated by the case of Dr. Waldo Briggs, who was dean of the St. Louis College truth of this

Congress of Gynecology at Amsterdam. twelvemonth later he was before the British Medical Association again, but this time at Cheltenham (represented by Dr. A. A. Warden), while 1902 took him

on similar missions to the Polytechnic Museum at Moscow, and the Exhibition for Advance of Medical of Methods Science at Berlin where he was awarded In 1903 he gave his by then

a medal. well

known

illustrated lecture at the In-

ternational Congress of Medicine at Madrid. He also demonstrated for the International Congress of Medicine at Paris.

That

he wants and what he can use.

was spreading

certainly

the idea.

many

Since Doyen's time

doctors in

of Physicians and Surgeons and professor of surgery there. In 1914, 1915 and 1916 he endeavored unsuccessfully to film

have produced extensive footage on operations and anatomical studies, and most of it has been brought to the United States in expectation of widespread release. To Dr. Walter

operations. The trouble was, he averred later, the "bull-headedness" of his cam-

American production

eraman, who had insisted on "setting the stage" and consequently had blocked the view with doctors and nurses. However, in 1918, Clarence M. Black, a well known local photographer who had entered the surgical school as a student, heard about the difficulty and devised a way of restricting the

the

given

Hence

camera

to just the field of

operation. the motion

subjects

picture

which have made headway in the medical field have quite invariably been produced by the doctors themselves. In the strictest sense they have been "personal productions."

But, in the instances of

men

where

fees

in the top professional

rank,

are often substantial, there has been no lack of proper funds. And, as far as inclination goes, your prominent medico usually lectures at short intervals before his brethren of the scalpel, nurse and interne groups, county health societies and

the like, and has acquired ideas of effective presentation

audiences.

his

own

particular

also, as a rule, cuts

a social

hobnobbing with persons prominent in other lines where there are no figure,

such rigid prohibitions of advertising as there are in his, and he quite naturally turns with pleasure and relief to this newer, permissable instrument of expression as a way to assert his authoritativeness and, perhaps, humanly and pardonably, to gratify the craving of his ego for credit as a benefactor of humanity.

The

great pioneer in making medical films left a rather handsome record. Ref-

many

countries

different

Chase, of Boston, 1906.

attributed the first

of surgical films in subsequent years hundreds of

have come from London, Paris, Berexlin, Moscow and Rio de Janiero, yet ceedingly few have been viewed by the reels

American county medical associanursing groups, hospital staffs or college students. The reason is that most

lesser tions,

of this foreign material shows operating techniques which are unacceptable to the

medical authorities in this country. That beexplanation is rarely given formally cause doctors naturally do not like to air their differences in public. The last time

was

in March, 1924, American rights to films taken at the Wertheim Clinic in Vienna, sued because he had been denied a New York license and State health boards had forbidden their exhibition to local doctors and nurses. At the same time, certain foreign scenes and moving diagrams pertinent to the subject have been permitted, and, where there is a popular interest, the American profesI

recall

when

hearing

owner

the

of the

have been disregarded. Despite the barrier to foreign medical subjects, the American profession is well supplied with technical items. For one who may be interested in their nature

sional bans

and variety, the very diligent Oscar Richards,

research

specialist

W. the

Spencer Lens Company, has reported and annotated a long list in numbers of the Journal of the Biological Photographic Association, William F. find

for

1936-1939.

Kruse

patrons of the Bell

16mm. Library, he succeeded

when

1931,

listed those

he could

& Howell naming

erence was made to him early in this history Dr. Eugene-Louis Doyen of Paris, born in 1859 at Reims, celebrated cancer and to his sixty surgical subspecialist

450 titles, comprising 538 reels. It has been stated that the first medical film library in America was that announced

mostly on brain tumor operations, in Urban's early catalogue. Re-

by Dr. Simon P. Goodhart, professor of clinical neurology, at Columbia Univer-

jects,

further that the

listed

knew which motion picture people were dependable, and that one group out of the lot had been chosen to serve. A little later it became known that the

ports those

Council

retakes.

ions that the film all

him to record.

Medical Association's attention to the cinematograph as a means of teaching surgery. The following year he gave demonstrations at Monaco and the University of Kiel, and in 1900 at the International

show

that Dr.

films

as long

Doyen was making ago as 1897, when

they were violently opposed.

Then,

lec-

turing at Edinburgh, he called the British

sity,

the

autumn of

that this claim cessfully

1926, but

feel

might be challenged suc-

from several directions. (To be continued)

Page 383

November, 1941

MOTION PICTURESI

T~iX~NT')

M L-/J\_

ical

imagination of our native med-

men was

really stirred to their

own film opportunities in October, 1916, when Dr. S. William Schapira, member of the New York Academy of Medicine, lectured at Fordham Univermade under sity, in New York, with films, his direction

ing

]

iously unpublished medical adventures

and

misadventures

ago.

all

As portable expense to the partners. usual in such circumstances, the negatives were held by the film laboratory as

laboratory fire in

its

own payment. The was

that

lab-

which

was long operated by Hardeen, brother

operations. probability other

Houdini, the "handcuff king," and later

amaz-

current, or more or less current, efforts at clinical theatre film-making which were

the successor, in vaudeville, of that

not conspicuously presented, for many doctors preferred then, as now, to limit their experiments to private view, and, having made their films, would not permit

had elapsed, and unpaid storage charges had mounted critically, the Clinical Film series was put up at auction, the price a mere song.

them out of hand. As a matter of

ing performer.

When

a reasonable time

fact, in

July, 1916, even while Dr. Schapira producing his significant subjects,

was Dr.

Russell S. Fowler performed two operations under cameras at the German Hos-

New York

expressly to pro-

specializ-

rumored project as "just another of those things." Looking backward with the perspective supplied by intervening years, I suppose that the company in question was actually the one called Clinical Films and, rather curiously, there is a link beClinical Films

and Charles Urban,

industry friend of the doctors.

come to America to American Kinema-

color had gambled and lost, and Mariner was out of employment. He had become

known

short

time

however, and afterward was ap-

proached by two men who were trying to promote a new film business and needed a trained photographer. Their respective patronymics were Strauss and

Fox.

Their other names are out of recbut it is remembered was a lawyer practicing

ollection,

that the

latter

New

Their project was, of all things, the production of talking motion pictures The voice was to be on phonograph records, the time limit of each of which

York.

would permit the corresponding picture to run effectively for only 200 feet. Through particular contacts with distinguished surgeons, Carrel, Erdmann, Squier and oth-

had arranged operating-room series. Mariner was agreeable, went to work, and ultimately photographed about 250. ers of that upper rank, they to

produce

many

lost subsequently in a

New

Jersey.

Elkan was trying to he found a seeming need

make

material to

the

list

complete, so he obtained a camera and photographed the required operations himself. The results are said to have been

adequate

immediate

the

needs,

but

somewhat short of the standards set by Mariner. I have no opinion in the mathad many opportunities Films of that sort are clearly not for me. I have tried repeatedly to view them with a detached eye, but the most I have been able to withstand has been half a reel of a although

ter,

to see the subjects projected.

who was Major

serve through the

of the

is always vastly increased through opportunities to study and treat the casualties, and now, in this conflict, there

Albuin Mariner has covered the nontheatrical range in time as he has in variety. He began his career in the London employ of Charles Urban.

was the added advantage of being able to make film records. Hence many reels of great importance were shot in the mil-

In the meantime, Harry J. Elkan, forof the industrial films de-

and ultimately Medical Mluseum

itary hospitals at this time,

deposited in the

in the industry here,

only

was ended by

said that

gery

connection was Albuin Mariner, the Austrian cameraman with the colorful

The

experience who had serve Kinemacolor.

series,

of additional

Medical Reserve Corps and to originate the Columbia War Hospital and necessarily had some influence with the Army authorities even then, determined that a cameraman with so specialized a knowledge should not be wasted in the trenches. So he pulled wires to have the young man assigned to his service. There, as a soldier of Uncle Sam, Mariner continued the production In time of war the of medical films. world's knowledge of medicine and sur-

was

ing groups here or there received scant attention. Reporters dismissed this new

first film

book the

war field

were

While Major

Squier, as

films.

The entire motion picture quite new then, and rumors of

tween

the negatives

After that I staggered out of the projection room for air. When the First World War began and America joined the Allies, Mariner was called to the colors. But Dr. J. Bentley

in Brooklyn, New York, and word spread through the professional motion picture industry that a company had been in

mutual consent.

Caesarian section.

pital

duce surgical

twenty-odd years

or two, the arrangement

oratory, in Jersey City,

genito-urinary

But there were

formed

Although the subjects were necessarily short ones, the total number represented a heavy, and, as it turned out, an unsup-

security for

by Pathe cameramen, cover-

thirteen

I\.J_jO

11X1.

In Part 31 Aesculapius discovers congenial opportunity in the film business. Some prev-

ARTHUR EDWIN KROWS

rriHE

T T_TT7 A T'OTTQ!

Washington.

Army

Several reels of negasupply were destroyed

mer manager

tive

partment of Pathe, had returned from an intervening war service (incidentally with the rank of major), and was looking about for something to occupy him profitably in civil life. He knew the authenticity of those films because his father had been engaged in trying to sell them, and his non-theatrical experience at Pathe gave him reason to believe that he could find proper distribution for them. So he and his father bought them in. To handle them efficiently he needed office space, -storage and projection facilities, and he obtained these in association with Frank A. Tichenor at Eastern Film Corpora-

in a fire there, July 8, 1935.

However, non-theatrical distribution was no more organized in the medical line than in any other, and, after a year

tion.

The

that rich

negligible

money

profit in

Frank

Tichenor's experience with Clinical Films did not by any means dampen his awak-

ened enthusiasm for motion pictures in that line. Indeed, he was more interested

good they might do. He had long had many friends eminent in the medical profession, and, apart from his own definite convictions, he had their ready asin the

surance that such productions, presented

under proper auspices, could have an honorable, definitely useful place. tees to

make

Commit-

the ideal arrangement pos-

waited on him at irregular intervals almost to the last month of his continuance in the film business. One surgeon who saw Tichenor's vision sible

Page 384

The Educational Screen

without too many reservations, was young Dr. Joseph Franklin Montague, a New

York

specialist in intestinal diseases.

monthly

magazine,

The

Health Digest.

had obtained his M.D. in 1917 and had served with the U. S. Medical Corps during the war. In 1919 he began his long connection as member and lecturer of the Rectal Clinic at Bellevue Medical

cently)

philanthropy" of Eastern Film Corpora-

propaganda, the customers of this class kept extraordinarily close to every production step. To all intents and purposes, therefore, they actually produced their own pictures, although they tried earnestly enough to keep the major re-

tion

Many

his

making others

own

series

who might

possible.

well attest the

impetus given by Frank Tichenor to the mass production and distribution of medical and surgical films, have been silent. But, on the basis of Clinical Films and the Montague list, Tichenor definitely reached the leaders of the profession on

and made them see the im-

gamble equipment and trained services long as they would cooperate with

own

their

skilled performances.

would be impossible

this

section properly without reference to the efforts of Dr. Thomas B. Mc-

valiant

"Ask Your Dentist," "Bobby's Bad Molar" and, most celebrated of the lot,

"Tommy

Tucker's

Tooth."

There

are in existence, of course, other subjects of adult interest dealing with teeth, some of them highly technical. It was announced, in August, 1922, that such films were being used by Columbia University

New York

City. It was there started to develop seriously

use of surgical films, and finding Tichenor interested, he submitted to him his own plan for a series. Tichenor approved and made realization possible by his

That

how

long

was

that

depart-

ment, ordinarily covering months of tedious work. Other subjects showed rare forms of disease as these occurred in patients visiting Bellevue in a dozen years' time. Nor was Montague active in production only as a surgeon. He intently

studied

Pulse,

which

considered

the

unique

work dealing with medical films. Numerous magazine articles on the subject have come from his desk. He is

published

also the founder

and publisher

(until re-

constitutional

equal

suffrage

;

less for fourteen years,

or until Repeal,

the old cry of the Anti-Saloon

League;

the quantity of material, evoked by the World War emergency for use of the American National Red Cross, worked against the expansion of the picture schedule of that splendid organization in the first years of peace.

built to

specifications.

the First

atrical

film

producers of the day, were

picture, to be given to the in their studios at Ithaca,

making a Cross,

Dr. Colton, reputedly the

earliest in its

motion

pictures

advanced course

director?

Kodak

pioneer! In September,

1893.

in dentistry.

February, 1930, it was remarked that, at the recent 66th annual meeting and clinic of the Chicago Dental Society, no less than ten reports presented had been illustrated with 16mm. motion pictures.

The Benevolent Groups No

customer class was more eager to

set up its own production units than that which embraced the volunteer reform groups, for, in most instances, their es-

sential business

propaganda,

was in

the spread of ideas other words. Very

early in the annals of the film industry screen appeals for votes for women, end of Demon Rum,

had occurred their

Red

New

York, and whom, do you suppose, was the Why, George Eastman, the

first to use laughing gas in dentistry, demonstrated for one of Edison's very

camera problems, and personally

invented an ingenious device for photographing motion pictures actually inside the living body. In 1928 he wrote the little book entitled Taking the Doctor's

World War was gaining its first momentum, these efforts apIn June, peared from many sources. 1917, the Whartons, well known the-

and Harry Stradling. When Eastern Films ceased, Dr. Montague had built a personally produced li-

period

age

amendment made unnecessary further American films on votes for women the Eighteenth Amendment rendered point-

When

closely with Montague, and, at various times the cameramen were Howard Green, Spencer Bennett, John Geisel

training

having custom

was to require, for each new picture undertaken, a separate, fresh appropriation and competitive bids to see who would

whole productions

worked

student

their

whole-hearted public support, which, in case of films, meant donations not only of money with which to produce, but

Heath

brary of nearly sixty reels. One item, in about six reels, showed the dissection of an entire human body, held to be of great value as an abridgment of the usual

Instead staffs,

the

that at inter-

Arch

periods

characters.

regular production

The nature of the American National Red Cross, founded in 1881, won it a

placing at the surgeon's disposal the production facilities of Eastern Film Corpo-

over

known

circumstances now and then interfered with what otherwise might be called a natural course of events. Thus, the pass-

film

Teeth,"

ration.

criti-

cism which inevitably would arise if they stepped, even in a small way, out of their

audiences and widely acceptable to They are "Clara Cleans Her

the schools.

vals

semi-public institutions, they feared

ing in a certain period of time, but, in these social service departments, especial

nile

first

be-

their

coming producers themselves, in the full sense of the word, was probably that, as

pedics. produced four single-reelers in story form, addressed mainly to juve-

College in

hands of the producers to do the

do the given job cheapest. The development of "customer" production has been remarked as outstand-

tablish

that he

sponsibility in the

who had been hired nominally work. The chief obstacle to

City, Missouri, to essection on dental ortho-

Crum. of Kansas

lin Montague gave of himself until he had built one of the world's completest libraries of medical films.

disease, support of Girl Scouts, and so on into

the various especial interests. Thoroughly alive to the dangers of misunderstood

portance of joint action in developing it. He certainly was more willing, than they ever found any other regular producer,

pioneer's accomplishment is the giving of himself. Dr. Joseph Frank-

Boy and

Montague has been prompt and open acknowledging what he has called "the

this subject

The

means of combating the

1917,

seven-reel

Red

Cross "pageant" was being made under three directors, Joseph Lindon Smith, Thomas Wood Stevens and Evan Evans, head of the Red Cross Motion Picture Division. Evans, by the way, was proprietor of the Moffat photographic studios in studios

October, 1918. the Chicago. the Norma Talmadge Film

Corporation were completing scenes for three-reeler to be used in the forthcoming Red Cross "roll call," under title a

"For All Humanity." That picture was intended to show all America what had been done with the money lately subAnd at the Fascribed to the cause. mous Players-Lasky Studios in Hollywitnessed the final in 1919, I shooting under direction of Edward Jose,

wood,

Page 385

November, 1941 same great There were many others of General Film released the same sort. most of the early ones to the theatres. The offices of the Red Cross "Bureau of Pictures" were in space sublet from Frank Tichenor in the Candler Building, New York, with executives named respectively Waddell and Kelly in charge.

viewpoints on various divisions of practical service, were A. J. Lanza, M. D., Carlyle Ellis, Rita Hochheimer, H. E. Kleinschmidt, M. D., Walter Storey and Edward Stewart. In 1922 the Council compiled and dis-

and available films dealing with health. In 1924 the list was revised, and this time it was printed in an edition of 2,000.

of an elaborate subject for the

program.

came many

that place

from

field representatives.

reels

One

of film

of those

agents was Lieutenant N. C. Travis, who filmed the Red Cross Mission in Russia in 1918. Another was Lieutenant Merle La Voy, who had been assigned to photograph likely material in Constantinople and the Balkans. In 1919 he sent to the

New York This edited

office

upwards

of 8,000 feet.

was cut and particular footage for release through Educational

Films Corporation. But, after the tragic emergency had ended with the Armistice, although the Red Cross sent out occasional films from its Washington headquarters, this branch of its activity be-

came

tributed in

mimeographed form

at thirtyfive cents a copy, later reduced to twenty cents a list of approximately 250 known

In 1925 the Metropolitan Life Insurance for the Council, under-

Company, acting

took to prepare and print a still more complete list, which was made available on request to responsible persons. Part of the labor involved was sending and sorting nearly 2,000 questionnaires in search of information on all types of visual aids applicable to health education.

Whenever

groups with broad identity of aim followed the example of Big Business and formed a national association, the league headlocal benevolent

relatively small, not to be stirred greatly again until the opening of World

quarters naturally tried to arrogate to itself a strong centralized authority, and

War Number

a motion picture program often became Powerful member part of the plan. groups, however, as in the case of the New York Tuberculosis and Health As-

the

Joining

Red Cross

"The Red Cross Edison Company

endorsing

Seal," produced by the in 1910, the National

Tuberculosis Association had early shown interest in uses of film propaganda, but various productions provided by volunteers, among which may be recalled its

"The

Invisible

Emma 1916, direct

Enemy," produced by K. Oswald of Los Angeles before postponed the necessity of more action.

the

however,

the nineteen-twenties,

New York

Tuberculosis

local the best supported Association, group in that line, entered upon a busy

schedule of

its

own

picture production.

Funds for the purpose were scant, but they were in all events there, and there was also intelligence in presentation of the plan. Most of the outstanding silent subjects produced under this aegis were written

and directed

Carlyle Ellis. The national association was excited by all this to produce a film or two, but of course, it had access to all which was turned out by the New York group, and

made

unnecessary to do much further in that branch of service. Interest in motion pictures on health was stimulated by efforts of the special that

committee appointed in the early nineteen-twenties by the National Health Its when meeting Council. purpose, monthly save during the summer, was to review and to criticize constructively all obtainable films concerned with public health, and, if requested, to render freely helpful opinion on scenarios for proposed

Committee productions. membership, under chairmanship of the greatly liked Thomas C. Edwards, executive officer of the Council, comprised representa-

American Social Hygiene Association, American Red Cross, American Child Health Association, American Society for the Control of Cancer, Connecticut State Department of Health, New York State Department of Health, Massachusetts Institute of Technology and the National Tuberculosis Association. Advisory members, providing tives

the

sociation, usually supplied the actual productions for general distribution. Nevertheless, there were occasional instances where men of exceptional drive in the national organizations actually did pro-

duce, and, although they complained, as a rule, about the tyranny of too many

masters, the results they obtained amply justified their taking the initiative. local area in itself rarely is able to

The make

the proper return on even a good motion picture, which necessarily costs a sizeable sum but with several groups con-

Oxley, of course, as an expert in public relations, had been exceedingly careful in preparing the picture's content. In later

years

tion to films

Oxley devoted much attenpromoting public safety.

One who may this

be really interested in phase will be enabled to reach inter-

esting and valuable conclusions by studying film programs of the Iron and Steel Institute of Pittsburgh, which had a film

on the Gary steel plant as early as 1910; of the Asphalt Institute of New York City, and of the Petroleum Safety Council of Houston, Texas, formed by several oil producing concerns of that State about 1923.

The American Society for the Control of Cancer, organized in New York City in 1913, also ventured into film production in the nineteen-twenties, mainly for

the

purpose of supplying its traveling with illustrative material. It

lecturers

took the form generally of popular reassurance, and advice to take all suspected cases to reputable physicians for examination. A more difficult theme for popular education and in which films were enlisted to explain, was sexual disease. In the post-war period that work was successfully undertaken by the American Social Hygiene Association of New York City, founded in 1914. During the War, of course, there had been many films of this type circulated in the Army camps and cantonments, including those produced by George E. Stone of Monterey. In 1921 the American Social Hygiene Association had in its available list several carefully produced subjects, including the calling

four reel "Gift of Life," intended for use in high schools, colleges, parentteacher associations and the like.

;

(To be continued)

tributing their shares of the cost for joint service, centralized production becomes

a reasonable matter.

An experience which will bear close study in this regard, was that of the late George F. Oxley, who was long director of publicity for the National Electric Light Association. The Association memwhen film work began, was approximately 13,000, covering virtually all branches of the electric light and power industry. Officers and the executive committee discussed pros and cons long and earnestly before it was decided to produce the first Association film. "Back of the Button." Then the combership,

pleted subject was previewed by the 1921 convention of the N. E. L. A., where led

the

general approval making sixty-two prints for regional exhibition

by members.

The

advertising director of one of the member companies, however, violently opposed use of the film on the ground that it would arouse public relargest

sentment

against the light and power utilities for trying to "put across" propaHe was persuaded to test the ganda. picture before a representative audience,

and he found the reaction so favorable that

himself

subsequently arranged showings to nearly half a million persons in his own area, and became one of the most ardent supporters of the plan.

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By buying

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December, 1941

Page 427

MOTION PICTURES NOT FOR THEATRES to the impulse of the time was also the Young Women's Christian Association. The out-

RESPONDING

early effort there was the three-reeler "The High Road," directed He made for the by Carlyle Ellis. same client the useful three-reeler on called "Foot Folly." proper shoes Then the Boy Scout Foundation in New York was represented with sev-

standing

reels

with

the

its

idea

lic

own

highly specialized motion pictures.

ARTHUR EDWIN KROWS

eral

More about the puband semi-public institutions that in more recent years have produced their Installment 32.

especial interest, partly of impressing its own

a really adequate program. He used to watch with great interest, however, the many motion picture activities of other tenants in the building, hoping, no doubt, to find

what they were doing, some for

suggestion list.

all

betterment

his

knew Sidney Morse,

spected and liked him and

own re-

welcomed him

our councils. One day, out of a situation involving J. E. Holley, Fred Wythe and F. J. Romell, who was on from at

Cincinnati

representing Albert Krippen-

hood.

Merely

Impressed with the possibiliread up on batches of literature sanctioned for the eyes of the uninitiated,

and

tried to interpret in picture forms the symbolical ideas cautiously conveyed to me by high officers of the order.

In accordance with the general intenmake a very little money go as far as possible, and taking advantage

tion to

of the mystical indefiniteness of the subto hide our poverty in deep im-

From somewhere

pressive

which to support these admirable private arms of social service, was necessarily constant, so, naturally, an instrument as effective as the motion picture in demonstrating what is being done with money in hand, was speedily developed with that object prominently in mind. Such was the aim of films made by the Modern Woodmen of America through the

specifically

films

the

Executive Social

last-

was Bureau

Secretary of the and Educational Service

the

;

told

Dr. Grace Fisher Ramsey built one the most efficient systems of non-theatrical distribution known to the field of popular education. of

Magazine, following which he had beeditor of Craftsman and educational director of People's UniverIn 1918 he had been sity at St. Louis. sent to France as a liason officer co-

various angles and distances, of Dr. Schick's celebrated model on exhibition in Jerusalem. It was believed by the schemers that this material might become the basis for a specialized entertainment for which the various lodges would be eager and happy to pay.

ordinating records of the Y. M. C. A. and the A. E. F. all this before taking his place at the Grand Lodge in 1921. After 1929 Sidney Morse became vicepresident

and

general

manager

the

Educational Publishing Corporation, Darien,

Connecticut, which issues

Teacher and

St.

The Grade

Nicholas magazines.

died January, 1939.

Most Masonic

his

films

institutions,

were of of

visits

parades

and

other typical Masonic events. Lacking funds for more ambitious productions,

he was unable to realize his dream of

idea

eternal

the

buttresses

their daily an old idea.

represent on the

stint

too, we photographed a cardboard obeliskin a strong light to show how ancients

came

came managing

the

These same temple. It was blocks had served long before as the walls of Jerusalem for an early theatrical "Star of Bethlehem." Somewhere,

Schools at Springfield, Massachusetts 1904-1908 he had been editor and manager of the book department of Success ;

with

workmen doing

In the forty-seven ceptional person. years which had elapsed since his birth at Ledyard, Connecticut, he had had a varied experience in many widely separated localities. He had attended Massachusetts Agricultural College and Amhe had been connected with a publishing house at Richmond, Virginia from 1900 to 1903 he had been associate director of the Home Correspondence

spectator

stones

the

Grand Lodge of New York, known less pompously to his friends and associates as Sidney Morse. He was really an ex-

herst

with scissors, paste and cardboard,

In an interval, Larry Fowler, the cameraman, took three or four volunteers up to Fort Schuyler, draped them in bedsheets and crepe hair, and marched them up and down the huge granite

New

this

Building to illustrate trade routes, and I

light.

from

1921,

desert

Holies. This consisted of the letter "G," back of which we gradually moved forward a naked electric bulb, and so presently glared out the "G" and dazzled

York.

The officer in charge named work, begun about

Temple

ancient

built,

was

actively years by the Order of Free Masons the Masonic Temple Building in

Masonic

a miniature set of imposing doors which slowly opened to reveal the Holy of

of the Ray-Bell orthe intent of the distributed during these

such

shadows, we photographed a sand-covered board on the roof of the the

facilities ;

the-

to give

ject

production ganization

Mason

meaning. ties,

dorf, he hit upon a plan to produce a real Masonic film with ritual significance.

back by

story of

the

tell

him an inspiring message charged with

members with its ideals, but probably more to enlist the interest of needed benefactors. The drive for funds with

I suppose that it was out of the luggage brought Dr. Holley from Palestine

structure to any earnest

five

struction

or six reels showing a reconof

the Temple of Solomon. They comprised photographs, made from

The general structure and proposed treatment developed rapidly in the fertile

mind of Wythe, who planned

to in-

terweave various symbolical scenes with the shots of the model. I was assigned to supervise such production as might be necessary, and to cut, title and edit

the 'whole. order, but

was not a member of the knew enough about the sub-

ject to realize that every alleged detail in the design of the Temple of Solomon

has a mystic meaning for this brother-

the

time, and

made

series

white sketches of signs of the zodiac on a black ground to be turned past the tip of a pyramid in illustrating the presumed

method of the Egyptian high priest when he measured the limits of the year. Redistributed dresses and whiskers enabled us to show "three travelers on the shore" a small tree ;

mound

at the

built

indicated

foot of a

the

grave of the architect, Hiram Abif; and what I took to be his death was envisioned by some stock

shots

showing a tall tree in the by lightning. Results were duly cut into the assembled excerpts of the Schick reels, and there was a generous interlarding of long, solemn titles, expressed in what we now profanely call forest struck

"four-dollar words."

Looking backward, about

suspect that there

been plenty of sheer

may have this

hokum

production, but high officials approved the film enthusiastically, slapping one another on the back in great delight over references

which were

shoestring

"all

Greek" to me

;

and

understand that the later exhibitions actually

made some money the

propaganda

for the backers.

groups one

does

Page 428

The Educational Screen not readily include public museums, but such institutions these days, enjoying tax and tariff exemptions because of their avowed usefulness to mankind, and needing added funds for many purposes, feel obliged to publicize their services! But publicity is only a minor aspect of films as used by the Metropolitan Museum of Art in New York There

Education

makes about thirty million contacts with individuals The annually. Department curator at present is Dr Russell. The Museum -

films in

through-

the theory.

was about 1924 when this activity of the Metropolitan became pronounced. Conspicuous among the names of those responsible for the development was that of George Dupont Pratt, a trustee. It will be remembered that, when Allen Eaton, of the Russell Sage Foundation, was promoting his enterprise called the It

came from George D.

Pratt.

with

idea gains color from Eaton was in close touch

Museum work from its inOn the other hand, George

the

ception.

Pratt himself had been an ardent amamotion picture cameraman for a

teur

number

years,

especially

photo-

For several years graphing wild life. he was in charge of game conservation in

New York State. The 1924 Museum plan was

tize

drama-

objects in the art collection so as compensate for their inanimateness

and to stimulate appreciation of their associated cultural ideas. To produce a few preliminary subjects of this sort experimentally, the Museum authorities engaged the very competent and worthy

Major Herbert M. Dawley. What he produced for them included "The Gorgon's Head," in three reels, a version of the story in Hawthorne's Twice-Told Tales, and "The Spectre," described as "a New England legend." There were also the

more frankly expositional

Visit

the

Armor

films,

Galleries,"

two

reels, and "Firearms of Our Forefathers," in one. The program was swelled by the addition of Eaton's "The Making of a Bronze Statue," "Vansan-

tasena," a two-reel adaptation of an episode in the earliest extant Indian drama,

"The Toy

Cart," prepared and produced by the School of Fine Arts of Pratt Institute in Brooklyn, and four reels eman-

doubt, from stations archaeological ating,

the

Museum's called

abroad,

"Egyptian Monuments and Native Life." "The Etcher's Art," which appeared

among

the available subjects later,

produced by the Museum of Art ton, with Frank W. Benson

was Bos-

providing the

principal illustrations. If the Metropolitan

problems

own tional

films,

Museum had

its

sequestering funds for its another great popular educa-

resort

westward

Park, the American

across

Museum

Central

of Natural

History, seemed to enjoy a happier situation which made its supply of motion pictures virtually inexhaustible, even ig-

neces-

policies,

for

teacher,

Drawn by Wm. O'berhardt Without meaning to do it, Theodore Roosevelt showed how museums might obtain educational films by cooperwith the big game expeditions. ating

The

children

development of details was in the hands of assistants. Mrs. Ramsey, who was a very dependable assistant, attributes such success as she has had to her early training as a

have wondered if that experience did not in some measure induce Pratt to this later activity. the fact that

school

sity the

Pioneers of America, the burden of support

the motion picture work which our present concern, and here the notable figure is Dr. Grace Fisher Ramsey, associate curator, who has done so much to organize and conduct the efficient Museum motion picture distribution. Dr. Sherwood had plenty to do most of the time of his directorship in setting up and maintaining and of

out the nation where eager students cannot otherwise enjoy the benefits. In is

lectures

motion pictures become an extension of the institution itself, carrying photographs of its treasures to places

events, that

began using

its

1911. It

City.

all

mring

the use of

its

own monies

in the

cause, and even if exhibition rights were generally tied up with fussy restrictions. It had been discovered long years before that big game hunters could give their adventures an air of public service, without foregoing self-indulgence, by placing their sporting expeditions and these usually included the pictures under the auspices of such an establishment. Of course, the educational values are important only when they are realized, and this phase, so far as the Museum of Natural History is concerned, owed much to the powerful, proper interest of the late Dr. George H. Sherwood, director of the institution from 1924 to 1934. He

resigned his higher post at the end of time (being succeeded as director of the Museum by that

Roy Chapman An-

drews)

to give his full attention to the

Educational Department, of which had been chief curator since 1906.

was privileged

work

at this

shorter range for less than three years, for he died in March, 1937.

Nevertheless, Dr. Sherwood wisely and well. Despite his

builded passing,

work goes on in the splendid Museum Department of Education, which

his

has long reached beneficiaries throughout the nation. But this is not a

motion picture project.

Its

just services in-

clude also lectures, circulating collections

and outdoor education

field

trips,

and

special

instructional opportunities at the Bear Mountain reservation. The activity in general is said to have grown largely out of the custom of a Museum

Dr.

Berkmire, back in 1880, audiences to examine actual specimens at the close of his talks although it is in the nature of the case that a Museum should reach people directly. It was in 1903 that Dr. Sherwood started the Museum's touring collections. In 1922 the free service to New York Schools was instituted and, about 1930, the wider circulation to the country at large was begun. It is currently estimated that these through channels the Museum Department of lecturer,

who

invited

his

through that she has known and appreciated the school requirements and the educational aims outside the school

When

the First

World War began

was teaching science at

Chautauqua,

New

she a high school York. Caught in in

the patriotic fervor of that stirring time she joined the War Canteen.

Returning due course, she was engaged by the Museum in 1919 to take charge of lan-

tern slides.

part of her duties

sight conservation,"

working

in the

was

Mu-

seum's celebrated training of the blind, in which connection she lectured frequently in the large auditorium, sometimes to audiences of approximately 1,500 persons.

The usefulness of motion pictures for Museum extension work became more

and more evident to her, although it was that for a comprehensive also, program the films at first in hand were insufficient. This conclusion came in the period when the Bureau of Education of the U. S. Department of the Inclear,

terior

was dividing

tion pictures

unteer

distributors

collection of mothe thirty-five volover the country.

its

among

museums were in Ramsey became impressed Several

that

list.

Mrs.

especially with opportunities to circulate the reels of the

Bureau of Mines. Accordingly that possibility was realized. In 1926 she visited Canada, where she found more valuable

material in

the library of the

Canadian Government Motion Picture Bureau. The Museum of Natural History was therefore commissioned to distribute those films in the same manner. Through the Museum Department of Education today, of course, there are

many

other subjects to be obtained. The classified as: Athletics, Biology, Chemistry, Economic Geography, Domestic Science, Physics, Physiography, stock

General Science, Health and Music, Nature Study and

Hygiene Elementary Science, and Social Studies. Borrowers pay for transportation both ways, plus

a fixed charge per day of fifty cents for each silent reel, and a dollar-fifty for each in sound. Responsible educational institutions are offered an especial rate of twenty-five sound films for twentyfive dollars, if

ordered at one time. Discovery of the opportunities and advantages in expedition sponsorship probably belonged

particularly

to the

Page 429

December, 1941 Smithsonian Institution, of Washington, D. C, which arranged the celebrated African expedition of ex-President Theodore Roosevelt in 1909, although motion not

did

pictures left

figure

When

agreement.

the

its

doughty

for Africa, he resisted

all

two

full

years and resulting in

original

undetermined earning power, cost him only about The rest of the expense was $3,000. compensated for through some forty-

five contracts for incidental services of

offers of

motion picture cameramen to accompany him because of the earlier still-picture contracts but Cherry Kearton, a London newspaperman, took a chance and ;

expedition with a filming Teddy could not resist a go-getter having this aggressiveness, and welcomed him in camp. Kearton then cranked

followed

lasting

the

outfit.

valuable

many

reels

the kind mentioned. Of course, the great

Roy Andrews,

lately

tory,

through General Film. European distribution was arranged by Kearton, himself. However, the officials of the Smith-

cameraman was James

18,

1910,

sonian Institution quickly learned the value of films, as records if not as vehicles for furtherance of the educational

and in later years they acquired Most of those valuable subjects. are not nearly well enough known, probably because funds are not always available for circulation and because some owners make complicated reservations Of course, there is exas to their use.

force,

many

attached

pense

just as there

to picture distribution, to the exhibition of fine

museum specimens that are frequently stored away in the basement pending the of funds.

release

sale

profitable

somewhat lightened

I recall

edited.

with pleasure seeing the extended

B. Shackelford.

shot the Gobi Desert series. 13, 1924, the American Museum of Natural History announced that it had made an agreement with the

January

Martin Johnson African Expedition Corporation to show all the films made by the Johnsons during twenty-six years of world travel. Looking at the record, one finds that F. Trubee Davison, president of the Museum, is vice-president of the corporation, and James L. Clark, vice-director of the

Museum,

secretary.

be mentioned, in addition to being lecturer, explorer, big game hunter, taxidermist and animal sculpter, described himself as a motion picture engineer. In the last named respect he was long a moving factor in the Akeley Clark,

may

scientific expedition,

was being

log-rolling rights the financial bur-

rooms while the maFor example,

private projection

Andrews, to be sure, brought back an amply supply of films photographed His best known on his later trips.

Camera Company. Today the motion

terial

director

den.

have happened to see Smithsonian time in film properties from time to I

the

American Museum of Natural Hisalthough there is no doubt that

the

numerous scenes which were brought to the United States and sold to the Motion Picture Patents Company. They were edited in the Kalem laboratories to two reels the "program picture" length of that day and released, beginning April

museums have a

dignity to maintain, so they are obliged to forgo some opportunities like these and to pay the larger bills directly. It would be absurd thus to minimize the costs of the Gobi Desert expeditions of

and one may underhow a large institution of this may quickly build up an imposing library by glancing with me at a

stand

footage brought from Dutch New Guinea about 1926 by Matthew W. Stirling, the scientist who is now the Institution's chief of the Bureau of American Ethno-

sort

That fascinating study of primilogy. tive pigmies was made with the backing

Therein are named the chief parties cur-

of the Smithsonian and the cooperation I had of the Netherlands Government. the additional privilege of hearing Dr. Stirling talk informally about his trip as

then unedited passing pictures called various incidents to his mind. the

re-

One supposes

that expeditions of this their scientific specialists,

with sort, chartered ships, airplanes, automobiles and companies of hundreds of native

porters and guides, must cost huge sums to the moving spirits, but it is astonishing to learn at how low a figure many of these adventures may be financed, provided that the persons to be backed Contracts for are qualified explorers. theatrical

release

motion

pictures

taken, rights to first-hand narratives sold to newpaper syndicates, elaborate aids from governments anxious to attract

tourists

their

off-the-beaten-

path possessions, advertising testimonall these bring the ials of various sorts out-of-pocket costs rapidly down. Just lately a friend was telling me that his recent sojourn in the heart of Africa,

film

convenient newspaper clipping from the

New York Times

November

20, 1934.

rently in the field for the American Museum of Natural History. F. Trubee Davison, president, speaks of the discoveries

and researches of Dr. Barnum Brown

Wyoming; the Scarritt-Simpson Patagonian expedition; the Whitney South Seas expedition; the Bolivian sojourn of Dr. Wendell Bennett; Dr. Frank Lutz's studies in Colorado and Northern Arizona the Van Campen Heilner and Archbold parties respectively in the in

;

in Cuba and in New Vernay-Hopwood-Chindwin expedition soon to leave for Burma, "and others." Arthur S. Vernay, whose name has appeared in connection with many

Zapata Guinea

Swamps

;

the

interesting expeditions, is a trustee of the American Museum of Natural History so is W. Douglas Burden, who produced the remarkable "Silent Enemy," a film acted by the Ojibway Indians in ;

own Hudson's Bay country. The distinguished arctic explorer,

their

Donald MacMillan, headed various expeditions for the Field

The

Museum

of Chi-

of the University of Chicago has made films at in stations several its archaeological

cago.

Oriental

Institute

sites

under the supervision of Charles Breasted, son One needs but to of the late James H. follow through the records of important scientific institutions to uncover the deI do not attempt it here because, tails. ancient

civilizations,

principally

so far as this narrative

concerned, the

made

essential facts are already

sufficient-

ly clear.

The Busy Government THE

"customer" apotheosis of the the case of the United Stales The reader has been acGovernment. quainted in earlier pages with some of is in

story

Uncle Sam's first steps to use films, but the great efflorescence here, as in other places, was after the First World War.

summary

Gvernment

of the film activities of the

in 1920

was given

July of

that year by Fred W. Perkins, assistant in charge of motion pictures in the Division of Publications of the

De-

partment of Agriculture, before the National Academy of Visual Instruction in Mr. session at Madison, Wisconsin. Perkins's report covered a variety of such undertakings being carried on by the Signal Corps and the Army Recruiting Division and the Marine Corps of the

the

Navy Department;

Bureau of

Education, the Reclamation Service, the National Board of Parks Service and the Bureau of Mines of the Department of the Interior the Public Health Service, the War Risk Insurance Bureau of ;

the Bureau the Treasury Department of Standards of the Department of Commerce, and the Department of Agricul;

ture,

cameraman an indispensable member of every picture

elsewhere on

Iran and

Egypt,

where the motion picture work of was united under a

seventeen bureaus single head.

Motion picture work of the Government, resembling in this respect its elaborate and long established activity in still photography, was not by any means then, any more than it is now, exclusively Results were for public information. intended frequently just for the fuller

Government

guidance

engineers

who were employed on

and

scientists

large

projects, or for the training of operain various specialized lines of tives service.

And, as the nation's circum-

stances changed, so did the Government's

requirements expand and conIn time of war the film supplies of Army and Navy grew out of all ordinary proportions; in time of peace the especial interests of the Administration in power likewise reflected the character and the scope of related official departments. picture tract.

The Department ceived the

first

Agriculture

re-

healthful encouragement

in the Government motion picture plan doubtless because the people of the United States of America were then traditionally

and preeminently an agricultural nation. At the same time it is to be remarked that the motion picture divisions of most foreign

governments also are strongest

in films designed to educate their people in tilling the soil and in animal hus-

bandry.

(To be continued)

The Educational Screen

Page 14

MOTION PICTURES NOT FOR THEATRES By

Film activities of U. S.

Installment 33.

Government agencies are reshaping the entire non-theatrical field. Here is from the beginning. their history

ARTHUR EDWIN KROWS May

Extension Service.

has been related here that in 1912 Paul Redington, who became chief of the Bureau of Biological Survey in 1927 but was then engaged in field work for the U. S. Forest Service, accompanied an Edison newsreel cameraman

"by official wartime request," Bray used a Department of Agriculture film in "Paramount Pictographs No. 67" and six months later, in October, 1917, Uni-

into the Sierras. This, though, did not represent the earliest motion picture work of the Department of Agriculture,

The Bray output showed

the

State

12,

1917,

versal began releasing the "first pictures" made by the Department of Agriculture.

the improved

results to be obtained by intensive

farm-

that having been accomplished in 1908, when Lewis Williams, chief of the Di-

ing.

The Universal announcement,

least,

covered an entire

vision of Illustrations, and W. S. Clime, his assistant, filmed a flight of the

stated

there

that

series,

the subjects

being

"will

In-

In 1921 the Section of Motion Pictures to the Extension Service as the Office of Motion Pictures. In 1922

was transferred

Office was housed in a laboratory building on C Street, built especially for In 1924 the growing acthe purpose. was provided with a separate tivity building all its own, containing a studio,

the

a complete processing laboratory, vaults, cutting space, projection theatre and offices. The chief cameraman there then was George R. Goergens, who is still vitally occupied with the film business

Department of Agriculture. The Department circular of 1922 named 150 of its motion picture subjects, mostly single and double reelers, which would of the

Wright Brothers at Fort Myer. The camera used at that time,

a Jen"beater"

kins machine with a so-called movement, was brought forth again, in 1910 or 1911, to photograph cattle shipments for Joseph Abel, of the Bureau of Animal Industry. Secretary "Tama Jim" Wilson did not approve of motion pictures

be furnished free (plus transportation Apcharges) to responsible applicants. proximately 182 subjects were being distributed in

similar fashion in

1924,

and

(founder of the Society of Motion Picture Engineers in 1916 he died in 1934), inventor of the camera in question, personally used

of persons who had viewed them during that year was ten million. Titles included reels on plant

good work along by surreptitiously "shooting" Wilson while lie was addressing a group of Corn Club The resultant film, sprung on the boys. old gentleman as a surprise, won him

home

the estimated

then, so C. Francis Jenkins,

and animal care, federal meat inspection,

to help the

Boetcher, chief of the Section of Illustrations, were regularly assigned to motion picture activity, and a laboratory

government film laboratory in the world was established. Two years later, 1914, a Departmental motion picture committee was set up under the late George Wharton, then chief of the Office of Information; and by 1915 the service was so far grown that it sent some forty completed subjects to the Panama-Pacific International Exposition at San Francisco. possibly

the

first

Don Carlos Ellis (not related to Carlyle Ellis) was placed in charge of the Department of Agriculture film work 1917. Thirty-four years of age, he had been engaged during the preceding in

six years in educational projects for the U. S. Forest Service. Before that he had

been an instructor in English and history at Gonzaga College, where he had obtained his master's degree after gaining his bachelor's certificate at Georgetown.

remained at the Department of Agri-

ganization of juvenile agricultural clubs. Late in 1924 an especially promising

arrangement was concluded whereby Pathe would produce, in cooperation with the Department of Agriculture, a series of pictures on the basic industries of the United States. In the following spring the first two of these were released "Meat from Hoof to Market," and "The Kindly Fruits of the Earth," both one-

Raymond Evans came

to film

work

the U. S Department of Agriculture with native understanding of farm problems and a newspaperman's way of presenting the helpful answers.

In the meantime, syllabus for teachers. the direct production of the Section itself,

some studies of the work of the Forestry Bureau in preventing and fighting fires in the big forest reserves under Government control, and other timely

elude

subjects will

show

the

new methods

preserving vegetables by drying and by I cold pack." have no utilizing the information to show that this elaborate Universal series ever materialized and certainly the "the first." Ellis's sal

pictures

named were not

personal relations with Univer-

must have been exceptionally

however,

cordial, 1920, he joined Harry "director of educational pro-

for,

Levey as duction" there. In March of that same year he was succeeded at the Department of Agriculture Section of Motion Pictures, which was then a part of the Division of Publications,

Perkins showed

by Fred

Per-

much

kins.

intensive effort to obtain theatrical cir-

and delivering lectures on the work, besides expanding the service itself. He had

the

place,

culation of the Department motion pictures, the need probably arising from the exigencies of wartime, because normal

come to member

of reels from this source is primarily for county agricultural agents of

experience.

writing

Each was accompanied by a

reelers.

culture film post until late in 1919. Under Ellis there seems to have been

use

conveniences, national forest regame conservation and the or-

sources,

over. In 1912, the time of Redington's trip, the Department of Agriculture film en-

deavors began in earnest. W. S. Clime and George R. Goergens, under Andre

number

activity in promotional articles

the Department in 1917 as staff of the Office of Information after approximately ten years of newspaper

speeded up, and announcement succeeded announcement of films on earthworms, grasshoppers and other insect pests, and one called "Milk for Health," in which Walter Johnson, baseball pitcher idolized by American youth, attested the virtues of that well his

example

known

fluid for

emulation of

drinking it. Work of the Section for 1925, as reported by the Secretary of Agriculture in the first formal annual statement of that sort required of him, estimated showings, to and including that year, to 900 million persons of a library of 1,862 reels, comprising one to fifty copies of 201 separate subjects. Among the 201

"The

were

Ox-Warble

$50,000,000

Tune," "Clean Herds and Hearts," "Out of the Shadows," "The Golden Fleece," "The Charge of the Tick Brigade," "She's Wild," "Cloud-Busting," "There's Magic in It" and "Weighed in the Balance." Distribution was accomplished chiefly through the 3,000 to 4,000 county extension agents of the Department. Many more subjects were produced in 1926,

with

higher circulation figures. But, end of that year, the efficient Mr.

still

at the

Page 15

January, 1942

a strong factor in the aims. Morton F. Leopold, happy always to describe him-

disPerkins resigned to become southern

for the

manager

trict

Newspapers Film

as a safety engineer, was therefore placed in charge of motion picture production and, from his office in Washing-

self

Picture

Corporation and Jam Handy Service of Chicago. Perkins was succeeded as chief by was Raymond Evans. Mr. Evans also records conscientious and able, as the of his earlier career

amply

ton, he performed his duty with energy and enthusiasm. The first Bureau film was made in 1916, when he took this

Born

indicate.

command. Scenarios for given subjects have long been prepared under his personal supervision, and he also in production. intensively cooperates Leopold was born at Duluth, Minnesota, He studied for two years at the in 1889. special

Morristown, Tennessee, in 1875, he was reared on a farm in Central Ohio

agriculture was expansion.

when American period

youths

then

looked

especially

Farm

lustiest

its

city

and Evans, no exception, presentnewsly found himself in metropolitan success which paper work, attaining that was marked by his becoming successive1897 to 1913, Sunday Editor oi ly, from the Toledo Times-Bee, editorial writer on the Pittsburgh Sun, Sunday Editor of the Pittsburgh Post, and feature and edi-

University of Pennsylvania, one year in the U. S. School of Submarine Defense, and one in the Engineering School. For

futures,

writer for the Newspaper EnterIn 1914 he became Association. Assistant Secreprivate secretary to the a year tary of Agriculture and after only

years he served in the Army. His connection with the U. S. Bureau of Mines dates from 1911. About 1920 officials of the Bureau decided that it was of importance to have a really elaborate educational film profive

torial

prise

;

he was appointed Editor in Farm Management for the U. S. Department ol Perkins in Agriculture. In 1921 he joined the Motion Picture Section, Perkins himself having only lately become chief: and

there,

resigned in 1926, as alEvans replaced him. Probrelated, ready in an ably no one has occupied this post

when Perkins

atmosphere of greater loyalty and affection on the part of his close associates. the records of service con-

Under Evans

But under tinued to grow. the public announcements of

him,

too,

what was

exulbeing accomplished took on a less

tant tone.

the

blase

outsider this

could have but one meaning that politicians were beginning to notice that here was another Government

activity be given a trading value in

which might

The patronage system. therefore be discouraged, and

the

idea must what could

be more expedient than to minimize the achievements ? To express pride in doing a good job for the people is not always wise.

In tivity

July,

the motion picture ac-

1926,

the

Department of Commerce

was inaugurated

Section

the

In 1929 it was Specialties Division. elevated as a full Division in its own right. The function here was to promote

and

the

develop

foreign

and

domestic

commerce of the United States through the medium of the screen, not by producing films, but by keeping track of the normal activities in the line throughout the world. In this place much valuable work has been accomplished by the research assistant, Mr. E. I. Way, he having done perhaps more than anyone else previously to accumulate, for refer-

ence purposes, the current information on the entire non-theatrical field.

When

the Section

in 1929, there

was made a Division,

was appointed

command

North, who had joined the as Specialties Division in January, 1923, North, born at an editorial assistant. Swampscott, Massachusetts, in 1892, had studied at both Harvard and Columbia Universities and had been managing editor of Export Trade and Finance, a

Clarence

trade paper in

New

York.

resigned

gram

private industry, Morton Leopold built for the U. S. Bureau of Mines

reels.

enlisting

wide cooperation

post

in Golden, an Ohioan born in Bellaire con1896, who had had motion picture nections in the years before the World

The foreign his successor. was George representative of the section R. Canty, stationed at Paris with the rank of trade commissioner. Canty is the

War, was

same who, in 1937, became continental European manager of Universal Pictures, and who, in 1939, resigned from Universal to return to United States Government film

of the impetus given the endeavors of the Department of

Much

Commerce has come from Julius Klein, who was Assistant Secretary of Commerce of the United States from 1929 to 1933, and wrote extensively in newsthe papers and magazines concerning American motion picture's influence on world trade.

Motion picture work

of the

Department of the Interior has been most important in the U. S. Bureau of Mines which, in

1929,

subjects,

boasted

that

its

525

sets

more composed what was be-

"totalling

length

than 250 miles," lieved to be the largest collection of inIn April, dustrial films in the world. to contain 1941, the library was reported of

reels comprising prints They had than sixty different films. been provided through an interpretation of a clause in the act passed and approved by Congress February 25, 1913, wherein,

5,000

As in other Government bureaus, the funds for picture-making were limited if not non-existent. However, the Buit?

a large and effective film program. Nathan D. in 1933. from his film

work.

instead of just a few "shoestring'' But the question was, how to do

defining the province and duty ^l the Bureau of Mines as to conduct ininto mining for general vestigations workers efficiency and well being of the in the industry, it was added that the

after

Bureau should "disseminate information covering these subjects in such manner as will best carry out the purpose of the act."

the chief producing causes of establishment of the U. S. Bureau of Mines, July 1, 1910, had been recent Alabama mine explosions at Hulga,

Among

the

where forty-one men were killed, and at 150 were Palos, where approximately entombed. These calamities made safety

made up this deficiency handsomely by gaining the cooperation of reau of Mines leading

private

industrial

organizations

They throughout the United States. opened their plants and systems to give Leopold all the subject matter he needed, and paid the production bills besides. All charged to the Bureau of Mines was the sum of salaries and personal expenses of its

own

the work.

representatives who supervised The first film to be provided

way by "The Story of

in this

principally to in that field.

was was made

the mining industry

Coal," which

show

safe

mining practices

oddity

among

these

cooperative productions is a four-reeler, called "When a Man's a Miner," presented to the Bureau of Mines in memory of Francis S. Peabody, well known Illinois coal operator. During 1940 over a million dollars

was appropriated by mem-

bers of the mineral and allied industries No Government to carry on the work. funds whatsoever are expended in production, save as already indicated, or in

Each providing copies for distribution. all picture is devoid of trade names and other material which might be construed as advertising.

High

officials in

industries

these compliant private remained with the

frequently

issue production crew to advise and to Somenecessary spot authorizations. times new equipment and machinery were

supplied to make desired effects possible. In one case a petroleum pipeline was thrown across the Mississippi River just to show how such a job was done and, on several hundred cars were painted so that no trade

another occasion,

tank

name

would appear upon them. To produce the subjects selected the Bureau cameramen visited many remote places. One traveled through Continental Europe and into Africa to

photograph

oil fields, inci-

dentally being shot at and jailed by suspicious authorities and released only upon intervention of the local American consul. For a picture on copper the Bureau

representative

journeyed

25,000

miles,

The Educational Screen

Page 16 which included a jaunt to Alaska. They went overland, overseas, high in the air and deep under ground. In various instances the making was undertaken by non-theatrical

regular though,

alproducers, Bureau repre-

in command. A was "The Story of a

remained

sentatives specific

course,

the

instance

Spark Plug," produced under the direcBureau in 1925 by the Atlas Educational Film Company. Rothacker also was favored. tion of the

Distribution of the films

mainly by R. A.

conducted

Wood from

the Bureau

Mines Experiment Station at Pittsburgh, best situated for mining interests, and from fourteen regional sub-centers. The circulation, however, has always

which year

made

on the national parks, Government, were deemed

his films

for the

for

important

sufficiently

Gaumont. The Department

re-

theatrical

lease by

ished

of the Interior abol-

work

film

its

But

in 1923.

was

resumed three years later, at which time Dr. Maurice Ricker was transferred there from the United States Public Health Service. He rebuilt the laboratory and produced several pictures until 1929,

when

was

the

recalled

Public

Health Service and detailed to duty

New York

make

films

collabora-

with Dr. Bruce Mayne, of the Malaria Division of the P.H.S. Fanning Hearon, who was director of motion

tion

been exceedingly wide, the excellent safe-

Department of the Interior in 1937, became executive director of the Association of School Film Li-

lessons

making

the

reels

especially in centers

valuable in regular schools and devoted to adult education.

one

1929, it was Bureau of Mines reels had been viewed by 665,000 persons. In 1938 it was reported that in the preceding year they had been attended by 10,351,732. Many sets have been pur-

three-month period, about estimated

the

that

pictures for the

braries in 1938. Ellsworth C. Dent, who was Department film chief for a time, later became head of the educational

also

RCA-Victor. In the Department of Labor the motion picture interests have been primarily in the Children's Bureau and the Woman's Bureau. These Bureaus, insuffici-

division of

phernalia in related stories. This aid has been given generously, despite occasional criticisms from persons imperfectly informed, so long as the purposed film has

been one which would

stir patriotic feeling or promote recruiting. All the Government asks in return is that one print of each completed subject shall be as-

signed to the given

The

of the

Navy

men

retiring

However, this

industrial

cooperation ot In

sort there are embarrassments.

1923, Hubert Work. Secretary of the Interior under the Republican

November, Presidents

Harding and Coolidge, was

obliged in a public statement to deny favoritism in production of Government films and, in the autumn of 1924, there was further explanation demanded by the

Democratic National Committee in furtherance of its disclosures on the socalled Teapot Dome scandal, charging that the Sinclair Consolidated Oil Corporation had maintained a propaganda partnership with the Bureau of Mines in

producing

its

celebrated seven-reeter,

"The World Struggle for The U. S. Department has had

its

Oil."

of the Interior other motion picture activities

Bureau of Reclamation and its National Park Service. It WAS through its Bureau of Education, which principally in

acts

its

clearing-house of information

on visual aids and produces no

films, that

A. P. Hollis issued his useful bulletin, Visual Education Departments in State Institutions. From the Bureau of Reclamation, in 1929, might have been procured thirty-three reels of information almost exclusively on western Government projects for irrigation and soil recovery. In the National Parks Service at the same time were to be found about seventy popular

reels,

mostly scenic in character.

Herford Tynes Cowling began tion picture career in 1909 at the

his

mo-

Bureau

of Reclamation, which he joined at the age of nineteen in capacity as a cameraHe remained there till 1916, in man.

the

has

basis,

regaining his production costs out

others.

the

subjects

of print sales, an interesting method, but scarcely a profitable one. For the former

Bureau he produced the celebrated and items "Our Children," a child hygiene picture, "Well Born," on prenatal care, and "Sun Babies," on prevention of rickets. For the latter he made notable

"When

Women Work,"

two-reeler unfavorable

contrasting favorable and It was said of "Our factory conditions. Children" and "Well Born" that, witli their English titles translated into five other languages, they were being shown

exhaustively in the British America, Central Europe,

most

the

British

Isles,

China,

possessions,

South and

Woman's

Bureau

had

disposition

towards

The U.

S. Army and the U. S. Navy and have been heavy users of mo-

pictures for recreational purposes

alone was estimated in 1936 to be spending $307,000 annually for this, while Thomas H. Martell, of the Army the

Navy

Motion Picture Service in New York, was arranging bookings for a circuit of seventy-seven

Army

theatres

their branches of service

;

Army

the U. S. Signal Corps, which well equipped studio an:l

own

its

laboratory, has done most of the internal picture-making in the Navy it has been the Recruiting Bureau and, occasionally as warrant has arisen, a few other Bu;

The Bureau

reaus have been active.

Navigation had an

cameraman

his

name was

and he remained there

motion picture

official

till

M. Blaney,

1915

beginSignal Corps specifically is said to have made its first contract for a training picture with the Lee

ning in 1908.

The

Film Company,

April

when American

1917,

San Antonio, Texas, troops

were on the Mexican Border. John J. Pershing, then Major-General of the

Army

that

quarter,

personally

ap-

following day. Picture work branches of the

continuing film program, was that of In the summer of 1916 it Immigration. announced its completion of the first subject in a series. That one was called "The Americanization of Stefan Skoles." are, tion

it-

training

also

the history of women in industry, and another single reel entitled "Within the Gates," remarking the importance of women as producers of the world's goods. One other Bureau in this Department, a

reels

proved the document. War was declared on Germany by the United States the

single-reeler concerning its own organization and operation, a two-reeler reciting

which showed

the

during

Signal Corps

includ-

ing India and Egypt.

The

service

but the larger needs have generally been cared for by outside producers. In

on a speculative

He made

among

from

World War the made sixty-three

First films

Ellis,

and by lesser exchanges at

Carlyle two or

three

fleet

bases.

few subjects have paratively slight. been made first-hand to encourage enlistments, to illustrate technical points of training and for vocational guidance of

necessarily have had scanty screen pro-

the

Direct production of Army and Navy, save in war emergencies, has been com-

grams.

served

had 287 show

supplemented by exchanges as-

Islands,

Governmental authority. Foreign demand is marked also for the films of the Department of Agriculture. Requests for some items are so numerous that prints are booked a full year ahead, and a number of subjects issued by the Bureau of Mines are in such favor that a hundred copies apiece are used for circulation.

were

section

in 1932,

signed one to each major operating unit

self

Both

exhibition

units throughout the world. Distribution and servicing of the reels was handled from main exchanges at New York, San Diego, California, and Cavite, Philippine

ently supplied with funds for production,

proper

film

Navy, as reported

chased for exhibition in foreign countries, notably Japan, such sales having, of course,

Department's ar-

chives.

and,

have great pop-

shared

Army,

the

three

exhibition

agency, operating through the AdjutantGeneral's Department; the Signal Corps, which produces all the relevant pictures "on the ground" and the Air Corps, ;

which makes those off the ground. With the rapid expansion of military aviation the U. S. Army Air Corps has gone extensively into photographic service. There were, in 1936, fourteen Army Air Corps aerial

photographic sections in the conUnited States, Panama, Haw.iii,

tinental

and the Philippines, and a motion picture unit in the Office of the Chief of the Air Corps to cooperate with newsreel agencies and to distribute Air Corps films for publicity, educational and training purposes. The Air Corps laboratory, situated at the Materiel Division, Wright Field, Dayton, Ohio, is managed by

who has been with Division since 1918. An especial school to train the Army aerial photograLouis Hagenmeyer, the

ular interest beside, theatrical producers have applied to them frequently for per-

phers

mission to use their personnel and para-

toul, Illinois.

conducted at Chanute Field, Ran-

Page 17 January, 1942 In the

1929,

when Maurice Ricker

the U. S. Treasury Department have come the films of the U. S. Health dealService, notably important subjects

came Department of the Interior and for the United States PubHealth Service, talking pictures were

New York

to lic

ment

film

diseases.

used

sex

with

ing

coming in and were beginning to be the in Government work, notably by Army and the Department of Agriculture. As related problems arose, the Govern-

men

cries

From

left

with two State senators a proposed but still unproduced series for Delaware. Enthusiastic consideration has been given to a project for exploiting Mississippi in

implications, came when seriously to a head in May, 1937, William Theodore Schulte, Democrat from the First Congressional District of

because

employment was as an engineer with the United Research Corporation, a subsidiary of theatrical successful the enormously sound film producers, Warner Brothers. One of the Government's prime motion caused by the picture difficulties had been

political

leading the ayes. Illinois received

its first practical imState production during the Frank O. gubernatorial administration of Lowden, from 1917 to 1921. Lowden was

cessed outside at what were prohibitive At last, prices for Department budgets. in 1934, George Goergens, of the Department of Agriculture, asked Ricker to assist in writing specifications for a proper That was readily developing machine. of arranged but bids for construction the machine were so far beyond the

keenly interested in fine-bred

Congressman

Office.

Printing

the

traffic

nois

1920 to educate the public in food-buyParticular attention has methods. been earned by the work of the New ing

Agriculture

unit.

main

Department of edifice, where

The new

the Office was to have, in 1935, the largest and best equipped film plant in Government service, was not yet ready for maoccupancy, so the needed processing

chine was delivered "knocked down," not being assembled until 1936, when Ricker was transferred from the Health Service to the Department of Agriculture to install

remain

it.

their

sold

Incidentally, Ricker was long after the work

in this place

in question

was

done.

research

Warner Brothers laboratory

the the

Radio Corporation of America, so good doctor stayed on, devoting most of his time thereafter to direction of Depart-

ment

of Agriculture films.

And that was not all. Major (later Lieut. Col.) E. Melvin Gillette, in charge of the motion picture laboratory of the U.

York

S. Signal Corps,

tunity to obtain

saw here an oppor-

for his place a

similar

as processing machine. Ricker cooperated to build and to and design helped usual, the apparatus which now functions at

Humphreys, where all negative and positive films for the Army's expanding needs are put through. Fort

State Department of Health, where M. Tucker, Jr., for fifteen years

Gilbert

Motion

today's

made motion

has

paratus now installed at the Department of Agriculture. The Department of Agriculture Office

having been demolished to make way for erection of the present "South" Building,

reels in

a pictures with fair regularity, including series through the Marketing Division

under Ricker's supervision, a group of employees there built the developing ap-

Pictures was then in temof quarters in the old Bureau Fisheries Building, the C Street structure

well organized Illifilm library has

educational

constant circulation. New York State

Their shops at United Research to help. being at that time largely inactive, they donated the use of their equipment and,

porary

The

safety.

State

had these and numerous other

doneduntil Warner Brothers consented

and

Husbandry. Lennington Small, the next Governor of Illinois, was a farmer and, first greatly impressed with what the film had accomplished, he recommended motion picture production to all other The Department of State departments. Public Welfare responded with a series on institutions under its control, and the Department of Highways and Waterways with a film on road-making and

of available funds that it seemed that the project would have to be aban-

which

cattle,

"The Foster

was

release

initial

Mother of the World," featuring the cow and made by the Division of Dairy

limits

petus

Indiana, introduced a bill in Congress tended to consolidate all of Uncle Sam's motion picture production in the Govern-

ment

former Governor Dennis Murphree

films,

in-

sudden obsolescence of its laboratories. Film development there was by the old "rack-and-tank" method; and this^ left disturbing marks on "sound tracks" gowas necessary ing through. Therefore it to have all Government sound films pro-

has approxi-

shot by jects including much footage cameramen from Eastern Film Corporation. Representing that same concern I once journeyed to Wilmington to discuss

divisions

film

Government

the

tives

Game

California

on its list. The Pennsubsylvania Fish Commission has many

reels

dollar-a-year scientist, his other

first

The

1939.

fifty reels

mately

appeared from the same quarter demonstrating the splendid work of the U. S. Coast Guard. One proposal long dreaded by opera-

had for his specialized knowledge which come about because, while he was cona nected with the Health Service as

in color in

Division of Fish and

education and venereal 1922 the section of War

Risk Insurance in this Department made a motion picture, and at intervals have

naturally consulted Ricker

Commission made the

series

Schulte estimated that the annual expenditure for this purpose, on the existdollars. ing plan, ran to about a million He proposed placing the work under a motion picture entrained, practical

who would receive $8,000 per annum, with three qualified assistants at No especial action was $4,800 each. gineer,

taken in

the

situation

the

but

matter,

large amount of unwelcome In one form or another the

received a publicity.

be expected to reopportunity for embarrassment of the Bureaus. A similar bill was introduced the very next year, in January, 1938, by Senator Elmer Schulte proposal

appear at every

Thomas,

may

political

Oklahoma.

State Specialties

VARIOUS

individual State governments

have undertaken tion,

their

own

film

produc-

among them those of Ohio, Massa-

chusetts,

California,

Illinois,

Wisconsin,

New Jera considerable

New

York, Pennsylvania and

sey.

The last-named has

library available to the public through

charge of the Division of Exhibits, long made use of small appropriations Most of his to produce useful films. ingenious other exhibits he constructed with his own hands in a home workshop. I speak of Tucker out of a long, firstin

Gilbert Tucker's Yankee fondness for gadgets may account for the variety of film techniques in his novelty shorts for New York State.

its

Department of Conservation and DevelopThe Virginia Fishment at Trenton.

hand, admiring acquaintance, for I assisted Carlyle Ellis to make several of the

Ever of Health trailers. receptive to the use of novel techniques, Tucker was responsible for much of the

Department

popularity of silhouette, cartoon and stopmotion treatment of films in the health field.

was

for

what

later

became

his

Division that the Edison Company produced "The Trump Card," a reel on impure milk, in 1916. In the autumn of

1937 he added to his pioneer status by having one of his films "televised." Tucker was born at Albany, New York, the State capital where he was to serve

He was originally for so long a time. a specialist in agriculture, having come of a family of authoritive writers on that His father was editor of Gentleman; and it was celebrated farmer's weekly that him employment after his graduation His abilities Cornell in 1901. subject.

Country

especially

valuable

during

the

World War, throughout which ing

period

served

the

The that

gave from were First

distress-

work

(Continued on page 21)

January, 1942

Page 21

than reading, etc. significant type of experience for the consideration of our readers was the "ability in interpretation

10%). by (mentioned pictures" Further analyzed, this ability was seen of

as ability to use pictures as a source of information, to note details, to select pictures bearing on a specific subject, to

about pictures in a few connected

sentences, to

a story in a series of

tell

pictures; appreciation of the aesthetic values of pictures appreciation of having experienced what is shown in

Motion

History Directs the Movies Institute

thus,

American Scholar

tell

habit

certain pictures tions to pictures.

;

This study points of teaching children

reading cap-

out the importance to read and use

how

the understanding gained from pictures as preparation for understanding geo-

graphy. standing

Kurt Pin-

resume of the trends in American European motion picture produc-

and

tion in the last

20 years. The author cites

of films to show that producers been influenced by world condi-

titles

have tions

manner

recent issue of this important periodical is an excellent basis for beginning the intelligent study of geography pictures, as suggested by the article reviewed above. Although it went to press before the outbreak of

war, this issue of Building America shows

through excellent pictures, maps and text the importance of our Pacific and Atlantic possessions and what it is that the inhabitants of Hawaii, Philippines, Alaska and other islands have to defend. Sources of information and materiafs

description

the

way

which

photographs from magazines, newspapers, or advertisements can be mounted and simple text added for imparting vocainformation

tional

has

varied

This article describes a movie apprestudy made by all grades in an Each elementary school of 350 pupils.

grade participated in the selection and evaluation of each feature film shown, although there was variation in each room depending upon the maturity and interests of the group. The "course" is financed by the Board of Education, amounting to about 30c

was organized

committee of teachers and representatives of each grade selects 15 feature films rives,

for the year. When the film arthe preview committee (which is

changed from time to time) looks at the film and discusses ways and means of making the showing most enjoyable.

They then prepare

questions for discussion to be introduced to their respective

The showing of the film and the discussion period following take half a school day each week. The group is

classes.

developing

standards

1941.

discussion of the motion picture as

a popular

art.

SCHOOL-MADE FILMS Movies Tell School Story

Charles A. Grarnet and Joseph T. Shipley, New York City Nation's Schools, Nov. 1941 p. 66.

very brief account of a very detailed production program in which all aspects the

were

education

illustrated

million

children

through carefully-planned

film scenarios.

School-Produced Motion Pictures Robert E. Jewett, Ohio State U. Social Studies 32 :321 Nov. 1941. ing

interesting account of a school filmthat was superior to the

project

slapstick comedy efforts of The Hi-Y Club of cents.

some adolesNorth High

School, Columbus, Ohio, decided to study and film the housing situation in their own city. They showed slum conditions

and the relation of housing to child delinquency, disease and tax burdens. The

was

ciation

and

Barry, EdNational of Education

Yearbook Chap. XIV.

lists

over.

They are

how

Iris

40th

cutive 61 :34 Dec. 1941.

sincerity

Fox

of the time, effort

Here

Zeigfeld, Milton S. Society for the Study

Are Made, Not Born Floyd L. Smith, Principal, Woodruff School, Ypsilanti, Mich. School Exe-

several of the generalizations which the pupils made after the project

Critics

per pupil.

the

win

author

retarded pupils.

PHOTOPLAY APPRECIATION Movie

The Motion Picture

1941.

and

in effectiveness.

are given.

Let Pictures Tell the Story Gloria McCounselor, Los Angeles City Intire, 20:124 Nov. Schools Occupations

depression,

However, the which these topics were treated

movies

daily newspapers, and in interpreting life situations all about us.

The most

war,

discrimination

certainly

worthy

and money.

NEW BOOKS Course of Study in Radio Appreciation Alice P. Barringer Sterner, High School, Newark, N. J. Educational and Recreational Guides, Inc., 1501 Broadway, N. Y. 1941 36 pp. $1.00. This monograph appeared serially in the monthly issues of the "Group Dis-

cussions Guide." for

It contains

an extended course

suggestions radio appre-

The author has

included 22 it essential to include them in the order given. She recommends instead that the course be adapted to the local situation. The topics concerning radio that highschool students may find challenging are ciation.

units but she does not believe

music programs, popular programs, sports, news, comedy, drama etc. Discussions dealing with advertising censorship, the radio industry and future developments constitute a large portion of the course. This course is well conceived and ably outlined and illustrated. It belongs in each school upper elementary and sec-

ondary.

Reginal Bell and Leo (See also Jan. 1941

1941.

issue).

The contributors

issue

this

were

concerned, in one capacity or another, with the Santa Barbara program of the Motion Picture Project of the American Council on Education.

SOURCES

in their choice of themes.

the

Building America: America's Outposts. Vol. 7, No. 3. Dec. 1941.

Nov.

F. Cain, editors.

1941.

as important in under-

It is just

Pictures in the Secondary School California Journal of Secondary Education, Vol. 16, No. 7

Social Research 10 :483-97 Autumn,

;

PERIODICALS

which are noticeable in their movie-going habits outside of school.

Audio-Visual Aids for Adult Education James W. Brown, Virginia State Director of Audio-Visual Aids Adult Education Bulletin quarterly. Picture File Pointers: Source Material for the School Librarian Norma Olin Ireland, El Monte, Cal. Wilson

Library Bulletin, Nov. 1941, p. 258. Prepared by the School Libraries Section of the American Library Association. This compilation lists sources of pictures and a bibliography for persons interested in

mounting and

filing flat pictures.

Aids to Democracy: Radio, Movies, Press a reprint of three articles by Edgar Dale, which appeared in the News Letter during 1940-1941. Published by the Bureau of Educational Research, Ohio State University, Columbus. 21 pp. 25 cents. In the Introduction, Dr. Dale states that "the radio and movies are unusually effective instruments of mass communication Such potential power for the spread of democratic ideas should be harnessed but how?" The answer to .

this question is discussed in the pamphlet.

The

list

''Sources

Inexpensive

Teaching Aids," compiled by William G. Hart,

also included.

Motion Pictures

Not

for

Theatres

(Continued from page 17) food control. He retired from the Department of Health about 1939 to live on his pleasant farm at Glenmont, New

York, not far from the city of his birth and long occupation. His abiding, congenial interest in the good earth doubtaccounts for his allied absorption matters of property, evinced by the recent publication of his highly readable

less

book The Path to Prosperity, which arose otherwise out of his burning enthusiasm for Henry George. Valuable New York State work in the utilization, as

opposed to the production, was accomplished

of educational pictures

by Dr. Alfred Abrams, who died at his Albany home April 2, 1938, aged seventyAs far back as 1909, after one years. extended service as principal, superintendent of public schools, and State inspector, he was appointed Director for Certification

Education

the

Division

State

Visual

Department of

Education, a post which he held actively his honorable retirement in 1934. Ward C. Bowen is the present Chief of the New York State Bureau of Radio and Visual Aids. until

(To be continued)

Page 61

February, 1942

MOTION PICTURES NOT FOR THEATRES By 1

"HE is

situation,

baugh, has unusual aspects that call for their notice in later pages of this Mr. Aughinbaugh has prohistory. duced a considerable number of reels for the Ohio State Board of Education, where he regularly serves as Director of Visual Instruction, using the best available

professional facilities.

Outsiders

to our

immediate North American

neighbors, publicity pictures in considerable variety have long been provided by the Canadian Government. In 1917 Louis

relinquished the property, and suggests that the hand of the Canadian Government may have engineered the turn of

The Canadian Motion

formed observers have hailed as "the first people-owned film laboratory on this continent." It

was decided to concentrate on oneshowing the true attrac-

reel productions

tiveness of the country.

This led to the

Canada" series, of which a number were produced by Hal C. Young, subsequently an important

celebrated

"Seeing

executive of the National Screen Service. To these pictures has been attributed

much

of the later increase in the

ion's

profitable tourist

trade.

Domin-

Distribu-

is largely through the Canadian National Railways and the vast system of the Canadian Pacific Railway. If this latter name reminds the reader that

tion

May

27,

1927,

at Montreal.

busy

from the BuS. Peck was was to remain in

Raymond

years of age,

Canadian

official

motion

who had

been gassed and

wounded been

at the front, and had therefore retired from the firing-line to this

more congenial post. For the Commission he was in direct charge of the British war films and still photographs intended for American distribution. After the Armistice he remained in the United

and followed

States

nections with

work

his

publicity

con-

in press

departments, successively, of Selig and Metro PicIn 1919, when D. W. Griffith was tures.

working at Mamaroneck, New York, on his elaborate motion picture "Orphans of the Storm," Badgley won a place in the production department. There he learned practical lessons about what the camera could and could not do, and even In 1922 served for a time as an actor. Raymond Peck engaged him to install a new laboratory for the Canadian Bureau Ottawa. As this connection continued, Badgley found opportunity to apply his many acquired talents, cutting and edit-

<c)

Karsh

ing the films in hand. Thus he arose to the position "of assistant director of the Bureau and, in 1926, to the place of

This is John Grierson, prize pupil of Sir Stephen Tallents, England's master propagandist. Both labored for the old Empire Marketing Board.

Sir

was given charge. Preswas started actively what some enthusiastic but misin-

died

the British war films which Urban brought to America in 1916. One of the members of the British War Commission to the United States in 1917-1918 was Frank C. Badgley, a young soldier, about twenty-two

a travel series in 1910. B. E. Norrish retired

consequence of a decision by the Government that something must be done to counteract alleged screen misrepresenta-

under him,

age of forty-one. Norrish at that was with the Associated Screen

volving Charles

engineer

of useful and widely dis-

picture department of today owes some of its early vigor to circumstances in-

Picture Bureau,

George Foster, minister of the Trade and Commerce Department of Canada, seems to have been the moving It was through his action and spirit. in his department that there was organized the Commercial Exhibits and Puband B. E. Norrish, a licity Bureau,

films.

The

It cousing pictures for a long time. operated, as the reader will recall, in helping the Edison Company to produce

series

tributed

News

reau in 1920, and appointed head.

made a

time

have no evidence to submit, The Canadian one way or the other. Pacific Railway, of course, had been events,

situated at Ottawa, the Dominion capital, was established about 1918, in the Federal Department of Trade and Commerce,

there

our non-

the

at the

able.

ently,

he was "loaned" to the Government British West Indies, where he

office

about 1918 the Canadian Pacific Railway took over the American Gaumont Laboratories at Flushing, New York, but soon

railways to teach safety to the employees. Among the regional efforts, the film work of the Ontario Provincial Government which maintained a laboratory and studio at Trenton, Ontario, with headquarters at Toronto, also has been not-

civil

month

moves from Government to Big Business, naming persons, places and dates as usual.

Kon, Commissioner of Immigration and Colonization for the Province of Manitoba, arranged with an American producer for the making, under his own, personal supervision, partly in Winnipeg and the rest in Chicago, of a one-reeler showing how Manitoba solved the labor In this same shortage at harvest time. year the Dominion Government sent a motion picture exhibition car over its

tion.

thirty-fourth

ARTHUR EDWIN KROWS

where the work headed actively by B. A. AughinOhio

The

theatrical films history

director,

post for the next half-dozen years, serving with distinction. Peck was born

this

Ridgetown, Canada, February 2, 1886. After an education in public schools of Chatham, Ontario, he entered journalism first with the Windsor Times and An then with the Detroit Free Press. experience in advertising with the Nash Motor Company added to qualifications for his next employment as publicity director of the Canadian Universal Film

Company, and

this

editor

at its headquarters in

led

the

Toronto

a further expansion

Motion

Picture

;

Digest,

Canada's foremost film trade paper.

succeeding Peck.

There has been plenty of motion picture interest on the part of the Mexican

entered the Government service in 1919, being then appointed Film Editor of the Exhibits and Publicity Branch of the Federal Department of Trade and Commerce, from which grew the Canadian Government Motion Picture Bureau under B. E. Norrish. During Peck's tenure of

authorities ever

since

film industry

the

began but the instability of their Government has militated against sustained Mutual Film Corproduction there. ;

poration made the country conscious of some of the propaganda values of the silver screen in its fantastic contract of 1914 with the insurgent Francisco Villa.

was soon

after

Woodrow Wilson of

that

tried to

American-Mexican

President

cut the knot

relations

by giving

recognition to Venustiano Carranza as head of the southern neighbor's

official

August, 1919, word was correspondents that Carranza regime was to produce

Government. released

the films

press

showing native

opportunities

for

immigrants, but in May, 1920, Carranza fled before an uprising and was killed. Civil wars, insurrections and presidential assassinations which followed were obvious reasons for undeveloped Govern-

Page 62

The Educational Screen

mental film productions. Nevertheless, under an administration which seems to be fairly stable at this writing there may be significance in the effort of the Mexican Ministry of Education begun

Spring of 1936, to produce short on the country's attractions.

the

subjects

The

was a

of these

first

talkie

made

Michoacan, the home State of President Cardenas. It featured the activities of an important local women's organization, with accompanying music by a celebrated State orchestra.

In the countries overseas, native gov-

ernment production has been considerable despite turbulent conditions there since the First World War. References to

such work have been made earlier in the pages devoted to educational film making. I am speaking now, of course, of the period prior to the Second World War, the special circumstances of which will be touched upon in a closing chapter. In France there has been a rather curious obstacle to the growth of this service which is worth mentioning as a warning to others. Under the laws which have bound the Ministry of Public Instruction there, it has seemed virtually impossible to throw anything to pass it into other hands

costs

received

mere

may

its first

tribution.

had

perhaps, of his earlier social psychology researches in American universities, and investigation of American "yellow jour-

Rockefeller Research Fellowship in Social Science, and a possible source of embarrassment to conservatives in Downing Street because the reels so persistently showed "opworkers in the pressed" approved Russian photographic manner. In this production period Grierson had associated with him Basil Wright, maker of out-

under

nalism"

official

standing

Arthur

Indies,

made

pictures

Elton,

West

the

distinguished

for

Scotland and Wales, Albert Cavalcanti, noted for accomplishments in France, and Robert Flaherty, celebrated maker of "Nanook," who, in an interval before the filming of his subjects

English

recognition, the storage of obsolete ma-

Britain

idea.

In this place Grierson quickly gained of reputation for producing subjects strong social significance, a reflection,

where

has

Great

the

had

away, or even

handicapped, and sometimes has actually prevented, a natural, proper support of up-to-date production and disterial

own

been his

because film unit

"Man of Aran" in the Hebrides, produced, in collaboration with Grierson, a striking subject entitled "Industrial Britain." Grierson himself won especially favorable notice for a study of the

have a continued usefulness. Consequently, in the very place where the pedagogical film

was natural enough, Empire Marketing Board

that

produced

various

herring

fleet

called

"Drifters,"

a single subject in the approximately 150 attributed to him.

In 1933 the Empire Marketing Board was disbanded and it was decided to discontinue the Film Office. However, in

storm

the

criticism

which

followed

word of this intention, the matter was reconsidered and the department was taken over by the General Post the

first

Office of Great Britain, Grierson maining as reorganizer and head.

re-

In 1938 to 1939 it was stated that Grierson would visit Canada, Australia and New Zealand to confer on production and use of Government films in those places and especially, so the official statesaid, "to study possibilities of the

ment

screen as an aid to closer Imperial rela-

The beginning of the Second World War obviously made Canada of tions."

importance as an area for this in October, 1939, Grierson was appointed Government Film Commissioner of the Dominion. He was at once given a three-months leave of absence

greater

work,

so,

from

this

post

go on

Australia.

his return he expected to be joined by his sister, a passenger on the City of Benares, the ship which was to bring

eighty-eight British children to Canada out of the European war zone. She took

motion pictures of the embarkation, intending to complete the film on arrival, but the ship was torpedoed by the enemy and Miss Grierson and eighty-three children were lost. To make matters worse, the Canadian film situation apparently had not progressed, and possibly even had developed obstructions. Accordingly Grierson tend-

ered

his

resignation

Commissioner.

But he evidently was persuaded to consider.

month

later, the

Hon

re-

MacKinnon, Minister of Trade and Commerce, announced that Grierson wouW continue in the post, and unofficially, it

was

reported

Grierson

that

would

find himself thereafter with a freer hand.

technical and propaganda films through her Admiralty for years, and had cir-

them to excellent effect throughout the Empire. She was so far sensible of the importance of screen publicity that, when the then Prince of Wales visited

Chapter IX

culated

South Africa and South America

in the

Government supplied him with two cameramen to record his move* ments in the approved manner. It was in this same period that Australia recogtwenties,

his

nized the values and, through the Commonwealth, produced a useful series of shorts entitled

"Know Your Own Coun-

try."

The probably most cal

picture

notable non-theatri-

development

the

British

Government in the late nineteen-twenties came in the Empire Marketing Board headed by Sir Stephen Tallents, which contemplated the institution of a Film Office in London. The officials moved in the matter with characteristic caution, first

film tries.

conducting a survey of educational production methods in other counThis investigation was entrusted

John

Grierson,

young Scotsman,

barely thirty, who, in addition to having had experience in newspaper work in both Great Britain and the United States,

had worked for Paramount Pictures.

he was related to Major R. Grierson who had important motion picture connections in London. When the believe

Film Office was eventually set up in to make propaganda and school

1928, films,

John Grierson was given command. And

Lessons In Big Business

a period of such varied and rapid material progress as the second and third decades of the twentieth century, active men felt no obligations to stay in traditional ruts or in lines for which

their

early training presumably had

fit-

them. Bicycle mechanics made airplanes, bankers ran railroads and steamship lines, automobile men manufactured radios and automatic refrigerators, furriers and glove-makers produced motion ted

picture

ventured

plays, into

public utilities magnates "visual education," and

were literally thousands of other proofs that specialized success in America might be a matter of mere inclination. Big Business therefore had no sense of being incongruous when it looked at the stirring non-theatrical field, decided that it required only a good commercial sense there

make

take

chapter

profitable,

over.

and coolly moved

What

follows

part of the story of

pened when

this

what hap-

did.

For the occasional success which emerges from the headlong experience of corporations which thus fling them-

by the invasion. In the nineteen-twenties non-theatrical field was dotted here and there with small organizations pos-

the

sessed of slender reserves, but having healthy accommodation to their modest needs and in a fair way to get along. Upon this pleasant scene of humble, pa-

industry descended the promoters nature interested in profits

tient

who were by more

than in service, although they sometimes did acknowledge that service

was

means

When the

new

to profits.

the promoters first squatted in territory, their enlisted money

flowed freely, and customers, beguiled with prospects of higher efficiency from financially responsible service, turned thither with their contracts. To deliver on these contracts the new business soon required experts, and so took on some of those who were already in

who were glad now to follow the trade which had deserted them. Months elapsed, and the expected profits not accruing, the promoters decided that the field and

their

possibly

original

calculations

wrong,

the

fault

could not

must

lie

their personnel. Fresh upheavals ensued in the form of discharges and re-

selves into alien lines, there is usually a heavy toll of failure, and, what is espec-

ially regrettable, the failures frequently

But still no profits. At organizations. last, those back of the promoters, those

include the collapse of previously established producers and distributors whose reasonable existence has been wrecked

who had came

put up the actual money, berefused further impatient and

Page 63

February, 1942 funds that

those

and the promoters, then admitting

;

the

cleared

lately

field

could

not

be expected to respond at once to intensive cultivation, disgustedly moved on to other new lines where their talents might find speedier opportunities. In the self-imposed field thus deserted by its leaders, then followed the inevitable col-

Chronicles

summer

the

IN the winter of 1918 a firm of book in New York wished to inquire into the production of motion pictures.

They

talked

casually

with

their

naturally did not nection to make

Robert Glasgow founded the ChronBent on making icles of America. it his crowning accomplishment he died before the cameras started. Business policy effaced his name.

ment on their strongly visual character and repeated urgings to have them trans-

What

Morningside Heights, was connected with a leading theatrical production company. Upon request he introduced the publish-

should

to the gentleman in question who proved to be Robert E. MacAlarney, former managing editor of the old New York Tribune and at that date scenario

ers

Famous

Players-Lasky, the production division which supplied Paramount Pictures. Through him a luncheon and conference with Famous Players for

editor

were arranged. At this conference, or at another which followed soon after (it occurred at the Harvard Club by the way), MacAlarney introduced H.

officials

Whitman Bennett, then production manager for Famous Players-Lasky. The publishers, Glasgow & Brook, late of Toronto, where they had issued a highly successful series of histories in thirty-two volumes known as the Chronicles of Canada, and an earlier, twentythree-volume set known as Canada and Its Provinces, were now in throes of publishing, along similar lines, the Chron-

America. The last-named, to comfifty volumes written by various hands, had been prepared and were being sold by subscription under the auspices of Yale University Press. At this time, although only ten books had

icles of

prise

a set of

was said that the a in hand represented subscriptions pledged total of something over two and

actually

appeared,

a quarter million dollars. The publishers explained to the motion picture men that the ten books already delivered to subscribers

brought

all

parts

surprisingly

world, had uniform corn-

the

motion pictures for the schools. they think of the idea, and

lated into

and one who had something to do with the faculty at Columbia University, Richard Webster, mentioned that a professor of journalism, up there on writers,

my & Brook

meeting with

project,

was con-

Vitagraph Company of America, assisting the late George Randolph Chester, author of the CetKich-Quick Wallingjord stories, who was in charge of the scenario division. I

;

publishers

Glasgow

tinuity editor of the

(and probably that much worse for the

Made History

themselves, as the was even a Colum-

of that particular plan. first At the time of

suspend their plans for garnishing), further pictures the producers who have come to work for the invader are now out of jobs; those who declined to come

Step that

pictures,

of 1924, there

Pictures Corporation formed at Los Angeles to produce "true-to-fact pictures on American history under auspices of the local American Patriotic League," although I do not know what became

counting the customers, having paid more for what in reality is only the old service dished in a novel, more glamorous way

arduously

bia

is generally somenaturally out of it thing to be dreaded as the plague. The incursion commonly stunts the growth In the final acof the field for years.

elsewhere.

long and

labored

very early days to Blackton at Vitagraph, to Edison and to others. After their time, similar ideas continued to assert themselves, as they no doubt will again and always. As soon after the advent of the

lapse and pathetic radjustment. This is the familiar cycle. It explains why to those long connected with nontheatricals the coming of Big Business from the outside which does not grow

have lost their best accounts and have been either sold out by the sheriff or have been obliged to seek their livings

who

to shape it. As to the idea of producing historical pictures in series, it had occurred in the

did

their professional what, in could be done to realize it?

The

first tie

step,

make

opinions,

MacAlarney advised, a survey of material

and and asked whom they might engage to do it. By which seems to have a coincidence, cinched the matter, both MacAlarney and

upon which of

time.

to base estimates of cost

The

others

agreed,

Bennett independently named me. I was duly approached, and thus began my with the Chronicles of acquaintance

America.

For completeness of record it is necessary to interpolate here reference to a claim that the Chronicles picture plan was not occasioned by a spontaneous enthusiasm of subscribers for the vividness of the published narratives, but was suggested by Louis Duncan Ray, husGlasgow's sister and recently a writer and editor living in Detroit. According to Ray, the suggestion of making a series of American historical films was made in 1914 in Toronto, as

band

part of a proposal that Glasgow should take stock in a motion picture enter-

which Ray was interested. How I this may have been, I cannot say. know only that the Toronto conception, and I have no reason to if it occurred doubt that it did could have had no prise in

more bearing on what subsequently took place in New York than any other casproducing films of this type. The project took more than GlasGranting his gow's mere inclination. conviction that it would be a good thing

ual

thought

to attempt, the entire development thereafter

know

growth, which I of positively because I was one

was an

arranged that the side.

want

to sever that con-

the survey, so it was should do the work on

But

I soon discovered that I had undertaken a heavier job than I had bargained for, or, indeed, than anyone else had anticipated. It so filled my days, holidays and nights that I found my

Vitagraph connection cutting into it and, with too much enthusiasm, probably, because Chester had other plans for me, I recklessly broke free from the theatrical studios

and cast

lot into writ-

ing history pictures for the schools. There was no Chronicles of America then.

Corporation

Glasgow

Brook,

coming from Canada and arranging with Yale University Press to sponsor the new series, had incorporated as the U. S. Publishers Association, which was to function principally while the books were in preparation. The acknowledged genius of the concern was Robert Glasgow, one of the most interesting personalities I have ever been privileged to know. Arthur H. Brook was a younger man, who had been taken under Glasgow's wing in the Toronto days, and trained by him to head the remarkably productive sales division.

Glasgow had been born of Scot ancestry about 1876, in the Canadian Province of Quebec, of the same stock which

had produced Admiral David Glasgow Farragut, hero of the Battle of Mobile

Now

Bay. can

citizen,

States

he was a naturalized AmeriUnited the believing in

and the brilliance

its

future

with that kind of earnestness which I had thought previously could arise only from

One of his bea man's born instincts. loved sons had been among the first to die

for

War.

the

When

Allies I

came

the

First

really

World know

Robert Glasgow, I conceived a fondness for him which may be described only as filial; and that regard never wavered while he lived.

original

(To be concluded)

Page 104

The Educational Screen

MOTION PICTURES NOT FOR THEATRES

A chronicle of Port Thirty-five Chronicles. More previously untold pages concerning Big Business efforts to show "visual educators" how.

ARTHUR EDWIN KROWS

the spring of 1920 the survey was sufficient for a preliminary esti-

deemed

IN mate

of properties all were to be found there, convenient to the hand of any and every person who might have to do with editorial supervision or production. There was even talk of printing these scenarios

of costs. It tentatively called for of eight units each, covering the history of America from Columbus to Woodrow Wilson, inclusive.

for the guidance of teachers

For

use

five sequences,

purposes of figuring, players and settings required were indicated in round numbers, and there were other useful clues provided for a statistical department. Of course, we hoped ultimately for production on a revolving fund basis, gaining money from release of early productions which might then be invested in later ones, and there

was

offered

who might

the

completed pictures in class. I was very glad indeed that the scripts were just that way when, June 6, 1921, I was summoned to read the first two to an assembled body of educators at

Yale University, who wanted to pass on their fitness to receive the University Press

endorsement.

summer morning when

was

lovely

went with Glas-

a plan for the repeated turnover of only $20,000; but, for the present, it was obviously necessary to regard the entire as an

series

accumulating out-of-pocket

Famous Players-Lasky kindly

expense.

and apologetically gave a verbal estimate of around a million dollars, but asked for specific scenarios upon which

more reasonable charge, sure would frighten off customer, especially a newcomer

to base

that such a quotation

any

the

field.

Profits

WHAT Glasgow

Home

Begin at

not intended all,

that

merely that

course,

should

of the books. He decided that so much original work in preparing the film versions, picturizing not his own published texts but the very

was

source documents of history, that they should be regarded as distinct accomplishments, with the scenario writer to be accredited with full authorship.

The

scripts certainly were unique in form, made so to accommodate the peculiar demands of the situation. They were typed on long, foolscap sheets to care for elaborate footnotes on each page, which gave historical justification and In amplification of every major point. the first two scripts alone, the supporting

than to

more richly due Robert E. MacAlarney for is

credit

realized merits of the school films known as the Chronicles of America.

gow the

New

board

Haven, and

room

sat

with him in

the

University for this ordeal, although, naturally, I wasn't especially interested in the weather just then. Among those present were Allen Johnson, chairman of the Department of History at Yale, general editor of the published Chronicles of America and later

become

editor-in-chief

the

National Cyclopaedia of American Biography; George Parmly Day, treasurer of Yale University Corporation and Charles M. Anpresident of the Press drews, authority on the history of New ;

Stephenson, of the University of South Carolina; Charles Seymour, who today is no less than the president of Yale

weights and mannerisms of the

itself C. H. Haring, professor of European history Anson Phelps Stokes, and

50,000

;

heights,

respective

characters;

full

descriptions

answer

commented favor-

ably and the manuscripts were delivered for further action by the Council's Committee on Publications of Yale University. There, September 26, 1921, after the pages had been read critically by experts, a resolution was adopted generally enTo act dorsing the picture project. for the Committee Dr. Max Farrand was appointed general editor, and he chose as his Dr. Frank Ellsworth associate, Spaulding, Sterling Professor of School Administration and head of the Department of Education in Yale. As their executive on the ground, watchdog of production, so to speak, was Nathaniel Stephenson.

Glasgow's plan now was to organize separate concern to handle the pic-

New Haven

April 29,

1922,

teachers

some

elementary schools, thirty-six units of two

guidance for every phase of film prac-

To none

Information as to physical appearances, including costumes how houses and fortifications were constructed ages,

more than

the his-

ready to But to objections.

men around me were depending on my

words.

totalled

all

Considering the heavy staff requirements of a large concern, together with the fact that these gentle-

Max Farrand, professor of England American history and brother of LivNathaniel ingston Farrand; Wright

notes

had

reels each.

"Columbus"

zations

that

finally all the listeners

called for

precedents. As far as possible we wanted the plan to unfold chronologically, so

there

was

read off in

and

the

became the opening subject. This was followed by "Jamestown," the story of the first permanent English settlement in the New World. During this work, Glasgow revised his first intention of making the pictures dramati-

thankful

torical citations in the footnotes,

and copies of which were sent for comment to about thirty selected principals

establish

Allen

barded me with questions concerning this statement of fact and that; and how

ference at

was should write them

scenarios.

My own, tentative schedule which was authorized in editorial con-

going to do the job, he would do it himself. While he was ruminating over this, I proceeded by instruction to write first

assistant

ture making.

too large and too profitable to be sublet, and he decided that if anybody was

the

Gabriel,

When the reading was at an end, these specialists, most of them authors of books in the Chronicles series, bom-

it actually did was to persuade that the undertaking would be

Ralph

Johnson.

;

including writing, production, dis-

tice,

tribution sales,

and even to some degree of doubted my physical ability to

manage it alone. Glasgow finally agreed on the expediency of having another

man

to direct the business organization

I gave my preferred attention to writing and supervising the preparation of scripts, and, to my great pleasure,

while

persuaded Robert MacAlarney to join us in this capacity. Until then a desk in the general open with occasional secretarial help from Glasgow's personal staff, had sufficed, as most of my work was done at office,

home

the

public

Mac-

library.

Alarney required an office, of course. Moreover, obviously, still more room would soon be needed, so he requested also

a proper office accommodation for reasonable early expansion of the project. A modest space was therefore taken across the hall from the suite of the U. S. Publishers Association, at 522 Fifth Avenue, corner of 44th Street, all

the

Guaranty Trust Building.

was

Page 105

March, 1942 tinuities as the work progressed, declaring that the scripts would lead to a previously unreached height of achieve-

ment.

had my

Nevertheless,

mis-

"When these scripts fall into givings. the hands of a professional director," I told Glasgow, "you'll find them all turned into Hollywood love stories." Upon which he smote vowed

he'd

that

"like

desk

his

and

see

any diMacAlarney's

rector try it." It was idea that I should direct the first productions, and it was rather a temptaBut it seemed that tion to attempt it.

services were needed more in specifying what should be produced. Glasgow was elated that we had won the

professorial approval

and wanted me

continue the writing. His opinion was confirmed when a professional scenarist, who had been employed briefly and ex-

President of the picture Chronicles corporation was George Parmly Day, treasurer of Yale University and founder and head of the Yale Press.

urged to expand my department, and I took on two research workers to provide me with material from which to build continuities, an efficient secretary and a girl to do routine copying. I

knew

was a question only of would have to organize a writing staff, but I was reluctant to do that, and Glasgow understood clearly why. Out of my earlier experience in the that

time before

regular studios I knew that the usual scenario writer, trained in applications of the tried-and-true Garden of Eden

formula, history in to

would inevitably present his terms of romance, would go

extremes to provide "entertainment,"

and would give scant shift to the needs of pedagogy. For our purposes he would not only have to learn a new set of standards, but he would be obliged to HHlearn most of the others in which he had come to believe. On that account I felt that we would be better off to continue

were, though, as a already had made a A friend who had excepconcession. tional talents as a theatrical film editor,

matter of

Don W.

fact,

Bartlett,

lately of Vitagraph, like to try. He was

had said he would given piles of research material and a a "treatment" they thorough synopsis call such full preliminary outlines now of

"Young George Washington,"

the

unit dealing with the start of the Seven in America, and invited to

Years

War

The

perimentally on a salary basis, returned his first manuscript to me, refusing to revise it on the ground that the job wasn't worth it. So I became scenario editor and tion

MacAlarney became producEllis,

and

his

making

money. While he had been doing that, I had been toiling through the detailed work of following Wolfe and Montcalm in the last few days of the fall of Que-

;

pared a picture stating that Columbus discovered America put in their appearance. Glasgow, delighted with progress and prospects, recently honored by Yale with an M.A. degree, was triumphant, too, because Yale University Press had just bought from the U. S. Publishers Association all of the plates

from which the published Chronicles were being issued. It was the Sth of April, 1922. Glasgow was on his way to a Kiwanis Club luncheon to speak on his favorite topic, cementing of cordial relationships

the

produc-

little

were tentatively engaged to make Production Number One, "Columbus." As production time had not yet arrived, however, MacAlarney used Ellis and Swinton to survey and report on the studio

York

facilities

available in

the

New

There were plenty of those, too, because this was just about the time that the last major production companies in the East were moving to area.

California.

While MacAlarney, Ellis, Swinton and were thus occupied, Glasgow was busily maturing his plans for the formation of the Chronicles of America Picture Corporation, and for the antici-

The Council's Committee on Publications of Yale University made Max Farrand general editor of the mo-

pated sale of stock to carry the ven-

tion picture Chronicles of America.

ture through. George Parmly Day, head of Yale University Press and treasurer

Yale University, was made president; Glasgow became vice-president, of

the

office

secretary

fell

lot,

and that of treasurer to Arthur Brook, assisted by John J. Reilly, the very efficient and friendly manager of the book organization. On the board of directors,

named

addition to those

were MacAlarney, William Todd Devan, one of the book sales managers, and Elton Parks, lawyer-trustee of Yale University Press. The advisory committee, assuming responsibility for officers,

the

pictures

be produced,

Max

Farrand,

Nathaniel

Stephenson

much occupied with other duties to serve. The first formal, public announcement of the incorporation was made about January, 1922. All seemed propitious for realization one of the finest educational film

bec.

Allen Johnson and Glasgow kept in close touch with these "precedent" con-

series to date.

The corporation

between Canada and the United States. I went out to a quieter luncheon and then returned to the office. A few minutes later Reilly entered hurriedly and asked me to try to find some sort of heart stimulant somewhere in the buildI

ing.

tried

vainly

were Prohibition days

comply those and came back

to find Reilly in the office of the chief. Glasgow has been to luncheon and had

returned for the last time. ting at his desk dead.

But

He was

Columbus Sailed

sit-

included

too

ways

approval the usual signs of success in the shape of singular characters with odd ideas to promote including one who threatened us with suit if we pre-

staff,

that there were easier

result of

in generin warm

principally of consisting Thomas H. Swinton, assistant director, and Walter T. Pritchard, cameraman, tion

and Frank Ellsworth Spaulding. Allen Johnson was genuinely interested, but

it.

;

magazines reported the plan ous spreads and editorialized

manager.

Carlyle

about eight weeks of his earnest labor was admirable, but upon its delivery Bartlett very humanly and understandably decided develop

York, was already issued; the first four scenarios were approved for production; wealthy patrons of education, and notably those belonging to the Yale alumni, were described as eager to take stock representative newspapers and

charter,

under the laws of the State of

New

THE

shock was very great. For a few of our

thereafter, naturally, all activities were rather aimless.

days

On the other hand, production of "Columbus"

was virtually ready to begin. Tom Swinton had gone to Chicago, where permission had been obtained from the city officials to use the reproductions of the ships of Columbus, kept in the Jackson Park lagoon the same vessels which had been employed so many

Page 106

The Educational Screen

years before by Selig. By this time the A'/i/a and the Pinta were in hopeless disbut Svvinton's judicious exrepair, of

penditure

few

hundred

dollars,

largely for sails, rigging and so forth, made the Santa Maria sufficiently seato be towed out into Lake Michigan for some effective shots.

worthy

MacAlarney had finally concluded arrangements to make the studio scenes in the Vitagraph studio at Flatbush, where there were extensive property and laboratory resources, and a technical director named Bingham began the construction of sets. As to costumes and certain important props, we had secured for guidance here the fine services of the late Harry A. Ogden, one of the foremost authorities on American period dress. His admirable drawings,

and, in acceptable time, also the major sequences planned aboard the reconstructed Santa Maria in Chicago. To

complete "Columbus," as they saw

it,

time

this

Haven.

motion

picture

customary

make

production

authors of the published Chronicles sugHe had gone, for his gested a way. writers, not to the list of reputed historians so much as to persons who could write in general, who had a respect for statements of fact, who understood human interest, who had an enthusiasm for history, and who would value a connection with so distinguished

the exteriors

first,

the

studio. Consequently, Ellis began shooting the scenes of the messenger being

I'aintinK by Harr> Mor^e

William Basil Courtney's 1923 job

was

to chart a professional course educators lacking film experience but nevertheless seeking to prove their command of the medium.

for

and Irving Berdine Richman,

back.

therefore

accepted,

with relief and surely without rancor, the fact of his succession by a rougher diamond, Edwin L. Hollywood, a theatrical director

few

who had

lately

Vitagraph productions Harry T. Morey.

made

starring

Hollywood, and his assistant Frank Heath (who subsequently headed the casting office of Paramount in the East) at once entered heavily upon production. Their start at casting was to place personable operatic star Dolores Cassinelli opposite Fred Eric, as Queen Isabella and they engaged many other able players for the lesser roles to come. They made their local scenes the

;

one sense,

duties

were

frequently with them, difference in my hours of

conferring little

To complicate the situation, acquired additional duties as a corporate officer, made necessary by the passing of Glasgow. Organization adjustments had to be made; numerous papers had to be signed, in especially large quantity because George Parmly Day, the president of the corporation, was up

New Haven most of the time, and Arthur Brook was too busy with book

who

knew, precious qualities to bring to this venture, was an unreasonably peaceful man. He preferred not

that the

stance Lindsay Skinner. If professional historians were represented, such as Charles M. Andrews, Allen Johnson

inevitable

application.

routines for the expected mass output, friction of various sorts naturally developed. Encountering some of it, Ellis,

lot

was

by those unfamiliar with studio practices would require some professional editing, but this was fully understood by those who undertook writing for us, and I felt especially fortunate in securing as assistant editor, William

and

an undertaking persons such as Emerson Hough, Mary Johnston and Con-

fight

course,

Although,

of production

scripts prepared

thus simplified, the increased volume of work incidental to preparing material for a number of writers under contract

his

began casting

formulation of a

had,

;

made

more expensive principal characters, and selected the well-known Broadway actor, the late Fred Eric, to portray Columbus. Eric was officially approved and remained throughout the production period unlike Ellis. In the drastic circumstances of Glasgow's demise and the

Mitchell, theatrical pubauthor of juvenile books, and now of the Film Daily staff the late Lynde Denig, magazine writer, poet and motion picture press agent and for awhile Howard Lindsay, today one of the most successful dramatists on Broadway, toyed with the idea of taking an assignment.

editor and feature writer of Collier's.

Ellis readied himself, at this juncture, for interior shooting, with the chamber of King John of Portugal as the first

man,

all in all, more than two hundred produced pictures. Courtney's brilliant talents have asserted themselves in later years in his capacity as associate

Island.

studio item.

Lebbeus

licity

short comedies for Mr. and Mrs. Sidney

semble Spanish topography. There were also a garden at the palace of King John of Portugal, situated for these purposes at Mount Kisco, and a La Rabida monastery scene at Hunting-

Long

and now a

leading editorial writer for Hearst. Others of more general training were

Drew

Queen Isabella to overtake Columbus, and of a sailor's wife waving good-bye to the Santa Maria. This was done out near Montauk, Long Island, where the country was believed to resent by

ton,

New York Sunday World

Basil Courtney, who for eight years had been on the scenario staff at the Vitagraph Company of America. In that place he had written many of the celebrated

if possible, partly to guard against uncertainties of weather, and partly to

allow time for set construction

ford E. Stanton, long editor of the celebrated Metropolitan Section of the

had become imper-

made for the Chronicles pictures, are now preserved in the Yale library at

New

York Times; Cleveland Rodgers, then associate editor and now editor-in-chief of the Brooklyn Daily Eagle, and San-

they shot 52,000 feet of film. Out of this nearly five miles of material they presented for first official view a "first cut" of eight and one-half reels. ative also to enlarge the writing staff. Glasgow's own method of reaching for

Xew

motion picture editor of the

ing,

was be-

cause they also could write.

sales. I

was

available. It

ord

the corporation officer easily would only cumber the rec-

detail

that

the

day-to-day

made

growing what

was

the organization in those green "salad days"

first

functioned.

pains

when

However, "Columbus"

was still pretty much in its eight-reel form when I began to break under the strain. I was persuaded to take the accumulated time of an unused month's

So I looked particularly to newspapermen who were skilled in reporting and in appreciating human interest, and who surely were visual in their approach.

vacation;

After

with the facts of a proposed unit picked out and provided with all

even greater distress

manner

cordingly, though with a heavy heart, bought my way out of my contract.

all,

substantiating documents, why shouldn't a good newspaperman be able to report the actual event without dishing it up with fiction? The group we interested on this basis, included Dwight S. Perrin, city editor :

the

New York

managing

Tribune

Dispatch; Frederick F. scion

and

later

editor of the St. Louis Posta

Van De Water,

distinguished

literary

line,

and then doing a widely read newspaper column the late James O. Spear;

but

returned in a

must withdraw for

and

state

realized

my own

There was an interval before

that

good. Ac-

leav-

permit readjustments. William Courtney was my logical successor, and he was confirmed in that place. Professor Nathaniel Stephenson, who had been aping

pointed to act on the ground for the educational committee, was given wider duties to relieve Brook, who had plenty to do selling the published books.

(To be continued)

The Educational Screen

Page 138

MOTION PICTURES NOT FOR THEATRES By

ARTHUR EDWIN KROWS now had

the full

of his delivery on pressure shoulders. He realized that there was no merit in having just one or two pictures, but that, for a working sales

MACALARNEY

plan, there had to be a sufficient number to constitute a regular, recurring He knew, also, that costs program.

could

much reduced by "meshed"

production,

would

which

Installment Thirty-six. Big Business in a continuing parade oi large organizations that made non-theatrical history in the Nineteen Twenties.

marches on

a shooting schedule enable facilities to be

shared by several units at work. Unfortunately, the educational committee was not to be hurried, and it took the sceposition that in some of the earlier narios it had been stampeded into acceptances which it would like to recon-

without conscience to share the cream. None the less, MacAlarney tried desperately to withstand onslaught. In the production of "Jamestown," the action which occurred virtually all outdoors, he endeavored to curtail expense by rentof

Whitewhich to build a famous Virginia

ing the old Kinemacolor lot at Island, on reconstruction of the

Long

stone,

enterprise

now

favored was headed

in charge of photographing the highly decorated titles on Paramount Pictures, and an expert

Waller,

lately

on camera tricks employed theatrically. Waller had come to us very early in the work, asking for the contract to make all our titles for us. But his fortune had

cold,

changed since then. With some friends and associates formerly at the Paramount Studio in Astoria, he had formed an organization called The Film Guild, to

to be

produce independent

settlement, but when the production came to be made, the weather was raw and

and one of the players, pretending an Indian, and half-naked, developed pneumonia and died.

From had

the start of the enterprise there numerous bids from outside

been

features.

theatrical

of their ventures had very creditably presented a new actor named Glenn

One

"The Second Fiddle." They Percy Mackaye's "The Scarecrow." At this particular time they were Hunter

also did

Glasgow did have a persuasive him. That is how leaders get

sider.

The

by Fred

way with

joined by the celebrated

things done. It was truly an unenviable situation for any production man, even for one of courage and capacity such as Mac-

Adams, who was expected

Maude make some

actress,

experimental productions. In

all

Guild

events,

was with

the

Film

Chronicles of America Corporation now contracted for

that

the

Alarney. He had to combat not only vexations and misunderstandings from within, but unscrupulous, preying harpies from without. Ordinary pictures representing modern life cost heavily, but

films purporting to reproduce the life of bygone periods, with especial settings,

of the magazine Vanity Fair. film when into production

properties and costumes to be provided, with all manner of fussy antiquarian derun their expenses rapidly tails, could

Maigne, a director and former scenarist at Paramount, had taken him on, Maigne being disgusted with the lack of imagin-

much

into thousands of dollars too

Picture

some of

even

Stories,

true

or not, were casting

about

rife

director

having

submit all principals chosen to the scrutiny of professors untrained in such

delicate

work

;

who was William Wallace Kincaid's

intelli-

attempt was based on his interest in opportunities there for popular education. non-theatrical

gent

companies to take over

the

production

weeks while alleged experts debated whether the cabin occupied by the characters should have its logs notched

Applications had come from Visugraphic (represented then by Tarkington Baker),

about a professor who allegedly scrapped a set at shooting time because a decorative molding was out of period about some regimental buttons, which were never to be seen closer than about twenty feet, havor mortised at the corners

;

ing to be remolded for an entire company of soldiers who were on salary in the interval. And, as even rumors such as these will do, they inspired a disrespect, a tongue-in-cheek service from most of

who were engaged to give a hand. The word spread like wild-fire through those the

fine, fat, foolish

and

players

here was a waiting to be milked,

district

theatrical

cow

and

that

technical

men

flocked

writers

man wholly

another of the Film Guild group.

did a creditable job for the Chronicles corporation, and today he is an esteemed director of theatrical features in Holly-

wood.

One was

about a company and pro-

eleven

professional

Charles

duction crew being held on full salary in an Adriondack location for upwards of

usual

He came

without studio experience. During his year with Maigne, Tuttle had struck up his friendship with Waller and Osgood Perkins,

provide for professorial conthere could be no fixed time

Chronicles

of the

and looking for a

schedules, there was no anticipating where the costs would end.

the

head of the dramatic Society Yale and subsequently assistant editor

ation

had begun with a scheduled budget of $12.50 per foot. And when, in venience,

director

a former

in a plan that

order

most economical producwas Frank Tuttle,

their

The

tions.

work

of the later Chronicles scenarists

staff of

Clarkson

long

Miller,

Paramount and

the

lately then their

script writer for the stars Thomas Meighan and Gloria Swanson. Miller did not want to follow the Paramount production staff to Hollywood, so he accepted

contract for certain phases of the work, as P. J. Carey and Tec-Art Studios

the proffered place with the Chronicles. With Courtney he prepared most of the

(then situated in the East), for building

scripts in the later period. The professors themselves tried their hands at scripts,

actually

and others.

sets,

some

supply

the

and,

MacAlarney decided that would be as well if somebody

Eve

others

provide

all

Now

players.

perhaps

pictures.

Some had wanted merely

and dressing costumes,

the

making

else did take the responsibility

on a

flat

Edwin Hollywood, by had departed from the scene. Kenneth Webb had directed some in 1924. There was a third director named contract

this

basis.

time,

Mitchell, son of Langdon Mitchell, the dramatist. But none had been able thus far to hold the control.

situation in

satisfactory

the

said,

that

anonymously by the

called "The was composed George Pierce

unit

Revolution" late

Baker, the celebrated teacher of playwriting who recently had moved from

Harvard

to Yale.

Courtney bore the trying situation as long as he could, and then, feeling that it

compromised

his self-respect, resigned.

Miller presently also,

followed.

MacAlarney decided

stand no more, and he

About here, that he could

left,

not so long

1942

April,

thereafter to

Home

Page 139

become

editor of the Ladies

672). Pittsburgh has been a faithful user, and so has the State Board of Education of Ohio. All this is gratifying to know but, in the calmer perspective of these intervening years, I cannot forego won-

Journal.

In all, about fifteen subjects out of a contemplated thirty-six were produced in forty-eight reels

"Columbus," four

reels

;

"The Pilgrims," four; Puritans," three; "Peter Stuyvesant," three "The Gateway to the "Wolfe and Montcalm," West," three "Jamestown,"

dering whether or not "the nearly ten years of exhaustive research and a cost

"The

four;

;

three; three

"The Eve of the Revolution," "The Declaration of Independence,"

three;

"Yorktown," three; "Vincennes,"

;

"Daniel

three;

Boone,"

Woman,"

Frontier

three

"The

three;

"Alexander

;

was

after

time.

the

appeared, an

or three

units

made

collect

When

two was

outstanding educators have urged them not to tamper with the form

effort

classroom

They were shown in theatres by arrangement with Pathe, which later and for a prolonged period became the physical distributor non-theatrically through their

first

glimpse of the washed and ironed "Co-

lumbus"

until

are

sors

apparently before releasing

thereafter pressed. Today the Chronicles representatives hotly insist that there is not and should not be created a basis for

comparison between these pictures and the productions of Hollywood; and all that remains to plague such contenders is a

statement in their

Teacher's Manual "they were professionally made in accordance with the highest standards of that

the motion picture industry."

promotion

letter,

recent

prepared by an organiza-

"We

not been

Chronicles

really

produced,

the

obstacle.

The

educators

who

of MacAlarney's first undertakupon associating himself with the Chronicles organization, had been to

all material immediately available concerning history teaching requirements in the schools, that production objectives might be made to conform with them. This had followed preparation, several months before and under the personal

gather

supervision of Glasgow, of brief synopses of all thirty-six of our intended subjects for the confidential criticisms and ap-

proval of a number of carefully selected educators in primary and secondary schools throughout the country. Although

about 1921-1922, there were few recognized standards of "visual education," there was much interesting and valuable speculation; and the start had

sales division,

through

the

University Press, brought pressure to bear upon the Yale School of Educa-

tion

supply reports on proper tests which apparently no outsider would undertake or finance. In 1924, conto

sequently, the Yale Department of Education began a study of ways and means in

which these motion pictures might become actual classroom apparatus. Professor Irving N. Countryman was, perhaps, most active in the preliminaries. Field work was undertaken in the junior and senior high schools of New Haven, and continued until 1929, when a full re-

was published by the Press under Motion Pictures in History Teaching, by Daniel V. Knowlton and J.

Warren

One

So the

title

Tilton of the new department there of visual education. In the summer of 1927, a year after his coming into the

work, Professor Knowlton toured 6,000 miles to give demonstrations with the Chronicles

picture

dozen

leading

summer I

colleges

approximately a and university

schools.

told

that

the

released

picture

Chronicles are the best available films for

American history teaching and that, on whole, they have done good work. The American Museum of Natural Histhe

tory has had three sets of 35mm prints of the Chronicles, and nine sets of 16mm sets continuously on loan to the New York Public Schools. The Chicago Board of Education, by November, 1941,

had ordered for use in its public school system fourteen complete sets, or "658 reels"

(this

the

their authenticity"

number reported in x 48 is really

various places, although 14

The Subscription Idea

sales

serious

would buy.

would lessen

a strange depreciation of word values

some of the picture

became aware of an especially

is low actually has been since the beginning, when action was purposely held to a minimum."

ings,

The

printed books.

blindly.

with

division

port the

at that time,

made

But now,

tion official, says, are, of course, the first to recognize that their entertainment

appeal

teaching.

from established publishers of successful

cedures in using these films before they

bent,

ture Corporation of Delaware.

having considered long

the

flexible

Teacher's Manual even goes so far as to state that, "These photoplays are silent, as sound

were expected to purchase sets for their schools demanded proved teaching pro-

1923,

it. The public, on amuseviewed these specimen "Chronicles" respectfully but without enthusiasm, and the theatrical plan was not

ment

The Reverend Paul Smith gave up

silent subjects, they

his all in pursuit of the will-o'-thewisp called American Motion Pic-

spon-

October,

existing

any way because, as

release,

sense.

nationwide exchanges. Outsiders did not have

by many

that

had protested against any hope of gain from that quarter if the series was to be

its

per-

first

Gabriel

properly

sonal reaction,

although from the start MacAlarney and

in the

one-quarter

All

from theatrical

"educational"

and

responsible persons active in educational films distribution, to persuade the owners to add sound to the Picture Chronicles. In reply the owners have averred that

At New Haven, Ralph

sociation.

one

some other way. That is merely you understand. Vain efforts have been made

Hamilton," three; and "Dixie," three. Stephenson brought in, as co-worker on the production scene, Dixon Ryan Fox, of Columbia University, head of the New York State History Teachers Asgained prominence in control.

approximately

million dollars" (over $26,000 per reel for forty-eight silent reels or $26 per foot) which the Teacher's Manual admits are represented by the extant picture Chronicles, could not have served the field of visual education more richly in

;

EARLY

1922 the non-theatrical

field

was stirred once more by an announcement in leading newspapers that a

new,

sizeable organization had opened elaborate New York offices at 250 Madison

Avenue. Its name was Pictorial Clubs, Inc., and there was significance in the address because it was also that of William Wallace Kincaid, president of the Spirella

Manufacturing Company of wealthy corset manufacturer, who was backing the project.

Niagara

Falls,

Kincaid, greatly interested in popular education, especially in the departments of history and good citizenship, and, at that time of life the mid-fifties when successful men usually turn to benevo-

had become convinced that busiorganization alone would set the non-theatrical field of motion pictures lences,

ness

What seemed

going.

to be an especially doing this had been brought to him by William A. Kelly, an architect (from Seattle, I believe), a man of intense earnestness and great personal magnetism. Kelly's idea was to feasible

build

plan

for

distribution

whereby

local

by club subscriptions, groups would agree to

accept a regular release of so-many subjects per month. The markets thus being opened, Kelly reasoned, returns would justify the acquisition of more product and, as time went on, also the making of pictures better adapted to educational needs. The groups which

were expected to support the plan most at first were schools and strongly churches, and these, of course, unlike most other users of non-theatrical films, could provide those definite statistics which reasonable business men require. The only seriously needed factor was the sum to set the wheels in motion. This Mr. Kincaid had decided to supply. To those who had followed the passage

The Educational Screen

Page 140 of events in the non-theatrical field with even a casual attention, the plan bore

many points of resemblance to a proposal which Charles Urban had offered for discussion in Dolph Eastman's Edu-

1922 was resuming a long neglected law-

large body of directors, practice. giving at least the support of their names,

cational

included Maude Adams, who had retired from the stage and was always on the verge of doing something original and

1920.

different

Film Magazine in February, Urban had suggested there, as a

possible line of development, that all individuals and groups in each community, that wanted motion pictures to

show

non-theatrically, might pool their funds for creation of a local film library

which

subscribers

all

have

might

access.

When

Mr. Kincaid had supplied the

needed financing, rights to use a quantity of existing material were acquired, and spaces to handle the reels were taken at 729 Seventh Avenue, one of New York film

approved

City's

Chicago, at 808

and

buildings,

Wabash Avenue.

product, an announcement about the end of January, 1922, said that Ollie Sellars

had completed several photoplays for the Clubs, and was then collaborating with Pacific Coast churchmen on "a drama of historical interest." William R. Lighton was reported to be adapting several of his Saturday Evening Post stories for the service, and Archer McMaken was allegedly directing two-reel Bible dramas. In all, six production units were said to be at work for the Clubs on the West

George Barr Baker, distinguished journalist and editor, then lately director of the American Relief Administration and about to become pubin

films;

director

the

Coolidge presidential campaign William Beebe, the scientist Harry F. Guggenheim, copper magnate, aviation enthusiast and philanMrs. Aida de Acosta Root, thropist social service worker, publicity director of the American Child Health Associalicity

;

tion,

whom Henry

marry

Breckinridge was to

1927; Gertrude Lane, editor of

the Woman's Plomc Companion; Arthur W. Williamson, president of the Williamson Heater Company of Cincinnati John D. Parmain, associated with Edward Bok in the World Court Movement ;

;

Walter L. Post, New York corporation lawyer Kenneth Widdemer, Jerome F. Mantilla and F. Wallace Doying. The ;

names

especially recognizable to the nontheatrical field were Mrs. Elizabeth

Richey Dessez, then head of the Patlie educational department F. Lyle Gold;

much

the old familiar numbers, among them "Maker of Men," "The Stream of

"The

Life,"

It if

really

was exciting

they had only

was thoughtful,

fort

Boston, Minneapolis,

1926 branch offices Clubs had been established Philadelphia, Indianapolis,

cinnati

and

Omaha

though a longer time than business men generally are willing to allow for a newUnhappily, enterprise to prove itself. the success of a project such as this is based on the assumption of the cooperaIn the state tion of grateful customers. of affairs then, in the current condition of

non-theatrical

the

reason,

the

Detroit office

Cin-

although, for some

was

read

the

familiar

non-theatrical

managers down the

were warmly recommended

for

the provision of additional subjects.

Picture

his

elaborate

suite

the

Flatiron

and occupying a very small office on lower Broadway. Smith was in reduced circumstances, perhaps, but he Building

was not

names list

non-theatrical

long-established

regular, services

presently

dropped. Beginning with the efficient John F. Burhorn, in Chicago, one could of branch

was

there

field,

chance of that and, after two or three disheartening years, the backers In decided to sink no further money. the middle of 1926 it was announced to customers that thenceforth distribution of the Pictorial Clubs Library would be handled by Pathe Exchange, whose own little

sojourning in the service of Lincoln & Parker at Boston for a few months, returned to New York to find Smith out

Pittsburgh, Detroit,

sincere, well-financed

and aimed to correct the notorious fault of an unorganized non-theatrical market. It might have shown results in time, al-

approach to them, by Paul Smith, who had been thwarted temporarily with his International Church Film Corporation. Henry Bollman, who in 1922 had been

spring of

respects, for the ef-

it,

THE early season of Kincaid's experience with Pictorial Clubs had been observed, with shrewd appreciation of his problems and shrewder judgment of his

Edgerton. the

What

Corporation

Chattanooga was presently to become the swaddling place of an entirely different non-theatrical venture involving John

Pictorial

many

known

American Motion

"Headquarters," says my source of this information, "formerly at Chattanooga, have been moved to New York" which is a little confusing, because

some

Seasons,"

single-reelers on the Holy Land. was so exciting about this?

Coast.

Four

Fitzpatrick's "Men of Letters" series made for Urban, and Pathe's twenty-five

and

in the least

the contrary, he

depressed otherwise.

was

now had

prime

fight-

division, too, Kelly was following through his idea of utilizing existing forces. Naturally there had

ing spirit, and he

some shaping. The acquired product demanded readjustment, and examination of that process reveals some un-

he was thinking of Francis Holley and the Bureau of Commercial

realize that,

this

This time he plan. to churches he'd ;

to be

and title one series of Bible pictures Bruce Barton, no less, high-priced author of a best seller book about Jesus, was engaged, and seven animated cartoons were made especially for the Clubs by Walt Disney, then unknown to fame, however, because he still had to present his immortal Mickey Mouse. Carpenter and Goldman were the technical experts in charge, and they must have anticipated a heavy volume of business from this source, for it was about this time that they removed their studios to the Canadian Pacific Building on Madison Avenue, nearby. usual facts.

theatricals

who had

was

Henry

Breckinridge,

topped his service as assistant

secretary of war under Woodrow Wilson with a brilliant A.E.F. record, and in

still

would not rent provide them

better films free.

Possibly

edit

President of Pictorial Clubs or "Kelly Clubs," as the organization was known informally to those engaged in non-

Drawn by

.T.

Woolf

Edgerton opened his mills each day with prayers. He held that a great church film circuit would soon clean up the theatres.

John

Economics just then. Bollman wrote Smith a promotional booklet around the idea, and with it he is said to have raised another $50.000. That money was soon gone, but Smith's angling this time brought in a splendid catch John E. Edgerton of Tennessee,

Artists Corporation, theatrical producers. slogan frequently used in the original advertising of Pictorial Clubs was

wealthy woolen manufacturer, president the National Association of Manufacturers, and pillar of the Southern Methodist Church. The free film idea was then abandoned in favor of a new one having greater flexibility for the

"The Organization the Non-theatrical World Has Been Waiting to See," but

enterprise the

man, Arthur Carpenter and Edward A. Eschmann, sales manager of United

the

"old

were not they had

guard" at all in

been

the

business,

who

agreement upon what to

waiting

see,

looked

upon this new adventure with misgivings which were not allayed in the sight of such sumptuous offices as had been assigned the executives. of the Pictorial Clubs,

As it

to the output

showed pretty

Smith had called his new Church Film Company, but Edgerton, and the other business associates now coming in, wanted something less restricted, a name which would inpromoters.

dicate

a scope of service to the non-theatrical field. The title

which they

finally incorporated, in

entire

under 1923,

was the American Motion Picture Corporation. (To be continued)

The Educational Screen

Page 180

MOTION PICTURES NOT FOR THEATRES By

THEY

of most of the other non-theatrical tenants there when Paul Smith and his asso-

moved

in.

Their

had few

offices

as I recall, but many used desks and chairs. to glimpse busy conferences in progress there when the passing elevators stopped for impressive passengers to get on or off. At first all those to be seen seemed Some we knew for to be clergymen. instance, James Shields, J. E. Holley and Ilsley Boone. After awhile we recognized others, in the lay ranks. Later some if

any

partitions,

fine tables,

worker, whom we knew well enough to chaff about sluggish business, would suddenly become tightlipped, and a week or two thereafter we fellow non-theatrical

would

find

field

him working

for the

Ameri-

can Motion Picture Corporation. The Corporation's fundamental

It was all very well to couragement. talk of competing with theatres, but that was something for the theatrical managers to wake up some day and find out. After all, the American Motion Picture

was composed material Corporation mostly of used theatrical stuff and there was nothing to be gained by stirring up antagonism of the professional showmen when they themselves were taking no particular action against this attempted In other diversion of their audiences. words, better to was Service quarters in

let

sleeping dogs

lie.

from headYork, and from twelve rendered

New

;

strongly resembled a series featured long before by the Bureau of Commercial Economics, and a few extra-

description,

special subjects to be had by particular arrangement, including Russell Conwell's

"Johnny Ring and the Captain's Sword." For those who passed all this in favor of composing their own programs from

scribers

Kansas

Omaha, and Buffalo and New York State. About others were slated to open as the

apolis, Atlanta, Sycracuse in

ten

not

general

specifically

named

the

sub-

prospective

literature,

were offered selections from the Beseler Educational Library of approximately 1,000 reels, referred to with slight exaggeration as "the first educational film service to be established in this country." By another sales hyperbole it was claimed that "The American Motion Picture Corporation has set a new safety standard in the non-theatrical field, in that all releases are printed on noninflammable or acetate film."

idea,

In the Educational Division some production was announced, but as far as I

know, nothing of importance was done

equipment. To supply projectors, screens, extra reels, rewinds, splicing-blocks and so forth was a relatively simple matter, orders for such apparatus being merely relayed to the regular dealers in such "Local aids in advertising," a goods.

that

Bronson Batchelor, publicity man who was on the board of directors. "Music cues," guiding the customer into com-

church to enter the motion picture business on a competitive basis with the theatres, "which were making many films of dubious quality," were being submitted to all church people in the United States. "We have at our disposal 10,000 Y.M.C.A. buildings and church auditoriums," he said. "We propose to turn these into motion picture theatres and then proceed to produce suitable films." Smith was wiser. He kept his glowing utterances for his backers and his subscribers, who needed the principal en-

was

some

to gather

were ambitious enough. Jeremiah Whipple

;

saying that plans for the

Jenks, research professor of government and public administration at New York University (named on the board of directors), was declared to be preparing twenty reels on civics based on a textbook which he had written in collabora-

have been detected here the influence of

judgment of Henry Bollman, one-time student of the Boston Conservatory. John Edgerton seems to have been at times rather sophomoric in his enthusiasm. Early in 1925 he was quoted by

unless

nally unintended form, as so many socalled educational releases always have been made. However, the announcements

prised program leaflets, announcements window cards and for newspapers, This material was prepared at posters. headquarters and no doubt there might

binations of standard musical excerpts for "atmospheric" accompaniment to his show, in all likelihood reflected the

way

ready-made film to be reedited into origi-

touted form of the service, com-

prising eight "chapters" of two reels apiece thirteen reels on geography under the general title "The United States a Ten Talent Nation," which, from the

Philadelphia, Chicago, St. Louis, Minne-

Cincinnati,

unit programs that is, completely organized and balanced individual enterneeded with all tainments together

press

series in thirty-six reels, without immediately mentioning Holley; of Benjamin Chapin's "Lincoln Cycle," com-

Land

material

ton,

offices situated at

Kleine without sufficient success, was to provide non-theatrical exhibitors with

the

Concerned

motion pictures.

Cleveland, BosCity, Missouri,

branch

suggested, perhaps, by Edison's "Conquest Pictures" plan, which had been introduced into the theatres by George

much

primarily with screen rations for the progressive churches of North America.

ARTHUR EDWIN EROWS

took an entire floor in the Masonic Temple Building, New York. I remember the suppressed excitement

ciates

The thirty-seventh month of the first detailed history of the non-theatrical

tion with his university colleague,

President and treasurer of Paul Smith's American Motion Picture Corporation was William H. Barr of the National Founders group. business

grew.

averaging for

rental

iences.

six

Thirty program reels

each, suitable to

Looking casually

units,

were offered general

aud-

at the list one

recognizes used Triangle features, old Charlie Chaplins, an Ernest Shipman subject or two, Helen Keller's picture "Deliverance," and Knud Rasmussen's celluloid record of his then recent arctic dash, with miscellaneous travelogues in-

were for the "weekly For serious-minded church audiences there were forty one-

These terspersed. unit" programs.

reel "Bible Pictures" presented in paiis, mostly in story form. Then offer was made, "on an especial lyceum course plan," of Holley's Holy

Rufus

Daniel Smith. This must have been because they could not come to terms about acquiring Fred Wythe's valuable civics

Smith certainly was acit and it was available Wythe's office was even then just a few floors above in the same building. Another announced series was one on economics, to be based on a book by Dr. Joseph French Johnson, professor of Paul

series.

quainted with

;

economy at New York UniverDr. Johnson was to supervise production. The Jenks series was to be political

sity.

entitled

"We

and Our Government", that

I Johnson, "We and Our Work." have seen no evidence of the completion

of either.

John E. Edgerton was chairman of the board

directors.

The

functions

president and treasurer, and very active indeed they were for a time, were combined in the person of William H. Barr, president of the National Founders Association.

Dr.

Paul

Smith and Frank

May, 1942

Page 181

Porter

were

charge

vice-presidents, Smith the department of film

and Porter of fiscal operabeing the major executive divisions. John E. Griswold was secreOther directors, in addition to the tary. officers named, were G. Charles Gray the Rt. Rev. Charles H. Brent, bishop of the Protestant Episcopal Church of Buffalo, New York; Bronson Batchelor; the Rev. James Cannon, Jr., bishop of the Methodist Episcopal Church of Birmingham, Alabama, and a short time previously editor of the Christian Advocate ; operations, tions, these

Crocker,

Crocker-McElwain Massachusetts dent of the

;

Corporation of

president

Company,

the

Paul

him

clergy.

the

Henry Bollman had been

importantly

wish

to and possibly because he had some difference of opinion with Smith

how the business should be conducted. The enterprise was a stock-

about

although the larger aim was benevolent enough. Numerous selling

small

proposition,

investors,

including,

said,

many church widows and

orphans, were attracted by a project headed by a crusading minister, backed by substantial business men and having the intention of offsetting the alleged depraving influences of the theatrical screen, and

American Motion Picture Corporation. But surely there was no deliberate deceit. Certainly neither Smith, nor any of his moneyed

confidently purchased shares in

associates,

the

anticipated

eventual

dis-

aster.

While formed

corporation was being was obviously necessary that

the it

picture must be acquired properties quickly and in large volume. There was competition on that score, the Kelly Clubs and other agencies having bought in much of the good second-hand material on the market. Henry Bollman proposed to Smith taking over the Community Pictures list of four thousand to five

thousand

reels. Smith being well Bollman went to the Fosters and made a tentative deal to buy the

disposed,

lot at $1.50

then to

per

sell it to

reel,

his intention being at a profit. Smith

Smith

seemed generally satisfied with the terms but wanted Bollman, it is said, to enter upon his bill of sale a higher valuation against which Smith might issue a million dollars' worth of stock. Bollman apBut while he parently shied at this. was thinking it over, Smith went directly to the Fosters and purchased the

that

occasion, the fallen

when

much

women

Barbary Coast had appeared

a body at his church service to insist that, if he was going to deprive them of employment by closing the local dens of iniquity, it was his responsibility to provide them with something else to do. in

As for the Fosters, they still held the promissory notes for purchase of the Community library, and, as the notes

Harmon how much his

William see

small

tively

did not live to idea of a rela-

Foundation would do

encourage religious

films.

Community library for a reputed $150,000. Payment was made to the Fosters in form of notes, acceptable to them because Smith was willing at the same time to put the Foster family on the American Motion Picture Corporation payroll for organization and editorial the

at the start, but he did not appear among the directors, possibly because he did not

was

for

longer ago,

;

The board Princeton, New Jersey. was well balanced, as will be seen readily enough, by the metal trades and the

had died on the Pacific Apparently the American Motion

Picture was forgotten then, for his leading obituaries seem not to have mentioned it. What the press remembered

Goslin

Smith,

Coast.

Warren D. Foster, presiCommunity International New York City; Julius

end.

unless one wishes to moralize on the fact that in January, 1936, the same year,

the

Machine and Foundry Company of Birmingham, Alabama; Dr. Jeremiah W. Jenks, of New York University Herbert Maynard, Jr., of New York; R. W. Nelson, president of the American Type Founders Company, Jersey City, New Jersey; R. M. Patterson, treasurer of the Eisemann Magneto Corporation, Brooklyn, New York, and Harry M. Vale

it was the same whose history is sketched was, this must have been

for granted that

The end, that is, of another ambitious non-theatrical enterprise, but not the end of the persons who had composed it

Holyoke,

Goslin, president of the Joubert

here.

;

Clifton

take

organization

services.

the veteran Fosters closed

their idle desks upstairs in the

Masonic

Temple Building, and descended, so to speak, to the tyro American Motion Picture level. That explains the presence of Warren Foster's name in the directorate. Two other acquaintances who joined prominently were William Brotherhood, who came downstairs with his camera and animation stand, and his artist as-

Sherman, whose duty it became to letter and decorate the many new titles specified by Mrs. Foster in sistant,

Bill

her extensive reediting. One day I think it was fairly late in 1926 there fell a great hush over the tenantry of the Masonic Temple Building, succeeded by a dreadful whisper that the American Motion Picture Corporation had gone under. Still, the colFor lapse was not wholly unexpected. several weeks the number of unoccupied desks had become more noticeable. At last a descending elevator paused at the

and

through the briefly parted doors I saw a group of strangers, men and women with tense, strained expresfloor,

could not be taken up now, they compromised by taking the library back again, reconditioned and polished and generally in excellent shape for renewed life. Luck had played fantastically but well with the Fosters. First it had been

War

which poured valuable properties laps under the driving force of nationwide patriotism; next it had been an Armistice which left the properties for them to claim because no one else then wished to traffic further in the into their

trappings of battle; now it was the collapse of a corporation which could no

longer pay

its

bills.

Henry Bollman went through some

in-

editing and releasing foreign travel films produced by alien governments and overseas trans-

dependent

ventures

portation companies for propaganda purposes, until he came to rest for awhile

with Visugraphic. Bill Brotherhood joined Cranfield & Clarke, New York representatives of English theatrical film producers release.

who were seeking American After a year or two there he

went to Canada as production manager for Bruce Bairnsfather, popular English comic artist, who was undertaking a theatrical series featuring his famous wartime character, "Old Bill." In company with him there, by the way, was Don W. Bartlett, who had been with me briefly at the Chronicles.

The Harmon Foundation THERE probably more

consistent or

has

never

been

more complete school

for promoters of capital than the minisand it will be found that even most of those notable promoters who are not

sions, listening to the harangue of a thin, dark man dressed in black. I recognized

try,

him and understood. He was Pat Powers, stormy petrel of the motion picture industry, who was usually to be seen, in his capacity as lawyer, commanding the dissolution proceedings of any consider-

not been connected are sons of This is a possible reason clergymen. for the strong ecclesiastical cast over so much of the development of the nontheatrical field. Of course, the church pastor has much more place for motion In meetpictures than the schoolman. ing his parish house needs he can use many sorts of entertainment film which the educator must exclude. This gives his division of the field a much larger

able

film

receivership.

Shortly

after-

ward the furniture was cleared from the In August, 1936, about ten years saw a notice that the American Motion Picture Corporation, originally formed under the laws of the State of Delaware, had surrendered its certificate. floor. later,

ministers or

with

who have

religious

projects,

The Educational Screen

Page 182 bulk of usable product, and hence a broader experience with the medium. But it is the educator who has done, and who will continue to do, most to delimit the non-theatrical field.

From

man

education,

active

one

visual

church active

there-

may

and sometimes

his

picture

project,

incor-

and had studied medicine. But when he was only twenty-four he had hit upon a plan for overcoming the great expense of foreclosing unpaid-mortgage properties, issuing a bond at the time of purchase instead of a deed, and this invention had turned his career into the small-payment development of suburban born,

real estate in

some twenty-six American

metropolitan areas.

That churchmen confided

Harmon their hopes films may have been brother Clifford,

William

for better religious

in part because his also prominent in real

had gone seriously into the mopicture industry in 1915, when he become president of Mirror Films.

estate,

tion

had

That

theatrical

venture, producing

sub-

jects starring Nat Goodwin, had been a bad failure amid charges of high pres-

sure stock promotion, but William Harmon apparently did not let this weigh adversely in his present consideration of serving the churches. In the motion picture plan of ministers trained in social service he saw, without contradiction by

business judgment, an opporHe accomplish a real good. was especially impressed, I understand, with views favorable to the case held

his

wary

tunity

by his respected friend, Bishop William Lawrence, of the Protestant Episcopal Church of Boston. Mrs. Harmon was an ardent Episcopalian at this particular time, and Bishop Lawrence was raising an Episcopal fund to stimulate churchHe had definite plans for the going. expenditure of the money when obtained, but would be glad to know of any more effective method of attaining the objective. Harmon said that he did not at the moment know of a better way, but he was sure that he could find one.

new

clothing.'

What

stained glass windows once accomplished as an appeal to the emotions through the and what music later added to the richness and dignity of devotional worship, could be done, in the Founder's words, 'through faithfully depicted, inspirational and beautiful motion pictures on Biblical and religious texts,' to bring about today a renaissance of Christian devotion in the service of the Master,"

The

tion

porated under the laws of the State of New York in June, 1925, he was about He had been sixty-three years of age. educated at the National Normal University of Lebanon, Ohio, where he was

entirely

eye,

tion.

inception

everywhere found keep up church attendance and interest in religious matters 'not

because people are irreligious or irreverent, or dead to spiritual impulses,' but because 'old eternal truths occasionally require new habiliments a refurbishing

the school-

This observation is caused by reflecupon the next major attempt of Big Business to enter non-theatricals, namely, the Religious Motion Picture Foundation of New York City. The personage here was William Elmer Harmon, wealthy operator of suburban real estate. At the

the increasingly

difficult to

expect to see the major improvements in non-theatrical producwhether he devises them tion techniques or they merely pass through his hands and from the church exhibitor are likeliest to come the refinements of distribufore,

and

Foundation booklet in 1932: "William E. Harmon believed that

year's activity of the

first

Reli-

gious Motion Picture Foundation, intended to be mainly a study of the field, with production of "a few" demonstration pictures,

mon's

initial

was made of

gift

possible by

Har-

He was

$50,000.

named

president. Vice-president and general manager were combined in the person of the Rev. George Reid Andrews, who had been chairman of the educa-

and

tional

drama department

religious

Federal Council of Churches of

the

Christ in America and whose eloquence

have principally started HarOn the board of directors were the great eloquent liberal Dr. S. Parkes Cadman; Dr. John H. said to

mon

in the enterprise.

Finley, associate editor of the

Times;

W. Burke Harmon,

New York son of the

founder; Dr. Samuel McCune Lindsay and former Governor Carl E. Milliken of Maine, later secretary of the Motion Picture Producers and Distributors of America, but then very prominent in There was also a Baptist activities. "national committee" of advisors and critics composed of about sixty other well known men and women. The opening public announcement was It exceptionally frank and promising. included these words :

"The officers of the Foundation are very much aware of the difficulties to be overcome they have looked carefully into the matter and know of the numerous attempts and failures in the past. Millions is

under no

illusions

concerning

difficulties

in the way. At the same time they believe these many activities in the past mean that the church and school represent vast fields of opportunity practically untouched. If the first year's study and experiment produce satisfactory results, the corporation plans an enlarged program of activities for the second and subsequent years. The first year is to be a qualitative rather than a quantitative test."

The be kept

pictures to be produced strictly

were

undenominational, stress-

ing just the universal aspects of religion. "Representatives of the church, of business and of the motion picture industry," continued the statement, "will be asked to cooperate according to the spirit that has inspired Mr. Harmon to make the first generous contribution. This does not mean, however, that religious motion pictures should remain a matter of benevolent subsidy. It is the plan of the Religious Motion Picture Founda.

Several accounts have it that Harmon himself first broached the subject of films. Professor Samuel McCune Lindsay, professor emeritus of political science

sustaining and allow for expansion equal to the need. If, later, the invested capital

Columbia University and then a member of the committee on social and industrial relations appointed by the General Assembly of the Presbyterian Church of the U.S.A., wrote, in a foreword to

can be returned at a fair rate of interest profits realized, the cause will be stronger and made more permanent; but first, last and always must be the motive of service for the church

was early decided that the produced would fall into They would be gious groups. to be

tion to

make

and reasonable

the

work

financially self-

pictures six relibiblical,

biographical, historical, missionary, peda-

and

gogical

inspirational.

The

last-

named would

include the general entertainment, "wholesome" films suitable for These conclusions church presentation.

had been based upon an interesting surBefore the motion picture foundavey. tion had been definitely established, but Harmon's interest had become after known, Will H. Hays, of the Motion Picture Producers and Distributors of America, whose many background distinctions included his post as a church deacon, had volunteered his services in

The offer starting the venture properly. accepted, he had set up an especial section in his own office to round up availMr. Harmon might what the field already contained. About 900 subjects were thus brought together and shown to Harmon's

able church reels that

see for

himself

committee. But the committee chose only eleven of all these, concluding that further production was certainly necessary.

The

selected

were

however,

eleven,

used to test congregation reactions in ten country churches near New York City, without previous advertising. The resultant increase in congregational attendance there was then estimated to average 36% and, with this assurance of a service to be rendered, the Foundation was definitely begun.

The

first

of the experimental

pictures, it may be mentioned item of passing interest, was an production called "After Ten

Italian

Days," procured from the theatrical house of Weiss Brothers and edited for this newer purpose under supervision of Lew Wallace, grandson of the celebrated author of

"Ben-Hur." Carlyle

of dollars have been wasted by eager promoters throughout the country. The Board

in the spirit of the church."

Ellis

and

were

sufficiently

impressed with the first announcements to seek out the Rev. George Reid Andrews to see if we could not combine our interests for mutual advantage. had never met him or done business with

him

previously.

But we now had quite

a chat with him, although at the outset he greeted us by saying that he was

receiving us out of courtesy, had no need of our services, but would listen to us if,

after

what he had

said,

still

wished

to talk with him.

found that he had definite ideas what he wished to accomplish, having planned motion pictures for his particular field long before while he was with the Federal Council of Churches of Christ in America. He didn't tell us about that, but, as a matter of fact, his about

had already considerably ripened the quicker development of the Harmon Foundation had made it expedient for him to put them aside. With ideas

when

the Rev. Frank E. Jensen, who conducted a church films department in Educational Screen, and an incorrigible promoter

named Leroy Greater

Curtiss, connected with the

New

York

Federation

Churches as treasurer, he had even considered a start on his own. (To be continued)

The Educational Screen

Page 222

MOTION PICTURESNOT FOR THEATRES was frankly felt

skeptical

motion

professional

ANDREWS men. He

picture principally that their

charges for film production were excessive, and, in his place, he was not going to be imposed upon by being obliged to pay what he thought of as absurd Hollywood prices. At the same time he expected first class professional quality in whatever might be made for the Foundation. He would spend money as required for what he conceived to be justifiable service, but not one cent more. He sounded us out on

how we might approach

his problems to obtain effective results, in writing continuities, building sets, engaging players and much additional, and we answered him frankly on all points. I never was able to make out whether he regarded

us as rogues or fools. What we said may have been merely at variance with

own

his

preconceptions,

but,

we never heard from him

When

the

38.

ing

came

time

make

in substance, was in his place not to clean up the screen by compelling Hollywood to produce worthier pictures as most clergymen had been led to believe, but to prevent others from doing it. So

South America to film church subjects in Brazil, with the Munson Line donating transportation, and later, as told earlier in these pages, Smith produced ten reels on the American Indian. Althe

though sound pictures had arrived by this time, it had been decided that inasmuch as comparatively few churches had been equipped to show talkies, silent productions

would

the

"Forgive Debts," in which Savior illustrates that point to his disciples, and "The Rich Young Ruler,"

who

finds

happiness through Christ's four subjects were to be test items for use in picked churches teachings. to

see

The

their

particular

techniques

would stimulate attendance there. It was the intention of those directing the Foundation to try various approaches, so story production was now set aside in favor of "special article" pictures on the

work

foreign

missions,

Sunday

School conventions and the like, save that a few special subjects adapted to the needs of church entertainment programs, such as "lives" of Martin Luther

and

David

Livingstone,

were acquired

were reported extensively

in the press their previously with the Federal

relations

America impaired

Hays staff officer neatly disDr. Andrews by pointing out as

disinterested leader

state

Park

the

retired

an uncom-

self-defense

Street

pastor

Congregational

Church

of Bridgeport, Connecticut, Hays then organized a committee of thirtythree representative social, religious and educational leaders under the chairmanM. Le ship of Professor Howard

Soeurd, of the School of Religious Education and Social Service of Boston the entire University, to investigate

Andrews subject of church pictures. the only churchman to suffer. In the dissension, growing out of the

was not

The

churchmen pressed even the chips from Cecil de Mille's workshop

original situation, the Rev. Charles S. McFarland, for eighteen years general

secretary

the

Federal

Council

into their service after his tion of "The King of

producKings."

Churches of Christ in America, who also had been employed by the Hays

About

theatrical

organization as a consultant in the production of religious films, went into retirement.

Guest," on the episode of Simon anointing the feet of Jesus, and two two-reelers, the

Andrews argument ran, community leader working solely for public good, was untenable. At first the motion picture leaders ignored the strictures. But, when they

While Andrews

account of the

Our

retainer

industry, the his pose as a

disinterested

fortable

stoning of the woman who had sinned (John, VIII, 3, 11). By September there were two more, and shortly thereafter a fourth. These later productions were a single-reeler, "The Unwelcome

money

try for supervising certain phases of the production of "The King of Kings."

production, completed about the

picture

working for public good, had taken money from the motion picture indus-

was "Jesus Confounds His on

Hays was on

from the motion

posed of that he also,

first

M. Dawley. It was Dawley had produced his

based

long as

Picture

thereby, a

Metropolitan Museum of Art pictures. This preliminary work for Andrews then was done mainly in Major Dawley's studio at Chatham, New Jersey.

Critics,"

Hays and the Producers and Distributors of America. Hays, he charged Motion

friendly

Herbert

first

especially critical of Will

Churches of Christ

anyway,

directly again.

for

over,

and the film men found

prevail.

considerable ability but admittedly without much motion picture experience, to design sets and costumes, and, to direct the action and oversee the camera, a better known and better proved artist,

1926,

plan

matters connected with the undertaking in their hands. They In held the responsibility very well. the summer of 1932 Holbrook visited

had been placed

The

great

Andrews returned East in rather From the platform disgruntled spirit. he discussed the Hollywood scene with various audiences, and showed himself

outside.

it was found that Andrews, had prepared the scripts, and was ready to supervise their filming. He took on Victor Echevarria, an artist

July,

his

the

For the laboratory work, had turned the Foundation's notices to John Holbrook and DiscoverJames H. ("Hal") Smith. ing the versatility of these men, more and more duties were entrusted to them until virtually all technical film

from

circumstances

productions,

not long since

fulfillment

House of God as attractive to your community as the neighborhood movie. to

himself,

Major

Harmon's soul goes march-

Mr. in

ARTHUR EDWIN KROWS

By of

Port

1927

the

organized

motion picture industry gave satisfaction to the church groups by producing in

Hollywood,

under

the

direction

Cectl B. De Mille, "The King of Kings," a pretentious visualization of the New Testament. It was financed largely, I

by the Wall Street banker and prominent Baptist, Jeremiah Milbank. As a good will gesture, as well as for the benefits of competent Biblical supervision, the producers felt it advisable to invite church cooperation. They did it through Will H. Hays, spokesman for believe,

their

industry. Through obvious nections, the Rev. George Reid

con-

An-

drews obtained the post of representing the clergy on De Mille's stages.

When

the

precious

experience

was

Harmon died in July, lived long enough, however, to feel that there were many problems yet to be solved in the use of films William E. He had

1928.

in religious education, even when the service was offered, as his had been, at bare cost. In the year before his death

he thought long and carefully about the situation, and wished for more definite knowledge upon which to proceed. Near-

ing the proverbial goal of three score years and ten, he was the more anxious for

the

durability

this

monument which he was

particular leave be-

hind.

He was

convinced of the useful func-

June, 1942 performed by a small foundabenefactions all had taken

tion to be tion.

Page 223

His

large foundation, he believed (and history seemed to bear him out), was most valuable for testing purthat form.

and generally too expensive and unwieldy for that original investigation which the small foundation could undertake safely and effectively. The Harmon Foundation, which had many interests other than motion pictures, was running at that time in fairly smooth routine under Mary Beatty Brady, a poses,

faithful, intelligent and assistant. She was the

conscientious

daughter of a missionary who had become governor of Alaska. Her formal education had been conspicuously at Vassar and the Columbia University School of Journalism. She had begun with Harmon as his secretary. But routine, even in such generally able hands, was scarcely sufficient for an investigation program, and Miss Brady, with all her intelligence and willingness, could scarcely save the picture phase from becoming simple routine just then because she

had had no especial film experience elsewhere, either. She could choose and follow worthwhile precedents, but, in the circumstances of the time, she could scarcely be expected to originate new departures.

Harmon

realized

this;

did

she.

Therefore, various persons who might be presumed to know were consulted on how to proceed with different phases of the project. Wellstood White was one who advised on distribution and

Brady and Dr. Samuel

exhibition. Miss

McCune Lindsay

called at the

De Vry

New York to examine proand there met F. S. Wythe, who was working on De Vry's Neighborhood Motion Picture Service and the De Vry school program. Thus Harmon learned that churches were having encouraging results with the programs office

jectors,

supplied by the

De Vry Corporation

promote sales of ently

invited

its

projectors.

Wythe

visit

Preshim.

therefore, to make about twenty reels for the Foundation. For the required it was arranged through Jeremiah Milbank to obtain the scenario and left-over negative of "The King of Kings." The Hollywood folk did not

material

plan at all, being naturally suspicious; but eventually they shipped the film without identifying marks other than production "slate numbers" and camera reports, stating that the scenlike

this

which would have given the key, had been lost. To have catalogued and arranged the mass would have been a ario,

labor

making of programs more stimulating audience attention than the usual church reels which had so little imagination about them that they merely to

showed

lilies, for instance, in driving the hackneyed lesson of lilies of the field. In other words, he urged the

home

production of films having some human attractiveness instead of curate cant.

Harmon saw

the

and was ap-

point

preciative.

Wythe had been providing films for De Vry on these principles, not by production

which,

useful

that

might be, was scarcely justified by the system in point of expense but by and he told editing existing material ;

Harmon

that

the

same

sort

thing

could be done for his intended testing purposes.

Harmon commissioned Wythe,

months, and the expense of for examination would

making

prints

have been prohibitive. Nevertheless, using the camera reports and guessing at their sequence, tive

Wythe made

of the

selection

mately,

"cuts"

interpolating shots

a tenta-

and, ulti-

from some

Holy Land

scenics, worked out roughly those thirteen reels presenting the life of Jesus of Nazareth in twelve "chapters" which have since been used effectively by the Foundation under the

general

Wythe came, and

did not begrudge information and advice. Concerning production, on which point Harmon was then most anxious, Wythe advised the

made prior to Dawley's first Harmon production realized more churchman's idea at that time of what the screen should do for him.

films

fully a

title,

the

Way."

The Presbyterians IN this same period Wythe heard, through the De Vry manager in Philadelphia, that an important religious project was taking shape there under the sponsorship of the Board of ChrisEducation of the Presbyterian tian Church of the U. S. A. His particular informant was Burke Harmon, son of William S., who was then employed as a salesman by Weil & Company, the Philadelphia De Vry distributor. Burke had found an apparent opportunity to dispose

many

projectors

once,

but, as the prospect wanted production also, Wythe went to the Quaker City

what it was all about. There he met a Mr. Robinson, the

to see

chief

executive of the intended enter-

prise.

The

situation seems to have been

that the gentleman who had so brilliantly developed the Presbyterian Church's book division, known as the West-

minster

Press

his

own name

was,

believe, Oscar Miller had been permitted to take about $100,000 of his recent profits to experiment with religious

The general supervision

films.

Board was

chiefly

the

through the

Rev. H. Paul Janes, young assistant to Mr. Robinson, who had shown especial enthusiasm over the possibilities of visual education.

The Presbyterian Board

of publications,

had used Edison

will be

films

remembered, and projectors in

1913.

Wythe was received by the Board when they found that he not only had had much practical motion picture and,

experience

even

recently

with church

and was especially well informed,

films

besides, concerning religious objectives, they planned to have him produce programs which Miller, with his peculiar genius, might sell, and for which the

physical distribution might be handled by Harmon's Religious Films Founda-

Wythe had proposed this amalgamation of interests. He introduced Janes to Miss Brady, and Janes took her to Robinson who found her fation.

miliar with church problems and otherwise a highly desirable affiliate. In the

meantime, the Presbyterian board had formed a committee for the Sunday School development of their enterprise, and Janes, journeying to Cleveland, obtained a vote of approval from the an important Sunday to delegates School convention assembled there.

the verge of starting actual work, was taken ill. He went to a

Miller

for examination. The doctors found alarming symptoms and Miller never came out. Accordingly, the project virtually ended there. Janes, how-

hospital

ever, continuing at least the spirit of the Presbyterian interest, prepared "settings" or "presentations" to guide ministers

the

their

fitting the

the

programs,

individual pictures

Way"

and

series

wrote

into

small

of practical advice to the clergy entitled, Screen and Projector in

handbook

(Concluded on Page 242)

The Educational Screen

Page 242

Motion Pictures Not for Theatres (Continued from page 223) Christian Education. It was published by the Westminster Press in 1932. When Miller died so suddenly, leav-

ing plans at loose ends, the relationship of the Presbyterian board and the

Harmon Foundation became somewhat and only the high character good faith of those concerned evolved a happy ending. No formal contract had been drawn. It was understood, however, that there would be a generous number of exchanges scattered over the country, and that the board would pay for a proportional number of delicate,

and

prints of the

Harmon

productions. But,

reviewing the situation after Miller's Robinson concluded that much fewer exchanges could serve the project at the start of distribution with fewer in

death,

Miss Brady naturally sought to protect the Harmon Foundation by obtaining a contract, and Robinson, withprints.

out in the slightest intending to repudiate the original agreement, naturally wished first to see some of the "I the Way" pictures to judge the probable church demand for them. This threw the responsibility for delivery upon

Wythe

;

but he, in turn, had been pre-

from

completion of the series by the unanticipated difficulties of obtaining and examining the "King of Kings" material from Hollywood. The "I Am the Way" reels were never fully completed by Wythe. It had been intended to "score" them with sound, and, to demonstrate with one subject, he obtained cooperation of the Radio Corporation of America. Not only the R.C.A. recording and studio equipment was thus made available for the experiment, but a full choir from the vented

prompter

Roxy Theatre, New York, and the large orchestra from the Broadway production "Blossom Time" volunteered to provide the impressive sound. Everything seemed right for continuing the plan despite the death of Harmon, but the funds intended for the purpose became bogged in a real estate stagna-

and the work was obliged to stop. However, the Foundation goes on even

tion,

today with the library so auspiciously begun, and Miss Brady, with a utility film man who can photograph occasional scenes as well as care for the institution reels, adds from time to time to the supply. Other materials are sent in by denominational efforts outside, such as the picture made in 1934 by John, son

W. H.

Gable, head of the in Montana, in cooperation with the Foundation. It is a three-reeler called "Below the White of the Rev.

Rocky Boy Mission

Top," and it shows the work of the Rev. John Killinger in the Virginia Blue Ridge country. It is in addition to several other subjects similarly produced by John Gable. In February, 1936,

a 16-mm. silent picture was completed under Foundation sponsorship by amateurs of Port Washington, Long Island. It gained general publicity because the "leading man" and "leading lady" an-

nounced their engagement

to be

married

coincidentally with the preview.

Major productions made with Foundasupport and sponsorship are a number in the wider missionary field. They include eight informative reels on China, three concerning India, a trio of African titles, and approximately tion

four reels covering religious activities in Brazil. Other projects are constantly in work or under consideration. One of the most fervently held policies of the Foundation has been always that the organization of a proper church film program should be maintained, if not initiated, by the churches themselves. The Foundation was willing to gather neces-

sary information to point out objectives, and to bring active persons together; but it positively would not undertake the support of an enterprise which so manifestly

should be the religious

full

orders.

responsibility

of the

therefore seemed

happy culmination of the Foundation's seventeen years of earnest endeavor when, March 25, 1942, the Religious Film Asopened headquarters at 297 Fourth Avenue, New York. This enterprise with William L. Rogwho had produced a number of ers, interesting films under Foundation auswas on that pices, as executive secretary date described as the union of sixteen sociation, Inc.,

The Protestant denominations. purpose was to distribute suitable motion leading

pictures for the ultimate benefit of

some

122,000 churches. Apart from this ambitious goal, interest of the non-theatrical

the Foundation turned its attentoward the International Council of Religious Education as a group better

difficult,

tion

of qualified to attack the problem. Out the proposals and conferences out of all

accumulated experience, indeed emerged at last the present Religious Film Association. If this does not suc-

the

ceed, however,

it is

assured that the Har-

try again, in some other way, to see that American churches are regularly supplied with proper films. the since In those eventful years establishment of the Religious Motion

mon Foundation

will

Picture Foundation in 1925, Miss Brady has acquired a comprehensive knowledge of non-theatrical problems and undoubtedly has made, in addition to her labors as an instrument of the Foundation, a valuable personal contribution to the field. The various enin the organization's listed current literature owe much to her conscientious support as an individual and it must be observed that all have been encouraged with the clear under-

deavors

;

standing that their work is expected to be self-supporting, and that the Foundation will not be controlled, in its own

words, "by any denomination, religious faction or prejudice." (To be continued)

Kodachrome

S.V.E.

new

Four

was aroused by the

in general

clusion of a novel circulation idea.

in-

The

large publishing houses maintained by the various leading sects were to take over

catalogs

Kodachrome

from the extensive library of the Society for Visual Education, have just come off the press. They present a wide selection of color slides on the following: The Arts 44 pp. (architecture paintings religious, secular and

2"x2"

slides, available

;

juvenile; sculpture; landscape gardening; fashions dances literature costumes ;

field

Slides

;

The Social Studies design and crafts) 72 pp. (United States and world history; geography world's fairs sports trans;

;

portation and communication; sociology) The Sciences 26 pp. (nature study for ;

In the physical handling of the reels. other words, this plan was not just a dream, on paper. It was so far a reality that the Association already possessed the machinery for an effective distribution

system, with operators in all centers currently used for sales of printed literature, trained and

young science students biology, geology, etc. nical subjects; useful

Collection

pp.

;

botany, zoology, medical and techarts); The Beale ;

(from

hand-painted

glass slides of the illustrations of Joseph

Boggs Beale).

seasoned in the specialized objectives, and already in friendly contact with the customers. Success of this new undertaking obviously must be a matter for future rec-

To obtain copies of these catalogues, write to the Society for Visual Education, Inc., 100 East Ohio Street, Chicago, IH.

ord.

new Viewer", "Hollywood manufactured by Craftsmen's Guild, 5773 W. Olympic Boulevard, Los An-

leadership gives luster to the bright promise of its approach. The chairman is Lovick Pierce, of the MethIts

House at Dallas, Texas. Card, of the Baptist Sunday School Board at Nashville, Tennessee, is vice-chairman; and John Ribble, secretary of the Presbyterian Board of Christian Education at Philadelphia, is secreodist Publishing

George

tary-treasurer.

The

early

efforts

the

Harmon

Foundation to bring about a similar amalgamation of religious interests had been to develop a film service through the Federal Council of Churches in America.

Some passing reference to that experience has been made in preceding paragraphs.

When

progress in that direction became

Slide

Viewer

The

geles,

California,

made

Tenite

and designed for viewing 2" x 2" Kodachrome slides and 35 mm strip film. It accommodates slides in paper, glass or metal mounts. A slight pressure on the sides makes possible the removal of the diffusing window for the The viewing of 35 mm strip film. ground polished lens has a depth of focus which provides effective magnification without the necessity of adjustment. The curved top of the case allows the corners of the slides to project so they can be inserted and

removed

easily.

September, 1942

Page 259

MOTION PICTURESMill1 INV.^

^ k^H^ 1

ARTHUR EDWIN KROWS

Chronicles project of Yale may have encouraged the idea, or possibly it came about merely because Philip Davis of Boston, an A.B. from Harvard, was also a motion picture producer and distributor. Anyway, about 1924, while the Chronicles of America Picture Corporation still made films, Philip Davis returned to his Cambridge alma mater and tried to persuade those in charge to enter the business.

THE

was

His proposal

attractive,

especi-

seems that he did not call for a sum remotely approaching a million I do not know the details, but dollars. it is probable that the scheme had points in common with his enterprise then recently stopped by the Boston Post, inally as

The first detailed non-theatrical history resumes bumes with Installment msiaiimem 39, 33, relating how now TT~" TV TlTM"" ^ Harv <d University undertook to open bottleIJ-lJTl 1 l\.J_ikJ necks that hold back the films in education.

TTHh/A

T~ S~\T} 1HIJK^ V_yl\.

-KTX->.rp

of Harley Clarke's Society for Visual Education in 1919, and had personally appeared in a specimen teaching film. But despite the rush of other institutions of learning to command this new screen medium, there was something to be gained by waiting. The longer tors

they waited, the more clues they received through somebody else's costly experience, clues to for a well disposed the

movement with

advisable way University to join

the

dignity and effect.

volving films produced in cooperation That a joint effort of with industry. this sort could be carried on with dig-

John Harvard and John Haeseler

about the time of Professor Atsignificant step, while he was still teaching at Cambridge and before he became president of Clark University, there was an undergraduate at Harvard

wood's

who was

interested

extraordinarily

had been proved conveniently by the experience of the National Government, notably the Bureau of Mines, and by that of Holley's Civilian Bureau of Commercial Economics. In the circumnity

stances, better not

say too

Harvard Department

man

to wait. It is interesting to know that he decided to master the camera for

himself on the advice of Dr. George A. Dorsey, who had produced many travel films, including the notable ones in Prizma color. Dorsey, with a strong sentimental interest in any Harvard enterprise of this kind because he himself held the first Ph.D. degree ever awarded

by that University in anthropology, had told Haeseler a sad tale about being held back in his film undertakings solely because he had been at the mercy of his cameramen. Haeseler must never, he warned, permit that handicap to exist

program

Foster of Community Pictures, who was then about to join Paul Smith at the American Motion Picture Corporation. She received him with her characteristic cordiality and introduced him to William Brotherhood, who was to become

might be built up inexpensively, but did At the same not do much about it. appear presently, some informally known as "Harvard University Pictures," produced "in cooperation with" several leading manufacturers. The subjects included one on cotton, made by the

Nashua

there

did

subjects

production manager of the

Manufacturing Company of one on sugar, made by the National Sugar Refining Company, and another on food distribution, financed by the Great Atlantic & Pacific Tea Company. But this effort soon died out. As a matter of fact, institutions of such size as Harvard University do not Boston

act,

upon

rule,

first

suggestion.

ponderous foundations which William Harmon used to contrast so disadvantageously with his own conception of a small mobile one, they dare not move too quickly; whatever they attempt must be considered at length in advance to protect the comlarge

plexity of their parts. officials listened to the

So the Harvard glamorous

first

propositions as they came, and made no serious commitments. They just looked

and

listened.

not improbable that may have conceived

themselves, spontaneously the

they,

idea

making

pic-

The

suggestion was in the air. It was a time when the visual thought

tures.

was uppermost

pedagogical

circles

throughout the nation. Wallace W. Atwood, professor of physiography at Harvard, had joined the board of direc-

new

concern.

was friendly and invited Haeseler become a nominal assistant that he also

might study production under practical

;

the

himself.

own graduation from Harvard, Haeseler came to New York on a tentative inquiry as to where he might learn the mechanics of photography. Chance brought him to the office of the remarkable Mrs. Edith Dunham

The Harvard Corporation toyed with was one

educational

Anthropology;

Just before his

the unhappy episode of the Post.

time

but although that proposal was not finally declined, the delay in hearing a decision was too long for an eager young

for

much about

the idea, learning thus that here way in which a University film

For a time he sought to obtain the backing of George Eastman, who was then sojourning in Florida, for the production of a series of films on the races of mankind, to be sponsored by the

conditions.

Few

Graduating then from Harvard, and pending an intended further study of anthropology at Oxford, Haeseler disdetermination to played his prepare thoroughly for his life work by coming

educators seeking to use pic-

tures have had the patience or the willingness of John A. Haeseler to learn film limits and facilities.

New York to study how to operate a motion picture camera and to see what were necessary in the proper steps This learning was processing of films. to

under qualified instructors. Importantly, too, he made a personal survey of the concerns which were producdone

visual education, and who was destined to affect Harvard's participation in a

remarkable manner. Haeseler.

Member

He was of

John A.

comfortably been able to

family, he had widely without pressing distractions just a short time before he had returned from a year spent in China, situated

travel

ing the so-called educational pictures. Shortly after his graduation at Cambridge he had gone to Chicago to call

upon Nelson Greene, editor of Educational

for

Screen,

guidance

That kindly gentleman has

matter.

this left

Mongolia, Japan, Korea and the Philippines and, with a lively sense of the deeper differences between races, he had

upon

decided to major in anthropology. Having a correlative desire to pass along what he knew to the rest of the world, he decided upon motion pictures as the effec-

films on human racial stocks, acceptable to scientists as to photographic experts.

tive vehicle.

Dessez,

record

enthusiasm for Haeseler and Haeseler's ambition which his

real

then was to build a library of superior

was Editor Greene who urged him

especially to see

who

Mrs. Elizabeth Richey then employed at

was

The Educational Screen

Page 260 Pathe; and, although Haeseler could not have known it at the time, the meeting

that the Congress was "not interested in amateurs." In the light of the subse-

that resulted

was destined to culminate, as will be related presently, in a notable association of Harvard and the motion

quent development and service of student

picture

motion picture production, this seems to have marked the astuteness of Mr. Haeseler and the blindness of the Con-

industry.

this

preliminary

Mrs. Dessez opened the Pathe Library to Haeseler that he might see, if he could build up a tentatively, period

proper anthropological film from what was there. Elmer Pearson, executive vice-president of Pathe, hearing of the plan, even volunteered to pay the young

man

a small compensation for his time.

Haeseler eventually found himself working along the line of a film on anthrobut he discovered that the poid apes apes of the library were mostly engaged in doing circus tricks, and he abandoned ;

that

Nevertheless, in his search material he had become definitely plan.

for

impressed with other educational opporPathe treasury of pictures. In New York, Haeseler introduced himself at various non-theatrical offices. Charles Barrel], of the Western Electric Motion Picture Bureau, took a strong liking to him, and invited him to spend tunities in the

a week-end at his

little

summer

place in

Sugar Loaf, back of the Highlands of the Hudson. There they chatted about the field in general, and Haeseler then concluded that there was not much need to pursue that phase of his survey further

when

the

experience could only repeat the evidence already in hand upon which his mind was by this time made up. Several months were consumed by John Haeseler's photographic course

and non-theatrical survey, and then he sailed abroad for his year at Oxford. During this pleasant sojourn he became prime mover in a student amateur cinema club, no doubt being of great benefit to his associates with practical knowledge already acquired. Obtaining

Oxford

his

certificate

anthropology, expedition con-

he joined an English ducted in the interest of science by M. W. Hilton-Simpson and bound for Africa. Thus it came about that Haesel-

made

collection

the first

film

of his

among

the

ancient

tribes of the little

intended

Libyan

known Berber country

on the road to Biskra.

The evening this

film,

feet,

was shown

cut

November

approximately

17,

1924,

4,500 to illustrate a talk by leader before members

the expedition's of the Royal Geographical

Society

London. The audience was enthusiastic, and Haeseler was awarded the high honor of being made a fellow of the Naturally encouraged, he this production with a film

Society.

fol-

lowed on Hungarian peasants and tribesmen. September, 1926, he attended the Motion Picture Congress at Paris, held under the auspices of the League of Nations, directed by the French National Committee on International Cooperation. As representative of Educational Screen he introduced resolutions that photography courses should be instituted especial

Anyway,

gress.

for

lecture prepared the Committee,

before

delivery

Haeseler stated his general conclusions about educational films, and it was printed in two installments by Educational Screen, beginning with the issue dated

December, 1926. With this background and these accomplishments it is quite fitting that John Haeseler should have figured in the Harvard University plan for motion pictures, and that this particular theme should have materialized primarily in the Department of Anthropology. The effort was closely seconded by the Department of Geology but this was natbecause geology had been ural, too, Wallace Atwood's specialty at Harvard from 1913 to 1920. An additional fac;

was provided by Educational Film Departwhich, having obtained the con-

tor to stimulate progress

Pathe

the

ment, tract

for

icles

pictures,

business from

Yale Chron-

the

distributing

was

similar soliciting other large institutions of

Pathe knew something of what was stirring at Cambridge because John Haeseler had been reviewing anlearning.

fields.

The

method of operation was Harvard committee,

specific

to be simply that a

headed by Dr. Kirtley F. Mather, of the Department of Geology, and Dr. Ernest A. Hooton, of the Department of Anthropology, should view reels from the Pathe library, selecting therefrom such material as seemed promising, and that from this, then, graduate students from the respective departments appointed for the purpose and working in quarters and with equipment provided in the Peashould body Museum at Cambridge

make the final assembly, subject to the approval of the committee and the President and Fellows of Harvard College. Motion pictures were not unknown to Remember Peabody Museum. Arthur W. Carpenter, of Carpenter-

the

He was

Goldman? rapher

once

cinematog-

on expeditions of the

Museum.

Peabody

made

to the profits to be

from the contractual performance, whatever should accrue to Pathe from distribution of these proposed films would be converted into a fund for making further pictures and to help finance future Harvard scientific expeditions. But all this was still not the full

The winter passed and, at the plan. end of March, 1928, a much more com-

the

prehensive project was outlined in the formal announcement of the University Film Foundation. This organization,

proposal was to open this to the use of Harvard professors for the making of educational reels of various sorts. At that time the

incorporated under the laws of Massachusetts and aided by Rockefeller financing had been granted a working ar"with the and President rangement Fellows of Harvard." The announce-

material

thropological

Pathe

stored

vaults.

The Pathe

rich

collection

library million

ceding

was

estimated

feet,

accumulated over the pre-

fifteen years.

The

two

contain

reels included

"Pathe News," nine years of the "Pathe Review" and eleven celebrated expedition pictures, among which were named pictures of the Byrd and Amundsen polar flights, of Prince William of Sweden's African trip, of Morden's Asiatic trip and Flaherty's "Nanook of the North." Mrs. Elizabeth Richey Dessez was at that time in charge of the Pathe department, and she is generally accredited with having closed the contract which was signed by Harvard and Pathe about November, 1927. Mrs. Dessez was asthe

sisted then,

Mrs. C.

interesting to note,

lively

believe

Barrel!, interest in

that

was

also

The

contract

was signed A. Lawrence

naturally had

this

Henry

development. Bollman's wife

employed there

Exchange,

who

the

time.

was

for a five-year period.

for

Harvard by President

Lowell,

Inc., of

New

and for Pathe York, by Elmer

Pearson, first vice-president. The Harvard men were to have access to the

Pathe collection

for

making

their

in-

tended subjects especially those pertinent to anthropology and Pathe was given the rights to refer in its publicity to

Harvard, and

distribute

the

re-

colleges and universities and that amateur cinema clubs should be en-

sultant

couraged there, although the resolutions were presently dismissed on the ground

produced, Pathe agreed to supply one or more cameramen to accompany an-

in all

chosen

into

expeditions

thropological

schools.

films

theatres

well

For needed material not

yet

ment was released

from the

to the press

New York

Foundation's

West

office,

42nd Street, by John A. Haeseler, "one of the trustees.''

was

stated that the

organization expected to possess

its

own

equipment for motion picture production, and that Harvard had agreed to provide a site at Cambridge, where the Foundation would erect its own building, an architest's drawing of the complete

front

proposed

in evidence.

elevation

was

being

shown

have a laboratory in the basement, editorial and administrative offices on the first floor, and projection rooms and a small studio on the second

floor.

The

trustees, beside John Haeseler, were: Oakes Ames, curator of the Harvard Botanical Museum; Thomas Barbour, director of the Harvard Univer-

Museum

sity

;

president

the

Jefferson

Boston

Coolidge,

Museum

Fine Arts and vice-president of the Old Colony Trust Company; William H. Claflin,

vice-president of Tucker, Anof Boston Charles

thony & Company, P.

Curtis,

lege:

Jr.,

Edward

Harvard Board

fellow

;

Harvard Col-

president of the of Overseers and chair-

Elliott,

man

of the board of the Northern PaRailway; Edward J. Holmes, then director and later president of the Boston Museum of Fine Arts; Thomas W. Lamont, of J. P. Morgan & Company; cific

Langdon P. Marvin, well known New York lawyer and president of the Harvard Alumni Association; Wilson M.

September, 1942

S*!S*<**<

The Educational Screen

Page 264 know

should

that

a film deals

sym-

with such a group the students can be stimulated into an understanding of the people concerned and a beginning made toward eliminating prejudices. But, if a film does not treat the minority group sympaeven if it is indifferent tothetically ward the group in relation to other the teacher can activities of the film pathetically

expect a strengthening of existing prejudice and he should be prepared deal

intelligently

and forthrightly

with the basic factors of this prejudice. Students like films that contain some element of familiarity; and they are influenced by their personal sense of values toward people and actions. The much-discussed problem of films

and "bright" students is summarized as dependent on the for

"dull"

material in the film. The author concludes that "the same film is not

equally alike.

good for 'dull' and 'bright' To meet the abilities of duller

students, films need to move at a slower pace, more detail must be shown, transitions must be clearer, and the vocabulary and sentence structure of the commentary must be simpler. Most classroom films are not produced for the 'dull' student." An excellent chapter is the one called "The Teacher Takes a Hand". It brings into sharp focus the fact that unless teachers are clear in their

own

thinking about what they expect from a film, their use of them with students cannot be the best. The description of a demonstration lesson conducted by Mrs. Lillian A. Lamo-

reaux

especially

recommended

ment in a much more imaginative way with the media of the motion picture camera and sound track? The U. S Army, for example, is trying innumto erable approaches through film given problems. The British M.O.I. short produced at great subjects, all

speed,

experiment Surely tionary

represent a willingness to with image and sound. can suggest some revolu-

experimentation

that

along

line.

In the realm of propaganda through would you have some concrete

films,

suggestions to make to persons who wanted to pursue your challenge that "Propagation of doctrines fundamental to America is a prime function of

America's schools, and hence of films used in the schools." By propaganda we mean, of course, the term used in its broad sense to mean the "spread of a doctrine."

You may questions

Then,

let

these book.

reply, justly, that need another will

us have

we can have

directive for the future of the educational film, just as we're interested in directives for the future of all aspects of living.

Laboratory Manual and Workbook in Visual Education M. L. Goetting Baylor University Press, Waco, Texas. 1942 180 p. mimeo.

Here is a practical accompaniment to a course in audio-visual aids. It is not intended to replace the basic textin the field, but rather to provide more detailed information about the use of equipment and the care of materials than is possible in a book

books

and philosophy.

shows clearly how far the teacher had planned to go with the film and the ways in which the children were given freedom, within this framework, to follow their interests and go further into significant

of principles

study.

are illustrations of the various types of map projections and samples of charts and graphs (with the pictograph unfortunately omitted). In connection with the projection equipment, there is a simple diagram of the essential parts of each type of still prowith short explanation and jector, photographic illustrations for each.

(p. 117-121).

The summary might have gone ther however, than to alizations to be

list

fur-

the gener-

drawn from the 3-year

It could have program. looked ahead and suggested lines along which improvements can be made. There are many opinions that the research staff can formulate on the basis of use with 5,600 teacher judgments and 12,000 student judgments opinions which would have been received in good spirit even by those under

evaluation

criticism.

Here are a few questions directed at the Project staff: Do you think that teachers should continue to use films made for adult and special audiences? Your evaluations include films made by industrial organizations, by government agencies and by public service organizations all of wihch are not teaching films and are used as such simply because there are no others. But, should this

be continued indefinitely? What do you, and the teachers and the students really think of the films made by educational film companies?

The most

helpful

sections

the

book are those in which explanations and diagrams are given. Much of this material is not available from other For example, there printed sources.

The opaque

projector, filmstrip projector and standard lantern slide projector are compared for size and usefulness. With respect to motion picture projection, there are simple diagrams to show how four standard projectors are threaded. Other kinds of

information given include instructions for splicing film, caring for film and projectors and tables to show the ef-

on change fect

The

size in

image produced by

focal length of lenses.

section on

photography is nonamply illustrated by diagrams. Throughout the book it is assumed that the information and technical,

Are you willing

diagrams are to serve the student as summaries, not as the basic source of their facts. Where there is opportunity to carry on these laboratory activthis handbook should be very ities,

ther

helpful.

efforts

to support any furon their part to experi-

SOURCES OF INFORMATION Films for Church and Published by The Religious Film Association, 297 Fourth of

Catalog

Community Use.

Avenue, New York City. 80 pp. 35c. This catalog is a highly selective listing of visual materials prepared by the Religious Film Association for distribution by the denominational publishing houses co-operating in the Association, and should fill a longfelt need on the part of those church leaders who desire to increase the effectiveness of their programs through the use of visual materials. The in-

troductory article, by Dr. Paul H. Vieth of the Yale University DivinitySchool,

valuable

offers

assistance

beginners in the use of visual aids by acquainting them with the values of such aids, types of equipment to buy, and best methods of using visual aids.

New

ideas

also

are

offered

more experienced. Over two hundred 16mm

the

films,

si-

and sound, are listed, taking up over half the pages of the book. Ten pages are devoted to useful filmstrips and kodachrome slides. The films are lent

classified

according to subject-matter.

The major subject-headings are: The Bible and Bible Lands, The ChrisLife, Leadership Education, Missionary Education, Nature and Worship, Our Social Order, The World and Its People, Recreational Films. Films treating more than one topic are listed under other appropriate

tian

headings. The catalog is unique in that the film descriptions give critical reviews and evaluations. Rental prices are

given for each subject. sources are represented, of whom teaching guides' tained for use with the

Many

film

from some

may

be ob-

films.

The

Motion Picthe back of the book

Index

"Alphabetical

ture Titles" in is a further helpful feature.

Documentary News monthly

the

Letter,

Film

published

Center,

Lon-

don. $1.50 year. Subscriptions through American Film Center, 45 Rockefeller Plaza, N. Y.

stimulating publication, worth reading and re-reading.

Motion Pictures Not for Theatres (Continued from page 261) for

teaching

records.

purposes

and as

research

Major

production, though, is small funds are scant for that. But since 1940 the Service has made some medical films, all passed and approved by the American College of Surgeons. ;

There is a library of 110 Erpi films and some of the Service's own, prints of which are variously rented and sold under different plans. And, of course, there is extensive and continuing projection work, using licensed operators for standard Simplex machines in three

University booths.

(To be continued)

The Educational Screen

Page 302

MOTION PICTURESNOT FOR THEATRES ARTHUR EDWIN KROWS

By 1941 issued

for

ABOUT number one

series

their

own

the

Harvard Service

general

circulation

phonograph records,

presenting poets reading verse, and another concern-

ing wider literary effort, for English It is reported appreciation courses. that these items are well liked, and that their sales to schools and increase

who just like to lisIn June, 1942, an album of Latin records was financed by the Carnegie Foundation, the grant being made to

The Fortieth Installment presents the story of Eastman Teaching Films, one of the most constructive projects in the long history of visual instruction.

individuals

ten.

the Department of English, with Professor Frederick C. Packard, Jr., as

too. For inwas not known generally for a long time that he was the mysterious "Mr. Smith," who gave so generously to

were frequently anonymous, stance,

the

of TechInstitute But beyond any necessity for

Massachusetts

nology.

Eastman's private support was the obvious fact that this was a commercially So it was sponvaluable undertaking. sored by the Company, and not by the man. It is remarkable, though, that

Company, rather than the man, managed to reach the schools without suffering that disadvantage of suspicion which the

Director Brewster has offered two courses in audio-visual aids as parts of the Summer School program. One was a credit course the other was a oneweek, non-credit course in photography

The

di-

was president in 1941 of the New England Section (now Zone 1) of the Department of Visual Instruction of the N.E.A., and in 1942 he became Second Vice-President of the D.V.I, as a whole. The Film Service has also done research in the general field. After three set

These proved successful Harvard and Radcliffe. To the time

of opposing the proposal as Victor had expected, he warmly seconded the plan

toward

and

bringing it about. At the S.M.P.E. meeting of October, 1919, Victor made publicly available a continuous optical reduction photographic

Milton Fund Grant to produce and test a set of sound slides for teaching, reading and vocabulary on approximately Grade One and Grade Two levels. Work is also a

now proceeding

to devise a new technique for speeding the process of learning the radio receiving code.

Eastman Teaching Films FEW

gave

3BBHH0 George Eastman held

that worthwhile things, once clearly demonstrated, will support themselves. So his Teaching Films were based on business considerations, too.

attended

cooperation

28mm

might

prints

made from 35mm negative. In the meantime he was undertaking to realize be

another part of his plan to provide an adequate library of films of the new To this end he reached agreesort. ments with George Kleine and George Spoor for the reduction rights to their large

nearly every other commercial film enterprise that has entered classrooms with a profit motive. In this particular situation, practical

has

hearty

whereby

printer,

down the line to The director and

about Grade Three. Dr. Dearborn have received

by the patented ar-

who had monopoly of the old patented but, insteadperforation, was present;

this writing, about thirty-two sets have been sold to other universities, including Yale and Princeton. It was hoped to release another series for the junior high

school level, and so on

realization

a virtual

experimentation, it released a for the Improvement of for high school and college

students.

industry

Willard Cook, of Pathescope,

films

Reading

in their

the

His plans were handicapped

a paper entitled "The Portable Projector Its Present Status and Needs." There was some acrimonious dissent. Finally, however, Victor's 28mm specifications were accepted and endorsed.

rector

years

made uniform throughout long before.

to be required for its adoption. At the Rochester, New York, meeting of the Society of Motion Picture Engineers in April, 1918, he presented his ideas in

;

skills.

pecially,

rangement of sprocket holes in existing narrow-width films, so he devised a new perforation system of his own, and began testing the factors he believed

editor.

and general projection

And the duPont interests, eswere providing a quantity of. 16mm film stock a fact which was well known to and carefully weighed by Eastman. Beginning before 1917, Alexander F. Victor, founder and president of the Victor Animatograph Company of Davenport, Iowa, had worked earnestly to standardize the narrow-width film in the same manner as 35mm stock had been

growing.

stocks

theatrical

and

cidentally

was the beginning

valuable

non-theatrical

this

in-

of Victor's later

list

years.

In 1922 there was still dissatification over the adopted film dimensions, but

INDEED will deny that altruistic motives surely were present in the next

commercial to

standardization

Big Business non-theatrical venture, yet one is safe in assuming that the state of the market for raw film also had much to do with its inception. The busi-

Eastman Kodak had aningly urgent. nounced the availability to amateurs of its new "reversal" film stock, whereby

ness was the Eastman Kodak Company, of Rochester, York, which ever

New

has been keenly and

properly alive to opportunities for increasing the sale of It has main product. been espeits

watchful when competitive raw stock manufacturers have threatened to

cially

them first. George Eastman was personally interested in the project, and that was imseize

portant for its altruistic implications because his benefactions were many. They

circumstances

had

brought

the forefront the question of service the non-theatrical field. Until about 1925 the considerable film footage used

there had been 35mm. width.

all of regular only serious difference from the theatrical supply was an increasing tendency to use acetate (safe(inflamty stock), instead of nitrate mable). Now, however, the non-theatri-

virtually

The

customers were becoming aware of the advantages of narrow-width film in the ways of reduced costs and greater and convenience in handling. safety These were attractive features which in cal

themselves were increasing the number of non-theatrical exhibitors. In other words, the "off-standard" market was

was becoming

increas-

the original negative could be developed into a positive, and equipment manufac-

were much exercised concerning accommodations to be made in their cameras and projectors. Bell & Howell turers

proposed

17Hmm,

a simple

split

of the

But Victor held to his idea of a width that could not be so easily provided by some unscrupulous laboratory man who might prefer profits

theatrical

35.

in nitrate stock to safety in acetate.

And

at last the

Eastman Company advocated

16mm

practical

width

for

their

October, 1942

Page 303 world

on narrow width, offBut less than a year later the successful DeVry 16mm Proof the

standard

its appearance. Herman too sensible not to give in In September, 1936, the

made De Vry was

jector

stock."

trend.

16mm

standard was adopted and ratified Budapest by the International Standards Association, largely through the efforts of S. K. Wolf, then or recently president of the Society of Motion Picat

ture

Engineers. the Eastman Kodak Company's own account of how it was impelled into its school films experiment it has been scrupulously careful to attribute the In

start to outside influence. According to that cautious statement, the experiment began in 1922, when a committee of in-

quiry, appointed by the National Education Association, applied to a number

28mm

Alexander Victor made his

safety film projector in quantity after his specifications had been accepted and endorsed by the Society of Motion Picture Engineers.

professional

film

concerns,

including

Eastman Kodak, for information about where to obtain proper school reels. The year mentioned had other influences, of course, as the reader must surely realize. It was an active period in the visual

movement Clarke's Society Visual Education had been founded it was the year of the esonly lately tablishment of Educational Screen; it was the time of the Commonwealth education

;

for

;

manufacture, meeting the needs of safety at the same time. Victor thereupon at once began the design and construction of the world's first 16mm

and economy

camera and projector, placing it on the market in 1923. In evidence of the fact he keeps upon his office wall, in New York City, a framed copy of the first advertisement of it, clipped from a Davenport newspaper of that date. Cook's reward was possibly more substantial. In 1923, also, Eastman began the extensive Kodascope Libraries of 16mm reels, sharply aware that Pathe Exchange, Inc., was at the same time its

converting films

stock.

own

large

collection

ously.

Cook, and

of America.

Eastman's Kodascope

was put

16mm

Projector

ostensibly to attract the home movie enthusiast, with the accompanying novelty in the form of "reversible" or "reversal" film film which forth

reducing the usual cost of prints. Other 16mm projectors appeared from several William C. Raedeker's indirections. genious Capitol Continuous 16mm Projector, for automatic motion picture displays, reached the market in 1925. De Vry had had a continuous model on the

market as early as 1916. But, for that Edison had had a continuous Rather surprisingly, projector in 1896. matter,

Herman De Vry, who first

usually

was

rank with such developments,

16mm innovation. As lately as the close of 1926 he advertised that, "Not one per cent of the film production fought the

before making N.E.A. committee, the matter for them-

officials

to the

decided to look into selves. Over a period of approximately three years they consulted convenient private sources of information, and eventually obtained enough to warrant their decision

produce

few

specimen

school films with which really conclusive tests might be carried on. In their own

words substantially they had found: (1), few real school pictures had ever been prepared; (2), that school films and that

cost too (3), that only large capital could develop the field on the ample scale required ; (4) that

proper

much

projection equipment for teachers to obtain;

experiments had been performed to prove the value of school films. So much for the general attitude reached sufficient

by the Eastman Company. It was now March, 1926. Not wishing to depend too far on their own judgments for further solitary action, and no doubt anxious, too, to stimulate the interest of the N.E.A. the members of which naturally would be expected to support any school plan, the officers had

George Eastman

call

conference

prominent schoolmen at his Rochester office and place the tentative project before them for criticism. They had announced the proposal briefly at the

the

real

publicity

came

now

containing the information that the Kodak Company intended to produce pictures to implement class teaching. However, there seems not to have

been any representative of the M.P.P.D.A. present at the meeting of the educators at George Eastman's office in

Victor's

16mm

projector

1923,

operated by using a hand crank, was the world's first. It symbolized his successful fight for a non-theatrical film. standardized

later,

after exposure, could be developed past the negative stage into a positive, thus

commitments

March, when Will Hays, of the M.P.P.D.A., released to the newspapers a Eastman to him, letter, from George

thereupon

Pathescope Company

films.

The Eastman

but

their

continuing

school

N.E.A. Washington meeting of its department of superintendence in February,

general manager, merely increasing the size of his suite in the Aeolian Building, New York, to provide another headquarters beside that

the

Frank N. Freeman. The

question was headed by Dr. Charles H. Judd, director of education at the University of Chicago. There were obvious reasons why the Kodak Company should take the inquiry seri-

same end using duPont The Kodascope Libraries were

became

his

to in

the

organized

Fund grant committee

Hays began to function and confirmed their pledges. Hay's first confirmation came in April, 1923, when the M.P.P.D.A. voted $5,000 to the N.E.A. to apply to the production of what the teachers would consider proper fore

The Motion Picture Producers and Distributors of America, to which loose but justifiable reference has been made in these pages as "the Will Hays Committee," was one of the organizations to

which the N.E.A. seekers of truth

originally applied, and it is a proud boast of the M.P.P.D.A. that, through its were offices, the N.E.A. and Eastman It is even stated in brought together. a report circulated by the Hays Committee and now before me, that referring

very situation "Without the assistance of Mr. Hays and Governor Milliken, educational pictures might have been long delayed." Certain it is that American theatrical film men have repeatedly volunteered their cooperation to educators, and they had done so long beto

this

March. The visitors on that occasion were Thomas E. Finegan, of Harrischairman of the burg, Pennsylvania, visual education committee of the N.E.A. John H. Finley, of the New York Times, a director of Harmon's Religious Films Foundation Payson Smith, Massachufrom setts commissioner of education Columbia University, Mary Pennell and :

;

of Lincoln Caldwell, principal School of Teachers College and a director of Clarke's S.V.E.; William A. McAndrew, superintendent of Chicago

Otis

schools, the same who was to attain a of international celebrity in later

kind

years when made a target of the political machinations of Mayor "Big Bill"

Thompson; Howard Burge, principal of the Fredonia New York State Normal School; and, from Rochester, itself, Herbert S. West, superintendent of schools, Charles E. Finch, director of vocational schools, and Mabel Simpson, primary grades supervisor.

The

visitors

were

naturally

pleased

Page 304

The Educational Screen In

when he

1919,

was

New York

State deputy commissioner of education, he was taken over as State commissioner of public instruction for Pennsylvania. In his five years tenure of office there, he

reorganized the State school system. But he finally declined reappointment because of what he termed "the un-

demanded by the Governor." His work thereafter, until he joined the Eastman enterprise, was essentially in making surveys of school ethical

stipulations

systems in various large Eastern

When Eastman

cities.

Teaching Films was

in-

corporated in 1928, he became president and general manager. He remained there until he died, suddenly, in November, 1932.

When

Thomas E. Finegan brought wide experience to the conduct of a broad enterprise. An exceptional man commanding an exceptional undertaking.

had a little more than twenty films under way. There were ten on geography, five each on health and general science, one on the life of a New England fisherman, and one to show the effect of iron on the industrial progress of America. Approximately thirty more subjects were ex-

Company, find

and

a plan

were

gratified,

Kodak too,

and painsThe proposal having

intelligently

takingly developed.

been generally approved, discussion turned, at

therefore,

the

George Eastman's

to a

naming of those teaching subjects where preliminary test films would probably be most valuable. The conclusion was reached, then, to make request,

reels

geography, health and hygiene,

and practical arts and general science, concentrating on the fourth, fifth and sixth elementary grades and the civics, fine

junior high school level. The scheduled time for the experiment was two years. During that period no sales either of films or proposed projection equipment were to be made to any of the schools concerned in the ex-

periment, those items to be loaned by the Eastman Company for the purpose. The school systems chosen were situated

Rochester, Detroit, Chicago, Kansas City, Denver, Los Angeles, San Diego, New York, Atlanta, Winston-Salem and Newton, Massachusetts, utilizing, obin

viously the better instruction centers. to in

known active visual The pictures were all

be on 16mm film and the projector each case was to be the Kodascope. It was a cause of satisfaction to edu-

cators generally that, in December, 1926, the Eastman Kodak Company further announced that it had engaged, to direct

Dr. Thomas E. Finegan, already had served on the preliminary committee. Dr. Finegan, who thus then began his new duties in January, was an educator of recognized standing the

project,

reopened tion.

project

ready

after

the

pected

with the practical interest of the

Dr. Finegan assumed command,

Eastman

the

bar,

and had

and

honorary,

from Hamilton

New York

the

earned College,

State College for Teachers, Colgate, the University of Maine, Temple University, Grove City College. Dartmouth, the University of Pennsylvania and Susquehanna University. the

Dr.

and

of the very cele-

Fred H. Albee, governor of the

College.

The College at Montreal,

held

its

1926 convention

and the committee on

films,

making its report, introduced Will Hays as honorary chairman. Hays, in in

his address, hailed the great opportunity for these men of science to use the facil-

of the silver screen, and pledged the cooperation of his own organization, the M.P.P.D.A., to promote the making ities

of needed presentations in medicine and He then arranged a meeting surgery.

of the of the

committee

with

representatives

Eastman Company, and a plan

was formulated to produce a series of appropriate subjects with which the medical division of the non-theatrical field

prepare the content of these

ones, teachers of the various subjects to be presented were brought to a training school at the Rochester offices during the summer. There, under direction of experts in visual edu-

and especially of film practices, were able to hold frequent conferences and review each stage of the cation

they

work

as it proceeded. The technical supervision of all these films was referred to Herford Tynes Cowling, well

known producer

of travelogues, one-time cinematographer to Burton Holmes. Eastman Teaching Films, Inc., did useful work in another place, namely, the department of medical and surgical motion pictures. Here again Will H. Hays acted as go-between, this time

bringing

Company

together and the

Eastman Kodak American College of the

and Surgeons. The reader aware of the early interest of the latter association in circumstances which produced Clinical Films, and in some other efforts in the line. A committee composed of eminent surgeons had been Physicians

investigating the screen possibilities for the College over a long period. I have mentioned their conferences with Frank Tichenor. They also talked extensively

with Visugraphic where Mariner was employed. Chairman of the committee, Dr. J. Bentley Squier, was rather an old hand at the work. His enthusiasm

the College.

teacher, admitted received degrees,

indeed, founding fellow

additional

and a gentleman of exceptionally high He had been born in upper principle. New York State in 1866, had been a

investigation

brated,

when the schools summer vaca-

was tempered by much practical experience, and he was seconded strongly by an exceptionally clear-headed gentleman,

personal

1927

who

trained

Bowman Crowell and Malcolm MacAnd by no Eachern, all of Chicago. means should one overlook the intensive

Dr. Franklin Martin, director-general of It is due to Martin, principally, I am sure, that the film-making experience of

had no really serious The rest of the permanent pitfalls. committee, however, was composed of men of thorough penetration, including Doctors W. W. Chipman of Montreal, the

College

has

Meet Mr. Maddock. Eastman Kodak took him on to sell a completed stock Teaching Films. He did so well that they had to resume production.

could

win

its

proper start and

gain a

lasting momentum. Actual progress was made that way, and in the next annual

meeting of the College, at Detroit, members were shown the first two subjects, "Infections of the Hand," and "Nursing" told the glad news that these the beginning of a series. It was intended, the committee explained, that the films should be made

and were were but

available,

through

sale

and

rental,

nurses and hospitals, the Eastman Company acting as physical, distributor. The list of subjects had been compiled carefully out of the recommendations of more than two hundred recognized professional specialists, and production was being supervised meticulously by a new board of medical motion picture films. Called for on the schedule were doctors,

pictures on anatomy, physiology, bacteriology, embryology, surgery including studies of special operations, fractures,

cancer and operating room techniques medicine, health examination, obstetrics, hygiene, sanitation, public health, neurology, hospital practice and, as mentioned previously, nursing.

Rochester, Minnesota, and Allan Craig,

(Continued on page 306)

president of the College; George Crile, of Cleveland; C. H. Mayo,

experimental

The Educational Screen

Page 306 scriptions are given of the contents of film, while the "Appraisal" gives

each

tribution

the educational rating of the film, prifor which it may be used, and indicates other purposes for

rials

mary purposes which the

may

quality

whether

be useful. the

sentence on

photography

tells

armed and

the

forces for training. untilization of these

Dis-

Washington Bicentennial celebration the

mate-

following year, Eastman Teaching Films produced the official motion pictures for

are under the direction of Captain Charles F. Hoban, Jr. Although the

manual

tribution,

are

now few

available for public disof the films or filmstrips available.

generally

However, the

"excellent, fair or good." Suitable grade levels are also indicated.

quality of the materials is outstanding and the manual is important for future

In addition to the alphabetical listing, the film titles are also classified by subject and curriculum areas. When a film may be used in several subjects, it is included under each.

reference.

it is

Recordings for School Use: A Catalog of Appraisals, 1942. (Radio in Education Series) J. Robert Miles, with special Appendix by R. R. Lowder-

World Book Company, Yonk-

milk ers,

N.Y.

The

evaluation of recordings on in connection with

carried

was the

Evaluation of School Broadcasts Project, Ohio State University. Teachers and administrators in some fifty public schools assisted in the research. The Introduction provides a basis for selecting and using school recordings. The Catalog is arranged according to the following subjects: Social Studies and Science, Literature, Foreign Languages, Miscellaneous.

The

Elementary School,

appraisals are constructive and

very specific. Teachers everywhere will be greatly aided in their purchase of recordings by the excellent information contained in this book. Appraisals are based on the findings of classroom tryouts and of expert subject matter judgment on over one thousand recordings. The notations comprise a general rating, school subject in which the recording has been found

most useful, full technical specifications and a description of the program content.

The volume

also includes helps on the selection and use of a record-player, and the addresses of producers and distributors.

SOURCES OF INFORMATION Descriptive

Catalogue of Sound and

Silent Films

(16mm) Classified ListSound and Silent Films. M. R. Klein, Director, The Educational Museum, 4914 Gladstone ;

ing of Titles for

Ave., Cleveland, Ohio.

These

bulletins are in loose-leaf

form

for the use of the classroom teachers

of Cleveland. The titles listed have been selected and previewed by various department heads and curriculum centers with the purpose of supplying a modern visual aid for instruction. Field Manual: List of Publications for Training, Including Train21-6 ing Films and Filmstrips.

Basic

Superintendent of Documents, ington, D. C. 1942.

listing

the films

now

Wash-

available

Government Commission headed

so industri-

Representative

Sol

Bloom, purporting to show numerous scenes from the life of the Father of His Country.

Production of Teaching Films

the series

of July, 1932, the

first

Eastman

original

ceased about the

Company

feeling,

Motion Pictures Not for Theatres

reasonably enough, that, for that present, it had made sufficient contribution there.

(Continued from page 304)

have been kept continuously available to educators. The school tests were

Some

of the reels

were

The

recent

list

to be for

showing

of medical motion pic-

tures under the aegis of

many There

subjects

made previous

to 1933,

how-

ever,

to the general public in hope of teaching disease prevention to the citizenry.

Films numbers

$1.24.

the

ously

Eastman Teaching

approximately

eighteen, of the items in three reels apiece. are also half a dozen or so sub-

produced by the organization "in cooperation with" the department of biology and public health of the Massajects

chusetts Institute of Technology. On the whole, a very generous supply for purposes of testing a division of the field

carried out as promised, and, Dr. Finegan described in various places the encouraging results. Yes, schools could use instructional motion picfaithfully in 1929,

tures to advantage. The full report of the experiments were published during 1929 under the general authorship of Ben

D. Wood,

Columbia University, in Frank N. Freeman, of the University of Chicago, in a book entitled, Motion Pictures In the Classroom. of

collaboration with

said before, the selling of

Eastman

had not proved immediate continuance of the program. Among the doctors who had been most

Teaching Films has continued. In order to extend their use, an especial sales organization was built with recruits from field on the the book merchandising theory that salesmen trained there would

the

interested in the medical films project of American College of Surgeons before

tional

Hays cooperation was accepted, and most anxious to get on with it, were Doctors J. Eastman Sheehan, eminent plastic surgeon, and Cherry, distinguished

riam Company, of Worcester, Massachusetts, publishers of Webster's Dictionary.

which,

like the

others,

sufficiently interested to justify

the

in another operating specialty. ally

and

quietly,

they

Individu-

carried on

their

the field, and were surprised one day to discover that they had reached Carpenter and Goldman private

investigations

by different routes. Dr. Cherry was especially anxious to use a natural color process in his work, and Carpenter and Goldman, through an alliance with Charles Urban, possessed some Kinemacolor cameras. With one of these Dr. Cherry moved into New York's PostGraduate Medical School and Hospital for some experimental shots. Dr. Sheehan also made some in plastic operations. Sheehan and Cherry then decided to join forces to produce a series. But they presently quarreled and separated. However, Sheehan continued alone, and supervised the making of about thirty reels by Carpenter and Goldman. In the meantime the apparatus used was considerably improved, and an especial projector was built for Sheehan to use in a successful demonstration at Havana. The PostGraduate board went on record as favoring production of surgical films by this method, and Sheehan embarked upon a

heavier output.

The

laboratory was

unusually familiar with the educaThe immediate source approach. of such personnel was the G. & C. Mer-

From

the

sales

department

there

was

taken a group headed by W. H. Maddock. In this manner the enterprise was rejuvenated. In 1933 Eastman Teaching ing Films, Inc. was absorbed by the parent company, Eastman Kodak Company, and became officially the Teaching Films

Division

of the

Eastman Kodak Com-

pany. W. H. Maddock, who up to that time had been sales manager for Eastman

Teaching Films, Inc., was made manager Teaching Films Division of the Eastman Kodak Company and has con-

of the

tinued in that position since 1933.

New by

productions were made, some with current explor-

arrangement

ing

was

expeditions the Thaw Expedition one. Several recent geographical

films

have been

photographed by that American wanderer and lecturer, Julien Bryan. And there was a pleasant active

screen

sojourn

the

restored colonial

Williamsburg, Virginia. The latest Eastman catalog lists over three hundred films on Agriculture, Applied capital

Art, Geography, Health, History, Nature Study, Science and Industry. Extra attention has been gained by the supplemen-

busily

tary reels because they have been made as silent productions causing them to be cited in certain quarters as proof that

University in Canada. He was awaiting the time to show those reels when the

after

still

editing approximately 9,000 feet more for him, while he himself had gone with completed reels to lecture at McGill

film caught fire and the precious special projector was wrecked in trying to extinguish the flames. After that Dr. Shee-

han was discouraged. In 1931,

preparation for the George

sound films are not always to be preferred all. It is certain though, that this interpretation was not intended by the Eastman Company, or by Ken R. Edwards, who has been in charge of the photographic end of this work.

(To be continued)

The Educational Screen

Page 348

MOTION PICTURESNOT FOR THEATRES By

the

not proceed far into the New York's stage business picture

purlieus of or motion

ONE

without coming upon younger members of wealthy families who are seeking to learn "from the ground up" the secrets

long as

fascinating I

profession. there

remember

can

have been interesting instances of this, but there is one outstanding recent case, a reference to which may fittingly end this chapter on the preliminary lessons learned in this field by Big Business. In 1930 Major H. C. S. Thomson, a had been 49-year-old Scotsman who

Film Booking Offices of America in Los Angeles and had just sold out to J. P. Kennedy, became interested in seeing what he could do by introducing Big Business methods into non-theatrical motion picture distribution, came to New York and there organized Beacon Films. The main offices were in the Pathe Building, 35 West 45th Street. The prospective first market was to be constituted by churches and schools, and, as the churches seemed easier to handle on the mass basis, immediate of

president

attention First,

was concentrated on them. however, it was necessary

finance the undertaking. fore

Thomson

made acquaintance with

few

and a

market,

lesser

circum-

stances of adverse nature, resigned. He promptly started up another concern, however, called Lumatone Productions, and took Mrs. Dessez with him as editor.

Roy Gates succeeded

to the presidency of

But it seems Beacon and carried on. that the glamor was gone. In 1933 a Beacon high spot was the asin

sembly,

seven

feature called

reels,

Catholic

the Centuries,"

"Through

indefatigable churchlady, Mrs. McGoldrick, supervising the work.

the

Chapter

A when

applied

But

MA-

many smooth-

requires

running parts, working in unison. That observation was never truer than to the non-theatrical

field

motion pictures. One may have excellent films and an eager audience there,

bringing them together by having no reasonable system

yet be

frustrated

several of

"producer."

out

bravely,

was suddenly impressed with abundant wealth and probable achievement. The group even put forth field

stories of

Beacon

portable

projector.

But,

soon as February, 1932, Major Thomson, disgusted with the meager response of

could also

Harmon

Foundation.

main

Beacon's

standby, though, apparently was the nontheatrical release of "The King of Kings,'

twelve

"scored"

reels,

with a sound

accompaniment.

no importance until world has place for them. That is why there was no especial gain for the pre-Christian Greeks in having steam engines (which they had), or to the Norsemen in finding North ancient tions are of virtually

the

America (which they probably reached), and why the rewards for those achievements awaited respectively the days of James Watt and Christopher Columbus.

market is reprepersonified in large user of pictures. All the

non-theatrical is

by the production, all the selling, has him in view. But he does not stand alone he not self-sufficient. With all of his is natural importance he is but one piece of a mechanism having many other ;

parts. Resembling the central character in Aesop's famous fable of the Belly and Its

out

Members, he cannot get along withthe

Together with his

others.

ad-

position, therefore, he has certain obligations to them, the fulfilment

vantage

which also represents his function in the smooth-running whole. In return for the privilege of having proper films, he is expected to pay the costs of supplying them, which is to say, the expenses of producing and providing not only the picture but projector, screen, place of of

John Hay Whitney, later to become Hollywood production, gained some original motion picture experience with Beacon Films.

a factor in

of distribution or the distribution may exist without proper reels or the audience itself may be unable to appear. It ;

say which of these factors most important, but certainly, in period of expanding uses, market

exhibition, and so on. And, beyond mere to make the provision of these factors worthwhile to those who create

costs,

difficult to

and offer them, he should pay a

the

in addition for

this

considerations

deserve

long,

separate

counsel, Ivy Lee, discussing films one time in a Visugraphic house organ, went so far as to say that pictures are worthless unless they may be shown. This emcelebrated

profit

their benefit.

Thus, as far as the user of pictures concerned,

there

constituted

tacit,

major understanding which never wavers,

scrutiny.

The

started

One

ing the church pictures produced by the

sense

;

relations. outfit

Seventh Avenue.

obtain prints of most of the items from other, independent rental agencies, includ-

sented, of course

Also, Roy P. tary of the corporation. Gates, born in Texas, known as a sportsman-pilot in aviation and with a brief

became vice-president and general manMrs. Elizabeth Richey Dessez, ager. who had been head of the non-theatrical department of Pathe, situated in the same building with Beacon during the time Jeremiah Milbank was the power behind Pathe, joined Beacon as director of pub-

Thereafter

A Market Philosophy

gansett, Rhode Island, who had backed an African expedition under auspices of the American Museum of Natural History, and had just completed a trip with He became secrethe Martin Johnsons.

at 729

THE

friends, I understand, botli invested. Then there was De Witt L. Sage, of Narra-

and the

is.

one could obtain about fifty subjects from Beacon Films by applying to the concern

Douglas Burden and John Hay ("Jock") Whitney, particular cronies, at the time, of Merian C. Cooper, who had lately returned from the. spectacular experience of producing "Grass." Cooper became vice-president of Beacon, and his

experience

soon descended again.

quiet

there-

The new

what

Possibly it follows, too, that the time for non-theatrical pictures has not yet arrived. I know many conscientious observers who sincerely believe that it has not.

aforesaid wealthy beginners and persuaded them of the high merit of his plan. Among others he contacted were

lic

Marketing Problems

SMOOTH-RUNNING CHINE

Rita

these

picture

why

reasons

ical

ARTHUR EDWIN KROWS

Beacon Films may

Part 41. Starting a new chapter on the devious ways of the nontheatrical market and some histor-

public

relations

phasis upon exhibition factors was supported by history, for it is a truth well established that discoveries and inven-

an operating principle. The ultimate consumer is expected, and should expect, to pay for what he receives. Upon that age-old contract, written or verbal or unspoken, those unwritten, who cater to the consumer's wishes establish and maintain their several lines

t>riina facie,

of business.

November, 1942

Page 349

As to where the schoolman, or the churchman, or the club woman, obtains the funds with which to acquire his or her films, I have preferred outside of a few casual references to striking cases consider that a

scope of

this

with which to purchase a used film proat Urbana, and operated the

jector

machine

history. It instruction

deemed

schoolhouses and textbooks. other observers will not agree. None will deny the fact of cost but over who should be differ opinions

Many

In some quarters it obliged to pay it. is held that the professional motion picture industry should bear this burden as doctors maintain clinics, one supposes, for practice. In others, the view is that it should be sustained by textbook publishers on the ground that classroom

ance

while privately

own,

incline to believe that

widespread refusal is the real obstacle to the whole-hearted use of mothis

tion

So. idealispictures in education. school boards which subscribe to complete concept of visual instruc-

tically,

the tion

should,

bill

for

putting I

practice

;

board has shirked.

have circumstances nothing more interesting to show than the example in the State of Ohio where, for realistic

years,

visual

instruction

schools has been supported mainly,

by altogether, State authorities

for

study by the government itself. without professional interest in schools and contemplating the free play

citizen

which theatres are singled out through what might be called a discriminatory

a duty that the school

many

namely, the people's government (which responsible for support of the educational system) it not their concern is whence it has been derived before that. The origin might, however, be a matter is

realis-

into

These

The schoolmen of Ohio can say with free conscience that, as the money reaches them from the proper source

tons.

of the democratic spirit over the broader scene, might object to circumstances in

sorry to report, the teacher who wants the facility must usually sharpen and apply his wits to ways and means to obtain it, arrogating to himself tically,

theatrical

public if not

exhibitors.

legislation,

support a school appara-

which is not their direct concern. "Oh. yes," the government would

tus

"but these theatres are not paying classroom shows they are paying for a maintenance of moral standards in their own product, and the money therefore belongs to the State with no further tort,

for

obligation

the

would open the

line

payee."

And

argument

Ohio. The education of board therefore has a considerable sum available for the purchase and distribution of reels, and even for a reasonable amount of production, without having to apply for funds in the customary way to State treasury. That seems to be quite a happy solution for the schoolmen, and especially so in Ohio, where the funds evidently are well applied. But for the educators elsethe

where all

their

seek a similar arrangement in might be less felici-

situations

by lecturing on Ohio's

historic

places.

this

scenic activity

and he

some 400,000 miles through the State; but there he acquired the precious familiarity with Ohio that enabled him to produce, with the assistance of his devoted wife, the twenty-four reels of his well known "Ohio Travelogs." travelled

But the storm, as prolonged and as devastating as it was, eventually blew over. Mr. Aughinbaugh resumed as supervisor of the Slide and Film Exchange of the State of Ohio Department of EduColumbus. There, at this of publication, he distributes an average of 800 reels a day out of what at

moment

that

ings

are paying much more than the assurance of their moral standards actually costs else there would be no surplus left for school expenditure.

However, I do not pursue this particular discussion further, leaving it to opinions more authoritative than mine to define the essential justice of the case. In the Ohio situation the commanding

institutions

self

thus

operating expenses and salaries paid in the division of censorship) is assigned to State the Department of Education, which is directed to use it to publicize

of visual aids for loan to the educational

educational

frequently called the largest film and library of its kind in the country. The supply goes without charge to 2,500 schools in all cities, counties and villages of the State, the volume of book-

;

these

advantages of Ohio, and to create, maintain and administer a suitable collection

many

his

use of classroom motion pictures compulsory. That particular effort did not succeed but the outcry against the manner of its doing did not deter the of continuing development AughinIn baugh's remarkable pioneer work. shifting political administrations his salary as a State official was stopped for two years, but he went on with his chosen labor undeterred, supporting him-

cation re-

censor theatrical motion pictures, requiring a fee for the examination of each reel. Fifty per cent of the sum so obtained (in excess of there

one of

plans, to choose the Buckeye State the test area in which to make the

;

B. A. Aughinbaugh, of Ohio's Department of Education, met a problem of funds for classroom pictures by making theatres foot the bill.

opinion, dig down resources and foot the

into their official

film

not so particular, are careless where the money comes from, as long as it is not sequestered from funds possible to ap-

for films of their

cir-

It was doubtless the close relationship of schoolmen and theatrical men in Ohio that induced William Fox, in further-

films are only textbooks in another form, Still others, supplementary apparatus.

sums adequate

was the

significant to this narrative

cumstance that the profits enabled school boards to erect modern buildings and to equip them with approved facilities.

;

of sufficient impor-

country villages in America. Shows were booked and handled in the regulation theatrical way, and sometimes kept on for "runs" of ten or more days. But most

teachers,

object to these contentions. At the same time I know, emphatically, that school boards generally will not provide money

example

Leslie's

tance to report the facts and to recommend a similar course to all other

propriate for teachers' salaries. In simple justice I, (but as one person not speaking for a group or sponsor),

the

same Weekly

the

doing

villages

thing,

belief

enterprise had grown In 1920 eleven out-

the

success.

were and a writer

lying

problem outside the

a desirable factor in our classrooms, for instance, the expense of procuring it is an obligation of each school community, comwith the duty of providing parable visual

that,

until

to lasting

theatres

figure, sharing place with other heroes who, when things "could not be done," girded their loins and did them anyway. is B. A. Aughinbaugh. About the autumn of 1915 B. A. Aughinbaugh was superin-

tendent of the public school at Mingo, Champaign County, Ohio. The population was 183 and there was no regular local form of public entertainment for

slide

exceed

reported

State's

that

the

ten

leading theatrical exchanges. In his direct organization he employs twenty-eight persons to operate a film and slide collection of 8,000 titles, having an estimated value of $350,000. He buys all subjects outright or obtains them on lease.

His eleventh catalogue, in 1942, emerged as a stout, illustrated, I2mo book of 310 closely printed pages. Apart from its clear and well-keyed descriptions of the available

motion pictures and

slides,

provides an opening article on the function

and

aims

understanding

visual

through

ear and touch.

answers to

between

differentiating

instruction,

approaches the

pupil's

to eye,

There are also extended

tryside.

more frequently asked from the field concerning questions school uses of films detailed, illustrated instructions on film care advice on the

the aid of a

projectors and screens; a description of the most direct way to apply for bookings and reprints of A. P.

approximately one hundred pupils drawn from over the surrounding counthe

Mr. Aughinbaugh conceived the idea of establishing a community picture show in the schoolhouse itself, enlisted friend

who

loaned

money

the

;

purchase

;

The Educational Screen

Page 350 "Film Prayer" and "I Am the Motion Picture," Arthur James's popuHollis's lar

Bob

Davis's

"educational

institu-

paraphrase of the late the Printing Press."

Under

the

rules,

which the Lowery Amendment to the Zoul-Carey Act (Sec. 871-48a) specifies as those which tions

Ohio,"

are to enjoy the borrowing privileges, are explained as "public, private or parochial schools holding regular daily school sessions of eight or more months a year and following the usual accepted curricula for secular educational institutions. This definition definitely excludes schools known as Sunday schools, adult schools, study clubs, W.P.A. and C.C.C. schools, and all similar organizations or groups." I have never encountered a more ardent believer in the visual idea than B. A. Aughinbaugh. In him it burns with the clear, intense fire of a crusader's zeal, kindled years ago in circumstances that he explained to me in a recent letter

now and

izing

that he invented

it),

then by over-zealous admirers, it or was the first to apply it. His patient researches into its origin have traced "visual education" back to a possible first occurrence in a

Keystone View

copyrighted

fixed provisionally form, "visual communica-

tion."

Columbus

an error of our aborigines

However,

branded

has

"Indians"

for all the centuries since, Mr. Aughinbaugh can only force himself sadly to

when he

understand

finds

teacher

''herding her class to the school auditorium to have, as she says, 'their visual education lesson'." But, when he sees

"the

over

colleges

the

country

goose-

By A.

P. Hollis

uteri; O god of the Jmachine, have mercy. I front four (treat whenever I travel the whirring wheels of the mechanism.

Over the sprocket wheels, held light by the

fellow

miles

iron

cans.

win gel

establishment at Columbus and large numbers of well equipped Ohio schools attest the continuing force of his great impulse.

His essay on the psychology of visual re-

passionate interest. Like al those other constructive souls who have endeavored to blaze new upward trails for the human race to follow, he still

the

waiting, and for my owner who blame. Don't humiliate me by

back without paying

passage

me against loss or damage. ami a delicate ribbon of celluloid misuse me and I disappoint thousands; cherish me and I delight and instruct the world. and insuring I

"The Film Prayer" of A. P. Hollis did blessed work in promoting a better physical handling of nontheatrical reels. Reduced from one of the originals made in 1920.

film

catalogue,

who

sending

;

latest

many

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 for the other

viewing is natural. viewing is visual.

his

If dirt

astray.

audio

torn to shreds.

on heavy tracks, 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 En my shipping ease, to be bruised and wounded beyond the power to heal. Put me in my own shipping ease. Don't make me a law-breaker. The law requires a standard can, two address labels, and a yellow caution label. Scrape of all old labels so I win not go

his belief in motion pictures vicariously nor did he permit that belief to remain as a mere static conviction. His active

his

travel

"Well, let's stop. But I swore I would put motion pictures to work in edtication at my first opportunity. The Mingo school offered that opportunity." No B. A. Aughinbaugh did not acquire

instruction,

tossed

people must learn to read. Reading

State

forced

hand

collects in the aperture, my film of beauty is streaked and marred, and I must face my beholders a and bespoiled. thing ashamed Please, If I break, fasten me with clips; never with pins. Don't rewind me my owner wanU that privilege, so that he may examine me, heal my wounds, and send me rejuvenated upon a fresh mission.

understanding something not aroused by the pamphlets. I saw at once that the motion picture was the Eye's answer to the Ear, and the Eye had some things the Ear never had. It had universality and, therefore, knew no race or Babel of tongues. It was not artificiality and therefore, required no instrucbut tion before it could be used is

careless

reel is too violent, I

the natives interested in the pictures their expressions indicated

artificial

by the motor's might. If minthreadl me, I hare no If the alternative hot to go to my death. springs at the aperture gate are too strong, all my splices pull apart. If the pull on the take-up idlers.

advance of the purchase the dialect spoken). The purchased leaflet was the admission 'ticket' to the tent where the pictures were exhibited. "I went in. There I found all

Reading

not

celluloid,

stepping into offering 'visual education" courses," he rebels violently. "It is time to call a halt and get back to common sense," he wrote me when he made that comment. "Use text films just as

we would use text books, and there is no more to the whole story than that. The only reason for making more of it

has become impatient with terminology, and has sought new words and word combinations to state the truths as he sees them. For years he has been

colleges by baiting the hook with a snap course. Look over these courses and see

searching for a term to replace what

him

"visual

substitute

himself

has

reluctantly many times, inclining, though, toward "visual instruction;" but

plain

a thoroughgoing misnomer education." In lieu of a more

satisfactory

used

scheme

quick to deny the allegation,

made

unadulterated perfidity. It's a coax students into teacher

not right."

Exchange

money

USING a the

flat,

aforesaid

for

what the

Nevertheless

service costs.

benefits and compensations are not always to be profits,

rated in dollars. John Patterson, at the National Cash Register plant in Dayton, and many other industrialists after him in other large factories, put

motion picture shows enjoyment of their employees at noon hours, and entered the expense on the credit side of the ledgers because the employees were then happier and worked more efficlass

first

for the

free

ciently.

Notice

that

these

capitalists

literal

interpretation of that the conout of his own

principle,

sumer should pay funds for what he receives (while real-

that

Harvester Company produces and supplies, without appreciable expense to the user,

films containing valuable information. The wide audience, in return, supposedly becomes interested in the Company's machines above those offered by competitors. Even the pictures produced and distributed by the National Government are circulated in the hope of a profit in terms of better citizenship. So there really is no such thing as an absolutely free film. In the interests

agricultural

of healthful human progress, probably there never should be. The person working in non-theatricals should not forget the fact. No more should the reader forget it, if he wishes to see this

field

The plies

with clear detachment.

side of the situation

films

which sup-

non-theatrical

frequently willing

users

compromise

its terms of exchangeable values by accepting something other than money, but these modifications are not always acceptable to the users. Many a teacher has refused to show even well made school films in class because they bore the stamp of some industry. But, so long as the teacher demands motion pictures, and at the same time will not pay their cost, through his educational system, he has no right to insist thus unfairly upon getting some-

thing for nothing. When, on the other hand, he recognizes the service upon some other, reasonable basis other than a financial one that is a clear understanding of the actual relationship is maintained. In the circumstances, naturally, if there are compromises on one side, there must be compromises

on the other to keep the trade even. The system explains how recently, in the space of an hour, I could encounter, and recognize as legitimate,

two

Values

will

they were gaining equally with their employees. With the same honest profit motive the International

The Film Prayer JAM

ever

hardly

commercial

producers of "educational" films have decided eventually that there's nothing in it. Schoolmen generally, churchmen generally, cannot or will not pay sufficient

felt

first became interested in the use of motion pictures to supplant words as a means of communicating information while teaching in the Philippines in 1911. The incident that brought my attention to the matter was the use a missionary made of a one-reel motion picture made on the life of Christ to persuade the natives to buy He had an old calcium gospels. arc projector. The natives could not read and, if they could, they could not all read the same leaflet because they spoke different dialects. The natives paid five centavos for a leaflet (naming in

veals

own

his

upon

circular,

About 1919 he

1906.

that

most

distinct

cases

non-theatrical

bookings one of which called for $2.50 per day rental, and the other for only twenty-eight cents expended in postage for "free films". (To be continued)

The Educational Screen

Page 386

MOTION PICTURESNOT FOR THEATRES the

point

that fallacy

which has misled so many theatrical men who have tried vainly to or-

HERE

ganize the non-theatrical field. The values, which are traded between service organization and customer here, are variously different from those simple and literal ones involved in the regular The money playhouse transaction. fallacy is common enough. Too many agencies using non-theatrical films have it

also,

for

and gauge

their appropriations

production accordingly. non-theatrical producers have it, top, and consider it reasonable to work on the strictly "educational" and "social service" pictures for starvation prices because they recognize that so little money can be obtained generally in rental or outright sale of They forget that there are prints. higher values for the client values which just do not happen to be ex-

Most

picture small

body, they never will. That would be contrary to human nature. So I hope, for the ultimate soundness of the nontheatrical

field,

that all non-theatrical

films, including especially the unsubsidized kind, will some day be bought

and

sold in

that

straight over-theis self-evident and

counter style which measurable. I am sure that the large, prosperous, non-theatrical producers who make classroom reels out of funds derived from indirect sources those who do estimate values in terms other than money directly received will heartily endorse this sentiment as one the realization of which would relieve them of a complicated system. But, up to now, this scheme of swapping advantages has kept a developing, hitor-miss business alive, where a cash-

and-carry plan would quickly end it. It keeps it alive in such an engaging-

manner

men

that the profit-seeking theatrireturn to it again and again,

pressed often by the coinage system and that the client should be charged

only to retire

accordingly.

upon finding so

The

carry on their several lines of business.

ARTHUR EDWIN KROWS

By is

More about varying viewpoints upon which non-theatrical systems of distribution are founded and by 'which they Port 42.

cal

complete mystification little

money

there.

that the professional type of picture and please understand again that I am "non-commercial" to the referring offering which many in this field are result

maker

his

has

cannot

afford

sound-recording equipment.

down

standard

keeps the number of studio scenes be-

cause of heavy expense there. He is able to fulfil scarcely any part of his obligation on the liberal basis which

should prevail for an efficient result. If satisfactory work could be done cheese-paring manner, Hollywood producers (who are no fools) would do it, too. The shameful necessity under which these harassed souls in

are

this

still

called non-theatrical producer-;

would quickly end

if customers (and themselves) would frankly estimate picture benefits in terms other than money. But, of course, as a

they,

dollars per 35-mm reel per day. In this arrangement, though, the reels

two

were

discarded theatrical subjects, patched and made as serviceable as The intrinsic might reasonably be. value of a reel of this sort on the theatrical market, before being turned over to this salvage use, averaged probably one dollar, so the first day's rental usually returned the investment and something more. Then standards raised as the customer be-

came more discriminating and demanded cleaner, unbroken prints. If the subject was a popular number, the distributor might take chance on buying a new print for

protect himself against competi-

at actual

cost.

Pathe Exchange introduced a system providing new prints whereever a customer would take a three-

con-

what would they ray? settled at around

The charge was

1923

stantly to dodge labor unions. He cannot afford up-to-date cameras and lights.

arose,

naturally

prints, as required,

workers by

in general would not pay reasonable rentals. The question then

might pay $100 on the given subject, and the negative would be held at a stated laboratory where he, and the actual owner, might order duplicate

hole-and-corner, fugitive scales,

was

the original producer, thereby gaining exclusive non-theatrical rights for a period of several years ten was the usual number. For this privilege he

producer is obliged by a low contract price, which allows for few contingencies, to make his

wage

from other distributors who might also buy new reels for rental purposes, he sometimes signed a contract with

tion, the shoestring

standard

in,

customers

sufficiently demoralizing; but, in addi-

manner. Unable to pay

came

tion

sort of thing exclusively for his breadand-butter without industrial or equipment sidelines usually lives a handto-mouth existence. His customer has to advance funds for production all

libraries

his library, in which case he would be likely to pay fifty dollars per reel.

and to the producer who makes that

theatrical

chiefly understood, by those regularly in the business, that non-theatrical

pleased to regard as being idealistically at the top of the "non-theatrical" class

picture

through

pence

non-theatrical

this

through the production period. That

Kineto, Ltd., at "fourper foot net no charge for tinting, but toning extra." But an entire subject then might be only fifty When specifically nonfeet long. sold

year

Advice on film care prepared by Charles Roach of Iowa State Agricultural College in 1921 for users in his own area, became the master guides in many other places.

Before the close of the silent films period this exchanged-values idea had manifested itself in probably all its important phases. At first the pictures were sold outright, the assumption being, no doubt, that the non-theatrical customer was a thoroughly irresponsible person, not to be trusted in a rental plan. Charles Urban, granddaddy of educational production and distribution, probably set the original price in that direction. His films were

The leasing arrangement mean that I'athe expected to

lease.

did not

receive a

usable print at the end it might then be reclaimed and destroyed and thus kept from illicit further use. still

of that time, but that

A new value so

was, of risk.

print,

having an

intrinsic

much

greater than a used one, course, a larger distribution

Amateur operators and poor pro-

jection could easily destroy large sections of film, for which damage there

could be

little

redress.

the distributor had

Neverthelesi,

two leading meth-

ods of guarding against such possible losses. One was to have the customer sign a contract assuming responsibility for condition of the print, and the other

December, 1942

Page 387

was to send along with the catalogues and sometimes with individual shipments of

film, printed instructions

The instructions handling. proper given by Charles Roach, in a bulletin published by Iowa State Agricultural College, in August, 1921, were widely copied for this purpose. These approaches had to be made customer was

tactfully, of course. If a

with

threatened

before

reprisals

had even received the shipment he would cease thereafter to be a customer and, if he was made to be-

was too complicated, he would be discouraged from attempting it. It is interesting to observe, in view of what has been said about exchanged values, that the sharpest reminders of neglected relieve that the use of the film

ports and

most

the

systems of

rigid

kept over-long, are to those non-theatrical libraries where "free" films prevail. I encountered an instance of aroused antagonism, caused by too stern a for reels

fines

be found

sales

mental

school

The

sey.

well-known experi-

policy, at

New Jerthere had rented a

southern

officials

subject on American history. Through unskilled projection the operator had scratched it badly from three-reel

end to end, causing irreparable injury to that particular print. The owners demanded restitution, and the school was quite willing to make this on a cost basis. Instead of meeting straight laboratory expense, however, it was obliged to pay the full list price of the subject, which was $200 per reel. Resentment there has made the authorities of

that

school

forever

wary

of film renters.

Willard

Cook

worked out

highly

forms, specifypractical agreement ing that charges for possible damage

would be nominal. the

Among

proper handling of

became

cautions on

nothing than "The

reels,

more celebrated

Film Prayer," by Andrew P. Hollis. from about 1920, when its It dates author was in charge of the North Dakota Visual Education Service and wrote it for the guidance of his own It was first printed for patrons. the State College in Fargo.

him

ject has

and that the

field,

being thus gradu-

ally amortized, along with the laboratory costs. In certain instances where

Government departments have needed pictures in their work but

additional

have been without funds for the purthey have arranged with independent film-makers to cooperate by providing the production factors while pose,

themselves, gave the materials photographed. In regular Government bulletins the subjects then have been publicized, and all sales have been made through the producer, whose price has been set to return his costs they, to be

as speedily as might be. Unfortunately, with the market generally incapable of understanding why all reels should not cost the same, this exploitationand-sales arrangement, so far as I have

been

able

has

discover,

never

worked out

satisfactorily. refer to the tendency of the customer to think of all reels as worth the I

same

figure with that this attitude

reservations,

first,

is not always true, and then that producers are only too prone to jump at excuses for their own

failures

the

field.

A common

alibi

non-theatrical producers is that their market has been ruined by the lavish distribution of "free" films. Superficially this seems for

unemployed

grave enough, and, under scrutiny, it appears relatively serious. However, the truth of the matter is that every "free" film obliges its user to become party to the dissemination of some

propaganda, and, in places where such an arrangement is prohibited, the regular market is unobstructed. At the same time one must be mindful that somebody must produce even the "free" films, so in that place also the non-theatrical producer may find employment. According to my experience

he will find

financially an

profitable place. The price situation

even more

was somewhat

the popular introduction of 16mm reels, the average rental charge of two dollars per reel

improved when,

Educational Screen, of which Hollis was for a time associate editor, reproduced for wider information: and reprintit ing occurred in so many places, including the official bulletins of a number of leading colleges, that even the

per day for worthwhile material was for a time maintained. The intrinsic value of the new reel then was under ten dollars, and shipping costs were proportionately reduced. Later, however, through force of competition, the 16mm rental rate was cut to a dollarfifty average, and there was a strong

man who wrote it probably still does Worldwide not know of them all.

move more

circulation

step

when

The

was given it at a single Eastman Kodak Com-

the

pany began regular use

its

film catalogue. In a letter as lately as the spring of 1942, Hollis told me that:

come. Recent ones Methodist Publishing House at Nashville, Tennessee, General Films, Ltd., of Canada, and the Frederick Brail Visual Service." A price to customers much above

"The requests have

actual

been

still

the

costs

indicates

that

the

sub-

progress

reduce

still

a dollar, shipping time and time lost in transit not counted. This to

move was blocked by the coming of the more expensive sound pictures. Bell & Howell, who manufacture cameras as well as projectors, urge outright purchase of prints from their extensive 16mm Filmo Library, especially

When

been produced especially for

the non-theatrical expense therefore

travelogues,

bidding

the

customer to reedit them to suit his own needs and to interpolate shots photographed by himself.

adequate,

average

non-

theatrical picture costs approximately three dollars per foot to produce they

occasionally cost less and frequently several times more and there is added to this sum the laboratory charges for prints, the office overhead, advertising and selling costs and the many other items of legitimate expense (not to forget the cost of replacements due to wear and tear in the comparatively short life of a reel), it becomes apparent that a return of two dollars per reel per diem, with unprofitable days transit and more when there are no bookings at all, will take a long while to work off the investment. And, when one speaks of a reasonable profit lost in

which must be made besides,

seems

too preposterous to continue. In the cases of films which book in on the lyceum circuits and they are all

which frequently have cost upwards of ten dollars per foot to produce there is no such absurdity as subjects

two-dollars-per-day-per-reel charge. Instead, there is a virtual theatrical contract calling for a flat sum running into hundreds of dollars, or a sharing

arrangement with the lecture hall management which may mean a thousand or more dollars, depending on the boxoffice

receipts.

Films which have outlived their theatrical usefulness, or which, although they have never had theatrical release, have been "written off" as losses in bankruptcy proceedings, obviously are not required to recover their original investments. So, those distributors, such as De Lorme and Walter Yorke,

who accumulated

libraries of used reels order to eliminate that production obstacle, took the first step in making a necessary market compromise with in

the

non-theatrical

exhibitor

who,

seemed, could afford to pay only two dollars per reel, and declined to trade in propaganda. The figure was arbitrary and unreasonable, but there it was, and those who pretended to serve the market could take it or leave it. De Lorme, Yorke, Willard Cook and

many

others, preferred to take it, and, so doing, adopted a form of service which has had the longest-sustained success of any in the field. These reedited film libraries have their occain

sional

new

productions, too,

made by

assembling special subjects out of the miscellaneous ready-made scenes which have come into their possession. The customer who does not wish to pay any money for his show is, of course, provided for, but, as said before, he is expected to compensate just the same. An admirable meeting of this need was the scheme launched by Dr. Francis Holley and his Bureau of Commercial Economics, to serve the "free" field with propaganda reels. It probably was suggested by the old-time medicine show, which was still fairly in America in 1913, when the Bureau began. The remote ancestor

common

of the medicine

show was

surely the

medieval quack doctor and his merry (Continued on pane 404)

The Educational Screen

Page 404

Current Film (Concluded from

Mr. Nelson talks against a background nitrosteel mills, tank arsenals,

News

fat/c 402)

OFFICK OF WAR INFORMATION. Motion Picture Bureau, Washington, D. C. has released the following two information films in 16mm for use by schools and

glycerine factories and ammunition plants already suffering from shortages.

ARTKINO PICTURES, Ave., New York City,

Seventh

INC., 723

exclusive distrib-

utors of Soviet films in the isphere, has just released a

was opened

at War", "Modern Russia", "The History of the Russian People", "The Founding of the and "Documentary Soviet Republic",

film

leather.

listings

39 features and feature-length taries and 75 shorts, including The features are classified general headings of "Russia

comprise

documennewsreels. under the

Salvage

which Donald Nelson,

the War Production Board, presents America's desperate need for scrap for the manufacture of tanks, guns and planes, and makes an urgent appeal to the American people to save metals, greases, and rubber. of

at Dallas, the figures were higher, reaching a total audience of 47,000,000, equalling over a third of the population of the United States of entire tne America. Of course, Y.M.C.A. list is not composed of "free" films; many straight rental items are still

included.

Opportunities for Service

Films."

FOR ready perspective on the

short subjects include 20 and oneand two-reelers dealing with Russia's war Other short subject classifications effort. cover science, industry, agriculture, na-

The

Chairman

for an estimated attendance of 26,000,In 1941, when a fourth exchange

new catalogue

Photographed in Montana, the gives authentic pictures of the Western ranges, herds of cattle and flocks of sheep, and the men, who make sure that we and our Allies have enough beef and mutton, wool and war.

The

and transport facilities in the Soviet Union. There is also a series of four films on the Soviet Constitution and a group of travel films. tural resources

(Continued from page 387) andrew, so the idea has a real antiquity. In the medicine show the entertainment also was "free," but the audience paid for it by purchasing the nostrums of the chief performer.

In the case of

the modern propaganda film, however, the deal is not quite so bald; the "medicine," which the patron is expected to take, is, as a rule, of a truly beneficial sort, conforming with the high standards of our responsible, native advertising.

The

various film distributing depart-

ments of the National Government are probably the outstanding American "free" services today. But there are many lesser centers of supply which operate on the same general basis, and there are many more which offer "free" films

quite

consistently

along

with

other items listed at specified rental In maintenance of the terms of prices. the trade it is usually stipulated by the agency from which "free" films are obtained and by none more emphatically so than the National Government

and formerly the Bureau of Commercial Economics that at the showings there must be no paid admissions. Thus, not only the showman, but the audience, is made tacitly to accept the aforesaid terms of give-and-take. In protection of the prints it is usually necessary for the prospective customers to post assurances of responsibility and to name the makes of projectors they use. For years Willard Cook issued his primarily to "club members,"

and types

many films

whose

initiation fees actually constituted a deposit, and whose introductions by their friends were assurances of reliability. Occasionally the distributors of "free" reels insist upon hav-

ing audiences comprising a minimum number of persons usually not less than two hundred. Nearly all require

reports of showings, giving particularly total attendance. In the various conditions set by the different distributors one may read the entire record of the unprofitable experiences which have occasioned them. All of the subsidiary companies of U. S. Steel, which have "free" reels to offer, uniformly specify that their films shall go to those "who have a legitimate use for them." Carter's Ink Company, of Boston, sends a selection from its three principal subjects only "to re-

owning projectors," showing dates must be And there are many more given." interesting examples to be found. By the Y.M.C.A. plan of "free" disparties

sponsible

and "three

tribution, the advertising industrialists, the given propaganda picfor

whom

tures

were originally produced, formerBureau twenty-five dollars

ly paid the per reel per

year for general handling

and maintenance. areas expanded in

the distribution later years and costs

correspondingly increased, this figure

was

raised

first

thirty-five

dollars

and so on up to a present sliding scale which now begins at seventy-five dollars for a 400-foot 16mm sound reel and reduces proportionately as the

number

to the given subject becomes greater that is, a hundred dollars for a two-reeler, and so on.

of reels

duplicate prints are provided for in the widely circulated catalogue, each reel is admitted to the library at the same rate. In the existing system one print is guaranteed a If

listing

minimum

audience of 12,500 people

fiscal year. In the year 1926, which was near the close of the silent films period, the Y.M.C.A. Motion Picture Bureau esti-

any

mated that, through its New York and Chicago offices, it had furnished a total, during the twelvemonth, of 24,216 programs, consisting of 68,804 reels, to 919

different

schools,

exhibitors

industries,

churches,

community

and

welfare organizations and Y.M.C.A's,

exist-

ing places of film distribution in tine American non-theatrical field (as also for perspective on the matter of pro-

groin the pictures in ten natural, convenient, broad divisions. I believe that virtually every manifestation in the field may be placed under one or another of these headings:

duction),

school

Motion Pictures Not for Theatres

Chicago, and San FranBureau shipped 127,000 reels

York,

000.

current films.

New

cisco, the

Western hem-

community groups: Home on the Range produced by an inthe Department of Agriculture spiring picture of the Western range country and its contributions to the

its

total reported attendance of Even then rather 6,649,400 persons. a tidy audience for any advertiser to In 1939, through exchanges in reach.

with a

films,

religious,

social

service,

fraternal,

medical,

industrial,

com-

mercial, public utilities, government, and recreational what I call the "en-

tertainment fringe," meaning chiefly miscellaneous non-theatrical those shows such as one finds in summer hotels, social clubs and on steamships,

and which obviously have many points in

common

with theatrical representa-

tions.

Most of the other classifications, with functions more sharply set off from those of the professional playhouse, may be broken down further for technical information of workers, as teacher-training films in the educational group, and shows which are apparatus, tools to help in achieving the group purpose, as classroom pictures. have this subdivision of internal and external uses most clearly in government, schools, medicine, the fraternal

and industry

class,

think not

"government"

only of politics, but

Army

schools, and understand "industry" to mean the arts, crafts and group processes, which literally create

and

Navy

earthly values.

less

pronounced

"religion," although the volume of pictures on institutional service there in

accompanied by a few subjects adaptable to the needs of seminary training, and is to be found scarcely at all in "social service" (welfare associations, is

foundations, etc.,), which seem 16 have more compelling forms of visual instruction for its students. But it is becoming more marked in the "com(advertising, distribution and "public utility" groups (transportation, light, heat, power and communication), where there is a developing sense of the importance of

merce" sales),

and

teaching employees to maintain proper public relations. So far as the "entertainment fringe" goes, its training films may be borrowed from the theatres where there are plenty of them. But that is going completely out of our bailiwick.

(To be continued)

The Educational Screen

Page 14

MOTION PICTURESNOT FOR THEATRES TN J-

the

1921,

U.S. Government and

educational foundation surveys esti-

mated that, in this country alone, films were being presented in 44,000 churches and 100,800 schools, in addition to the known wide uses in the Y.M.C.A's, K. of C's, women's clubs and the like. Although these figures apparently were compiled with reasonable care, they could not be expected to be accurate, for they were made up chiefly from customer lists of projector manufac-

and distributing libraries. There must have been duplications, and there must have been modifications to be turers

made in the projector lists because of obsolescence and replacements. But, number

of places of non-theatrical exhibition as given, was vastly more than the number of regular film theatres, which was set at someEstimating the thing under 19,000. in all events, the

potential market as a whole, if all possible places of non-theatrical exhibition should become steady users, the total figure was given as approximately

surely

600,000,

And

including

home

pro-

must be borne in mind, too, that in these later years more than ever before, it is customary to con-

jectors.

struct all fair-sized schools, municipal clubs with factories and auditoriums suitable for shows. Of course, there have been limited investi-

buildings,

In gations in specialized directions. 1931 the U. S. Department of Commerce, for instance, was reportedly engaged in a survey to determine the in which films were being used in business. Skipping another ten years to 1941, the Bureau of Foreign and Domestic Commerce then reported a school 16mm silent 6,055 showing survey projectors and 4,373 sound in elemen-

many ways

Installment 43. are the places exhibition, its

It is said that actually the

Y.M.C.A. Bureau

is obliged to refuse accept approximately nine of ten

applications for films on grounds of unfitness to show. home show for two or three unexceptional persons is scarcely desirable for a supplier of "free" films, and there must be some line drawn when the show is to be presented on a toy projector or in circumstances violating fire ordinances. Figgures given are all for talkie shows.

Is the non-theatrical

exhibitor a bona

Surveys obviously should include considerations bearing on that. John Haeseler developed a splendid study of this in his survey of the edu-

fide risk?

cational field prior to establishment of the Harvard Film Foundation in 1928.

Among

other interesting

conclusions

which he arrived, he determined that America then had thirty school systems which spend a thousand dollars or more apiece annually from central funds for films, slides, and photographs, or a total of $289,333, and at

that, in the ninety cities of over 100,000 population in the United States, each could easily maintain a library. The annual educational expenditure per pupil in 1926, he observed, had ranged, cities, from $71.60 Orleans, to $120 in Washington, D. C. Chicago had the largest visual instruction appropriation of all, $140,000, spending $10,000 to $25,000 per year for film purchases alone. A

in the in

twenty largest

New

various

non-theatrical

nearly every one with sources of supply.

ARTHUR EDWIN KROWS

By ;

plentiful

supposed to be regular, dependable ones and that cautionary remark indicates what has become of many of the thousands more outlets which appeared in the earlier estimates.

Many and

side decision he made was that the most satisfactory school distribution was the central library owned by the

school system. In such a situation, he thought, costs should not exceed 35 cents per projection. Many schools which purport to use films are not prepared to exhibit them in individual classrooms. While many have 16mm portables, often owned by the science or physical education department, and these may be loaned from class to class, a still common arrangement is to have a projector of semiprofessional type in the school auditorium. In such cases, classes remove there for their visual work. This projector generally is to be used also for school and community entertainment purposes, so it frequently takes 35mm film only. Where the requirements are not for just one central school building, but cover a number of schools sufficient to

and

slide

maintain a motion picture

department

"department

education" portable machines may be available for class use, The vast brought in when wanted. majority of school projectors the country over are 16mm, the size which will unquestionably remain the standard for school use. As class showings are of

visual

mainly in daylight hours, a side problem is darkening the room for proper projection, although complete darkness is undesirable on grounds of safety and The use of so-called "daydiscipline. light" screens, with projection from is admirable in many ways, but has not yet fully met the objections for large audiences.

the rear it

tary institutions, and in colleges and high schools, 6,037 silent 16's, and 6,374 sound ones, a grand total of

were The questionnaires answered by 17,500 colleges and high schools and 25,703 elementary schools.

22,839.

Equipment was variously provided. A fair proportion was owned, almost as many were serviced with equipment from central sources, and a very large number came through rental and borrowing.

At the start of December 1942, Zehrung's Y.M.C.A. Motion Picture Bureau offered a more conservative breakdown of non-theatrical "outlets" in the States, representing its own 1941 coverage, showing 907 colleges, 5,328 high schools, 4,192 grade schools, 1,350 churches, 993 clubs, 4,192 industries, 553 Y.M.C.A.'s, and 1,432 miscellaneous other organizations, making a grand total of of these It was held that 15,856.

United

65^%

were "educational," munity."

The

and

outlets

34'^% "com-

represented were

installed for Red Train first railroad motion picture theatre Limited pullman passengers between Chicago and St. Louis.

Called the

Page 15

January, 194) comparatively few of

Automobile "theatre" used by the Armstrong Cork

the older structures are equipped with projection booths, although, even where the architect has provided a booth in any more recent structure, the pro-

Company of Lancaster, Pennsylvania, to introduce a new product to retailers. They were invited to see the film at their own doorsteps, a private show for a few officials. Salesmen did the rest.

churches,

jector

35mm

too often, a second-hand

is,

without a booth, this projector is usually placed at the rear of the church auditorium and the screen, originally used in stere-

Used with or

machine.

optican entertainments, is stretched But preferred pracbefore the altar. tice seems to be to hold shows, even of religious subjects, in the parish house, or in the Sunday School Room,

where the

16mm

projector prevails. exhibition are mainly hospitals, doctors' and nurses' training schools, and occasional inde-

Places

medical

pendent quarters of medical associations. Projection equipment in this department is ordinarily efficient, the doctors seeming to realize more than

some

which

others, the superior results

be obtained with proper instruments.

may

Manufacturing dustry

(mining;,

and for

public utility groups,

extractive

in-

example),

and

show many

films

on employee training, but such exhibitions are given mainly in recreation and dining halls belonging to the plants, where regular theatrical 35mm equipment serves also for recreational noon-hour shows. Other industrial films, which are intended to inform the public about products and servare entrusted for exhibition widely This is true also of

ices,

to other groups.

pictures dealing with advertising, distribution and sales the group which I

have

ployee

marked training

Em-

"commerce." subjects

there

are

presented in 35mm film, the audiences being relatively small. Only rarely

occasionally are the shows on 16mm. Instead, the bulk of the "commerce" internal

work

accomplished

with

For the showing of those, small slidefilm projectors are common possessions of sales offices. As to the "social service" group, that is distinctive principally in picture production, where it employs films extenslide films.

sively to tell its story in money-raising campaigns. In its own exhibitions, although it maintains many community auditoriums, the subjects screened belong more particularly under the head-

ing of entertainment. As to the Government in terms of market, the Army theatres, and Navy halls on ships and ashore, use an enormous quantity of 35mm entertainfilm. Those who negotiate this constant ebb and flow prefer not to consider their work as part of the

ment

non-theatrical field, suggesting, indeed, that in past years the label has definitely handicapped them in procuring late theatrical material. This goes for

the use of motion pictures by the veterans' hospitals, too, and, in a recent period, also for the camps of the Civilian Conservation Corps. It applies to the prisons, for which Herbert Brenon,

the

theatrical

producer, tried

up a regular service of films

to get in 1917.

Government schools are film users, and, of course, there the work is unquestionably non-theatrical. And most of the other official projectors are

leged alienation of affections in a New York Supreme Court, put forth for the jury's consideration, motion pictures purporting to show the once happy

used only to show films made internally and required for study purposes. Remember that this is speaking of the Government in terms of market; the Government as a producer of special films, is to be rated very differently, and I hope earlier pages have made

home

what way

clear in

this is

so.

Local governments do not appear in important aspects save through cohealth with school and operation boards, chambers of commerce and training schools for firemen and policemen. Their inclination to use films in the police departments is not far

and, in any case, must necessarily involve much internal production of the pictures. They have

developed,

their own specialized needs which no outsider could know. The county po-

of Nassau, on Long Island, made record purposes a motion picture

lice,

for

of a

murder

ride,

case, that of W. F. Gillof 1928. In 1929

summer

the

the Philadelphia police experimented with talkies to supplement fingerprint identification, and in 1934 the Michigan State Police tried the use of motion picture cameras to prove drunks.

These instances are erences

out

of .a

just

large

casual

number

even earlier date. The police countries have been interested

many

of all

in film

possibilities for the detection of

for

ref-

crime

years.

The attempts

to use motion pictures as court evidence are also old, but these have rarely been successful owing to the technical possibilities of falsifying photographs, or, in all events, in presenting a biased effect by expert editing. In February, 1920, a California court ruled out the use of films

murder evidence, and, in November, New York court denied them

1923, a

an accident suit. On the other hand, in March, 1923, Judge Weil, of the Manhattan Domestic Relations Court, projected, for the benefit of an exin

ceptional number of men and women before him who were in marital difficulties,

theatrical

motion

picture

which, in his opinion, dealt constructively with the subject of bickering And, in September, 1933, couples. Counsel Max D. Steuer, arguing an al-

life

of his client.

motion which has attracted much attention from time to time as non-theatrical

potential

picture

market,

probably very profitable, is constituted by the department stores, the films to be of the employee-training type, and also to help sell goods by direct few public appeal. Comparatively stores are equipped for these purposes.

Wanamaker's,

New York

City,

one, with an attractive auditorium in which films are frequently shown to shoppers. One of the earliest conspicuous cases of department store activity known to me is" the show given by Harris-Emery's, of Des Moines, in September, 1916. At that time, fashion pictures, made currently for the theatres by Pathe, were exhibited along with travelogues, to inform customers and to stimulate their interest in the

new fall styles. And speaking

of stores, there are the shop windows, where advertising films have been shown since ever so long

In ago, using continuous projectors. England, one of the claims to native priority in projected-picture development, is based on a window show that, in November, 1889, William FrieseGreene thus attracted a sidewalk crowd

London, which had to be dispersed by the police. Continuous projectors have been favored also for exhibitions at conventions, and the size of this market may be guessed when it is known that competent estimates set in

number of conventions in the United States at approximately 15,000 annually. Most large convention halls, however, are permanently equipped with 35mm standard theatrical equipthe

ment. Fraternal lodges,

Odd

Fellows' Halls

and so on, are sometimes nently to

show

fitted

perma-

films, although, as in

of the specialized hobby and sports clubs, their projectors are usin from outside as ually brought needed. Farm Federation centers and Granges have their film shows. Sanitariums, old folks' homes, prisons and reformatories are represented in the

most

lists. Not to forget summer camps, museums, fortresses, coun-

non-theatrical

The Educational Screen

Page 16 clubs and firehouses. Hotel ballare so frequently used for public gatherings that the more active ones

try

plan

rooms

interests,

possess their own standard theatrical There are several small machines. theatres in mines, far underground, to provide recreation for workers. World War No. 2 brought many other underground sorts in air raid shelters. One of these was mentioned on an earlier page. In fact, in almost every place

where human

beings

congregate, it will be found that some attempt has been made to catch their attention with

motion

pictures.

And

surprisingly

number of these places is ready show films regularly through the

large to

long, unceasing efforts of

rung and his Y.M.C.A. ture Bureau.

George ZehMotion Pic-

as 1910 and for aught there may have been earlier instances a project was afoot to show films in railroad stations on the same screens which announced the trains. That particular one concerned the

As long ago

know

which

considered a possibility of trying it out in the Union Station at Pittsburgh.

Pennsylvania

Railroad,

course, this form

now

active

various cities. There is one little theatre of the type, opened in 1937, at Grand Central Station in New York City, and several years earlier was instituted the one operating at the South Station in Boston. The experiment of entertaining diners with films has been tried, less prominently but quite as persistently. A recent

use

example was the trial by "The Talky Sandwich Shop," at San Diego, California, in 1931. In 1936 the Paramount Court Restaurant, adjoining the Paramount Theatre in London, exhibited newsreels. Then there were the rolisserie at Jackson, Mississippi, and a beer garden in New York City, which used films in the spring of 1936. In 1939 the New Jersey State Alcoholic

Beverage Commissioner approved the exhibition of films in taverns; in 1940 authorities of Worcester, Massachusetts,

banned movies

in places serving

liquor.

by the Pacific shipping but publicity earned by the

first

film equipment of the S. S. President McKinley when it sailed from Seattle, 1923, apparently broke down all remaining West Coast barriers. American ships have generally observed the U. S. land fire precautions in such installations, but I have been shocked in even late years at the carein

violations of ordinary common sense in this respect, in the equipment used for nitrate films on many foreign passenger vessels of allegedly modern type. Before 1923 the exhibition of nitro-cellulose film was forbidden on ships of United States registry, but in that year the adoption of recommendations of the U. S. Bureau of Standards opened the way for the proper, authorized use of both nitrate and acetate. Of recent years, Orton Hicks, of New York, conducted a prosperous business by supplying 16mm film entertainment for ships. Exhibitions on railroad trains have not so far been steady occurrences, when intended merely to amuse the passengers. When the exhibition cars have been used as traveling lecture less

halls, however, they have been popular and have given excellent service. It is said that the first car movie "theatre" was operated by the New York Cen-

Railroad

tral

films to its

show

instructional

various parts

employees

of that system. Early in 1914 there was a car of the sort moving on the lines of the Chicago Northwestern. The

Canadian Government used a similar car

1917

spread lessons in safety. But what appears to have been the first American entertainment early

movie for passengers in transit, was remarked in 1923 on the Chicago & Alton Railway. In all events, the Railway made that claim for it. At the same time I note that, about February, 1915, a concern called Kinetic Films was organized at Buffalo, N. Y., to show films on trains. Also, knowing how actively Pathe Freres worked to realize every conceivable use of motion pictures in the earliest

transportation centers and their related activities have never ceased in their attractiveness to showmen.

years of the industry, I suspect that its projectors must have gone on trains at least as soon as they did on battleships; and I should not be surprised to

Among

learn,

sons,

France represented the actual pioneers.

The

these, ships, for obvious reahave been most receptive to have films, and seagoing projectors long been known. In May, 1910, Pathe was jubilant because five of its professional projectors had been installed on as many U. S. battleships. In 1912, transatlantic passenger boats of the French Line were showing pictures on the high seas and, in November, 1913,

I should look for the facts in the history of the French Pathe Company, which did it many times over the years. The most recent Pathe examples shown by my records occurred in May, 1936, when the English ex-

A. H.

Woods,

year,

provided for to Edinburgh.

the stage producer, in one of his many side enterprises, installed

machines on ocean greyhounds

of the

Hamburg-America

Italian

Line followed

Line.

The

suit in the

sum-

therefore,

that the railways

press train from London to Leeds was equipped, and in March of the same

when machines and

were the express from Leeds films

mer

In December, 1935, the Coast to Coast Railroad Theatre Corporation, with an idea of service modeled on

Washington installed movies. There seems have been less favor given to the

formed at Albany, N.Y. Incorporators were Oscar Rubin, Goldie Stahl and In May, 1936, anMollie Schnee. nouncement came from Minneapolis

of 1914. The military transports, of course, had film exhibitions aboard throughout the First World War period. In 1920 the American S. S. Martha to

that

the

dining-car

system,

was

that the Chicago, Burlington Railroad would show talkies

three crack

Western

trains

Quincy on its from Chi-

cago to Denver, using dining-cars after mealtime. Test showings, over a twoweeks period, involved questionnaires filled in by the passengers, and de-

among

other considerations, that charge of twenty-five cents was proper. Seating capacity was thirty-eight persons, and the equipment was 16mm. Theatrical subcided,

admittance

were shown, and a marked pref-

jects

evidenced for musical erence was The Burlington officials comedies. were reported to be immensely pleased with results, and were said to have planned the addition of a number of exclusively

amusement

cars

their

rolling stock. But the other railroads in the Conference for that zone, asked

them to drop the plan for the time, indicating, however, that after further study

might be resumed. any

"First" showings in places are most likely

unusual be mere

press agent stunts. Such was P. W. exhibition of Harold Campbell's Lloyd's comedy "Safety Last" on a Los Angeles street car in December, 1929. Likewise,

without good and

suffi-

cient reason, we already have heard of "first" movies in airplanes and dirigibles.

Meaning no

disrespect to the

aims of this relatively harmless publicity, one may nevertheless observe that such "firsts" are not really as epochal as the press agents seem to believe. In the autumn of 1936 Universal Pictures made much of its exhibition of "the first sound picture to be screened in the air," the feature being "Air Hostess," the place in a

transport plane flying high over New York City, and the audience chiefly local newspapermen. This stunt was

repeated

Chicago and Kansas City.

Reach IT

ard rule

seems self-evident that a haphazcourse of nature rather than a of reason made non-theatrical

pictures what they were and places of exhibition what they became. The same, scarcely managed forces were involved to bring supply and market together by creating a system of dis-

Of course, it was easy and inexpensive enough to ship films from producer to consumer. After January 1, 1917, when the regulation became effective, it was possible to send motribution.

tion picture films by parcel post. Still, this was scarcely a system of film distribution. In the main the system was a borrowing from theatrical practice wherever the method seemed to fit the case. Exchanges that is, local

supply depots of

central

operating as branches

offices,

distributors

with

regional franchises, independent and block booking schemes, all were

adopted and used together with compromises suggested by expedient ideas in other lines of merchandising. For variety of approach to the customer, the non-theatrical field possibly even has had some lessons to teach to theatrical men. (To be continued)

Page 53

February, 1943

Port 44. Interesting forms of nontheatrical distribution devised and tested over the years, and some related problems in difficult markets.

MOTION PICTURESNOT FOR THEATRES first non-theatrical regional stations of supply were, of course, the theatrical exchanges which conducted a side service for those who wished to obtain films away from the playhouses. The average number of such

THE

exchanges

in a

single distribution cir-

was perhaps twenty-five subsequently expanding to about forty. The theatrically recognized centers, commonly called "key cities," included as they do

now, New York, Boston, Philadelphia, Washington, Pittsburgh, Indianapolis. Cleveland, Detroit, Chicago, Cincinnati. St. Louis, Kansas City, Memphis, Atlanta, Charlotte, New Orleans, Dallas, Denver, Salt Lake City, Des Moines. Omaha, Los Angeles, San Francisco, Minneapolis, Butte, Seattle and Port-

Oregon. Other cities of later prominence in the system, are Albany, \ew York; Birmingham, Alabama; Buffalo, New York; Charleston, \Yest Virginia; Houston, Texas; Jacksonville, Florida; Little Rock, Arkansas; Louisville, Kentucky; Milwaukee, WisNew Haven, Connecticut Okconsin lahoma City, Oklahoma; Portland. Maine; San Antonio, Texas; Sioux South Dakota; and Tampa. Falls, land,

;

Florida.

For some years in the beginning, each major distribution combine maintained its own set of exchanges, causing a highly wasteful competition in areas which required comparatively little service; but this was corrected by trade

presently

agreements

and

The General Film

facilities.

pooled

story, in its non-theatrical aspects, has

already been told. To George Kleine, his pioneer work with Urban and Edison productions, and his prolonged devotion to the cause of films in churches and schools, the non-theatrical field can never sufficiently redebt. Lubin, George Spoor, Selig and the Vitagraph, Kalem and

pay

its

Gaumont groups,

all

the non-theatrical time.

gogue, church or Sunday School, any hospital, orphan asylum or home for the aged. The participation of Earle Hammons and his Educational Film Hugo Reisenfeld Corporation, and and the Red Seal Exchange, have been mentioned.

World War period

cuit in the pre-First

The Pathe Exchanges were

active

non-theatrically and continuously over the longest period of years. When the visual education movement blossomed, A. H. Sawtell commanded the Pathe service from the headquarters in New

York

City, and cooperated extensively with school systems, notably in their tests in teaching current events with

newsreels.

His successor, as

was Charles

recall,

minister's son who had been head of the visual education department of the Kansas City schools. When the heavy business reorganization of Pathe occurred and Jeremiah Milbank became the power Mills,

Mrs. Elizabeth Richey Dessez took charge of the division. In an elaborate campaign to develop it, she appointed various sub-officers in the principal exchanges. One of these assistants, known for conspicuous energy and accomplishment in Kansas City, Chicago and elsewhere, was Miss Evelyn Baker, today advertising manager of Educational Screen. there,

The

objection most frequently raised non-theatrical distribution through regular theatrical exchanges is that the booking arrangements there are too inconvenient. For one thing it is alleged to be a mere side activity. Then, one must go to a different exchange for nearly every picture desired. Beside, the critics say, one often has to accept alternates, while possible rental periods are usually too short. Then there is the generally higher rental. The usual library of the college extension or social service bureau, on the other hand, is more frequently supported by funds not of its own

ARTHUR EDWIN KROWS direct

earning, and

its

fees

It is difficult to recall

The 1919-1920 decentralization of the Government film supply of the U. S. Bureau of Education, made non-theexchanges of thirty-five State departments of education, universities, colleges, schools and museums. When the Eastman Kodak Company began its library, it had approximately fifty stores through which to distribute. And De Vry, Victor, Bell & Howell and other projector manufacturers had their own branch offices through which

atrical

These serve their similar needs. "branches," however, are not always to

dominated by the "home office." Comparing the lists, one discovers the names of many non-theatrical producing firms, film processing laboratories and, above all, stores dealing in miscellaneous optical goods and photo-

graphic supplies. In other words, most of these places have merely "taken on" the work of being local representatives, generally with protective agreements which give them exclusive rights in their own geographical areas. The number of active non-theatrical "ex-

changes" of this type is, according to my actual count of their listings, about three hundred in the United States and Canada, fifteen being in Canada. Large industrial companies, with their "free" films, have tried using their own branch offices to serve local areas, but the branch staffs rarely know anything sufficiently well about film handling, and generally have no proper equipment

They

repair.

are

for

inspection

usually

obtain

the reels as required

of their

one producing

unwavering interest

encouragement, and Universal still has an active non-theatrical department, their

Herman

headed by

Stern.

Paramount,

started about 1915, has always done a large business in the line, even if the profits

have been negligible. William Fox not only made his productions available to the field within reason, and sought practicable

velop rule

ways and means to demade it a standing company that any rabbi,

but he

it,

his

clergyman should have anyFox film free of charge at any time for showing in any syna-

priest or available

Courtesy DeVry

"theatre on wheels" used in World War No. 2 to entertain U.S. troops in Australia. It is operated by the Methodist Home Missions, employing DeVry sound projection equipment.

and

expected,

however, to arrange shows where possible,

or distributing firm of the early days which did not. Carl Laemnile of Universal had an

cor-

case.

generously served

applicants

are

respondingly lower. Please understand that I am merely presenting a prevailing point of view in this paragraph. I do not stand back of these particular observations as final statements of the

Page 54

The Educational Screen

from headquarters, and to attend shipments. Their compensation and centive for

this are the

all

make

ties to

to in-

opportuni-

and to

influential friends

develop sales prospects for themselves. Offhand it may seem that three hundred existing centers should be ample to supply non-theatrical users with films of any desired type, but there are

disadvantages

in this

system as

First

any other.

tually

in virit

all,

not practicable for each center to have a complete library, or even a full set of needed subjects. Owners of the production negatives would not be justified by sales and rental possibilities

paying for so

many

prints.

There-

fore copies are to be found only where the demand for them seems sufficient. One heard complaints in the early days as now, that the better known libraries,

such as those of Bray Products and had their prints scattered Kineto, piecemeal over the country; but who is to foot the bill if each center is given a

Any

non-theatrical library which serves

the entire country altogether from one central place has serious disadvantages in zonal

shipping rates and time lost in certain time and space

Beyond a

transit.

nominal rental usually quoted does not pay the distributor; and it may be found that, depending where he is situated, he will restrict his service to "States the

east

the

Mississippi,"

"the

Pacific

Slope only," or "a thousand-mile radius The Y. M. C. A. Motion of Chicago." Picture Bureau, proud of its claim to

met

this particular difficulty by opening a Chicago branch of its New York headquarters to serve the

national service,

country west of the Mississippi, and, in due course, exchanges also in San FranIdeal Pictures Corpocisco and Dallas. ration, with headquarters in Chicago,

to utter

its vast library of non-theatrical nationally available through nine additional branch offices located in Los

films

New

York, Denver, Dallas, Atlanta, Portland (Ore.), Miami, and Richmond.

Memphis,

a self-centered, complete library cannot afford a branch office, an obvious solution is to have a few imover the portant distributors take other areas the Northwest, the Middle West, the South and so on. Not the entire three hundred distributors just a few. That cannot mean so very many prints. As a matter of fact, with certain reservations, this has been done. If

But

there

are

many complaints

that

that independent, contracting distributor, agreeing to represent a picture owner He elsewhere, has other axes to grind.

naturally will give preference to pictures the rental of which brings him greatest return, or to the product of companies which do the largest gross business with him over the year or it may be that ;

he will use the picture as mere bait to attract buyers of projectors. Then again, in

assembling a program for a customer,

may throw

this

reasons

it.

Possibly because of a distrust of the system, or perhaps merely that a picture owner does not wish to wait tor a long period of rental for the return on his investment, or maybe even just because he thinks it more profitable, the

producer may decide to sell outright. He has open to him, then, the plan of splithis

ting

several rights into selling each to a different who will thereafter have the

property

parts, and distributor

obtaining prints from the laboratory where the negative is held, and will hold supreme control over showings in a specified area. of

privilege

designated

This regional franchise plan corresponds with the so-called "State rights" sys-

tem

theatrical booking. Within his geographical frontiers, then, the franchise holder may usually book the film in any place of exhibition he chooses school, church, club, or anywhere else not exceeding the privileges of the original owner. To all intents and purposes, within his area, he is the owner. That is one of the drawbacks to outin

right sale.

picture into the bar-

gain just to swing the deal, a familiar work. practice in theatrical exchange There are all these substantial tears. Hut

The owner

of a print

dif-

and the possibilities of holding him to certain forms of rental, even when he has promised in a contract ficult

to restrain,

He just has to skeptical producer friend concluding that virtually no

conform, are remote.

be trusted. of

mine,

One

weak human being will resist temptation, assumes that mere promises of this sort not

be kept, and, omitting them, up the opportunities which he is satisfied that the customer will take anyway, as extra inducements to buy. That seems to me to be at least astute. will

holds

makes

Angeles,

be!)

(praise

own

collection?

full

there are also

have confidence in the business honesty of most of those who serve. Without the implied factor of good faith on both sides, no agreement is worth the paper is written on or the breath it required

The "block" method in

non-theatricals

expedient

theatrical

cus-

There is just as much merchandizing effort and expense in selling one picture as in disposing of a set, so effitom.

ciency experts usually prefer to concentrate on selling the set. Moreover, with a customer known then to be using a number of films over a period of time,

additional

services

may

be better

and

business at headquarters more flexibly run. Also, if delivery of the full set is to be gradual, as succes-

planned

sive pictures are required, it may be that the money advanced to cover the later

subjects may be made to finance their The law is generally stern production. about the "sale" of non-existent propin this manner, erties but the act is

JE&VCAT/O/V

nevertheless

commonly

performed

and

frequently without disaster because the contract is ultimately fulfilled. There are many ingenious schemes of block selling. One of the "Chronicles of

America" rental plans is, I believe, to organize forty students to take a course of study based on the exhibition of fifteen historical each member pictures, dollars

five

paying

the

for the

privilege of

Robert Glasgow contemplated a plan in which a salesman would station himself at a county seat and remain there until he had sold to all the school systems in the area, seeking principally to induce wealthy philanthropists to purchase full sets and donate them as memorials to local educaattending

series.

At least a small part scheme was realized. Some of the endowed sets are therefore in active service. Some are not. I know of one which has long been in the possession of a large carpet manufacturing company for the patriotic stimulation of its employees, and never used because the company had no means of showing it and no idea of what else to do with it. One of the most ingenious sales projects I have ever known in non-theatricals is the plan which A. P. Hollis tional

institutions.

this

devised for

With

1924.

Vry's picture library

his

accommodation

characteristic,

service

practical

market

conditions, he concluded that one

way

do business with the schools would be to encourage their desire to assemble their own film programs. Having made such assemblies, naturally they would wish to own them. So Hollis, in this instead

instance,

of assembling his

terial into reels, kept the individual in negative rolls of about

35mm

feet each,

maitems fifty

inviting teachers to order and

purchase prints therefrom as they wished. It may be that the picture owner prefers not to sell, and at the same time that

believes

no distributor

abler to

handle his film than himself. He may also be of the opinion that the extra time and expense of reaching the nation's remotest users from one central library are not prohibitive. Think of the case of Davis & Geek, of New York City, makers of surgical sutures and anaesthetics. They have their own advertising films to demonstrate their products (produced mainly by Caravel), and manage

own

their

rience

But

distribution.

unique.

said

their

that

expethey

employ no regular field representative and use no advertising other than these

The

pictures are sent to a dealer naturally interested in their products, screened by him and held until he receives a forwarding address to anreels.

who

Page 55

February, 194) other

The

dealer.

same

procedure

followed there. When the third dealer has seen the films the reels are returned to

& Geek

for inspection and poshave seen some of these pictures, and have had the distribution

Davis

sible repair.

plan explained in detail for my benefit. pictures are admirable, and with the plan I have been greatly impressed.

The

Doorstep Delivery IN modern merchandising or in oldtime merchandising, for that matter the establishment of

in all

its

stores

regional

by any means the

final

step.

not

Advertising,

pertinent phases, must

make

potential customers aware of the availability of product, stimulate their buying

and develop their habits of use. For a continuing business this presup-

desires

many

poses

things

that

the

product

useful, that the prospective customer has the means to obtain and avail himself

and much more, indicating again what was said pages ago about a smooth-running machine being smoothrunning in all of its parts. Unhappily, these assumptions cannot yet be sup-

of the benefits,

ported in this strange business, and, to make the machine go at all, the working factors themselves must individually take on, in addition to their natural duties, the obligations of factors now

For inrepresented merely by gaps. stance the distributor may have to help the customer raise the money to pay for his

films.

For

again, not all ot the of non-theatrical films have projectors or screens for their exhibitions. So the regional distributors are almost invariably prepared to show the In pictures as well as to rent them. short, they stand ready to put on the instance,

users

potential

show whenever and wherever the

entire

customer wishes distributor

prefers to put on then he knows that

commonly

show, because

the

Indeed, the earnest

it.

will be presented as it should be the full satisfaction of the customer.

for

customer, having seen it

how much

better

have professional attention,

probably

call for the service

The

may

next time. too.

There can be a lot of nuisance about dusting, oiling and testing the old projector, running power and light cables, hanging screens and rigging loud-speakers if there is sound accompaniment, and more often than not, the customer is glad to be rid of the responsibility. Jam Handy built his remarkable business on this

theory,

perhaps on that policy so expressed in George East-

admirably man's Kodak

Company slogan, "You we do the rest," propress the button viding the complete motion picture service, with nothing for the customer to do

these

as the days of

Archie Shepard and Lyclass of motion picture projectionists who had their own equipment and rented it with their own services "to put on shows." As needs de-

man Howe,

tions,

of ten

veloped, they acquired improved screens, additional lenses for "long" and "short"

extension booths, throws, collapsible cables, portable rewinders, and, in short, all of the paraphernalia which convenience and competition have evolved. They rarely emerged from the ranks of theatrical projectionists, but began more often

men around studios and laborawhere prints were screened for inspection. Frequently they were former who had neglantern-slide operators as handy tories,

move into theatrical projection when that overcrowded trade of today was easily open to newcomers. Many of the more successful ones

lected to

founded their

businesses on the depatronage of large industrial

pendable

little

where

plants

portable

occasionally needed in

Newark, who

years was projection assistant to A. J. Van Brunt, director of safety education for the Public Service Corporation of New Jersey. The bedrock of his present establishment was the work which he obtained with fair reguBetween times he filled in larity there. with projection for schools and churches. Today Alexander has several projection for

under as many well-trained

units,

PUBLIC

SAU:S

TRAIHINO

RELATIONS

TMMN'riG

assist-

caring for non-theatrical shows in large part of central New Jersey.

ants,

George Cole, now the prosperous head King Cole Entertainment Service in New York City, was once a projectionist at Kineto, in the Masonic Temple

of the

gradually pieced his establishment together by soliciting shows through film laboratories and non-theatrical Similar specialists in producers. Muilding.

projection have arisen through natural contacts such as these in various, active non-theatrical areas throughout the nation.

They are

prominently

men who figure most what is known now as

the

"road-show" division. Theatrical managers frequently call them "jack-

the

rabbit" exhibitors.

With

business mainly in caring for non-theatrical customers, other patrons being cared for in the theatres, their

they do occasionally, in irregular circumstances such as at charitable affairs, show current entertainment features. In certain areas, where there are many "dark towns" that is, communities where it is

not

practicable

APVCATISJNO

-SPec'AL lit-naufr

maintain

theatres

MON-THCATR/CAL

CLUB

WOAKER

projection was addition to noon-

hour shows for employees. A case in point is that of William Alexander of

PuSLKl

PuaLre RELATIONS

ftvono-noMAL

OMCANIZATIOM

major groups subdivides into films for internal purposes and those for ex-

ternal, public effect.

The

road-show men have developed important business on a plan essentially like that of the tent chautauquas. Texas

but gather the audience and pay the bill. In these circumstances there grew up with the business, beginning so far back

chart applies equally well to

all

kinds of production.

familiar

field

for

it.

scheme runs

the

this

With way:

varia-

The

projectionist service man prevails upon the local merchant group to present a free motion picture entertainment which will

draw crowds from which tradesmen

are certain to gain their respective shares For this adof increased patronage. vantage they will pay $100 per night, say, and the service will provide the show. Five or six neighboring communities are canvassed in the same way until the service man has contracted for exhibitions covering every night in the full week. For the next succeeding week he moves with his show to another group of towns. Programs presented in this manner are surprisingly packed with "free" non-theatrical reels, the showmen thus, of course, increasing their own

margins of

profit.

Non-theatrical

road-shows are especi-

where there are large audiences and 35mm film is used, for to these occasions the operators usually bring arc illumination so much more

ally

satisfactory

penetrating and brilliant than long distance effects of incandescent bulbs and two semi-professional machines to obviate the necessity of stopping to change

when there is only one projector. The "duplex" equipment is generally in reels

excellent running order, spare parts are available for emergencies, and over all

compliance with fire ordinary amateur show. But, of course, service such as this is not to be had without someone paying for it, and the projection item alone, for there

laws than

better

in the

an evening of movies, may easily and legitimately run from fifty dollars to a hundred.

The modern maintains

specialist projection serv-

automobiles

for carrying paraphernalia to and from the show locations. Frequently it is an ordinary private car in which the operator's family finds recreation from business apart hours. On the other hand, it may be ice its

an elaborate, especially designed truck, in which the equipment may be used for outdoor at or projection in parks, street-corner

political

jector

inside

being

rallies

the

vehicle,

profacing

backward, and a screen being rigged outward from the tailboard. In areas where there are showings in places not supplied with electricity, such trucks are fitted also with motor generators. Trucks as complete as this are most familiar in

backward sections, the isolated mountain communities of the South, for example, where social service agencies are laboring with every available aid to spread constructive ideas. They have been used extensively in anti-tuberculosis drives in North Carolina, and were employed there so especially from 1920 to 1923. While I am unable to name the first truck show, I believe that I am safe in assigning 1912 to the approximate time when the idea of having such exhibitions to spread in America. I recall seeing one in a country village in northern New York State before 1910. In

began

(Continued on page 79)

Page 79

February, 1943

Below, "Native Dwellings of the Pacific" one of the Covarrubias mural-map reproductions, available in full-color, 25x19 inches, from Schwabacher-Frey Company, 735 Market Street, San Francisco, Calif.

tn Kodachrome

On Nature A

Slides

Subjects

wide selection of nature picture-

color

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kodachrome

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nent nature photographer lished extensively in

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leading niaga-

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United years.

Mr. Chace's extensive collection offers vivid and detailed educational studies of a variety of animals, birds, fish, wild and cultivated flowers, shrubs, trees, mollusca. and coral reptiles,

insects,

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complete life cycles and stage-by-stage Development of many.

For a complete

listing

of this photo-

material, and information on prices, write to Mr. Lynwood M. Chace, MS \Vest Street, New Bedford, Mass.

graphic

new audio-visual new booklet are now Electronics"

The

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another

and from the RCA Educational Department, Camden, N. J.

"Radio

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Service for Schools Teachers, supervisors and school administrators throughout the United Stall's are being offered a new service to make class-room instruction more efficient by the RCA Educational Department at Caniden. X. J. The service off ITS advice and assistance in deter-

mining the most suitable audio-visual equipment for various school situations, and in making adequate provision for it in proposed new buildings. It is designed especially to help in postwar planning, and is furnished without charge or obligation. Training programs and experience df the Army, Navy, Marine and Air Corps were taken into consideration in setting up the new service, according to Ellsworth C. Dent, RCA Educa-

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Those responsible

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such as radio, sound, motion pictures and recordings than it is to revise building plans later. School administrators are being encouraged to make such plans now, and the new RCA -rrvice is designed to assist them."

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throughout the country that have broadcast previous LEST radio

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FORGET

The

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inspiring stories in the

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Four of the organizations. recordings deal with problems of vigilance against tyranny, against rumor, for

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Am An

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handbook on the series containing additional material for teachers has been prepared and

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role

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City.

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Park Avenue,

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Motion Pictures Not for Theatres (Continued from page 55) 1915 there were auto shows In Louisiana. in schools

rural

for

1917

the

Y.M.C.A. was using them for exhibitions to soldiers, and they were part of the system of the Bureau of Commercial At Economics probably before that. one motion picture historian has been misled on the point of origin by hearing of "Rale's Touring Cars," which least

brought Adolph Zukor actively into the business, early in the century.

theatrical

pardonably assumed that they must have been vehicles for carrying film en-

tertainment throughout the country. In reality they were variants of the early "store" shows, each with its front built to represent a railroad car, and The with a screen at the other end. show moved, but not the place of exhibition.

The Hale Cars were moderately as novelties

successful

American with that

suitable

the

train

few large

The show would

cities.

sound

was leaving

start

indicate

the

station,

effects

and the familiar picture photographed from the end of an actual train would confirm

the

impression

progress.

There was a tunnel, of course, calculated to stir the audience, left briefly in utter

The darkness, to shrieks of delight. body of the show was an ordinary travelogue reel, terminating in the example with a hold-up by I remember, at least "bad men" who were ultimately foiled by the "train crew" which then cleared the "car" for the next show.

About 1924 the public welfare department of the State of Illinois, in order to show its first film, "Illinois the Organized Good Samaritan," with the regular educational exhibits at some eighty county fairs, even provided a large, black-topped tent, thirty by seventy feet, equipped with two projectors, a silver chairs

screen, fans. in

this

and electric ventilating means the film was shown

two seasons

persons

to approximately 200,000 an estimated total cost of

slightly under three cents per head.

(To bt continued!

The Educational Screen

Page 94

MOTION PICTURESNOT FOR THEATRES

late in January, 1927,

for the leading boys' school in Great Britain and the United

States to exchange films showing their institutional life, was symptomatic of an

important realization.

was not

45.

suffi-

cient to supply a film with any audience; it was necessary to have a proper audi-

For national advertisers, perwhere the main interest was in mass sales, it might not especially matter what cross-section of the pubence.

haps,

attended one show in a thousand. yet, even among these earnest calculating bidders for attention, it could scarcely be advantageous, in exploiting an unproved patent medicine, lic

film

are tremendous obstacles so great that they have occasioned a strong conviction that it is really one more snare and delujust

At least, that opinion emerges from the accumulated experience of hundreds of disillusioned salesmen

sion.

who have

tried to dispose of films to and have retired in despair. They came to the work from the hard, uncompromising grind of selling office

the schools

or household appliances, or books, perhaps, and are delighted when, instead of having doors slammed in their faces, they are invited in by kindly school

the

development of a

self-sustaining

volume of business must There must be a great many

regional tests each individual board of school trustees must be separately persuaded, and, being persuaded, must be made to see also, as a rule, that its members can afford films before they

can afford needed playground equipment, or, shall we say, coal for the

Ilsley Boone, true pioneer in uses of school films, believed in following the Biblical injunction that "the laborer is worthy of his hire." startling idea for the customers.

there are quite enough of them to constitute an appalling selling job for any enterprise which expects to prosper by monopolizing the business of supfilm to the nation's educational

trouble with them; There are no sales

William Fox, is accredited with havsensaing instigated one of the most tional efforts to force this market when, just before the revolution wrought by talking pictures, he launched his elabo-

that

be large. paying customers

they just go

number

justify

school distribution, and here, therefore, are to be found most of the specialist non-theatrical distri-

and

butors.

That the schools

America present

rich undeveloped market, with all features which any specialist distributor might desire, is one of those supposed facts which are accepted at face

value by even cautious business men. It is probably true; at the same time

there are some 250,000 public school buildings in the United States. I have no convenient figures on the number But it is probable that of systems.

superintendents to discourse pleasantly on the facts of visual instruction. Again they call; again they are corSuch courtesy is undially received. believable. Yet the friendly visits go on day after day, week after week. In fact,

church

or, what is commonest, an urgent rise in teachers' salaries. It I believe that is that kind of problem.

coming winter,

library, the

before the large of small sales will provide a Answers to these sufficient income. requirements are easiest to be seen in

and a practicable form of

training institutions may say in favor of films regardless of the happy findings of the N.E.A.. irrespective of the recommendations by experts after

probable return is appreciable, and, in consequence, the disbusiness designed for its tribution service may be better organized to one better than survive, certainly which aims loosely to serve all nonThere is mass to theatrical comers. it, although, with a prevailing rental rate so low, this means only that, for

serve, at

change because I surely not I, as a layman cannot think of a better sort. Each school system stands separately. Fred Wythe, with his customary penetration, calls it the most truly independent form of government left in No matter what teacher America.

advance, the present all be obsolete. The many obvious advantages of having audiences which are predisposed to attention has naturally developed specialist distributors as it has made specialist producers. Among the other

Its

which may

where they can buy commodities on their own initiative, and at that time, anyway, with material progress so

measured.

theatrical subjects

a mere dollar or two rental per reel per day, in geography, natural science, civics and vocational guidance, for inIn these particulars, at least, stance? there seems to be a receptive market, the trouble? What distribution. to be brutally frank in the It is form of our local public school system which I, for one, would be loath to

schools, they have nothing to gain but a mild good will. The youngsters there will be too long growing to that stage

welcome advantages presented by a "class" market, the body of it may be

dent teachers in almost every reputable normal school are given the prevailing, favorable bias toward classroom films. Among teachers in service, and concertedly at their conventions, they acclaim the merits of visual education, If the obespecially motion pictures. stacle to the actual use of classroom reels is a lack of money for film subjects which cost a great deal, as superexamination indicates, why is ficial there any difficulty about those reedited

useful films

the related advertising film to a gathering of doctors, for instance, any more than there could be commercial point in teaching the fellaheen in the Valley of the Nile how to grow Iceland Poppies. Among the national advertisers, indeed, there is an occasional sentiment to the effect that, in telling their in children stories to elementary

its

a long, long time

ARTHUR EDWIN KROWS

show

headlong in products will

for

supply problems

And

Our history continues to show and churches have had their

that schools

there

The Proper Audience

PROJECT

Port

the on.

or, in all events,

How surely,

not nearly enough to

a business.

such things be?

can is

Here,

market which may be

measured. The teaching usefulness of motion pictures has been firmly estab-

many years, and there are repeated and continuing tests to conlished these

know that there are firm the fact. certain courses in which they are more useful than in others; how long, approximately, exhibitions should run; their

main objectives; what equipment

standards should be, and much more of importance, all in their favor. Stu-

plying

institutions.

rate

program

of educational films.

have brought pressure to to inbear, through expert lobbyists, duce the Ohio State Board of Education to make the use of classroom is

said

films

compulsory

in all

schools in that

area. general aim was surely acwho. ceptable to the State Superintendent in common with most other progressive educators, was an avowed proponent of At all events, he visual instruction.

The

Page 95

March, 194)

Theatrical block booking, now ended by government action, was given its

seems to have issued a directive, ordering three hours of visual instruction per week in each school system under his jurisdiction. Failure to observe it would mean loss of pedagogical standing, or that in-

clean

Trade Commission calling upon Para-

mount (Famous Players-Lasky), to desist from the practice. In April, 1932, after long investigation of the facts, the U. S. Circuit Court of Appeals denied the order, and held that there

volved teachers seeking change of situation would be obliged to re-undergo their license examinations. However, the directive

The there

was not a

la\v.

have been that

result appears to

is no coercion or intimidation in the practice of distributors when they offer exhibitors the alternative of booking in block or taking less than a block at higher prices. I urge those who

was a temporary boom

many

exhausting

sales,

in projector slender local

"visual" appropriations and leading users there to the employment of "free" films rather than rented ones more specifically

have lingering doubts on the subject to read the published opinion of that

pedagogical. In city schools, where interpretations of State directives were pretty much matters for their own choice, there

seems to have been their

earlier

rural

little

and generally course afford unable to :

the

used whatever they could get. This anomalous, wholly unexpected state of affairs caused an abandonment of the plan and a very definite setback to the cause of visual education in Ohio, where visual education had been so auspiciously encouraged at the start of the movement. obtain

>uitablc

reels,

However, as earlier described, the Ohio situation found a handsome readjustment

through

allocation

fees

for the theatrical censorship. The present cooperation of superintendents in county.

metropolitan, and "exempted" village schools joins to make Ohio a ranking American State in actual, practical use of visual aids.

Thomas A.

Edison,

who

surely

was

aware of some of the difficulties, believed that the problem could be solved if the Government would take it over. great force for education, such as the screen indubitably was, in his opinion was too vital to the national welfare for the development of this phase of it to be left to private initiative, especially as private initiative had proved so

"A great capricious and ineffective. film library of educational and industrial subjects should be built up in Washington," Edison said in an interview published by the Educational Film "Then January, 1919. these films could be issued on the rental

Magazine

system to all institutions in the United even to the most remote States, schoolhouse, and the system could be so operated that it would pay its own way. would be on a self-supporting basis like the Pension Office or the Post Office." I have always thought of the Pension Office as being quite the reverse of self-supporting, but that is beside the point which I am about to make. necessary service should be operated even at a deficit. From time to time that has been properly true of our inAnd. since dispensable Post Office. Edison's time, the U. S. Government

has laid plans, under Dr. William Zook, for a large-scale development of school films, although that is a project so recent as 1936 and therefore rather close to be judged on its merits.

What we

rendered. The explanaexceptionally clear. It was a kind of block booking which the engineering extension department of the Iowa State College of Agricul-

court

change from

schools,

can see and judge on their merits, however, are the continuing private efforts at supply which, if not

of health following the isof an order by the Federal

bill

suance

in full as

tion

ture

recommended

tion

bulletin

its

April,

visual educa1915,

when

offered to supply each school consenting to provide proper equipment, by

Since Dr. Leipziger's pioneer days the capable Rita Hochheimer has run the New York schools film service.

wholly satisfactory, have uncovered weaknesses and set useful precedents.

The chief objection of the schoolmen, themselves, to private efforts, has always been not that efficient service might not be rendered by such hands, but that education should always be kept free from commercial taint. This is all very well, but I may venture the thought that education probably has more to fear from politics than from commerce, which, in America anyway, is steadily raising its ethical standards. I feel, too, that the educational system will always be stronger for paying for its equipment instead of receiving it thanklessly as an indefinable boon from heaven, as they would if the national Government supplied it. Man receives his immortal soul from heaven, and just see how little he appreciates that gift from a source which he is unable to see or comprehend. directly

Edison's idea, advanced by others before him and to a degree put into practise abroad, was actually urging the advantages of mass handling.

There

much

on none

critical sensitiveness

that subject, for

mass handling

other than block booking. It is blockbooking when you subscribe a year in advance for a popular magazine. have heard loud outcries about how unjust it is to expect a theatrical exhibitor to contract for a set of feature

ranging from thirteen to sight unseen and quality merely presumed. But, with all of the possible evils of that system, its sheer weight of merit has proved it to be an important factor in the business stabilization of a great industry, and in makphotoplays, 104,

ing possible logical and

also much of its technoI artistic improvement.

heartily concur in the view, if I understand it aright, that a reasonable amount of block booking, not in schools alone btit in the non-theatrical field generally, will be of benefit to all.

October 1, 1915, with at least twelve complete programs, of not less than two reels each, during the school year. It was a kind of block booking which for by the New City public schools about 1922,

was contracted Ilsley

Boone and

his

York when

Argonaut Pic-

tures

arranged to supply films on various subjects.

classroom

Argonaut

held that contract for nearly a decade. What happened to it deserves a digression

to tell the very interesting story. Dr. E. E. Crandall, director of visual education for the New York School System, had closed the original contract. He had won considerable distinction as a pioneer, himself. But, in January, 1932, Crandall retired because of illness, and Dr. Eugene A. his who Colligan, superior officer took over Crandall's duties in addition to his own, could see no good reason for continuing the arrangement.

Even the name

of the

office

was

changed. It was now called the Bureau of Lectures and Visual Instruction.

That made no difference, though, to Miss Rita Hochheimer; that faithful servant continued as before, destined to outlast them all. For approximately a year a survey and an inventory of the New York film system had been going on. Dr. Colligan shook his head disapprovingly upon noticing that Argonaut had been allotted five dollars per reel per day, and that a projectionist was paid $1.75 to two dollars per screening. About 240 of the 750 city schools received regular service, and the annual bill for rentals amounted

to approximately $40,000, with $10,000 more for appliances. The life of a it had to be replaced, was estimated to be from 200 to 500 showDr. Colligan believed that the ings. Bureau could assemble its own sub-

reel, until

store and repair its own films and employ its own operators much more economically. He had been especially convinced of this by a study jects,

of the visual instruction service maintained by the American Museum of Natural History which also heavily

The Educational Screen

Page 96 served the New York City schools. Boone, rebuffed but not discouraged, told me of plans he had for building a laboratory and studio near his home in

apparently not appreciated by those on whose behalf it was made, and Patterson sensibly decided to end it. As far as it went it was a con-

New Jersey, for the production of school films. The project materialized to an extent, and then all at once Boone flared into the news in

structive experiment, but Patterson made the mistake, it seems, of expecting the churches to pay adequately for the service, just as so many others have taken for granted the united purchasing power of the schools. Graham Patterson was a busy man, with

Oakland,

an extraordinary way. as an

American champion

appeared

of that dis-

concerting new health cult which had reached the United States chiefly from He was a nudist. He adEurope. vocated nudist nudism, organized camps in New England, edited a nudist magazine and posed in his birthday suit typewriting an article on the subject. When Ilsley had a conviction he followed it Protests through. naturally arose in the Ponds Reformed Church of Oakland, where he was reserve pastor, and he was asked to resign. The consistory at first declined to accept the truculent form of his resignation, but ultimately yielded. At this writing Boone is still a nudist the executive leader, secretary of American Sunbathing Association at

Mays Landing, New bitterest detractors

Jersey, and

must confess

was

manifold interests in other directions, a proportion of them in aspects of service undeniably of greater importance than non-theatrical pictures. The Christian Herald experiment dismissed, he went on to other activities, becoming large

social

immersed in them that the earlier adventure became a memory in outlines In December, 1942, when I asked only. him to supplement my own recollection and so

research, he was publisher of the Farm Journal, a periodical with more than two

the

localities

where

churches were enrolled an customers, they had the full cooperation

of the local moving picture theatre men. "It was my conviction that if the Christian Herald would organize

and societies to show we could have: first, religious films, and secondly, selections from the large group of highest character films, like 'The

churches films,

Covered

Wagon,'

etc..

show

and

them to the church people. In the case of religious films we had a series of Bible films that were 'fair' and would cost several hundred thousand dollars to produce. We had also a library of educational films that technically speaking were rather mediocre. And lastly, we had a group of very fine Para-

mount classics. Arrangements were made with the Paramount people

for those films that had a permanent character and were through with their runs, at a very nominal rental. We were given the choice of several hundred such subjects. In other words, we had the active cooperation of Paramount, who were anxious to have the true value of good films demonstrated to church people everywhere. "The main trouble with the whole

operation was the question of equipment, fire standards and experienced operators actually to show

My recollection is that 300 or 400 churches that were cooperating with us, and a large number of these had to discontinue on account of the poor character of the portable machines, local fire rules, and similar technical difficulties. The entire matter was so long ago that I have lost most of the detail, but the net of it is that we could not make a financial go of it on account of the lack of technical advances at that time in so-called non-theatrithe films.

we had about

his

that

he has maintained his dignity with greater success than one would have believed possible in any situation thus reduced to its barest facts.