By Geoff Alexander
Exploring a realm of movie frequently disregarded as campy or contrived, this ebook strains the heritage of school room academic movies from the silent period throughout the Nineteen Eighties, whilst movie eventually started to lose flooring to video-based and electronic media. It profiles 35 person educational filmmakers who performed a task in bringing those approximately 110,000 16mm movies to study rooms throughout North the United States, paying specific cognizance to auteur John Barnes and his principally ignored physique of labor. different issues contain: the construction businesses contributing to the expansion and improvement of the educational movie style; the advanced heritage of post-Sputnik, federally-funded academic projects which encouraged the expansion of the educational movie style; and the denouement of the style in school rooms and its resurgence on the web.
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Additional info for Academic Films for the Classroom. A History
Out of public control and in the hands of a limited group of specialists in the art of communications devices, it can become a monster far more devastating than any atom-splitting devices that man is likely to create. The average person senses that only through joint action and the exercise of great effort can he bring resources to bear that will keep the atom and other great physical forces under control. It is an interesting phenomenon, however, that the far greater force and power of the mass of communications devices that are spreading across the length and breadth of our civilization can be individually controlled by the average man with nothing more than the ﬂick of a ﬁnger or the turn of a knob.
63 Grierson’s two areas of responsibility are perhaps best illustrated by his disagreements with commissioner Frank Badgely, originally recommended by Grierson to lead the Bureau. Upon seeing Nazi propaganda ﬁlms, Grierson felt the need to begin producing a series that could be used by Canada to similar ends. Badgely, who felt that the Film Board was supposed to function solely in an advisory capacity and not compete with commercial production companies, strongly objected. Grierson quickly cut through the bureaucracy and brought over the young British producer Stuart Legg in 1940.
67 During its most productive decade, from 1954 through its demise in 1964, this stellar group of contributors made more than 100 ﬁlms. Unit B included a wide diversity of personalities, the most chal- One. B. Jones, were Kroitor and Jackson: Kroitor originally had come to the Film Board as a summer intern. Now he was a full-time employee, but still a trainee unassigned to a speciﬁc unit. He had done work for Unit B, and Daly thought him immensely talented. But Kroitor had annoyed the administration when he took an extra week of Christmas holidays without permission, and other ﬁlmmakers and producers disliked him.