DOCSLIB.ORG

ED074751.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ED074751.Pdf DOCUMENT RESUME ED 074 751 EM 010 937 AUTHOR Hopkinson, Peter TITLE The Role of Film in Development. INSTITUTION United Nations Educational, Scientific, and Cultural Organikition, Paris (France) . Dept. 'of Mass Communication. PUB LATE 71 NOTE 54p.; Reports and Papers on Mass Communication Number 64 'AVAILABLE FROM UNIPUB, Inc., P. 0. Box 433, New York, N.Y. 10016 ($1.50) EDRS PRICE MF-$0,,65 HC-$3.29 DESCRIPTORS Cultural Education; *Developing Nations; *Film Production; *Films; Guidelines; *Information Dissemination; Instructional Films; *Mass Media; Television; Video Tape Recordings ABSTRACT Addressed to those connected with filmmaking and information dissemination in developing countries, thismanual offers practical advice in initiating and maintaininga filmmaking program. In addition to general information on film history and film potential, the manual presents a step-by-stepcase history of an instructional film made in India to demonstrate the utilizationof water sources for rural audiences. Also providedare guidelines for using television and portable videotape recording equipment.(MC) Ma - -10.--IIC----Ni --A irr Air 41C==:11011= 411CNII=111 -,411C.-.7110 Ii 4L-111i=11 e--. This series of Reports and Papers on Mass Communication is issued by the Department of Mass Communication. Unless otherwise stated, the reports may be reproducen full '67 in. part, provided credit is given to Unesco. The following reports and papers have so far been issued and are obtainable from National DistributorsoTtriiirsdo Publications or from the Department of Mass Communication, Unesco, Place de Fontenoy, Paris-7e. REPORTS AND PAPERS ON MASS COMMUNICATION Number Number 21Current Mass Communication Research I - Bibliography of 53Communication satellites for education, science and Books and Articles on Mass Communication Published culture,1967. since I January1955, December 1956. 548nun film for adult audiences, 1968. 22Periodicals for New Literates: Editorial Methods,June 55Television for higher technical education of the employed. 1957. A first report on a pilot project in Poland,1969. 23Cultural Radio Broadcasts. Some Experiences, December 56Book development in Africa. Problems and perspectives, 1956. 1969. 24Periodicals for New Literates. Seven Case Histories, 57Script writing for short films,1969. November 1957 (out-of-print). 58Removing taxes on knowledge,1969. 25Adult Education Groups and Audio- Visual Techniques, 59Mass media in society. The need of research,1970. 1958. 60Broadcasting from space,1970. 26The Kinescope and Adult Education,1958 (out of print). 61Principles of cultural co-operatiOn,1970. 27Visual Aids in Fundamental Education and Community' 62Radio and television in literacy,1971. Development, 1959 (out of print). 63The mass media in a violent world,1971. 28Film Programmes.for the Young,1959 (out of print). 29Film-making on a Low Budget,1960 (out of print). 30 Developing Mass Media in Asia, 1960. 31The Influence of the Cinema on Children and Adolescents. An Annotated International Bibliography,1961. 32Fihn and Television in the Service of Opera and Ballet and of Museums,1951 (out of print). 33Mass Media in the Developing Countries. A Unesco Report to the United Nations,1961. 34Film Production by International Co-operation,,1961. 35World Film Directory. Agencies Concerned with Educational,. Scientific aid Cultural Films,1962. 36Methods Encouraging the Production and Distribution of Short Films for Theatrical Use,1962. 37Developing Information Media in Africa. Press, Radio, Film, Television,1962. 38Social Education through Television,1963. 39The Teaching Film in Primary Education, 1963. 40Study of the Establishment of National Centres for Cataloguing of Films and Television Programmes,1963 (out of print). 41Space Communication and the Mass Media,1964. 42Screen education. Teaching a critical approach to cinema and television,1964. 43The Effects of Television on Children and Adolescents, 1964. 44Selected List of Catalogues for Short Films and Filmstrips, 1963 Edition. 1965. 45Professional Training for Mass Communication,1965. 46Rural Mimeo Newspapers,1965. 47Books for the Developing Countries: Asia, Africa,1965. 48Radio Broadcasting serves rural development,1965. 49Radio and television in the service of education and development in Asia,1967. 50Television and the social education of women,1967. f 1An African experiment in radio forums for rural develop- ment. Ghana, 1964/1965,1968. 52Book development in Asia. A report on the production and distribution of books in the region,1967. The role of film in development by Peter Hopkinson REViEW COPY PLEASE SEND TWOCOPIES OF YOUR REVIEW TO: wpi !R. P. 0. OOX 433 NEW YORK, N. Y. 10016 distritutor for all publica- UNIPUB. INC.isthe cxeItisive1j E. tions of the United NafIols Ettil.ntirmal.Scientific and Cultural Agency Organization (UNESCO ):the International Atomic r:nergy oftpo; the F00;2,qt:dte,ci!..,;!170, .0:11:tnizAion (FAO). the World end General Agreement on Metcorolectir.niOri;a117:4i (V,,f,tt:), Tariffs and Trado(GArr). U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO- DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIG- INATING IT. POINTS OF VIEW OR OPIN- IONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDU- CATION POSITION OR POLICY. Unesco "PERMISSION TO REPRODUCE THIS COPY. RIGHTED MATERIAL HAS BEEN GRANTED BY UNESCO TO ERIC AND ORGANIZATIONS OPERATIN'a UNDER AGREEMENTS WITH THE U.S OFFICE OF EDUCATIONFURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REQUIRES PER MISSION OF THE COPYRIGHT OWNER" Printed in 1971 in the Workshops of the United Nations Educational, Scientific and Cultural Organization, Place de Fontenoy, Paris 7e COM/71.XVII/64.A Printed in France Unesco 1971 TABLE OF CONTENTS Preface 1 Introduction 7 How film makes a moving picture 9 How film telescopes timewhich is what we want to do in development 10 Why film can help in development 11 The case history of a development film 14 Lessons from audience reactions 19 Development films can be entertaining too 57 Old and new ways of showing films 25 Film and television 28 New shapes and forms of filmelectronic production and projection 30 Conclusion 33 APPENDICES I. A postscript on production, establishment and costing ,37 II. The training of a film-maker 40 A glossary of film terminology 43 IV. Shot-listed and timed outline script of a development film 44 3 PREFACE Film, as a medium of entertainment, is now i.tore message that matters, and the style, technique, than a century old.Only comparatively recently methods and medium of its communication must however has its great potential as an instructional be subordinated to, and dictated by, its substance. and motivational instrument been realized. FIe sets out to show that young film producers com- Developing countries, anxious to accelerate ing to film-making in this area of their own na- the processes of economic and social change which tional development must learn to exercise a far will offer their people a better life, have turned in- greater self-discipline, if not self-subordination, creasingly to film as a means of supplementing or than possibly in any other field of motion picture replacing traditional communication forms.And activity. despite the advent of radio and television even In the developing countries where the greater Space communicationthe possibilities of film in part of the people live on the land and are further development have only begun to be exploited. isolated by lack of transport and illiteracy, effec- This manual is therefore addressed to those tive communication is essential to ensure the par- connected with film-making in the developing coun- ticipation of the scattered population in the life of tries, to students of film, and perhaps more espe- the country.Although radio has hitherto often cially to all officers of government andother agen- proved to be the most effective medium of com- cies concerned with the urgent and central work of munication in such conditions, we shall attempt to development and who need some knowledge of how demonstrate here that the film can make as great, films are made and the many ways in which they if not a greater, contribution than radio to national can be used in development. development. As the author points out, the most The new wave of so-called "factual" film- effective film technique in this field has in fact making very often offers the viewer a sensory ex- evolved from radio, radio reporting and documen- perience rather than balanced judgement on the tary programming. Even television, which is a stimulus for change which is inherent in develop- synthesis of film and radio, and the most power- ment. Too many have come to believe that it is ful and universal form of communication yet de- enough merely to turn the cameras on, without vised, still needs film to suppy its raw material. worrying too much about technical details such as We must consider then not only the basic na- focus and lighting.Sharp, shrewd film editing ture and the recent history of film and its techni- which can make point after point has too often been ques (fundamentally unchanged since the first replaced by a "cinema-verite" that substitutes im- projection of photographically recorded motion pressions for points.People with problems, or pictures three-quarters of a century ago) but also victims of conditions, are encouraged to talk about how these must now be adapted to presentation by them endlessly.Hardly ever is it considered what television.For television is fast becoming the might be done about the problems or conditions. pre-eminent method and means of film projection: Emotion has often come to replace editorial per- The paper argues, too, that in the develop- spective. Those of a new generation called upon ment process films should be regarded as an in- to work in film'in the field of development might tegral and essential element in any economic and well take a leaf out of the old-style - but not neces- social development planfrom the initial concep- sarily old-fashionedbook of the documentarist, tionand not as an isolated detail.
Load more

Recommended publications
  • Vertov: Between the Organism and the Machine
    Vertov: Between the Organism and the Machine MALCOLM TURVEY In every living being, we find that those things which we call parts are inseparable from the Whole to such an extent, that they can only be conceived in and with the latter; and the parts can neither be the measure of the Whole, nor the Whole be the measure of the parts. — Goethe I The standard reading of the work of Dziga Vertov argues that, due to his affiliation with the Constructivist group of avant-garde artists that emerged in the Soviet Union after the Bolshevik Revolution of 1917, Vertov employed the machine as the model for both his films and the new Soviet society depicted in them. In The Material Ghost, Gilberto Perez writes: [Vertov’s] Man with a Movie Camera [1929] pictures the city as a vast machine seen by the omnipresent seeing machine that is the camera. The structure of Vertov’s films, their aggregate space pieced together in the cutting room out of all the manifold things the mechanical eye can see, suggests the constructions of the engineer so prized in [the] new Soviet society.1 The centrality of the machine to Constructivist theory and practice, as well as to Vertov’s work, is beyond dispute. However, it has obscured the influence of other models on Vertov as he came to make Man with a Movie Camera in the late 1920s, including one that is often thought of as antithetical to the machine, namely, the organism. Most obviously, Man with a Movie Camera is structured according to the daily cycle of a complex living organism such as an animal or human being—sleep, 1.
    [Show full text]
  • Annual Report
    COUNCIL ON FOREIGN RELATIONS ANNUAL REPORT July 1,1996-June 30,1997 Main Office Washington Office The Harold Pratt House 1779 Massachusetts Avenue, N.W. 58 East 68th Street, New York, NY 10021 Washington, DC 20036 Tel. (212) 434-9400; Fax (212) 861-1789 Tel. (202) 518-3400; Fax (202) 986-2984 Website www. foreignrela tions. org e-mail publicaffairs@email. cfr. org OFFICERS AND DIRECTORS, 1997-98 Officers Directors Charlayne Hunter-Gault Peter G. Peterson Term Expiring 1998 Frank Savage* Chairman of the Board Peggy Dulany Laura D'Andrea Tyson Maurice R. Greenberg Robert F Erburu Leslie H. Gelb Vice Chairman Karen Elliott House ex officio Leslie H. Gelb Joshua Lederberg President Vincent A. Mai Honorary Officers Michael P Peters Garrick Utley and Directors Emeriti Senior Vice President Term Expiring 1999 Douglas Dillon and Chief Operating Officer Carla A. Hills Caryl R Haskins Alton Frye Robert D. Hormats Grayson Kirk Senior Vice President William J. McDonough Charles McC. Mathias, Jr. Paula J. Dobriansky Theodore C. Sorensen James A. Perkins Vice President, Washington Program George Soros David Rockefeller Gary C. Hufbauer Paul A. Volcker Honorary Chairman Vice President, Director of Studies Robert A. Scalapino Term Expiring 2000 David Kellogg Cyrus R. Vance Jessica R Einhorn Vice President, Communications Glenn E. Watts and Corporate Affairs Louis V Gerstner, Jr. Abraham F. Lowenthal Hanna Holborn Gray Vice President and Maurice R. Greenberg Deputy National Director George J. Mitchell Janice L. Murray Warren B. Rudman Vice President and Treasurer Term Expiring 2001 Karen M. Sughrue Lee Cullum Vice President, Programs Mario L. Baeza and Media Projects Thomas R.
    [Show full text]
  • {Septcmber 1966} A. J. Davis
    {septcmber 1966} SA TURN IB lliFLIGHT PHOTOGRAPHIC lNSTRUMENTATION SYSTEM by A. J. Davis t>,L. ttas&ler, Jr. MEASURING BRANCH ASTRIONICS LA.BORATORY GEORGE C. MARSHALL SPACE FLIGHT CENTER Huntsville, Alabama Fon INTERNA L USE ONLY MSFC • Form \094 (Mny 1961) GEORGE C. MARSHALL SPACE FLIGHT CENTER SATURN IB INFLIGHT PHOTOGRAPHIC INSTRUMENTATION SYSTEM By A. J. Davis P. L. Hassler, Jr. Measuring Branch Astrionics Laboratory George C. Marshall Space Flight Center H1mtsville, Alabama ABSTRACT This Internal Note presents the development of the Saturn inflight photo­ graphic instrumentation program from its original development req_uirement concept to the flight hardware application on Saturn vehicles. A comprehensive description of the inflight photographic instrumentation system is given along with data concerning testing, operation, application, and evaluation of the system after recovery. This Internal Note shows that the system has been successfully developed, that valuable information has been obtained from film retrieved from recovered capsules, and that the system can be used·with a high degree of reliability. NASA-GEORGE C. MARSHALL SPACE FLIGHT CENTER INTERNAL NOTE SATURN ID INFLIGHT PHOTOGRAPHIC WSTRUMENTATION SYSTEM by A. J. Davis P. L. Hassler, Jr. ASTRIONICS LABORATORY PROPULSION AND VEHICLE ENGINEERING LABORATORY TABLE Or CONTENTS Fage SECTION I. INTRODUCTION 1 A. Project Hi.story 1 B. Inflight Photographic Instru�entation System 1 SECTION II. CAMERA AND OPTICAL AIDS 6 A. Camera . 6 B. Timer 7 c. Fiberoptic Bundle 9 D. Lenses . 10 E. Film . 11 F. Lighting . 13 G. Support Structure 21 H. Testing 28 SECTION III. CAPSULE EJECTION SYSTEM 36 A. Component Description 36 B. System Operation . 36 C.
    [Show full text]
  • Peter Hopkinson Is a Documentary Film-Maker Whose Life Has Ranged From
    PETER HOPKINSON Peter Hopkinson is a documentary film-maker whose life has ranged from camerawork with Metro-Goldwyn-Mayer in the heyday of Hollywood to, more recently, the organisation of film production in the Central American state of Costa Rica. He entered the film industry before World War Two as a clapper- boy at Ealing Studios, and worked as a camera assistant at Alexander Korda’s Denham Studios. During the War he served with the Army Film and Photographic Unit filming on various battlefronts, and in its aftermath shot the first uncensored film in Soviet Russia. In 1946 he joined the celebrated American cine news magazine The March of Time as a director-reporter., filming in India, China, Japan, the middle East, Europe and the United States. For NBC he directed and photographed numerous international television reports and, for Louis de Rochemont, a prize-winning film on the Suez Canal. From the Council of Europe came a Special Award for a film profile of Britain in the Sixties; and the film he wrote and directed of the ending of colonial rule in Ghana, Nigeria and Sierra Leone, African Awakening, was selected for UNESCO’s Kalinga Prize as the one British film ‘judged to contribute most effectively to international co-operation in education, science and culture’. Producing, as well as directing, he has been working for some time on a series of films on natural resources, of which the first, Time for Tin, received a premier ‘Gold Camera’ Award at the United States Industrial Film and Video Festival. Sponsored by UNESCO, he undertook a study of world population pressures, A Matter of Families, filmed in India, Iran, Kenya and Venezuela.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Session Slides
    Content Type Available on MUSE MUSE Launch Date URL Book Yes 2011-07-21 https://muse.jhu.edu/book/42 Book Yes 2011-07-21 https://muse.jhu.edu/book/68 Book Yes 2011-07-21 https://muse.jhu.edu/book/89 Book Yes 2011-07-21 https://muse.jhu.edu/book/114 Book Yes 2011-07-21 https://muse.jhu.edu/book/146 Book Yes 2011-07-21 https://muse.jhu.edu/book/149 Book Yes 2011-07-21 https://muse.jhu.edu/book/185 Book Yes 2011-07-21 https://muse.jhu.edu/book/280 Book Yes 2011-07-21 https://muse.jhu.edu/book/292 Book Yes 2011-07-21 https://muse.jhu.edu/book/293 Book Yes 2011-07-21 https://muse.jhu.edu/book/294 Book Yes 2011-07-21 https://muse.jhu.edu/book/295 Book Yes 2011-07-21 https://muse.jhu.edu/book/296 Book Yes 2012-06-26 https://muse.jhu.edu/book/297 Book Yes 2012-01-01 https://muse.jhu.edu/book/462 Book Yes 2012-01-01 https://muse.jhu.edu/book/467 Book Yes 2012-01-01 https://muse.jhu.edu/book/470 Book Yes 2012-01-01 https://muse.jhu.edu/book/472 Book Yes 2012-01-01 https://muse.jhu.edu/book/473 Book Yes 2012-01-01 https://muse.jhu.edu/book/474 Book Yes 2012-01-01 https://muse.jhu.edu/book/475 Book Yes 2012-01-01 https://muse.jhu.edu/book/477 Book Yes 2012-01-01 https://muse.jhu.edu/book/478 Book Yes 2012-01-01 https://muse.jhu.edu/book/482 Book Yes 2012-01-01 https://muse.jhu.edu/book/494 Book Yes 2012-01-01 https://muse.jhu.edu/book/687 Book Yes 2012-01-01 https://muse.jhu.edu/book/708 Book Yes 2012-01-11 https://muse.jhu.edu/book/780 Book Yes 2012-01-01 https://muse.jhu.edu/book/834 Book Yes 2012-01-01 https://muse.jhu.edu/book/840 Book Yes 2012-01-01
    [Show full text]
  • Moving Pictures: the History of Early Cinema by Brian Manley
    Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S.
    [Show full text]
  • RADIO -ELECTRONICS in ALL ITS PHASES Model 315 Signal Generator
    GERNSBACK,Edifor Teleuísíon Sound Receiver Instability in Apparatus A Small Recording Studio RADIO -ELECTRONICS IN ALL ITS PHASES Model 315 Signal Generator. Designed down to the most V minute derail for highest ac. curacy, greatest stability, min- imum leakage, and good wave form $67.35 a real Model 305 Tube Tester Tests ... gives servicemen all tubes. Provides for filament voltages from .5 volts to and in. cluding 120 volts. Spare sockets for profit- making set -up future tube developments....149.50 Model 260 High Sensitivity Set The successful radio serviceman today must have the finest in test instru- Tester. 20,000 ohms per volt. D.C. ments a very reason his only hope of present and con- Voltage ranges to 5.000 volts A.C. for practical -that's and D.C. Resistance ranges to 20 tinued profits. To meet the tremendous volume of business available he megohms. Current ranges to 500 mil- must be able to "trouble-shoot" fast and accurately every time. Only thus liamperes 531.95 can he correct trouble speedily, with satisfaction to the customers. Simpson offers you, in three basic test instruments, the accuracy and ad- vanced electronic engineering which have given Simpson the proudest name in the industry. They are tried -and- tested examples of the kind of instruments Simpson has always built. Their use will demonstrate that from Simpson alone can you expect "instruments that stay accu- rate" with construction and design that lead the field. To dealer and to serviceman alike, Simpson offers today the assur- ance of continued profits that only quality can give.
    [Show full text]
  • Screen Genealogies Screen Genealogies Mediamatters
    media Screen Genealogies matters From Optical Device to Environmental Medium edited by craig buckley, Amsterdam University rüdiger campe, Press francesco casetti Screen Genealogies MediaMatters MediaMatters is an international book series published by Amsterdam University Press on current debates about media technology and its extended practices (cultural, social, political, spatial, aesthetic, artistic). The series focuses on critical analysis and theory, exploring the entanglements of materiality and performativity in ‘old’ and ‘new’ media and seeks contributions that engage with today’s (digital) media culture. For more information about the series see: www.aup.nl Screen Genealogies From Optical Device to Environmental Medium Edited by Craig Buckley, Rüdiger Campe, and Francesco Casetti Amsterdam University Press The publication of this book is made possible by award from the Andrew W. Mellon Foundation, and from Yale University’s Frederick W. Hilles Fund. Cover illustration: Thomas Wilfred, Opus 161 (1966). Digital still image of an analog time- based Lumia work. Photo: Rebecca Vera-Martinez. Carol and Eugene Epstein Collection. Cover design: Suzan Beijer Lay-out: Crius Group, Hulshout isbn 978 94 6372 900 0 e-isbn 978 90 4854 395 3 doi 10.5117/9789463729000 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2019 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book.
    [Show full text]
  • Newsletter 2013
    The Old Papplewickian No.13 2013 THE HEADMASTER WRITES ld Boys who have visited the school since our new Front Entrance Hall was completed in September 2012 Ohave all commented on how this new development, located in the heart of the school, has given Papplewick a completely new ‘feel’…and I’m delighted to say that this seems to have been in an entirely positive way! However, Papplewick will always be more about people than buildings, and it is in this spirit that we are keen to continue to develop our links with Old Boys over the coming twelve months. The launch of an official Old Boys Facebook site is now imminent - I hope this will enable the school to organise social evenings for Old Boys in London while also helping Old Boys to network more easily amongst yourselves. A reunion for the first major overseas rugby tour to New Zealand in 1994 will take place at Papplewick in the summer, together with a reunion in Madrid for our Spanish families in May. We also intend to hold our first Old Boys versus Staff football match in the autumn although it may disappoint some of you that a similar rugby fixture is still some The Headmaster in Seoul for the Korean reunion last year, talking to way off! With the school in good heart, I hope such events will Simon Kim (2004-06). only help to strengthen the bond between Old Boys and Papplewick, and the school was in no better heart than in 2012 do please drop in whenever you feel inspired to do so – Sallie when senior boys won thirteen scholarships, including two and I would be absolutely delighted to see you either at academic scholarships to Eton and one to Winchester amongst Papplewick or at one of the forthcoming social events during a record haul of seven academic scholarships in total.
    [Show full text]
  • Grade 01 Social Studies Unit 11 Exemplar Lesson 01: Inventors and Inventions
    Grade 1 Social Studies Unit: 11 Lesson: 01 Suggested Duration: 4 days Grade 01 Social Studies Unit 11 Exemplar Lesson 01: Inventors and Inventions This lesson is one approach to teaching the State Standards associated with this unit. Districts are encouraged to customize this lesson by supplementing with district-approved resources, materials, and activities to best meet the needs of learners. The duration for this lesson is only a recommendation, and districts may modify the time frame to meet students’ needs. To better understand how your district may be implementing CSCOPE lessons, please contact your child’s teacher. (For your convenience, please find linked the TEA Commissioner’s List of State Board of Education Approved Instructional Resources and Midcycle State Adopted Instructional Materials.) Lesson Synopsis In this lesson, students learn about the life and contributions of Thomas Alva Edison, one of the most prolific and famous inventors of the modern era. His curiosity, perseverance, commitment, and the impact and importance of his inventions are highlighted in this lesson. TEKS The Texas Essential Knowledge and Skills (TEKS) listed below are the standards adopted by the State Board of Education, which are required by Texas law. Any standard that has a strike-through (e.g. sample phrase) indicates that portion of the standard is taught in a previous or subsequent unit. The TEKS are available on the Texas Education Agency website at http://www.tea.state.tx.us/index2.aspx?id=6148. 1.2 History. The student understands how historical figures, patriots, and good citizens helped shape the community, state, and nation.
    [Show full text]
  • Thomas Edison by Ryan Kohart Who Was Thomas Edison and What Did He Do?
    www.biography.com www.graphicscottage.com www.latimes.lablogs.com Thomas Edison www.history.com By Ryan Kohart Who was Thomas Edison and what did he do? Thomas Alva Edison was born February 11th, 1847 in Milan Ohio. He was the seventh and last child of Samuel and Nancy Edison; www.nps.gov www.slideshare.net Facts about Edison's inventions • In the 1800s Edison improve/invented the light bulb; www.edisonstechcenter.org • Also in the 1800s Edison invented the Phonograph; www.wikapedia.org • When Edison was alive he was the best inventor in the world; www.latimeblogs.latimes.com latimesblogs.latimes.com Here are some of the inventions Edison made. • Phonograph (1877) www.science.howstuffworks.com • Carbon microphone (1877-78) www.science.howstuffworks.com www.orbem.co.uk • The incandescent light bulb (1879) www.graphicscottage.blogspot.com www.science.howstuffworks.com • The Brocton break through (1883) Here is two of his 6 inventions www.science.howstuffworks.com • Nickel-iron Batteries(1901) www.science.howstuffworks.com The light bulb https://www.youtube.com/watch?v=mn8uGDg_5fA • Edison made the first public demonstration of his descending light bulb on December 31st, 1931; www.edisonmuckers.com • It was made during the time he said “we will make electricity so cheap that only the rich will burn candles”; www.edisonmuckers.com https://www.youtube.com/watch?v=nbiCLHneyaA www.wnd.com The phonograph • Edison created many inventions but his favorite was the phonograph; www.americaslibrary.gov/ • In 1877 he created a machine with two needles, one needle for recording and one needle for playback.
    [Show full text]