By Geoff Alexander
Exploring a realm of movie frequently disregarded as campy or contrived, this booklet strains the background of school room academic movies from the silent period throughout the Eighties, whilst movie ultimately started to lose floor to video-based and electronic media. It profiles 35 person educational filmmakers who performed a job in bringing those approximately 110,000 16mm movies to school rooms throughout North the US, paying specific recognition to auteur John Barnes and his mostly overlooked physique of labor. different themes comprise: the construction businesses contributing to the expansion and improvement of the tutorial movie style; the advanced heritage of post-Sputnik, federally-funded academic projects which motivated the expansion of the tutorial movie style; and the denouement of the style in study rooms and its resurgence on the net.
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Additional resources for Academic Films for the Classroom. A History
Port gave a new spark to the creatively moribund educational ﬁlm industry in the 1940s, a new threat from still another foreign nation would provide the ﬁnancial impetus for a renaissance in educational ﬁlm that would last a quarter century? S. government’s ﬁnancial response to it provided North American academic ﬁlmmakers with the means to produce some of the ﬁnest short ﬁlms ever made. CHAPTER TWO A Cold War Funds a Hot Medium: The Progressive Era, 1961–1985 From a cinematic perspective, an important outcome of the aftermath of World War II was the inﬂux of military-trained ﬁlmmakers moving into the educational ﬁlm world.
Armed with small excerpts from a number of EBF ﬁlms, he made an impassioned and effective argument for additional government matching funds to be made available to schools for ﬁlms and projectors. In the hearing, Mitchell displayed the salesperson’s cageyness when asked about the price of ﬁlm and equipment (in 1958, a typical 30-minute academic title might cost $350): SENATOR ALLOTT: What would be the cost of ﬁlm to the ordinary school? MR . MITCHELL: The ordinary school has access to the ﬁlm through a variety of ways.
The second series, the Chemistry Introductory Course, was affectively superior. This massive series consisted of 162 half-hour ﬁlms, produced by David W. Ridgway, hosted by University of Florida professor John F. 44 The genesis of the series was a conversation between Alvin C. 45 The Ford Foundation had already agreed to fund the Physical Science Study Committee (PSSC) series, a project intended to One. The Formative Years of Educational Film 27 Dave Ridgway (left, wearing a tie), John Baxter (right foreground), Isidore Mankofsky (cameraman at right), and crew shoot one of the Chemistry Introductory Course ﬁlms (1958) (Isidore Mankofsky).