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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-11,432 STIMPFLE, Nedra Rae, 1941- STUDENT AND TEACHER PREFERENCES OF PHOTOGRAPHS, FILMS, AND TELEVISION PROGRAMS AND IMPLICATIONS FOR PUBLIC SCHOOL EDUCATION. The Ohio State University, Ph.D., 1974 Education, secondary

Xerox University Microfilms,Ann Arbor, Michigan 48106

© 1975

NEDRA RAE STIMPFLE

ALL RIGHTS RESERVED STUDENT AND TEACHER PREFERENCES OF PHOTOGRAPHS,

FILMS, AND TELEVISION PROGRAMS AND IMPLICATIONS

FOR PUBLIC SCHOOL EDUCATION

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By Nedra Rae Stimpfle, B.S., M.A * * * * *

The Ohio State University 197^ Reading Committeei Approved by Dr, Ftarik Zidonis Dr, Robert W. Wagner Dr, Donald R. Bateman Advisor Department of Education ACKNOWLEDGEMENTS

In the future, when I think of the experience of this study, part of my remembering will be of those individuals who, in some way, affected that experience:

The many teachers and students from the various public

secondary schools in the greater Columbus, Ohio, area who

freely and willingly acted as participants in the surveys.

The students, Teaching Assistants, and faculty in English

education at The Ohio State University in Columbus, Ohio, who

participated in both surveys and expressed an interest in the

results.

My reading committee, Dr, Prank Zidonis, Dr, Donald

Bateman, and Dr, Robert W, Wagner, who approved the study

and provided critical responses to the writing.

Dr, Robert Wagner who was responsible for the initiation

of the study and who consistently maintained an intense interest

in it.

Dr. John Reed who, as both department chairman and friend,

constantly reminded me of the importance of finishing.

Those women, especially my mother and our friends, who gave

me strength through a very necessary and constant support system.

ii VITA

May 20, 1941...... Born - Tiffin, Ohio

1959...... Diploma: Upper Sandusky High School, Upper Sandusky, Ohio

1959-61...... Miami University, Oxford, Ohio

1961-63...... B.S. in Education, The Ohio State University, Columbus, Ohio

1963-65...... Teacher, Fairmont East High School, Kettering, Ohio

1965-70...... Teacher, Worthington High School, Worthington, Ohio

1971...... M.A., The Ohio State University, Columbus, Ohio

1971-73...... Teaching Associate, English Education and English, The Ohio State University, Columbus, Ohio

1973...... Instructor, Education and English Depart­ ments, Skidmore College, Saratoga Springs, New York

FIELDS OF STUDY

Major Field: English Education

Studies in Cinema and Photography. Professor Robert Wagner

Studies in Folklore. Professor Patrick Mullen

Studies in Black Literature. Professor Hortense Thornton TABLE OF CONTENTS

Page ACKNOWLEDGMENTS...... ii

VITA...... iii

LIST OF TABLES...... vi

Chapter

I. INTRODUCTION...... X

II. DESIGN OF THE STUDY...... 28

III. THE RESULTS OF THE. PILOT...... 47

IV. THE RESULTS OF THE.STUDY...... 68

V. CONCLUSIONS: IMPLICATIONS; ANDRECOMMENDATIONS.. 120

APPENDIX

I. LETTER TO STUDENT TEACHERS...... 141

II. PILOT SURVEY F0R4...... 143

III. PILOT TABULATION FORM...... 144

IV. COLLATION OF THE RESULTS OF THE PILOT...... 145

V. PILOT FIIM LIST...... 150

VI. TOP-RANKED FIIM5 OFTHE PILOT...... 15S

VII. STUDENTS' AND TEACHERS' TOP NINE FIIMS IN THE PILOT...... 159

VIII. PILOT TELEVISION PROGRAM LIST...... 160 .

IX. STUDENTS' TOP-RANKED TELEVISION PROGRAMS IN THE PILOT...... 164

X. STUDENTS' AND TEACHERS' TOPSEVEN TELEVISION PROGRAMS IN THE PILOT...... 165

XI. STUDY SURVEY FQBM...... 166

iv Page XII. PHOTOGRAPHS USED IN THE STUDY...... 167

XIII. STUDY TABULATION FORM...... 1&5

XIV. RESULTS OF THE STUDY PHOTOGRAPH SELECTIONS..... 186

XV. THE PERCENTAGE OF BOTH STUDENTS1 AND TEACHERS' FIRST CHOICE SELECTIONS FOR EACH PHOTOGRAPH 188

XVI. THE PERCENTAGE OF BOTH STUDENTS' AND TEACHERS' OVER-ALL SELECTIONS FOR EACH PHOTOGRAPH...... 189

XVII. CORRESPONDENCE RELATED TO THEATRICAL AND TELEVISION FIIMS...... 190 XVIII. STUDY THEATRICAL FILM LIST...... 203

XIX. STUDY TELEVISION FILM LIST...... 236

XX. STUDY TELEVISION PROGRAM LIST...... 270

BIBLIOGRAPHY...... 290

I

V LIST OF TABLES

Page Number of Participants in the Pilot Survey, By School... 30

Number of Participants in the Pilot Survey, By Sex, Age, and Socio-Economic Status of Community...... 31

Number of Participants in the Study Survey, By School... 41

Number of Participants in the Study Survey, By Sex, Age, . and Socio-Economic Status of Community...... 41

Percentage of Student Participation, By Age and Socio- Economic Status of Community...... 48

Percentage of Student Participation, By School...... 48

Percentage of Teacher Participation, By Sex, Age Assign­ ment, and Socio-Economic Status of School Assignment.... 50

Percentage of Teacher Participation, By School...... 51

Percentage and Average of Students' Photographs, By Sex, Age, and Socio-Economic Status of Community...... 52

Percentage and Average of Students' Photographs, By Schools...... 52

Percentage and Average of Teachers' Photographs, By Sex, Age Assignment, and Socio-Economic Status of School Assignment...... 5b

Percentage and Average of Teachers' Photographs, By Schools...... 56

Average Number of Films Per Student, By Sex, Age, and Socio-Economic Status...... 57

Average Number of Films Per Student, By School...... 58

Average Number of Films Per Teacher, By Sex, Age Assign­ ment, and Socio-Economic Status of School Assignment.... 61

Average Number of Films Per Student, By School...... 61

Average Number of Television Programs Per Student, By Sex, Age, and Socio-Economic Status...... 62 Table Page 18. Average Number of Television Programs Per Student, By School...... 63

19. Average Number of Television Programs Per Teacher, By Sex, Age Assignment, and Socio-Economic Status of School Assignment...... 65

20. Average Number of Television Programs Per Teacher, By School...... 66

21. Total Number and Percentage of Student Participants, By Sex, Age, and Socio-Economic Status of Community...... 69

22. Total Number and Percentage of Student Participants, By School...... 70

23. Total Number and Percentage of Teacher Participants, By Sex, Age Assignment, and Socio-Economic Status of School Assignment...... 70

24-- Total number and Percentage of Teacher Participants, By School...... 70

25. The Top Five Photograph Preferences of Both Students and Teachers, By First Choice Selection...... 72

26. The Top Five Photograph Preferences of Both Students and Teachers, By Over-all Selection...... 73

27. The Top Five First Choice Photograph Selections of Students, By Sex, Age, and Socio-Economic Status ofCommunity 75

28. The Top Five Over-all Photograph Selectionf of Students, By Sex, Age, and Socio-Economic Status ofCommunity 76

29. The Students' and the Teachers' Ten Most Frequently Mentioned Theatrical Films...... 81

30. The Students' and the Teachers' Ten Most Frequently , Mentioned Television Films...... 83

31. The Students' Ten Most Frequently Mentioned Theatrical Films, By Sex, Age, and Socio-Economic Status of CommunityJ39

32. The Students' Ten Most Frequently Mentioned Television Films, By Sex, Age, and Socio-Economic Status of Community...... 97

vii Table Page 33. The Students' and the Teachers' Fifteen Most Frequently Mentioned Television Programs...... 105

34. The Students1 Fifteen Most Frequently Mentioned Televi­ sion Programs, By Sex, Age, and Socio-economic Status of Community...... 109

1

viii CHAPTER I

INTRODUCTION

1. Statement of Belief

"Education, fundamentally, is the increase of the percentage of the conscious in relation to the unconscious."^ This statement by Sylvia

Ashton-Warner serves as a significant introduction to this entire work for several reasons. The statement itself embodies a belief that is basic also to this writer's concept of education. In addition, through­ out the particular work cited (Teacher), Ms. Ashton-Warner expounds other attitudes that she has developed toward teaching, learning, the teacher, the student, and the classroom - attitudes with which this writer finds herself in agreement and in her own experience has attempted to support. Finally, because Ms. Ashton-Warner has lived her life accord­ ing to her beliefs, she serves as a model for this writer - a woman and a teacher to be greatly respected and emulated. In the following para­ graphs, the writer will expand on these influences exerted by Ms. Ashton-

Warner in terms of education, learning, the teacher, the student, and the classroom as well as those exerted by two other figures, Paulo I Freire and Jerome Bruner.

The opening quotation by Ms. Ashton-Warner makes clear that the focus of education is on the development of the individual according to each one's particular needs. Jerome Bruner supports this same idea when

■^■Sylvia Ashton-Warner, Teacher, p. 176. 1 2 he states that education is to help each student achieve the optimum intellectual development, as well as social and emotional.'*' This devel­ opment rests on the principle of organic teaching - both a drawing out of that which is inherent, inborn, and a demonstrating of the inter­ relationship of all things. Every facet of Ms. Asthon-Warner's teaching is based upon this organic approach. Learning, then, becomes much the same as teaching in that the individual begins to discover qualities of self and to grasp the structural interrelationship of all things. As

Bruner states, this learning serves the future in terms of both basic 2 and general ideas. There is a certain quality of order within this approach. Though it may not always be seen, it is feltj it is part of the unconscious that emerges in the conscious.

Closely tied in with these ideas is the concept of freedom. Too often, critics of this organic approach equate the freedom involved with chaos, with a lack of direction, with random, unplanned movement. Such is not the case. First of all, freedom and authority, or control, are not mutually exclusive terms. They must be considered in relationship to each other, in how to effect a meaningful balance since each is necessary to education and to learning. The increase in the percentage of the conscious that Ms. Ashton-Warner talks about is directed by some authority, by some force; but as Paulo Freire states, freedom is "the indispensable condition for the quest for human completion.It is 1

^Jerome Bruner, The Process of Education, p. 9. r i m . , P. 20. Paulo Freire, Pedagogy of the Oppressed, p. 31 • 3 this "human completion" that "both Ms. Ashton-Warner and Jerome Bruner

are talking about and that is the crux of education.

The opposite situation to the one above is what Freire describes as 1 the "banking concept of education." In this situation, the teachers

act as Subjects who deposit bits of selected information in the students.

The students are Objects who only receive. Unfortunately, this is a

prevalent situation in education but one that this writer believes must

be changed and is trying to do so. First of all, the "banking" concept

of education eliminates the possibility of education and of knowledge

being processes of inquiry. Second, for the students, creativity is

minimized while gullibility is encouraged. Most importantly, organic

qualities are transformed into inorganic, are deadened. Contained also

in this particular concept of education is the notion of cultural gaps.

There are many factors which contribute to the differing cultures of

teachers and of students. The point to be made is not that the differ­

ences should be eliminated but that they should be recognized and

respected. It is the question of cultural invasion as opposed to 2 cultural integrity. As Freire points out, in the former, the teacher

imposes his culture, his value system, his view of the world on the

student in what is essentially an act of violence. As with the banking

concept, creativity is inhibited; the mind of the student does not grow.

In the latter, cultural integrity, the differing cultures are treated equally and are respected for their differences.

The more desirable approach to education is described by Freire as

"co-intentional education." In this situation, both teachers and

1Ibid., p. 58. 2Ibid.. p. 150. 3Ibid.. p. 56. students are simultaneously Subjects. They are both actively involved .in the creation and the re-creation of reality. Whichever is the catalyst in a particular instance depends upon the prior life experiences of each so that leadership roles are constantly changing; however, the leader does not impose, as in the banking concept, but guides. This type of flexibility in roles is very important. First of all, it releases the creativity, the artistry, within both the teacher and the student.

Second, it insures the fact that both teacher and student are free to learn, from each other and from themselves.

In order for co-intentional education to exist, there must be active and reciprocal communication between the teacher and the student, It is through this kind of communication that solidarity can be achieved, and this solidarity forms the base for future education, learning, and growth,

Freire calls this communication a dialogue that is characterized by such qualities as love, humility, hope, faith in man, and critical thinking,^

What it means for the individuals involved Is that whatever it is they want to know more about is drawn out from them, added to, and re­ presented to them for their own development. All are both willing parti­ cipants and positive contributors to the total process.

More specifically, Ms, Ashton-Warner implements this communication through her concept of a key vocabulary and Paulo Freire develops his dialogue through an understanding of the power of the word as a praxis.*^

In her teaching of vocabulary, Ms. Ashton-Warner did not prescribe a I 2 Ibid.. pp. 76-8I. Ashton-Warner, Teacher, p. 29. 3 Freire, Pedagogy of the Op-pressed, p. 75. set of words for her students to know regardless of their individual needs and backgrounds. Instead, she took the words from the students themselves. She asked them which words they wanted to know. She asked for words which were already a part of that child's life, which were filled with intense, personal meaning. The result was that the words were learned, remembered, and used in the future. For Freire, the word as praxis means that both intellect and action operate equally within the context of the word. It is through the exercising of both these charac­ teristics that the word then has the power to affect reality. For the individuals involved in this process of the word, there exists an act of liberation. They become instrumental in changing their own lives, and it becomes an on-going process for all. It can be seen from this discussion that although Ms. Ashton-Warner and Paulo Freire use differing termin­ ology, they are talking about essentially the same concept. It is this same concept that this writer has learned to respect and to value as crucial to the true meaning of education.

In the system of public education as it exists in the United States today, it is the public school classroom which provides the most readily available opportunity for the realization of the aforementioned concept of education. The potential is there. What is needed are more teachers who are willing to and do, in fact, base their methodology on this type 1 of interrelated communication. This writer believes quite strongly in the viability of the English classroom in meeting this need. To aid in achieving that end, she presents the following study in the hopes that other teachers, especially English teachers, will be able somehow to use the information in developing their own set of interrelated classroom communicati ons. 2, Rationale

In order to avoid Rreire's "banking concept of education" and to

minimize the lack of knowledge of differing cultures, and in order to

develop "co-intentional education" that has a solid communication base,

it is absolutely necessary for teachers, in this case English teachers,

to know more about their students and the cultures of their studeets.-

Instead of imposing their own very selective cultural interests on their

students, English teachers must learn about, respect, and ultimately use

the students' culture to help those same students grow. The student

culture represents what it is the students desire to know. A teacher's awareness of that body of knowledge and experience allows him or her to use it in showing its interrelationship to other bodies of knowledge and experience and its significance to the future. In a sense, the student is free to choose that which the teacher then controls in its direction for the student's future growth. It is the opposite of what the writer once observed in an English classroom in which the teacher developed an entire composition lesson based on an example that was totally out of the realm of the students' experience; none of them had seen the movie used in the analogy. In this case, by selecting a film he himself had seen and liked, the teacher imposed his own culture at the expense of any significant learning for the students. I It seems that an ever-increasing amount of the contemporary student culture is concerned with the visual realm. Because of this profusion of a visual culture, the writer decided to explore it and develop some very specific information about it. This information could then be used by English teachers, either directly in the classroom or indirectly, as a means of knowing more about their students.

When the writer initiated the study, she was a Teaching Assistant in

English education at The Ohio State University in Columbus, Ohio, and had immediate access to both secondary school students, prospective teachers, and experienced teachers. She decided to use these individuals as parti­ cipants in the surveys. In the first exploration, the pilot survey, the writer confined the students' image selection to the photograph, the film, and the television program. The attempt here was to give some kind of definition to the image selection or preference of secondary school

English students. One purpose was to see what effect, if any, such fac­ tors as sex, age, and socio-economic status had on the students' preferences.

Another purpose was to see how much similarity, if any, existed between the image preferences of students and those of the teachers. Finally, it was hypothesised that the results might help the teacher establish solid communication with the students and to use the classroom as a genuine means for education.

A second exploration, the study survey, followed three months later.

The study survey was based upon the pilot survey, but it both incorporated some needed changes and extended the scope of the results. Again, image selection was confined to the photograph, the film, and the television program. The study survey sought further definition of secondary school ( English students' image preferences and a more detailed analysis of the effects of sex, age, and socio-economic status on those student prefer­ ences. More specifically, some answers were sought to questions that has been raised by the results of the pilot survey:

In all three visual areas, are there thematic categories that are 8

determined by sex, by age, or by socio-economic status?

Are preferences more varied with older students and with those from

higher socio-economic backgrounds?

Is it possible to predict a response in one visual area because of

a student’s particular response in another?

In the areas of film and of television, what effect does immediacy

have on students' preferences?

What are the implications of the predominance of violence in the preferences?

Who frequents the R and the X rated films?

Is there any significance in the apportionment of afternoon as

opposed to evening television program viewing?

Also, as in the pilot survey, the study survey attempted to assess the extent of the commonality between the students' visual preferences and the teachers' selections.

Even more so than the pilot survey, the study survey should yield valuable information for the English teacher. If there is, in fact, little commonality between the students* and the teachers' visual pre­ ferences, then it is exceedingly important that teachers find out about the nature of the students' preferences by using either the information gleaned in this study or the basic methodology of the study. Either 1 approach should guarantee a beginning communication.

3. Related Literature

The literature already published in the field which relates to the particular direction of this study focuses either on one or on any com­ bination of the following areas: substantiation of the existence or the 9 prevalence of a visual culture, especially among adolescents; comments on the effects of that visual culture on the lives of adolescents; and a discussion of adolescent preferences or interests in terms of the various areas within the visual culture. The selected literature that will he discussed in the following paragraphs covers a time span of approximately fifty years and deals with the areas of comic hooks, drawings, literature, film, and television. Much of it is supportive of the findings of the writer's own study presented in this work.

In 1948 Katherine M. Wolf and Marjorie Fiske conducted a study of comic hook readers.^" The sample consisted of 104 children (7 to 17 years old) stratified hy sex, age, and socio-economic status. They found that of the three stratifications, age proved to he the distinguishing factor in the children's preferences. Specifically, the children moved through the three general types of comic hooks - (l) animal; (2) adventure, crime, and mystery; and (3) educational - as they grew older. In general, this situation is not supported hy the writer's own study which reveals that age is the least influential factor, at least in terms of students' photograph, film, and television program preferences.

This study does, however, relate to the idea of the effects on adolescents of their preferences. The authors discovered that at least

90 per cent of the children in the sample completely disregarded any I parental objection to their reading of comic hooks. They also found that more comic hook "fans” came from homes with additional readers of comic hooks. These situations are supported hy the writer's study in hoth the

^"Katherine M. Wolf and Marjorie Fiske, "The Children Talk Ahout Comics," in Communications Research 1948-49. ed. hy Paul L. Lazarsfield and Frank Stanton, p. 4. 10 predominance of violence in selected films and television programs and the attendance at R and X rated films. These preferences are in spite of parental or authority approval and are somewhat communal among the

students. ^

In a much more extensive study of comic hooks and their readers,

Frederic Wertham presents several items that are directly related to this p writer’s work. First, he discovered that love comics were read mostly hy adolescent and pre-adolescent girls. This fact corresponds favorably with the photograph preferences in this writer's study. Second, in analyzing the crime or violence in comic hooks, he found that from 1944-

54 the percentage of comic hooks devoted to crime rose from 10 per cent to over 60 per cent. These were comic hooks that depicted crime whether the setting was urban, Western, science fiction, the jungle, adventure,

or the realm was of supermen, horror, or the supernatural. His conern was that because of the increasing exposure to the crime and violence, the readers would become desensitized to the horror images. This same

concern is expressed hy others, including the writer, in terms of the effects of the violence portrayed in both films and television programs.

Third, Wertham suggests strongly that there is a direct link between the effects of comic hooks on readers and the effects of the media on viewers.

In one sense, the link can he explained in that the plethora of crime shows currently on television is the result of a conditioning process.

Children, because of comic hook reading, expect crime on television. In

■^Thomas Thompson, "Film Ratings Flunk Out," Life. Vol. 71, August 20, 1971, P. 56. 2 Frederic Wertham, Seduction of the Innocent. 11 another sense, the media, especially television, foster a passivity and a low order of literacy in the viewers, just as comic books do for the readers. These ideas support the writer's stance for a continuing study of the content, the effects, and the problems of the media.

Though one may be tempted to discount the current importance of these last two studies since they were conducted over twentyyears ago, it would be foolish to do so. In spite of both a decline incomic book circulation because of an attempt to curb objectionable ones and the time influence of television, as recently as 1970, Dwight Burton discovered a preponderance of comic book reading among secondary school students.’*'

His survey of students in several schools revealed that 75 per cent of the junior high students and 53 V eT cent of the senior high students read comic books.

In a study of children's reactions to pictures, 2 French found an increase in the preference for complexity within the pictures as the children moved from six to eleven years old. Sex had no effect at all on preference. At the same time, Rudishill found that the preference for realism in pictures increased with age. These findings are supportive of those mentioned above in relation to comic books; however, they do not entirely support the writer's study. What they may suggest is that prior to adolescence, age is a significant factor; whereas, during adolescence, sex and socio-economic status are more influential. - Dwight Burton, Literature Study in the High Schools, p. 240. ^Robert M. W, Travers and Victor Alvarado, "The Design of Pictures for Teaching Children in Elementary School," Audio-Visual Communication Review. V, 18, No. 1, Spring, 1970, pp. 47-64. 12

Adolescent reading interest surveys point to two major issues: the wide variety of titles chosen suggests that many different kinds of students read many different kinds of hooks so that it can he dangerous to stereotype interests; and reading interests have changed very little over the last sixty years.^ In general, younger adolescent males prefer adventure, war, and travel stories; whereas, younger adolescent females prefer love stories or stories ahout women. In a very recent survey of junior high school students* reading interests, Burton found also that females chose themes of romance and humor, while males more often chose 2 themes of space travel, superheroes, the fantastic, and humor. The writer's study supports the ahove information as it relates to adolescent photograph, film, and television program preferences.

In a study similar to the writer's, though not nearly so extensive or detailed, William T, Ojala and Marda McNeill surveyed secondary school students in three different schools in Arizona. One of the schools was a senior high; two were junior high. Two were public; one, private. As in the case of the writer, the authors wished to document specific titles of currently popular works so that the English classroom could he a more meaningful experience in the lives of the students.

Similar, too, was the open-ended questionnaire which asked for preferences in movies, television programs, heroes, magazines, novels, and other kinds of hooks. The authors found that in each of the categories, there we,-j

^Ken Donelson, ed., Arizona English Bulletin: Adolescent Literature. Adolescent Reading and the English Class, Vol. 14, No. 3i April, 1972, pp. 127, 117. 2 Burton, Literature Studies in the High Schools, p. 241. 3 William T. Ojala and Marda McNeill, "A Survey of Adolescent Interests in Three Schools," in Arizona English Bulletin: Adolescent Literature. Adolescent Reading and the English Class. Vol. 14, No. 3i April, 1972, pp. 96-108. 13 an area of mutual interest among the students as a whole, and that "beyond that area, there was considerable variety of student preference. This information is strongly supported by the writer's study.

Many of the same film titles and television programs appear in both this study and the writer's. The authors' analysis of the results is of a more general nature; there is little attempt to assess the effects of sex, age, and socio-economic status on the students' preferences; however, many of the implications of their results are supported by the writer's study. For example, in the area of movies, an R rated film was, over-all, the most popular; the theme of love received more response from the female students; and the comedy film and the horror film re­ ceived more response from the junior high students. In the area of television programs, science fiction or mystery was very popular; and younger students appeared to watch more television than did other students.

Of significance also were the responses to the novels section of the questionnaire. First of all, a considerable percentage of the par­ ticipants either left that section blank or responded with "Don't read much," or "Don't like to read," and so on. Many of those who did respond listed titles which originally were movies or television programs and have since been printed as books. This situation stresses the impact of the visual culture on the lives of secondary school students and lends more importance to the writer's own study. The novels section supported the continuing adolescent interest in the mystery story as a particular type, an interest that emerges in the writer's study also. 14

In 1933 the Payne Fund studies were completed,^ These studies firmly established the influence of motion pictures on viewers, especially children. The studies focused on two general areas: both attendance at motion pictures and the content of motion pictures; and the effects of attendance on such things as amount and types of knowledge gained, sexual conduct, attitudes, health, emotions, and standards of American life. With this general influence already established, the writer's study illustrates the specific motion pictures that exert that influence.

As yet, any comments about the long-range effects of motion picture attendance are conjecture. One of the authors involved in the Payne

Fund studies, Herbert Blumer, specified as safeguards for the validity of personal reporting the following items: anonymity for the participants; the full and honest co-operation of the participants; and a check for internal consistency through a mass of participants. These same safe­ guards apply to the writer's study.

In terms of motion picture attendance, Edgar Dale, another of the authors involved in the Payne Fund studies, found that although approxi­ mately 60 per cent of the audience was over twenty-one years old, almost the entire remaining 40 per cent was of adolescent age. Between the ages of eight and nineteen, individuals attended motion pictures on the average of once a week. At all ages, males attended more films than ( _ W, W. Charters, Motion Pictures and Youth: A Summary. The Payne Fund supplied the grant for the study. The investigators subsequently became known as the Committee on Educational Research of The Payne Fund. The above volume summarizes all of the studies; in addition, each study is presented in a separate volume, 2 Edgar Dale, Children's Attendance at Motion Pictures. 15 did. females. Today, the percentage of adolescents attending films is

slightly higher. The writer's study indicates another possible change -

females may he attending more films than males.

In his analysis of the content of 1500 motion pictures produced

over a ten year periodDale found the themes of love, of crime, and of

sex to comprise well over half of the total films; the remaining films

dealt with themes such as comedy, mystery, war, children, history, travel,

and social propaganda. Although the writer did not analyze films pro­

duced hut, instead, films preferred, the same themes predominate. The

question is, of course, whether these filmic themes are produced because

they are preferred or are preferred because that is all that is produced.

Dale's over-all conclusion on content was that the characters, problems, and settings in films were remote from the lives of the viewers, espec­

ially in terms of the emphasis on romantic love and on wealth and luxury.

The same over-all conclusion could be applied to many of the preferred films in the writer's study today.

As Dale specified, a study of the content of motion pictures deals only with possible effects. It can infer effects but cannot state them.

That type of data must be interpreted in the light of the other findings p of the Payne Fund studies, especially those that follow here, P. W,

Holaday and George D. Stoddard found that the amount of information , acquired from viewing a motion picture was very high; this amount in­ creased with age from eight years to sixteen years, regardless of the

^Edgar Dale, The Content of Motion Pictures. 2 Charters, Motion Pictures and Youth; A Summary. sex of the viewer. All children regarded as fact what was seen in the motion picture and exhibited an amazingly slow drop in the curve of for­ getting. In looking at motion pictures and the social attitudes of children, Ruth C. Peterson and L. L. Thurstone discovered that (l) the attitude of a child toward a social value could be measurably changed by one e:xposure to a picture; (2) the effect of pictures on attitude was cumulative; and (3) shifts in attitude caused by pictures had substan­ tial permanence. W. S. Dysinger and Christian A. Ruckmick reported that although there were, of course, individual differences in children, in general, danger scenes in motioi pictures had the greatest effect on the six to twelve year olds; erotic scenes, on the thirteen to eighteen year olds. There was no sex difference in reaction to love scenes. Herbert

Blumer found that the "emotional possession" of a child at a motion pic­ ture was very high, with the "authority of the screen" established through the concrete action and setting, the dramatic forms, and the attractiveness of the films. Both of the latter two studies established the wide range of influence of motion pictures and the need for viewers to develop both adult discount (the realization of the unreality of the drama) and emotion detachment in order to combat that influence. All of the aforementioned results emphasize the total impact of the visual realm and reaffirm the importance of the writer's own study. i

Statistics presented in the compilation of research studies in

Action for Children's Television show that now over 95 per cent of the homes in the United States have at least one television set, and many have two.^ Between the ages of six and sixteen, a child spends an average

•^Evelyn Sarson, Ed., Action for Children's Television. 17 of 22-25 hours a week watching television. Junior high students watch more television than senior high students. In an average year, the adolescent spends 980 hours in school and 13^0 watching television. By the time of graduation, that child will have spent 11-12,000 hours in class but over 22,000 hours watching television. In the next decade, each child will watch approximately 15,000 hours of television. By the age of 14, a child has seen the violent assault or destruction of at least 18,000 human beings. Although length of time in front of a tele­ vision set does not prove an effect, the question iss if there are effects, what are they; if not, what can be done about the phenomenal waste of time?

As pointedout in the above work, television has usurped the roles of both the family and the school in the lives of children. There seems to be a paradox between what adults want to teach children and what they present to them on television, e.g., the relative position of violence in people’s lives. In order to eliminate that inconsistency, teachers can and should be instrumental in developing ways to use television sensibly and profitably. In order to accomplish this task, they must know more about the relationship between children and television, hence, the specific details of the writer’s study.

Although there needs to be still more research conducted on the \ effects of television, John Condry points out that the depiction of violence on television is a direct distortion of reality and may produce long-range effects on attitudes and values that are more harmful to society than short-range aggressive behavior. He feels that human beings are becoming not so much a violent people as a people tolerant of vio­ 18 lence, a situation considerably more dangerous. The writer's study corroborates the significant amount of television violence seen by stu­ dent viewers.

In his study of adolescents and television advertisements, Scott

Ward found that socio-economic status had the greatest effect on atti­ tudes toward advertising, followed by the factor of age. These results, as well as the format of his study (109^ adolescents, open-ended ques­ tionnaire, and results stated in percentage of total sample), correspond positively to the writer's study.

In another collection of research studies centered around the re­ lationship between children and television,'1' Paul Witty found that high school students watch on the average of over fourteen hours of television a week. This number increases to twenty for adults in general, but de­ clines to twelve for teachers. This differentiation between students and teachers is heightened further by his study of the specific television programs preferred. In the early 1950's, he established the fact that the program preferences of high school students were different from those of teachers, with the former group selecting Arthur Godfrey. I

Love Lucy. Dragnet. The Colgate Comedy Hour, and Red Buttons and the latter group selecting What's My Line?. Meet the Press. Omnibus. and Mr.

Peepers. As can be seen, there is little similarity of type of program, as well as no similarity in specific progams. This same situation exists within the results of the writer's study which was conducted twenty years after Witty's.

"'‘Sylvia Sunderlin, Assoc. Ed., Association for Childhood Education International, Children and TV: Television's Impact on the Child. 19 In that same collection, both Erna Christensen and Ralph Garry discuss the issues of fantasy versus reality and of violence, Erna

Christensen found that when given the freedom to choose, children select fantasy over reality on television. Yet, this situation is potentially dangerous because of the high credibility of television for its viewers.

Ralph Garry, among many others, is concerned about the impact of tele­ vision, especially in terms of both the amount and the nature of vio­ lence. He discovered that heavy viewers appear to be less sensitive to violence and misery in programs than are light viewers. These are also concerns of this writer and appear as issues in her study.

Josette Prank found that television viewers read far fewer comic books and adventure magazines than non-viewers, but read more newspapers and non-fiction.'*' This information supports that mentioned above in relation to comic book reading and points to the increased importance of documenting both interests of students and effects of interests, espec­ ially as it relates to the focus of the writer's study - the English classroom.

In what is probably the definitive study to date of the role of television in the United States, the authors of Television in the Lives 2 of Our Children found that children between the ages of ten and fourteen watched an average of three hours of television each weekday and four on the week-end. These times were reduced by an hour for adolescents between the ages of fifteen and eighteen. The types of programs pre-

■*"Josette Frank, Children and TV. 2 Schramm, Lyle, and Parker, Television in the Lives of Our Children. 20

ferred by these secondary school students were crime shows, situation

comedies, musical varieties, science fiction, and westerns. Beyond an

area of common interest, some differences did exist between the prefer­

ences of males and of females. These findings are supported in greater

detail by the writer's study.

Of primary concern to the authors was the relationship between tele­

vision viewing and reading, They found that television seemed to be

taking over many of the services previously performed for children by

comic books, radio, and escape magazines. They felt that the chief part

television played in the lives of children was that of stimulating

fantasy-seeking and fantasy behavior. In relation to this element of

fantasy as opposed to reality, they found that sex had little influence

on preference; however, age and socio-economic status did. Generally,

as students' age increased,'so did the proportion of the reality group

to the fantasy group. More importantly, as the students' socio-economic

status was increased, so also was the reality group, with the lower

socio-economic students remaining in the fantasy group regardless of age.

The writer's study supports the important influence of socio-economic

status, especially of the lower group. In all, the authors corroborate this writer's position that socio-economic status, age, and sex are the chief variables in a child's life which help predict what use he or she I will make of television.

In his study of children's television preferences, M. V. Seagoe established the fact that lower socio-economic status is positively related to the amount of television viewing.^ This information is

^M. V. Seagoe, "Children's Television Habits and Preferences," Quarterly Film. Radio, and Television. VI, 1952, pp. 143-52. 21

supported by the writer's study, especially in terms of both specific

television programs and specific films preferred. Socio-economic status

is a more influential factor than either age or sex.

Defining violence as "the overt expression of physical force against

others or self, or the compelling of action against one's will on pain

of being hurt or killed," the Surgeon General's Scientific Advisory

Committee on Television and Social Behavior reported that the viewing of

this violence on film or on television by children or adults increased

the likelihood of subsequent aggressive behavior.'*' The committee based

its report on a great deal of research and experimentation and suggested

that further research be conducted so that more specific effects of tele­

vised violence could be documented. It also presented evidence that a

correlation existed between the amount of violence on television and the

yearly ratings of those programs which contained elements of violence.

This writer's study confirms the watching of violence on television by

adolescents and re-inforces the need for more study surrounding the

effects of that violence.

There is, of course, other literature that is related to this study;

however, these selections have been chosen by the writer to stand as representatives of the total field. It can be seen from the content of

these selections that the visual culture is indeed a significant part of the lives of adolescents, that there is widespread concern about the effects of that visual element, and, finally, that adolescents demon­ strate specific preferences in their relationship to the visual culture,

■^Unites States Public Health Service, Television and Growing Up: The Impact of Televised Violence. Definition of Terms

Throughout the following study, the writer employs various terms

that should be defined for the reader. As Edgar Dale points out in re­

lation to his own research, there is a need for a usable definition of

terms. If other individuals understand and can thus use the definitions,

they will find similar or comparable results in their own research.^ If

there are, in fact, individuals interested in replicating this writer's

work, they must have a clear understanding and a firm grasp of the total

framework of the study.

Over-all, the writer conducted two different survey. The first,

the pilot survey, occurred in January, 1972, and was an initial explora­

tion of both secondary school students' and teachers' preferences of

photographs, films, and television programs. The second, the study

survey, occurred in May, 1972, and was both a refinement and an extension

of the first survey.

The participants in the surveys are classified as either students or

teachers. In both surveys, students are defined as secondary school

English students enrolled in public schools in the greater Columbus,

Ohio, area. In the pilot survey, they needed only to be enrolled in a given class, whereas, in the study survey, they had to be present in

class on the day the survey was conducted. In the pilot survey, teachers are defined as either secondary school English student teachers from the

Ohio State University in Columbus, Ohio, or expereinced secondary school

English teachers assigned to public schools in the greater Columbus,

Ohio, area. In the study survey, this definition is expanded to include

"4)ale, The Content of Motion Pictures, p. 12, 23 prospective teachers enrolled in English education courses, Teaching

Assistants and faculty in English education - all at The Ohio State

University in Columbus, Ohio,

Each participant classification is categorized according to sex,

age, and socio-economic status; each category is further divided into

groups. The category of sex contains two groups: male and female.

Every participant was asked to indicate on the survey form his or her

sex and was grouped accordingly.

The category of age also contains two groups: .junior high and

senior high. The junior high group includes the secondary school grade

levels of seven through nine; the senior high group, ten through twelve.

Students are grouped according to the particular grade level achieved in

English at the time of each of the surveys. Each teacher's group is

determined by the specific grade level assignment of the teacher.

The category of socio-economic status pertains to the communities

in which the various public schools are located. These communities in

the greater Columbus, Ohio, area are classified by both median income and

average number of years of school for adults over the age of twenty-five.^

There are two groups: the lower socio-economic, and the higher socio­

economic. The median incomes of the lower socio-economic schools/

communities average at $7709, below the national average income for 19/L

at $10,296; 10.4 years of school represents the average schooling for

adults over twenty-five, less than a high school diploma. Of the higher I U. S., Department of Commerce, Bureau of the Census, United States Census of Population and Housing: 1970. Columbus, Ohio. ^The Columbus Citizen-Journal. July 11, 1973, P« 7, 2k socio-economic schools/communities, the median incomes average at

$12,772, proportionally above the national average; 12.8 is the average number of years of school, more than a high school diploma. The schools located in the lower socio-economic communities are Barrett Jr. H,,

Buckeye Jr. H,, Central H. S., and South H. S. Those in the higher socio-economic communities are Blendon Jr. H,, Walnut Springs Jr. H.,

Dublin H. S., Walnut Ridge H. S., and Reynoldsburg H. S. Students are grouped according to the school attended; teachers, to the school teaching assignment.

A photograph is defined somewhat differently in each of the two surveys. In the pilot survey, a photograph was a half-tone from a magazine, a newspaper, a book, or a snapshot; in black and white or in color; of any size; and submitted by the participants. In the study survey, a photograph was a color half-tone from a magazine; fairly uni­ form in size to the other photographs; mounted on a 10" x 16" poster board; and presented by the writer.

In both surveys, a movie is defined as any feature-length film, in black and white or in color, either theatrical or made-for-television.

The dates assigned to particular films represent the production dates.

The ratings of theatrical films are those assigned to the films by the

Motion Picture Association of America (MPAA),^ Begun in 1968, at the time of the surveys, the rating system consisted of the following code:

G, General Audiences. All ages admitted; PG, Parental Guidance Suggested.

Some material may not be suitable for pre-teenagers; R, Restricted.

■^Thompson, "Film Ratings Flunk Out." pp. 52-57• Under 17 requires accompanying parent or adult guardian; X, Under 17 not admitted; and U, Unrated. Film issued prior to MPAA rating system. The rating PG was formerly GP (the largest category - containing 37 per cent of all films rated) but that code proved to be confusing; individuals thought it meant General Public, or General Patronage, The rating GP had replaced M, Mature Audiences when that code proved to be inadequate.

In this study, the code NA indicates that a rating was not available.

Since the surveys, a Supreme Court decision has been handed down which assigns to local communities the responsibility of film attendance restrictions. This situation repeats that of Charles Peters in his content analysis of 142 films over forty years ago.'*' At that time, he defined "good" as that congruent with, and "bad" as that in conflict with the mores of particular individuals or groups of individuals. At any rate, the ratings indicated for the films in the study are those that were in existence at that time.

For both the pilot survey and the study survey, a television •program is defined as any program of any duration, live or taped, on national or public network, and shown daily, weekly, bi-monthly or on special occa­ sions, except for theatrical films shown on television or films made especially for television. For purposes of discussion and analysis, the writer has classified the television programs according to type of show.

The types of shows and their definitions follow. A children's show can be entertaining, educational, or both. Its content and characters are designed especially for children's interest up to approximately twelve

■^Charters, Motion Pictures and Youth: A Summary, p. 51* years of age, A comedy variety show consists primarily of music, comic skits, and other performances by the star of the show and the special guests, A game show presents some form of a contest situation, with winners and prizes, A news/documentary show is a factual presentation of contemporary affairs, essays, and analytical discussion of issues. A police show dramatizes members of the police profession or the police force as a whole as the central characters. Each situation, whether fictional or real, revolves around these characters. In the private eye show. the central figure, or figures, is a private investigator who pursues the solution to some fictional problem. The professional show revolves around those individuals who are pursuing a vocation which re­ quires extended academic training, such as law, education, and medicine.

The science fiction show deals with the future, space, the occult, the supernatural, or the bizarre. It concentrates on achieving an intense emotional commitment from its audience. The situation comedy is a light, humorous diow revolving around the lives of a certain group of people or types of people. The sports show presents current or past sporting events. The soap opera involves sequential, highly contrived, episodes in the lives of numerous individuals. These are almost all morning or afternoon programs. The talk show consists of a constant moderator and a series of guests whose dialogue or monologue is presented for television listening. The western is typed because of the setting of the show, not because of a particular time period in history. The characters are pre­ sented in their relationship to that setting.

The terms listed above represent, then, those items that the writer feels must be understood by the reader. By clarifying the definitions of those terms, the writer hopes to lend greater significance to her work as it relates to the experiences of English teachers and secondary school English students. CHAPTER II

DESIGN OF THE STUDY

Both the pilot survey and the study survey have general aspects

that are similar. The purpose of each is to define to some extent the photograph, the movie, and the television program preferences of both

secondary school students and teachers. In addition, each should reveal

some information about the relationship between the teachers' and the

students' preferences and about the effects of sex, age, and socio­ economic status on the students' preferences. Both surveys represent a convenience sampling in that the writer identified and used classes while she was a Teaching Assistant in English education at The Ohio State

University in Columbus, Ohio. This position provided a random contact with secondary school English students, experienced public school

English teachers, student teachers in English, college students in

English education courses, other Teaching Assistants in English education, and faculty members in the College of Education. The various public schools involved, all from the greater Columbus,. Ohio, area, included junior high and senior high schools which were located in lower socio- I economic and in higher socio-economic communities. Each survey took place in the classroom with the participants recording their responses on a form that was provided. The results of both surveys were hand tab­ ulated and then presented in listings or in tables.

There are several differences between the pilot survey and the 28 29 study survey. The subsequent changes in the study result from the total

findings and experiences during the pilot.

1. The Pilot

The pilot survey began as an individual project for the writer who

was enrolled in a seminar on "The Sociology of Film." Using both her

interest in the English classroom and her position as a Teaching Assis­

tant at The Ohio State University in Columbus, Ohio, the writer decided

to survey the photograph, the movie, and the television program prefer­

ences of secondary school students and teachers. She expected that such

a survey would make some comment about the relationship between the

students' and the teachers' preferences and about the possible effects

of sex, age, and socio-economic status on the students' preferences.

The pilot survey was random sample in that both the schools and

students and teachers within the schools were selected from the entire

greater Columbus, Ohio, area. In the following descriptions of the five

different schools involved, it should be noted that there are both junior

high and high schools located in both higher and lower socio-economic

communities (Above, p. 23). Blendon Junior High School and Walnut

Springs Junior High School are located in Westerville, Ohio, a suburban

community bordering the Columbus city district. Both schools contain

grades seven through nine. The school population of each is almost en­

tirely white and comes from the higher socio-economic background. Buck­

eye Junior High School is part of the Columbus Public School System but is located in the outskirts rather than in the middle of the city. It,

too, contains grades seven through nine. The students are white and come from a highly transient background which contributes to and is affected by their lover socio-economic status. Central High School is also part of the Columbus Public School System; its location is in the very center of the city. There are a few students in grade nine but most are in grades ten through twelve. About three-fifths of the school population is black; all of the students come from the lower socio­ economic background. Dublin High School is located in Dublin, Ohio, another suburban community bordering Columbus, Ohio. The student popu­ lation, in grades ten through twelve, is predominately white and belongs to the higher socio-economic status.

The pilot survey was also a convenience sample because the partici­ pants were those secondary school English students, public school English teachers, and student teachers in English who were assigned to the writer through her position as student teaching supervisor. The following tables specify the apportionment of both students and teachers by schools and by sex, age, and socio-economic status of the communities. For teachers, age and socio-economic status refer to the grade level taught and to the location of the school. TABLE 1 NUMBER OF PARTICIPANTS, IN THE PILOT SURVEY, BY SCHOOL Students Teachers Blendon Jr. H. 54 1 Walnut Springs Jr. H. 44 4 Buckeye Jr. H. 95 3 Dublin H. S. 60 1 Central H. S. 226 10 Total 479 19

It can be seen from these figures that there was a fairly equal repre­ sentation of both groups in each student category of sex, age, and socio-economic status. Unfortunately, the number of teacher participants 31 TABLE 2 NUMBER OF PARTICIPANTS IN THE PILOT SURVEY,' BY SEX, AGE, AND SOCIO-ECONOMIC STATUS OF COMMUNITY

Students Teachers Male 262 3 Female 217 16 Junior High 220 8 Senior High 259 11 lower Socio-economic 321 13 ligher Socio-economic 158 6 '

was not significant enough to validate much discussion.

The initial step in conducting the pilot survey itself involved an

explanatory letter delivered personally to each of the sixteen student

teachers during the week of January 2A, 1972 (Appendix I). The letter was chosen as the means of communication because of two factors: the

need to relay the information quickly, and the difficulty of setting up

an immediate additional group meeting. The letter briefly referred to

the purpose of the survey; then it instructed the student teachers about

the procedure to be followed. On Monday, January 31, 1972, they asked

the students in all of their classes to look at photographs (in news­ papers, in magazines, snapshots, etc.) during that week with the idea of bringing in to class on Thursday or Friday two or three that they really liked. If need be, the photographs could be returned once the results of the pilot were tabulated. On that Thursday or Friday, the student

teachers were to distribute the survey forms for the students to fill out. In addition, each student teacher and co-operating teacher was to participate in the same way as the students. Both the forms and the photographs were to be collected and delivered to the writer according

to the arrangements specified in the letter. 32 In the packet along with the letter were the survey forms (Appendix

II). Prior to delivery of the packets, each student teacher was contact­ ed by phone in order to determine the number of forms needed. A second phone call was to be made somewhat later to corroborate the number of students officially enrolled in each of the classes participating in the pilot survey. On being given the form, each participant was to indicate the school attended, the subject of the class involved in the survey (for all participants, it was English), and his/her grade level, age, and sex. Individual names were not needed. This information was to be used both in separating the students from the teachers and in categorizing the students according to sex, age, and socio-economic status of commun­ ities. Then the participants individually listed the titles of movies they had seen and liked and of television programs they liked to watch.

As was mentioned in the letter to the student teachers, theatrical movie titles were preferred, but television movie titles were acceptable.

Also, the participants were free to list any number of both movie and television program titles.

On February /+, 1972, the packets were to be collected by the writer from each of the student teacher representatives from each of the schools involved. The next step was to record in some way the informa­ tion received. One tabulation form included such categories as school, sex, and grade level for students and teachers (Appendix III)• This form was used to record the total enrollment of the various groups of students and of teachers, the participants in each of these groups, and the number of photographs submitted by these same groups. The writer's intention was to use the form also in tabulating each individual movie 33 and television program title; however, there was not sufficient time to

complete an analysis that detailed. Instead, an alphabetized list was

compiled for each group of titles and the number of corresponding re­

sponses recorded (Appendices V and VIII). In addition, those movie and

television program titles most often mentioned by students and by

teachers were ranked for comparison (Appendices VI, VII, IX and X).

A form similar to the one above was used to collate all the informa­

tion on each school (Appendix IV). Included in this information were

the following: the total student enrollment by grade level and the

total teachers assigned to those students; the total number and the

percentage of student participants by grade level and of teachers; the

total number and the percentage of students submitting photographs by

grade level, as well as the total and the average number of photographs

per student by grade level, and the corresponding figures for teachers;

the total and the average number of movies mentioned by students by

grade level and those mentioned by teachers; and the total and the

average number of television programs mentioned by students by grade

level and those mentioned by teachers. Student comparisons according

to sex, age, and socio-economic status could be made from this collation,

as well as student and teacher comparisons. J Before sharing the results of the pilot survey with the seminar from which the survey emanated, the writer presented the results to

those student teachers involved on March 8, 1972. The expectation was

that the student teachers would contribute to the total effect of the pilot survey by reacting to the results, by commenting, explaining, and questioning. These reactions could then be incorporated into the total presentation of the pilot survey.

2. The Study

Before the study survey could be conducted, it was necessary to

look closely at all of the aspects of the pilot: the administering of

the survey, the participants, the forms used, and the results. At the

same time, it was important to consider which aspects of the pilot

needed to be changed in order to insure that the study survey be more

concise and yield the desired information. The following paragraphs

specify those changes that the writer felt were desirable and necessary.

One change concerned the preparation of the student teachers for

the survey. Instead of relaying this information via letter as in the

pilot, the writer personally explained the procedures to be followed.

This explanation was given to all of the student teachers at the same

time rather than individually and at varied times. There were several

advantages within this change. The personal presentation provided a more immediate and intense contact for both the writer and the student

teachers. It also stressed the importance of the total experience of

the survey. In conjunction with these last statements, a sense of group

solidarity arose from this information session which had positive effects

on the total administering and workings of the study survey. Another

advantage in this change was that with the existence of both verbal 1

instructions and the possibility of immediate questioning, there was less chance for misinterpretation on the part of the student teachers.

Also, the number of varied influences related to the instructions was reduced by the fact that the explanation and the instructions were given once and to all involved. Another change was that the writer administered the survey herself to all of the participants instead of having each individual student teacher do it. This change was desirable in that the variety in the actual administering of the survey was considerably less. With one person responsible for conducting the survey, there could be a reasonable degree of similarity in procedures, in instructions to participants, in time allotments, in responses to questions, and in the total atmosphere of the survey. These similarities, in turn, lent more significance to the results. Also, the survey forms were collected immediately so that only those individuals present at the time and exposed to the same pro­ cedure could participate.

There was an increase in the number of participants from the pilot survey to the study survey. More student participants were needed in order to lend firmer support to any findings in terms of the effects of sex, age, and socio-economic status on student photograph, movie, and television program preferences. Certainly more teacher participants were needed if there were to be any comments at all on the extent and the nature of common photograph, movie, and television program prefer­ ences beWeen students and teachers. Engaging more student participants was just a matter of visiting more secondary school classrooms. It was somewhat more difficult to procure teacher participants. To meet thi!s need, the writer tapped some sources additional to those of her own

English student teachers and public school co-operating teachers: namely, all other current English student teachers at The Ohio State

University; their co-operating teachers; prospective English student teachers enrolled in English education courses at The Ohio State Univ- 36

ersity; public school English teachers enrolled in a graduate level

education course at The Ohio State University; Teaching Assistants in

English education at The Ohio State University; and faculty in English

education at The Ohio State University.

The survey form for the study (Appendix XI) was different from the

one for the pilot (Appendix II). Although each asked for the same infor­

mation about the participant (school, subject, grade, age, and sex), the

study questionnaire was more formal in appearance because it used mostly

capital letters. The provision of lines for the participants' responses

increased that formality which, in turn, tended to create an atmosphere

of added importance for the study.

The section of the form in which the participants responded to the

area of movies was changed in several ways. First of all, each partici­

pant was asked to distinguish between theatrical films and television

films according to the original viewing of the films. The information

yielded by this classification allowed for comments about the preferred

source of films, the most common source of films, and the participants'

abilities to make distinctions between the two sources or to remember

the original sources. As well, the information would provide for a

clearer classification system of all the films mentioned. Secondly,

the phrase "have seen" in the pilot survey form was changed to "have '

ever seen" in the study survey form. The addition of "ever" implied a

consideration of a longer time span and so would encourage each partici­ pant to reflect on his/her total film experience. If those films

selected were consistently current films, then possibly some comments

could be made about the effect of immediacy on film preference. Thirdly, the word "like" in the pilot was deleted; the word "best" was included

in the study. This word change should have forced each participant to be more selective in his/her choices so that those films listed did, in

fact, represent a hierarchy of values for each participant. If such was

the case, then those films mentioned would truly indicate both student

and teacher preferences. Finally, in the study, each partici.pant was limited to ten movie responses instead of being allowed unlimited re­

sponse, as in the pilot. Again, this limitation should result in a more accurate reflection of the participants' preferences. It should also aid in the tabulation of the responses in that there may be fewer titles on each form and in the over-all list.

The second section of the survey form, that for television program responses, was also different from the one in the pilot. The phrase

"television programs" in the pilot was changed to "the most frequent programs" in the study. The attempt here was to pinpoint those programs that were consistently viewed, making the assumption that regular view­ ing probably indicated preferred viewing. The phrase "I like to watch" in the pilot was changed to "I choose to watch" in the study. The use of "choose" and the underlining of "I" should have stressed for the participant the importance of personal choice. These changes would help eliminate listing programs preferred by other members of the household who may, at times, control the television set. The combination of the two aforementioned changes implied the establishment of priorities and so would lead participants to be selective in their responses. Also, the participants were limited to ten television program responses in the study; there was no limit to the response in the pilot. As in the movie 38 section, this limitation should stress for the participants the import­ ance of selectivity and should make the tabulation of the responses a bit easier.

Unlike the pilot, the survey form had a third section that was for the photograph selections of the participants. Because of the diffi­ culties of the pilot survey in getting the participants to submit photo­ graphs and in organizing in some fashion those photographs that were submitted, the study survey instead supplied a set of photographs from which the participants selected their preferences. This procedure allowed the writer more control; consequently, more information could be revealed about both student and teacher preferences. In the photograph section, each participant was instructed to list five preferences, rank­ ing them from first to fifth position. This type of listing should reveal not only selectivity of photographs but also priority of prefer­ ences.

The tabulation form for the study survey (Appendix XIIl) was diff­ erent from that of the pilot survey (Appendix III) in both use and struc­ ture. In terms of use, in the tabulation of the study, each theatrical movie title, each television movie title, and each television program was listed on a separate form. Having this individual form for each title provided for much more detailed information than that of the pilot.

There were several structural changes. One was the breakdown of each grade level into male or female instead of having only the grade level and only the sex, as in the pilot. Another was the classifying of all teachers according to sex with no distinction being made between student teachers and experienced teachers, as was the case in the pilot. In the 39 listing of the schools on the form, they were grouped first of all by age; within each age group, the higher socio-economic schools were first and the lower socio-economic schools were last. This socio-economic structuring did not occur on the pilot tabulation form. All of these structural changes should yield a greater amount of and more specific information on movie and television program preferences.

The final change from the pilot survey to the study survey was the existence in the study of a record of photograph preferences. The record was possible because of the controlled set of photographs shown to each of the participants and was necessary before any valid comments could be made about both students' and teachers' preferences. The first form that the record took was that of a listing of the number and the percentage of both the first place votes and the over-ali. votes for each photograph by students, by teachers, by male students, by female students, by junior high students, by senior high students, by higher socio-economic students and by lower socio-economic students (Appendix XIV). The second form was that of a vertical bar graph which charts both students' and teach­ ers' photograph preferences (Appendix XV and XVl).

The study survey, then, was both an improvement on and an extension of the pilot survey. It incorporated the changes mentioned above but continued to pursue information about the photograph, the movie, and ihe television program preferences of students and of teachers; namely, the possible effects of sex, age, and socio-economic status on the students' preferences and the relationship between the students' and the teachers' preferences.

Like the pilot survey, the study survey was a random sample. The 40

public school participants were all from the greater Columbus, Ohio,

area. The college participants were from various classes visited by the

writer at The Ohio State University in Columbus, Ohio. The following

descriptions of the six different public schools involved in the study

indicates that there were both junior high and high schools located in

both higher and lower socio-economic communities. Blendon Junior High

School and Walnut Springs Junior High School in Westerville, Ohio, are

two schools used also in the pilot survey. Westerville, Ohio, a suburb

of Columbus, Ohio, is a higher socio-economic community. In each of the

schools, grades seven through nine, the school population is almost en­

tirely white. Barrett Junior High School, part of the Columbus Public

School System, is located near the center of the city in a lower socio­

economic community. Approximately one third of the students in grades

seven through nine are black. Reynoldsburg High School is located in

Reynoldsburg, Ohio, a higher socio-economic community which borders the

city of Columbus. In grades nine through twelve, the student population

is almost entirely white. Walnut Ridge High School belongs to the Col­ umbus Public School System. It is located near the outer boundaries of the district in a higher socio-economic community. Predominantly white,

the student population exists in grades ten through twelve. South High

School is also part of the Columbus Public School System but is situated near the center of the city in a lower socio-economic community. In fact, students from Barrett Junior High School transfer to South High

School after completing the ninth grade. About forty per cent of the student body, grades ten through twelve, is black.

Again as in the pilot survey, the study survey was a convenience 41 sample. All of the participants represent individuals who were immed­ iately accessible to the writer through her position as Teaching Assis­ tant in English education at The Ohio State University in Columbus, Ohio.

They included secondary school English students, public school English teachers, student teachers in English, undergraduate and graduate college students in English education courses, Teaching Assistants in

English education, and college faculty in English education. Those par­ ticipants not currently involved in a public school situation were assigned to a particular school and a certain grade level according to each one's desired public school teaching situation. The following tables indicate the number of student and of teacher participants accord­ ing to schools and according to sex, age, and socio-economic status of communities. ■ TABLE 3 NUMBER OF PARTICIPANTS IN THE STUDY SURVEY, BY SCHOOL

Students Teachers Blendon Jr. H. 139 13 Walnut Springs Jr. H. 255 14 Barrett Jr. H. 94 20 Reynoldsburg H. S. 142 33 Walnut Ridge H. S. 97 31 South H . S . 136 20 Total £63 131 TABLE 4 NUMBER OF PARTICIPANTS IN THE STUDY SURVEY, BY SEX, AGE, AND SOCIO-ECONOMIC STATUS OF COMMUNITY

Students Teachers •I ale 369 33 Female 474 98 Junior High 489 47 Senior High 374 84 Lower Socio-economic 230 40 Higher Socio-economic 633 91 U 2 It is clear from these figures that the student sample was large and

fairly evenly distributed so that the factors of sex, age, and socio­

economic status could be considered. Also, the teacher sample was large

enough that it could be compared to the student sample.

The first phase of the study survey involved preparing those in­

dividuals who would be participants. On the dates specified, the writer

spoke to the following groups of people: on April 13, 1972, her own

student teachers in English; on April 1-4, 1972, the other Teaching Assistants in English education; on April 2-4, 1972, the participating faculty in English education. Several items were presented at each meeting. Eirst of all, the purpose of the survey was explained and everyone was asked to co-operate. The writer's student teachers in

English were asked to enlist the participation of the students in their classes and of their co-operating teachers, as well as participating themselves. The Teaching Assistants in English education were asked to engage in the survey their student teachers in English, the co-operating teachers of those student teachers, their students in English education courses, and themselves. The faculty in English education was asked to survey the students in English education courses and to participate themselves. Secondly, instructions were given about procedures to be followed prior to the survey. All potential participants were asked to think about their preferred movies and television programs and to be ready to list specific titles in both categories. Third, a schedule was established for the administering of the survey to each of the partici­ pating groups: on May 1, 1972, Walnut Springs Junior High School and an

English education course at The Ohio State University; on May 2, 1972, -43

Blendon Junior High School; on May 3, 1972, Reynoldsburg High School,

student teaching seminars of the Teaching Assistants in English educa­

tion, and English education courses; on May 4-> 1972, Walnut Ridge High

School; on May 5, 1972, Barrett Junior High School and South High School;.

on May 10, 1972, student teaching seminars of Teaching Assistants in

English education and English education courses.

The entire procedure lasted from fifteen to twenty minutes. The

first step was to distribute the forms for the survey (Appendix XI). The participants were instructed to supply the following information about

themselves: school, subject, grade, age, and sex. Personal names were

not needed. As with the pilot, this information was used to classify

the students according to sex, age, and socio-economic status and to

separate the students from the teachers.

Second, the participants were asked to complete the movie section

and the television section of the form. Theatrical movie was defined

for them as one that was seen in a theater of some kind and had an ad­ mission fee. Television movie was defined as one that originally was

either made-for-television or for theatrical distribution but which was

eventually shown on television. Each participant was asked to distin­

guish between these two types of movies according to the original view­ ing of the movie if that fact could be remembered. The participants were also told that they might list from zero to five responses for each movie type. A television program was defined for the participants as one that was watched because it was liked by the individual involved and not because the television happened to be on or because the rest of the family insisted. They were asked to list from zero to ten responses in LA the television section. They were also told to ignore the final section

of the form for the moment. As the participants completed the form, the

•writer answered those questions that arose.

The third step of the procedure concerned the photographs (Appendix

XII). As the participants listed their movie and television responses,

the writer set up the sixteen photographs along the front of the room

but facing the wall. Before the photographs were turned around, the

participants were given their instructions. They were asked to look

quickly at all the photographs, select the five preferred, rank those

five in order of preference, and put the numbers of those photographs on

the corresponding lines in the photograph section of the form. Again,

they could list from zero to five responses. If need be, they might move closer to the photographs in order to see each one clearly.

The sixteen photographs represented a selection based upon those

categories of photographs which seemed to emerge from the photographs

submitted during the pilot survey. Some of the photographs were ones

actually aubmitted during the pilot; others were selected by the writer

from various magazines. In Appendix XII, when the source of the photo­

graph is known, as in the latter case, it is footnoted; however, when

the source is unknown, as in the former, it is not possible to footnote.

Unfortunately, the writer neglected to ask the participants in the pilot

to document the photographs they submitted. In selecting the photographs,

the writer tried to choose those that conveyed a single impact or theme

and were of approximately the same size. Also, though the photographs

are in black and white in the Appendix for archival purposes, they were

all in color in the study survey itself. All of these aforementioned characteristics were intended to minimize extraneous influences on the

participants as they selected their preferences. Each photograph was dry

mounted on 10" by 16" poster board. A number from one to sixteen was

attached to each; however, there was no particular design or intent in

the sequence of the photographs. There were several problems with this

set of photographs. Some were less sharply defined visually than others

and so were a little more difficult to see. They were not all of the

same size. It was necessary to set one poster board horizontally, all

the others being vertical. As was mentioned earlier, the actual source

of each photograph is not known; however, they were all taken from maga­

zines current at that time. Finally, the writer's interpretation of a

photograph and thereby its selection may not have been the same inter­

pretation as that of the participants.

After approximately three minutes, the photographs were quickly

collected. Then the forms collected and the administering of the survey

was completed.

The information that was gathered on the survey forms was then

transferred by hand to a tabulation form (Appendix XIII). This form was used for each photograph as a first choice, each photograph as one of

five choices, each theatrical movie title, each television movie title,

and each television program. In this way, a complete breakdown could' be

given on each individual response in terms of the sex, the age, and the

socio-economic background of those who mentioned that response (Appen­ dices XIV, XVIII, XIX, and XX. This collation was used also to determine the particular rankings of photograph, of movie, and of television program responses in the student categories of sex, age, and socio-economic 4-6 status, as well as in the over-all student group and the teacher group.

The total study survey yielded some information that extended that derived from the pilot survey and some information that was new. It allowed for further comments about the effects of sex, age, and socio­ economic status on student preferences of photographs, of movies, and of television programs. It also permitted a discussion of the relationship between the students' and the teachers' preferences in these visual areas.

\ CHAPTER III

THE RESULTS OF THE PILOT

1. Participants

Included in the pilot survey are 498 participants in the greater

Columbus, Ohio, public schools, of whom 479 (96 per cent) are students and 19 (4 per cent) are student teachers and experienced teachers. A participant is defined as any individual who, at some time during the week of January J 1 , 1972, completed the pilot survey form in part or in total and returned it either to a teacher -or to the writer. This actual number of participants is in contrast to the potential number as repre­ sented by the enrollment, the official number of students and teachers assigned by the schools to each class surveyed. The percentage of parti­ cipation is based on the ratio of the number of participants to the offi­ cial enrollment. The following table illustrates the percentage of stu­ dent involvement categorized by age (Above, p.23) &nd 6y socio-economic status (Above, p.23). The figures for enrollment in terms of sex are not available (NA); thus that particular percentage is not known. I It would appear from Table 5 that socio-economic status has a great­ er effect on participation than does age. Before that idea can be veri­ fied, more information is needed about the students, the nature of the classes, the teachers, the schools, and the communities. It should be helpful to look at the percentage of student involvement in terms of 47 48 TABLE 5 PERCENTAGE OF STUDENT PARTICIPATION, BY AGE AND SOCIO-ECONOMIC STATUS OF COMMUNITY

Enrollment in Participants in Groups Surveyed Groups Surveyed . . % Male NA 262 NA Female NA 217 NA Junior High 284 220 77 Senior High 382 259 68 Lower Socio-economic 486 321 66 Higher Socio-economic 180 | 158 88 each of the five schools in the pilot. Table 5 indicates also that there is less participation from the lower socio-economic group than from the higher. TABLE 6 PERCENTAGE OF STUDENT PARTICIPATION, BY SCHOOL Enrollment in Participants in Glasses Surveyed Classes Surveyed* % Blendon Jr. H. 57 54 96.5 Walnut Springs Jr. H, 50 44 88 Buckeye Jr. H. 123 95 77 Dublin H. S. 73 60 82 Central H, S. 363 226 62

Table 6 adds strength to the idea that socio-economic status is a factor in terms of student participation. The two schools located in lower socio-economic communities, Buckeye Jr. H. and Central H. S., have lower percentages than the three schools located In higher socio-economic communities. In addition, Table 6 indicates that within each socio­ economic group, age may be a factor in that there is a lower percentage of participants in each of the two older groups.

There are some possible explanations for these percentages and what they seem to reveal. First of all, the general atmospheres within the classes surveyed and/or the schools as a whole are different. All of the participants from Blendon Jr. H. are in an Open Space classroom. Three times a day a different group of approximately 150 seventh graders comes into the large, open room for a two hour ‘block. There are five teachers in the room who are responsible for both English and social studies.

Because of the physical set-up, the materials available, and the methods used, a great deal of excitement and enthusiasm is generated. The ori­ ginal plan was to survey only one home base, but as other students found out what was going on, they asked if they, too, could participate. This kind of classroom situation would have a definite positive effect on participation. In comparison, the general atmosphere at Central H. S. is one of apathy which, in some cases, masks the underlying tensions in the school, especially racial. There is a very high absentee rate at the school, especially on Mondays and Fridays. This fact may have in­ fluenced the survey which was introduced on Monday; the forms were to be filled out and collected on Thursday or Friday. In addition, at the time of the survey, class attendance was not strictly enforced. There is also a less stable attendance at Buckeye Jr. H. In this case, it is a reflection of the transient nature of the community.

A second possible explanation is the differences in the actual hand­ ling of the survey by the student teachers. It is conceivable that al­ though they all received the same set of instructions, their interpreta­ tions, attitudes, and actions could all be different. For example, the student teachers at Walnut Springs Jr. H, turned the survey into a class project that received general attention all week and devoted attention on one whole day. In contrast, the student teachers at Dublin H. S. relayed the instructions once and then the students were on their own.

A third possible explanation involves the different pressures that 50 the students are experiencing. The students at Central H, S, are primary

examples. It is feasible that the students, in responding to the general

atmosphere of the school mentioned earlier, would refuse to participate

because of either a lack of interest or open defiance. Then, too, many

of these students have to work to help out their parents or to support

their own families since many are married, and some have children of

their own. Because of the working, they attend school less regularly

and are too burdened to take on extra assignments.

It is difficult to say just how much effect the aforementioned con­

ditions have on the percentage of participation, but their existence can­

not be' denied. It should be recognized that these conditions could also

exert some general effects on the results of the pilot that will be dis­

cussed in the succeeding paragraphs. In any event, they are conditions

that teachers should be aware of, but too often are not.

As was mentioned earlier, nineteen student teachers and experienced

teachers participated in the survey. Because there are so few teachers y in comparison to students, no really significant facts can be established

about the teachers* participation. Table 7 illustrates the teachers'

percentages of participation in terms of sex, age assignment, and socio­

economic status of school assignment. Table 8 indicates the percentage

of teacher participation categorized by schools. TABLE 7 PERCENTAGE OF TEACHER PARTICIPATION, BY SEX, AGE ASSIGNMENT, AND SOCIO-ECONOMIC STATUS OF SCHOOL -ASSIGNMENT : .-Enrollment in, Participants in ■ Groups Surveved Groups Surveyed % Male 3 100 Female 24 1? 67 Junior High 9 8 89 Senior High 18 11 61 Lower Socio-economic 17 15 76 Higher Socio-economic 10 6 60 51 TABLE 8 PERCENTAGE OF TEACHER PARTICIPATION,BY SCHOOL Enrollment in Participants in % Classes Surveyed Classes Surveyed Blendon Jr. H, 2 1 50 Walnut Springs Jr. H, 4 4 100 Buckeye Jr. H. 6 3 50 Dublin H. S. 4 1 25 Central H, S. 14 10 71

2. Photographs

The next aspect of the pilot to he discussed is that of the photo­

graphs. In this case, the "photograph" refers to a half-tone from a

magazine, a newspaper, a hook, or a snapshot. It can he of any size, in

black and white or in color. Submitting any number of photographs along

with the survey form was entirely voluntary for the participants. The percentage of photographs submitted represents, in any given category,

the ratio between the number of individuals who submitted photographs and

the total number of participants. The average number of photographs is the number arrived at by dividing the total number of photographs sub­ mitted in a given category by the total number of participants in that same category who submitted photographs. Table 9 indicates both the percentage and the average of photographs submitted by students categor­ ized by sex, age, and socio-economic status.

In terms of the percentages of those who submitted photographs, the I figures in Table 9 point to a considerable difference in percentage be­ tween the lower socio-economic group at 12 per cent and the higher socio­ economic group at 96 per cent. There is a somewhat greater percentage for the junior high as opposed to the senior high, but sex appears not to be a significant factor. The average number of pictures submitted appears to follow this same pattern with the largest span occurring 52 TABLE 9 PERCENTAGE AND AVERAGE OF STUDENTS’ PHOTOGRAPHS, BY SEX, AGE, AND SOCIO ECONOMIC STATUS OF COMMUNITY

Submitting Photographs Photographs Submitted Number % ^Number Average Male (N=262) 94 36 (N= 94) 284 3 Female (N=217) 92 42 (N= 92) 315 3.^ Junior High (N=220) 112 51 (N=112) 382 3.4 Senior High (N-259) 80 31 (N= 80) 217 2.7 Lower Socio-economic (N=32l) 40 12 (N= 40) 86 2.1 Higher Socio-economic (N=158) 152 96 (N

That the socio-economic status of a community is a factor in the act of submitting photographs is reinforced in Table 10, The two schools located in lower socio-economic communities, Buckeye Jr. H. and Central

H, S., have very similar percentages1, 17 per cent and 11 per cent respec­ tively, These percentages are much lower than those from the three schools in higher socio-economic communities, Blendon Jr. H,, Walnut

Springs Jr. H. and Dublin H, S, As with the former schools, the latter's percentages are clustered together, at loo pe^ cent, 95 Per cent, and 93 per cent. Table 10 also supports the indication in Table 9 that there is a somewhat greater percentage for the junior high group in contrast to the senior high, but the major factor is definitely socio-economic status. In contrast to Table 9» the averages in Table 10 follow no pat­ tern and seem to contradict previous information, but the contradiction, specifically the 6.8 average at Walnut Springs Jr. H., can be explained.

To explain the seeming contradiction referred to above, it is nec­ essary first to generalize by stating that all of the results of the pilot in terms of photographs could be directly influenced by the differ­ ences in the handling of the survey by the student teachers. At Walnut

Springs Jr. H., for example, the two student teachers brought in many different magazines and allowed the students the major portion of one period to go through the magazines to find pictures they liked. There was a great deal of enthusiasm and activity, with most of the magazines being torn apart.

However, something else in addition to immediate availability must be considered. One student teacher at Central H. S. also brought in magazines for her students to use for the survey. In marked contrast to the students at Walnut Springs Jr. H., these students were quiet, looked through the magazines, refused to cut or tear out pictures and took some of the magazines with them when they left. This type of behavior could indicate less familiarity with magazines on the part of these students, possibly resulting in a greater respect for magazines. There are'pro­ bably fewer magazines in their homes than in those of the higher socio­ economic communities. In fact, one student teacher at Central H. S. reported that when she referred to Life magazine, a student, in all seriousness, asked what it was. This idea of a rather limited associa­ tion with or definition of photographs is reinforced by the fact that approximately 85 per cent of the photographs submitted by the students from Central H. S. are snapshots. They axe, in fact, the only students to; submit snapshots and the only students to ask that their photographs be returned. Assuming that the student teachers' instructions to the students were the same as the ones they themselves received, e.g., the use of the word "photograph" rather than "picture," it appears that these students interpreted that word in a very realistic and somewhat restrict­ ed way. The snapshots themselves are of family and friends, possibly pointing to the ideas that available money would be spent on more long- lasting items, such as a camera, and that photographs are defined in part by a personal relationship.

Because of the relatively low percentages of students who submitted photographs, especially in terms of sex, age, and socio-economic status, it is possible to talk only in terms of general patterns that begin to emerge in terms of the actual content of the photographs submitted. As a group, junior high students seem to prefer photographs of animals, junior high boys add their preferences of sports and cars, and junior high girls theirs of romance, fashion, and nature. Both junior boys and girls of higher socio-economic status include pictures of liquor, of cigarettes, of varying amounts of exposed female skin. The selection, of these pictures by these students could reflect a certain amount of re­ bellion against the middle class values of their parents. The students would typically be restricted, at least verbally, from the subjects re­ presented. This attitude would be different from the lower socio­ economic community in which there is often a greater openness toward these subjects. Schramm discovered a similar situation in terms of television viewing. He found that when parent-child conflicts occurred in middle class homes, the child would tend to do that which the parent wished he did not do - watch a great deal of television,"*" Junior high girls of lower socio-economic status add photographs of music, idols.

Senior high "boys of lower socio-economic status seem to prefer photo­ graphs of different types of machines; whereas, the selections from the senior high hoys from the higher socio-economic status are so varied that it is difficult to indicate apparent preferences. There appears to be a certain similarity of photograph choices between junior high girls in general and senior high girls of lower socio-economic status, with the latter group adding personal snapshots of family and friends; in contrast, the choices of the senior high girls of higher socio-economic status are too varied to categorize except for the introduction of photographs re­ flecting the current youth religious movement.

In all, it seems that photograph selections of students become more varied as the age of the students is increased. Combining the increase in age with a higher socio-economic status adds considerably to that variety for both boys and girls. For example, the senior high boys of

lower socio-economic status expand a junior high interest in cars to an interest that includes other forms of machinery, but it is still possible to characterize their interests. The same is not true for the senior high boys of higher socio-economic status.

Tables 11 and 12 represent the photograph information on the part of the teachers but it would be unwise to draw any conclusions from these

"Hfilbur Schramm, Jack Lyle, Edwin B, Parker, Television in the Lives of Our Children, p. Ill, 56 tables because so few teachers participated. TABLE 11 PERCENTAGE AND AVERAGE OF TEACHERS' PHOTOGRAPHS, BY SEX, AGE ASSIGNMENT, AND SOCIO-ECONOMIC STATUS OF SCHOOL ASSIGNMENT

Submitting Photographs Photographs Submitted Number % Number Average Male (N= 3) 0 0 :n= o) 0 0 Female (N= 16) 12 lb :n= 12) 78 6.5 Junior High (N= 8) 5 63 [N= 5) A8 9.6 Senior High (it 11) 7 64. (N= 7) 30 A.3 Lower Socio-economic (N= 13) 8 62 (N= 8) 32 A Higher Socio-economic (N= 6) A 67 (N= A) A7 11.8

TABLE 12 PERCENTAGE AND AVERAGE OF TEACHERS' PHOTOGRAPHS, BY SCHOOLS

Submitting Photographs Photographs Submitted Number % Number Average Blendon Jr. H. (it 1) 1 100 (N= 1) 1 1 Walnut Springs Jr. H. (it A) 3 lb ■ (It 3) A6 15.3 Buckeye Jr. H. (N= 3) 1 33 (N= 1) 1 1 Dublin H. S. (It 1) 0 0 (It 0) 0 0 Central H . S . (N= 10) 7 70 (N— 7) 30 A.3

3. Movies

Movies comprise the next phase of the pilot. For this project, a

"movie" is defined as any feature-length film, in black and white or in color, either theatrical or made-for-television. The film could be seen in a theater, on television, or both. The participants could list as many films as they wanted to or none at all. The average number of films for any category of participants is achieved by dividing the total number of films mentioned by the total number of participants. Table 13 illustrates this average for the students by sex, age, and socio­ economic status. 57 TABLE 13 AVERAGE NUMBER OF FILMS PER STUDENT, BY SEX, AGE, AND SOCIO-ECONCMIC STATUS

Film Titles Number Average Male (N-262) 954 3-6 Female (N-217) 966 4.5 Junior High (N=220) 776 3.5 Senior High (N=259) 1144 4-4 Lower Socio-economic (N=32l) 104-5 3.3 Higher Socio-economic (N=158) 875 5.5

It must be recognized that there is no guarantee that the number of

films mentioned by any participant is indicative of his or her frequency

of movie attendance. The fact that the major portion of the current

movie audience is between the ages of sixteen and twenty would support

this latter idea,^ but the participants were not asked specifically to

respond to frequency of attendance. Because Schramm verified that adol- p escents actually do view their preferences in television programs, it is

probable that the students have seen the films they list. In Table 13

there are really no outstanding differences in averages among the groups.

It might appear that females, older students, and higher socio-economic

groups view more films. Table 14- specifies the averages for the students

by schools.

The averages in Table 14- would seem to support the idea that filifi

attendance increases with an increase in the students' age, but that in­

crease is also directly affected by the socio-economic status of the

^Appendix XVII. These findings are quite different from those of Edgar Dale (Children's Attendance At Motion Pictures, New York, The Mac­ Millan Co., 1935) who placed 62.4- per cent of the movie audience over the age of twenty-one. 2 Schramm, Lyle, and Parker, Television in the Lives of Our Children, p * 4-0**4-1 • 58 TABLE 14 AVERAGE NUMBER OF FIIMS PER STUDENT, BY SCHOOL

Film Titles Number Average Blendon Jr. II. (N- 54) 290 5 Walnut Springs Jr. H. (N= 44-) 186 4- Buckeye Jr. II. (N= 95) 260 2.8 Dublin II. S. (N=r 60) 399 6.7 Central H . S . (N=226) 785 3-5

students. The average of older students at Central H. S. is higher than

the average of the students at Buckeye Jr. H., the two schools located

in lower socio-economic communities. However, both of those averages are

lower than any of the averages of the three schools in higher socio­

economic communities. Within this higher socio-economic group, the aver­

age of the older students is also higher than that of the younger. These results could possibly be explained in part by the fact that the student

teachers may have given differing amounts of time to the students in which to fill out the survey form thereby limiting the number of re­

sponses. Another explanation could involve a greater access to films on

the part of the older students. Independence and mobility would increase with age. The fact that the students from higher socio-economic commun­

ities would probably have more money to spend for films presents another

explanation for these averages. Another factor to be considered is that I of the individual student's ability to recall the titles of films either

in part or in total.

If the listing of specific film titles is an accurate reflection of

the students' viewing habits or preferences, some general comments can be made about those films. Because the survey form does not ask the 59 participant to distinguish between theatrical films and television films, it is possible only to estimate what is the original source of the view­ ing, unless, of course, a film had been shown only in the theater as of the date of this pilot or had been shown only on television up to that time. In the apportionment of theatrical films to television films, it appears that the sex of the students makes little difference. As a group, junior high students include more television films than do the senior high students. About 60 - 75 per cent of the films listed by the former are probably television films. This is reasonable considering that the junior high students would be less mobile. Within the junior high group, those from the lower socio-economic group mention more television films than those from the higher socio-economic group. Availability of money would, in part, explain this difference. About 50 per cent of the films listed by the senior high students from the lower socio-economic group might have been seen on television. Although these students would be more independent and mobile than the younger ones, money would still be a factor. The senior high students from the higher socio-economic group mention no television films at all, a fact which supports what has pre­ viously been stated.

In the films listed by the students, a few selections by type begin to emerge. The horror or supernatural film is mentioned most often b^ both junior high students as a whole and senior high students from the lower socio-economic group. This latter group is responsible also for mentioning the films with predominantly black casts. This is not diffi­ cult to understand since this is the group with a considerable black population. About 80 per cent of the films listed by the senior high students of the higher socio-economic group are either R or X rated films.

This percentage drops to about 60 per cent for the senior high students

of the lower socio-economic group. What is surprising is the number of •

R and X rated films that the junior high students list. Films such as

Dirty Harry (R), Straw Dogs (R), and The French Connection (R) occur

frequently. The list of the twenty-three films most often mentioned by

the students (Appendix VI) illustrates in part the above statements.

Nine of the twenty-three are probably television films. Five of the

films deal with horror or the supernatural. Ten or more contain violent

acts such as fighting, shooting, assault, rape, arson, torture, burial

alive, etc. Four are R rated films. One of the questions this informa­

tion raises is hov; do the students who- are under-age gain access to the

theaters showing R and X rated films. Another is what are the effects

on the younger students of viewing these films.

Although so few teachers participated in the pilot, it appears that

there is not a great deal of commonality between their selections and

those of the students. Of the 372 film titles (Appendix V), 311 (83 per

cent) are mentioned only by students; 4-0 (ll per cent) are mentioned by

both students and teachers; and 21 (6 per cent) are mentioned only by

teachers. In the lists of the top nine films for each group (Appendix

VII), four films (44 per cent) are common to both groups. These propor­

tions would indicate that the viewing habits and/or preferences of the

two groups are dissimilar, but a larger sampling of teachers is needed

in order to substantiate that idea. The same need applies to the infor­ mation presented in Tables 15 and 16 of the average number of films of the teachers. A- Television

Television viewing is the final part of the pilot- A "television

program" is defined as any program scheduled to be shown on television,

except for theatrical films shown on television or films made especially

for television.

TABLE 15 AVERAGE NUMBER OF FIIMS PER TEACHER, BY SEX, AGE ASSIGiMENT, AND SOCIO-ECONOMIC STATUS OF SCHOOL ASSIGNMENT

Film Titles Number Average Male (N= 3) 11 3.7 Female (N= 16) 80 5 Junior High (N= 8) A3 5-A Senior High (N= 11) A8 A-A Lower Socio-economic (N-- 13) 62 A-8 Higher Socio-economic (H= 6) 29 A-8

TABLE 16 AVERAGE NUMBER OF FIIMS PER TEACHER, BY SCHOOL

Film Titles Number Average Blendon Jr. H. (N- 1) 5 5 Walnut Springs Jr. H. (N= A) 2A 6 Buckeye Jr. H. (N= 3) 1A A.7 Dublin H. S. (N- 1) 0 0 Cen tral H . S . (n= 10) A8 A-8

The program can be shown daily, weekly, bi-monthly, or on special occas­ ions- It can be of any duration, live or taped. There is no restriction

to list only programs which are part of the current television schedule; thus, programs which have been taken off the air are acceptable. The average number of television programs is the number arrived at by divid­ ing the total number of programs mentioned within any group by the total 62

number of participants in that group. Table 17 points to the students'

averages in terms of their sex, age, and socio-economic status.

TABLE 17 AVERAGE NUMBER OF TELEVISION PROGRAMS PER STUDENT, BY SEX, AGE, AND SOCIO-ECONOMIC STATUS

Television Programs Number Average Male (N=262) 1262 4.8 Female (N=217) 1697 7.8 Junior Nigh (N=220) 14-67 6.7 Senior High (N=259) 14-92 5.8 Lower Socio-economic (N=32l) 1895 5.9 Higher Socio-economic(H=158) 1064 6.7

If the number of programs mentioned by the students is indicative of their viewing habits, it appears from Table 17 that females view more

television than males. This situation could be explained by the idea that females might have more free time than males in that fewer would hold jobs, especially at the junior high level. Or the females might spend more time at home than the males do. There is less of a distinc­ tion in the two other categories with the junior high and the higher socio-economic averages slightly higher than those of the senior high and the lower socio-economic, respectively. The students' averages by schools in Table 18 could add to the information about age and socio­ economic status as factors in viewing. 1

According to the students' averages in Table 18, socio-economic sta­ tus seeins to have less effect on viewing than does age. Over-all, the older students appear to watch less television than the younger students watch. The A-5 average for Walnut Springs Jr. H. is somewhat misleading.

The students spent so much time on selecting photographs that there was 63 very little time left in the period in which to fill out the survey form.

The space for listing the television programs follows that for the movies

TABLE 18 AVERAGE NUMBER OF TELEVISION PROGRAMS PER STUDENT, BY SCHOOL Television Program Number Average Blendon Jr. H. (N= 51) 555 10 Walnut Springs Jr. H. (N= 11) 201 1.5 Buckeye Jr. II. (N= 95) 683 7.2 Dublin II. S. (N= 60) 308 5.1 Cen tral H . S . (N=226) 1212 5-1

and. so would be affected more by restricted time. The averages for

Blendon Jr. H. and Buckeye Jr. H. are probably more revealing. As a

group, the older students would probably have less opportunity to watch

television because of such factors as increased mobility, more responsi­

bilities, and shifting interests. The fact that junior high adolescents watch more television than senior high adolescents is verified by Scott

Ward in his preliminary study of the effects of advertising on children.

Paul Witty, too, establishes the fact that the hours spent viewing tele­ vision each week drop from about twenty for junior high students to about 2 fourteen for senior high students. Some over-all comments can be made about the television programs listed by the students. A lack of an in-depth analysis prohibits a dis­ cussion of the relationships between each group of students and specific ■^Scott Ward, "Children, Adolescents, and Advertising: Preliminary Findings," in Action For Children's Television, p. 39. % a u l A. Witty, "Some Research on TV," in Children and TV: Televi­ sion's Impact on the Child, p. 15. television programs. In general, within each age group, the students

from the lower socio-economic groups mention more afternoon programs

than do the students from the higher socio-economic groups. At Central

H. S. about 50 per cent of the programs listed by the girls are afternoon

programs; for the boys, about 30 per cent. At Dublin H. S., none of the

programs are afternoon. This difference could be due to the contrast in

attendance patterns of the two schools that was mentioned earlier. The

work patterns of the two groups are also different. The students at

Central H. S. usually work at full-time jobs that do not begin until

early evening; whereas, the students at Dublin II. S. usually work imme­

diately after school. There is less of a difference between the junior

high groups with the lower socio-economic including approximately 15 per

cent afternoon programs and the higher socio-economic approximately 5 per

cent. Because of their younger age, this group would probably be at home

more evenings than the older students.

In the list of the top twenty-one television programs of the stu­

dents (Appendix IX), eight are situation comedies, three are police shows,

three are private eye shows, two are professional shows, two are science

fiction, two are comedy variety, and one is a western. There is some

overlapping within these categories; for example, "Room 222" could be

called either a situation comedy or a professional show, and "Bewitched"

could be called either a science fiction show or a situation comedy. It is interesting to note that at least one third of these programs contains differing amounts and types of violent acts - and they are seen each week of the year. The majority of the rest of the programs entail what might be called humorous entertainment, but often depicted within quite 65 unrealistic life situations.

There is such a small sampling of teachers that it is impossible to make any concrete statements about their selections, but there is an indication, once again, of a low degree of commonality between the tea­ chers1 and the students' habits and/or preferences. Of the 154- tele­ vision programs listed (Appendix VIII), 118 (76 per cent) are mentioned by students alone; 35 (23 per cent), by students and teachers; 1 (l per cent), by teachers alone. Within the top seven choices of each group

(Appendix X), four programs (57 per cent) are common to both. In lieu of the immediate and wide-spread accessibility of television and the weekly repetition of programs, these figures re-inforce the idea that the two groups are often not viewing the same things. Also, in the top seven programs of the teachers, two new types of shows are introduced (the news and the talk show), and three categories that turned up in the students' list are excluded (the police show, the private eye show, and the wes­ tern) . Tables 19 and 20 add to the above information the average number of television programs per teacher by sex, age assignment, and socio­ economic status of school assignment, and by school, respectively.

TABLE 19 AVERAGE NUMBER OF TELEVISION PROGRAMS PER TEACHER, BY SEX, AGE ASSIGNMENT, AND SOCIO­ ECONOMIC STATUS OF SCHOOL ASSIGNMENT

Television Programs Number Average Male (N= 3) 17 5.7 Female (N= 16) 56 3.5 Junior High (N= 8) 40 5 Senior High (N= 11) 33 3 Lower Socio-economic (N= 13) 47 3.6 Higher Socio-economic(lfc 6) 26 4-3 66

TABLE 20 AVERAGE NUMBER OF TELEVISION PROGRAMS PER TEACHER, BY SCHOOL

Television Programs Number Average Blendon Jr. H. (N= 1) 4 4 Walnut Springs Jr. H.(N= 4) 22 5-5 Buckeye Jr. H. (N= 3) 14 4.7 Dublin H . S . (N= 1) 0 0 Central H. S. (N= 10) 33 3.3

The Following statements summarize the findings of the pilot:

1. In the areas of participation, submission of photographs, and

selection of movies, socio-economic status of students is the

major influential factor; age is second; while sex remains

relatively insignificant.

2. Students from lower socio-economic cojiimunities and older secon­

dary school students participated less in classroom activities.

3- Fewer lower socio-economic students and fewer older students

submitted photographs.

4- More films, in general and theatrical, are mentioned by higher

socio-economic students and by older students.

5. In the area of television selection, age and sex are somewhat

more influential than socio-economic status.

6. More television programs are mentioned by younger secondary i

school students, by female students, and by higher socio­

economic students.

7. A more detailed survey is needed before any comments can be

made about the content of photograph, film, and television

preferences, but there are indications that sex, age, and 67 socio-economic status exert influences.

8. A larger sampling of teachers is needed before anything can be

stated about their selections in relation to those of the stu­

dents.

I CHAPTER IV

THE RESULTS OF THE STUDY

1. Participants

Involved in the study are 994- participants in the greater Columbus,

Ohio, public schools of whom 863 (87 per cent) are secondary public

school students and 131 (13 per cent) are prospective teachers, student

teachers, and experienced teachers. For the study, a participant is defined as any individual who was present in some type of classroom sit­ uation at the same time that the survey was administered by the writer.

This participation would have occurred sometime between May 1, 1972, and

May 10, 1972. The individuals in the classroom settings were not com­ pelled to participate, but, in each case, all who were present co-operated.

In contrast to the pilot, it is neither necessary nor significant to the study to establish the percentage of participation based on the total enrollment. The reason, of course, is due to the different procedure for the study. For the study survey, the participants had no personal responsibility except for filling out the survey form at the time; they 1 were to complete the form immediately so there was no carry-over into other days; and they seemed to enjoy the diversion from the regularly scheduled format of the class. As for selecting the days in which to visit each public school, there might have been a wiser selection in terms of the schools located in lower socio-economic communities. The 68 69 results of the pilot indicate that school attendance at these particular schools is lower on Monday and on Friday than on Tuesday through Thursday.

Unfortunately the survey was conducted at Barrett Jr. H. and South H. S., two schools located in lower socio-economic areas of the city, on a

Friday. The recommendation is that when involving this type of school, the individual select a Tuesday, a Wednesday, or a Thursday.

Table 21 illustrates the number and the percentage of student parti­ cipants in terms of sex, age, and socio-economic background - each cate­ gory totaling 863 and 100 per cent respectively. The socio-economic category is the least balanced of the three. This is due, in part, to the aforementioned attendance situation and also to the fact that two schools are involved in the lower socio-economic bracket as opposed to four schools in the higher bracket. Table 22 delineates the number and the percentage of student participants in terms of individual schools.

TABLE 21 TOTAL NUMBER AND PERCENTAGE OF STUDENT PARTICIPANTS, BY SEX, AGE, AND SOCIO-ECONCMIC STATUS OF COMMUNITY

Number atjo Male 389 45 Female 474 55 Junior High 439 57 Senior High 374 43 Lower Socio-economic 230 27 Higher Socio-economic 633 73

As mentioned above, 131 (13 per cent) prospective teachers, student teachers, and experienced teachers participated in the study. Because this percentage of teachers is higher than .that of the pilot and because the resulting ratio between teachers and students is certainly higher than that of a standard public school situation, some definite comments 70 TABLE 22 TOTAL NUMBER AND PERCENTAGE OF STUDENT PARTICIPANTS, BY SCHOOL

Number % Barrett Jr. H. 94 11 Blendon Jr. H. 139 16 Walnut Springs Jr. H. 255 30 Reynoldsburg H. S. 142 16 South H . S . 136 16 Walnut Ridge H. S. 97 11

can be made about the teachers' preferences and the relationship of those preferences to the students'. Table 2.3 indicates the number and the percentage of teacher participants in terms of sex, age assignment, and socio-economic status of school assignment - each category totaling 131 and 100 percent respectively. Table 24 illustrates the number and the percentage of teacher participants from each of the individual schools.

. TABLE 23 TOTAL NUMBER AND PERCENTAGE OF TEACHER PARTICIPANTS, BY SEX, AGE ASSIGNMENT AND SOCIO-ECONOMIC STATUS OF SCHOOL ASSIGNMENT

Number cf/0 Male 33 25 Female 98 75 Junior High 47 36 Senior High 84 64 Lower Socio-economic 40 31 Higher Socio-economic 91 69

TABLE 24 TOTAL NUMBER AND PERCENTAGE OF TEACHER PARTICIPANTS, BY SCHOOL *• Number a*P Barrett Jr. H. 20 15 Blendon Jr. H. 13 10 Walnut Springs Jr. II. 14 11 Reynoldsburg II. S. 33 25 South H. S. 20 15 Walnut Ridge H. S. 31 24 71 2. Photographs

The first major portion of the study to be discussed is that of

photographs. For the study, there are sixteen photographs, each a color

half-tone from a magazine (Appendix XII). They are of varying sizes, but

an attempt was made in the selection to minimize the differences in size

as much as possible. Each photograph is mounted on an 10" x 16" poster

board. During the survey, immediately after the photographs were dis­

played, the participants indicated on the form provided their five choic­

es in order of preference. This listing was achieved by placing the

number assigned to a particular photograph on the appropriate line on

the form. The participants were asked to complete this listing quickly,

but were not required to list as many as five numbers if there were not

five photographs they liked.

In the following tables in this section, "rank" refers to the posi­

tion a photograph achieves according to the number of times it is men­

tioned by a particular group of participants. Each "photograph" prefer­

ence is identified by the number assigned to the photograph. The "number"

represents the total number of participants in a given category who se­

lect that photograph. The "percentage" is the ratio between the number

of participants in a group who select that photograph and the total num- I ber of participants in that group. Specifically, Table 25 includes the

number and the percentage of both students' and teachers' top five se­

lections according to each group's first choice. First choice refers to placing the photograph number on the first line on the form to specify

top preference. For comparison, Table 26 indicates the number and the percentage of both students' and teachers' top five selections according 72

to each group' 0 over-till top choice. Over-all oholoe refers to the fact that the photograph number was placed on one of the five lines on the form to specify some level of preference. Before these two tables are discussed, it must be recognised that the interpretations of or reactions to the photographs by the participants are assumed to be the same as that of the writer's Intention in the selection. This situation will not always be the case) however, the sisse of the sample should help to balance any di fferences. TABU': 25 ■IIK Mtjp I'TVK PHOTOGRAPH PWWKRENClifl Op’ BOTH BT AMI) TKAtJHBRS, BY F W r GHOIOR J3RLKCTI0N Btudents /lfc-863) Teachers (M 131) Hank Pho tograph Number % Photograph Number % 1 7 183 21 4 51 39 2 4 146 17 7 u 11 3 2 110 13 1 11 8 4 8 108 13 3 7 5 5 1 105 12 12 7 5 In both Table 25 and Table 26, three (60 per oent) of the top five

choices are common to both students and teachers1 photograph. A, depict­ ing a nature scene) photograph 7, depleting a male-female love relation­ ship) and photograph 1, depicting a horse/animal. In fact, these three photographs are the top three choices in each category except for the students' first choice selection group. Photograph 4 and photograph I f are the top two choices regardless of the group. The remaining two se­ lections for the students are the same in both tables, although their positions change in the ranking. Photograph 2 depicts a basketball/ sports scene and photograph 8 *s that of a motorcycle, a chopper. In the remaining selections of the teachers, photograph 12, a scene from the 73 TABLE 26 THE TOP FIVE PHOTOGRAPH PREFERENCES OF BOTH STUDENTS AND TEACHERS, BY OVER-ALL SELECTION

Students (N=863) Teachers (it 131) Rank Pho tograph Number $ Photograph Number ofP 1 A 551 6A A 97 7A 2 7 538 62 7 83 63 3 1 A79 56 1 70 53 A 8 38A 4A 12 A8 37 5 2 306 35 15 A1 31

Attica Prison riot, is common to both tables; whereas, photograph 3, a

horror scene of an electrocution, is in only the teachers' top first

choice selection and photograph 15, a mountain climbing adventure scene,

is in only the teachers' top over-all selection.

These tables point to a fairly strong commonality between students

and teachers in terms of photograph preference with 60 per cent of each

group selecting the same three photographs as either a first choice or

one of the five choices. It is interesting to note also that over 50 per cent of both groups of participants in their first choice and over­ all preferences select photographs that could connote peace, tranquillity, introspection, quiet beauty. This type of selection runs counter to the current trend toward violence and brutality that is found in the film and the television media. One possible explanation could concern the nature- of the photograph which is still, as opposed to film and television which are moving. In other words, the participants could have been responding to the medium itself in addition to or instead of to the content. Ano­ ther factor for consideration is that because the selections were inde­ pendent and spontaneous, they may be more reflective of a true prefer­ ence than if the participants had been influenced by other members of the 1U group or had "been given an opportunity for reflection.

The remaining selections of both groups connote action but in diff­ erent ways, in different areas. Each group selects a scene of physical action but of different types of action; the students, indoor, structured, team basketball/sports and the teachers, outdoor, free, rugged, mountain climbing. The students select also a form of mechanical action in the chopper. In contrast, the teachers select actions that involve horror and violence. It could appear that teachers exhibit somewhat more var­ iety in their preferences but a more extensive analysis is needed in order to substantiate that idea. Beyond the three common photographs, the teachers select three additional ones in contrast to the students' two. The percentage spread from first to fifth choice averages 38.5 for the teachers, indicating a low degree of commonality within their group; whereas, the students' average percentage spread is half that at 19.

Also, as will be noticed in the following paragraphs, the remaining selections of the teachers (photographs 3, 12, and 15) do not occur in the top five selections of any of the various categories of students.

Summary of the relationship between students' and teachers' photo­ graph preferences:

1. Many students and teachers have similar photograph preferences. I 2. Both groups prefer peaceful themes in photographs.

3. Over-all, the teachers exhibit more variety in their selections.

For a more detailed analysis of the students' preferences, Table 27 illustrates the number and the percentage of the top five first choice selections of the students grouped by sex, age, and socio-economic status of community. Table 28 specifies the number and the percentage of the 75 top five over-all selections of the students grouped by sex, age, and

socio-economic status of community.

TABLE 27 THE TOP FIVE FIRST CHOICE PHOTOGRAPH SELECTIONS OF STUDENTS, BY SEX, AGE, AND SOCIO-ECONOMIC STATUS OF COMMUNITY

d Of Rank Photograph Number P Photograph Number

Male (N=389) Female (N=474) 1 2 104 28 7 166 35 2 8 87 22 4 105 22 3 4 41 11 1 82 17 4 11 31 8 14 31 7 5 13 25 6 16 23 5 Junior High (N=489) Senior High (N=374) 1 7 103 21 7 80 21 2 2 79 16 4 63 17 3 1 77 16 8 32 9 4 8 76 16 2 31 8 5 4 50 10 1 28 7

Lower Socio-economic (N=230) Higher Socio-economic (N=633) 1 7 46 20 7 137 22 2 4 37 16 4 109 17 3 2 30 13 8 84 13 4 14 25 11 1 81 13 5 8/1 24 10 2 80 12

As is pointed out in the above tables, of the three categories, sex seems to be the major factor affecting photograph preference. Only one

(20 per cent) of the top five choices in each of the tables is common to both males and females. . That one is photograph 4- This percentage of commonality is in direct contrast to the 100 per cent between the junior high and the senior high students. Photographs 4-, 7, 1, 8, and 2 are the top five selections for junior and' for senior high students in both their first choice and their over-all selections, though the rankings vary somewhat from group go group. The low percentage of commonality between males and females is in contrast also to that between students from the 76 lower socio-economic areas and those from the higher.I Again photographs 4, 7 i li 8, and 2 are common to hoth groups; however, for the lower socio­ economic group, photograph 14, two scenes connoting religion, is added to the first choice selections and replaces photograph 2 in the over-all selections.

TABLE 28 THE TOP FIVE OVER-ALL PHOTOGRAPH SELECTIONS OF STUDENTS, BY SEX, AGE, AND SOCIO-ECONOMIC STATUS OF COMMUNITY Rank Photograph Number % Photograph Number i Male (N=384) Female (N=474) 1 8 266 68 7 413 87 2 2 248 64 4 394 83 3 11 202 52 1 343 72 4 13 173 44 10 183 39 5 4 157 40 14 173 36 Junior High (N=489) Senior High (N=374) 1. 4 333 68 4 218 58 2 7 32-7 67 7 211 56 3 1 309 63 1 170 45 4 8 273 56 8 111 30 5 2 208 43 2 98 26 Lower Socio-economic (N==230) Higher Socio-economic (N=633) 1 4 157 68 4 394 62 2 7 149 65 7 389 61 3 1 117 51 1 355 56 4 8 94 41 8 290 46 5 14 91 40 2 231 36

Another aspect to be considered is the fact that sex is the only cate­ gory, except for that of teachers, to have exclusive selections in its preferences. Of the remaining selections for the males, photographs 2 and

8 occur in the categories of age and of socio-economic status; however, photograph 11, a scene with some female nudity, and photograph 13, a liq­ uor advertisement, occur only in the male category. Of the remaining se­ lections for the females, photographs 7 and 1 occur in the categories of age and socio-economic status; photograph 14 occurs in the lower socio- 77 economic group; however, photograph 10, a fantasy scene, and photograph

16, a teenage singing idol, occur only in the female category.

A continued analysis of the students’ first choice selections, and of

over-all selections of groups of students and combinations of groups adds

more information about their preferences. The category of age added to

that of sex increases the commonality; for example, junior high males add

photograph 1, and senior high females add photograph 8 while omitting

photograph 16, Adding the category of socio-economic status to those of

both sex and age further increases the commonality; for example, junior

high males of lower socio-economic status add photograph 14 but omit

photograph 4; senior high males of higher socio-economic status add

photograph 1; senior high males of lower socio-economic status add photo­

graphs 7 and 14 while omitting photograph 11; and senior high

females of higher socio-economic status add photograph 13.

The photograph preference results of the study differ somewhat from

those of the pilot. Because of the more extensive nature of the study and because the students participated equally in the study,its results are probably more indicative of student preference. A preference for nature

seems to be characteristic of all students regardless of the category.

In general, males do not prefer photographs connoting male-female love relationships or photographs of horses/animals to the extent that females do. Older males may choose the former; whereas, younger males or males from higher socio-economic areas may choose the latter. Males seem to prefer instead photographs of machines or motorcycles and of sports, an interest not shared by females in general; however, older females may choose the former. Males seem also to have an exclusive preference for photo­ 78 graphs depicting some female nudity and alcoholic beverages. Females appear to have an exclusive interest in photographs that depict fantasy and photographs of teen-age singing idols, especially the younger females for the latter. In all, without the distinction of sex, there is very little difference in the students* preferences. Their predominant choices revolve around photographs of nature, of love, of sports, of machinery, and of animals. They are less interested in or have less preference for photographs of horror, of fashions, of war, of ecology, of fantasy, of nudity, of violence, of alcohol, of religion, of adventure, and of teen­ age singing idols.

Summary of the effect of sex, age, and socio-economic status on stu­ dents' photograph preferences:

1. Sex is the most influential factor.

2, Adding age and socio-economic status to sex reduces its effect,

3. Movies

The next major portion of the study is concerned with the area of movies. For the study, a "movie" is defined as any feature length film, either in black and white or in color, either theatrical or made-for-tele- vision. During the study survey, the participants were asked to distin­ guish between theatrical films and television films according to their own original viewing of the film. It is possible, however, that thejr were unable to remember the place of original viewing or that they would inad­ vertently confuse the two media of film and television. Given a limited amount of time in which to complete the survey form, the participants were asked to list anywhere from zero to five films in each of the two types of films on the appropriate lines on the form, but with no partic- 79 ular ranking as with the photographs.

In the following tables in this section, "rank" refers to the posi­

tion established for a film by the number of times that particular film

is mentioned by a group of participants. The "films" represent the

titles as they were given by the participants except for some corrections

in spelling. There has been no attempt to re-arrange the wording or to

change the wording of the titles; therefore, some titles may be inaccur­

ate. Also, film titles often undergo changes between releases. These

situations could account for the fact that it has not been possible to document the dates and/or the ratings for some of the films.^ The "date" refers to the year of the film's production. The "rating" (Above, p.24) applies to theatrical films only and is assigned to the film by the

Motion Picture Association of America. The ratings for some of the films have changed since the study was conducted, but the ratings listed herein represent those current at the time of the study. Since many theatrical films have moved into the realm of television, "original market" distin­ guishes the original point of viewing or showing of the film. The "num­ ber" indicates the total number of participants in a given group who men­ tion the particular film in their listing of films. The "percentage" establishes the ratio of the number of participants in a group who men­ tion a particular film to the total number of participants in that grAup.

In the study, there are a total of 5^3 individual theatrical film titles (Appendix XVIIl) and a total of 550 individual television film titles (Appendix XIX ). The combined total of 1093 film titles is reduced by 101 when duplications of titles are considered. So, in all, there are 1-The writer contacted several sources in an attempt to establish the production dates and the ratings for the film titles listed (Appendix XVEl). 992 different film titles. Of the 5^3 theatrical film titles, 325 (60 per cent) are mentioned only by students; 108 (20 per cent) are mentioned only by teachers; and 110 (20 per cent) are mentioned by both groups.

Considering the duplications of titles between film and television, these figures change to 315 (58 per cent), 88 (l6 per cent), and 140 (26 per cent), respectively, Of the 550 television film titles, 35^ (&* Per cent) are mentioned only by students; 109 (20 per cent) are mentioned only by teachers; and 87 (l6 per cent), are mentioned by both groups. Again, when duplications of titles are accounted for, these figures change slightly to 339 (62 per cent), 103 (l8 per cent), and 108 (20 per cent), respectively. It would appear from this general look at the number of film titles that there is not much commonality in film preference between students and teachers. Granting that people tend to seek out that which they think they will enjoy-, and if a listing of preferred film titles indicates actual viewing, there is little similarity in what is seen or at least reported seen by students and by teachers. This idea can be expanded upon by looking at some of the specific titles mentioned. Table

29 indicates the number and the percentage for the ten theatrical films most often mentioned by each group of participants.

According to Table 29 there are only two theatrical films (20 per cent) common to both students and teachers in each group*s list of the 1 ten most preferred films. This percentage compares equally to that of the over-all theatrical titles common to both groups. At the time of the study, one film, The Godfather (R), was one of the most popular new films.

The other film, Gone "With the Wind (G), is an old film in re-release, but was probably new to the students. Of the remaining films for each group, those for the students are all produced within the past year or two 81

years; whereas, the teachers'cover a span of seven years. This sit­ uation could reflect a determination of values in that the students' pre­

ferences seem to "be affected to a greater degree by immediacy than do the teachers' preferences.

TABLE 29 THE STUDENTS' AND THE TEACHERS* TEN MOST FREQUENTLY MENTIONED THEATRICAL FILMS Rank Film Date Rating Number Students (N-863) 1 Billy Jack 1971 GP 274 32 2 Love Story 1970 GP 270 31 3 The Godfather 1971 R 190 22 4 The French Connection 1971 R 14 7 17 5 What's Up Doc? 1972 G 132 15 6 Dirty Harry 1971 R 113 13 7 Gone With the Wind 1939 G 91 11 8 Airport 1970 G 86 10 9 Willard 1971 GP 75 9 10 Patton 1970 GP 67 8 Teachers (N-131) 1 Gone With the Wind 1939 G 35 27 2 Dr. Zhivago 1965 GP 31 24 3 The Godfather 1971 R 26 20 4 Butch Cassidy and the Sundance Kid 1969 GP 18 14 5 The Sound of Music 1965 G 18 14 6 Midnight Cowboy 1969 X 17 13 7 Fiddler on the Roof 1971 G 15 11 8 Funny Girl 1968 G 15 11 9 Romeo and Juliet 1968 G 15 11 10 Summer of '42 1971 R 13 10

In terms of the ratings of the remaining films in each group, 70 per cent of the students' films are rated either GP or R, as opposed to 40 per cent for the teachers. On the other hand, only 30 per cent of the students' films are rated G, in contrast to 50 per cent of the teachers' films. These proportions can possibly be explained, in part, by the stu­ dents* general preference for current films, as was mentioned above, and by the greater availability of GP and R rated films in the current film 82

market. In addition, older films and re-releases seem to be assigned the

G rating more often than not. These proportions could also indicate that

the students are the individuals who attend the GP and the R rated films

in much greater numbers than do teachers. If such is the case, it would be interesting to pursue the cause of the teachers' lack of attendance.

It could be that they do not prefer those types of films, but it could also be that they are concerned about the social consequences of being seen at the theaters showing these films or are reluctant to report having seen such films.

Looking again at the remaining films for each group, among theirs the teachers have selected three film adaptations of Broadway musicals, one film adaptation of a Shakespearean play, and one film from a widely ac­ claimed novel. The students have selected no films that would fit these descriptions. The only similarity appears to be in the realm of horror and violence, with the students selecting at least five films that are applicable, but with the teachers selecting only two. This aspect of content corresponds to that of the rating distinctions.

In considering the percentage spread from first to tenth place, there seems to be slightly less agreement about preferred films among students, whose percentage spread is 24. For teachers, the percentage spread is less, at 17, and so it appears that as a group they have greater agree­ ment among themselves as to theatrical film preference. More information is needed before this idea can be established. If the situation is true, it would be worthwhile to determine the reason. On one hand, it could mean that teachers' selections are based more on a critical appraisal of the films than are those of the students. On the other hand, it could 83 mean that the students are more open and varied in their interests than the teachers are.

Table 30 indicates the number and the percentage for the ten televis­ ion films most frequently mentioned by both students and teachers.

TABLE 30 THE STUDENTS' AND THE TEACHERS' TEN MOST FREQUENTLY MENTIONED TELEVISION FILMS Rank Film Date Original Number % Marks t Students (N=863) 1 The Birds 1963 Theater 313 36 2 Brian's Song 1971 Television 221 26 3 West Side Story 1961 Theater 133 15 Maybe I'll Come Home in the Spring 1971 Television 105 12 5 Ben Hur 1959 Theater 98 11 6 Night Stalker 1972 Television 92 11 7 Up the Down Staircase 1967 Theater 89 10 8 If Tomorrow Comes 1971 Television 65 8 9 The Impossible Years 1968 Television 65 8 10 The Bridge on the River Kwai 1957 Theater 62 7 Teachers (N=13l) 1 Brian's Song 1971 Television 26 20 2 Ben Hur 1959 Theater 14- 11 3 The Glass House 1971 Television 11 8 4 The Birds 1963 Theater 8 6 5 The Last Child 1971 Television 8 6 6 A Streetcar Named Desire 1951 Theater 8 6 7 West Side Story 1961 Theater 7 5 8 Harvey 1972 Television 5 kr 9 Maybe I'll Come Home in the Spring 1971 Television 5 k- 10 My Sweet Charlie 1970 Television 5 k 11 To Kill A Mockingbird 1962 Theater 5 if-

Table 30 shows that for both students and teachers there is a fairly even balance between film and television as original markets. Five of the television films (50 per cent) are common to both students and tea­ chers in each group's list of its ten top film choices. This increase in percentage over that for theatrical films may be explained by both the greater accessibility of television and the absence of a financial charge 84

for television. All five of the films were shown on television within

the six months preceding the study. These five represent the top five

choices for the students, hut have different positions in the teachers'

ranking. Three of the five films of the teachers could represent a sec­

ond viewing. Of the remaining television films for each group, those of

the students date hack to 195 7 1 a-nd those of the teachers to 1951; how­

ever, the production dates for television films are less significant than

those for theatrical films. What should he documented in the former is

when the film is shown on television and how many times. This informa­

tion would then allow a discussion of the questions of the effect of

immediacy and of repetition on preference.

In terms of content of the remaining selections for each group, three

of the students' films center on teen-age concerns or problems, with the

other two touching on horror and violence. In contrast, all of the tea­

chers' films revolve around social issues, especially racial tensions.

Only one of the films is handled in a lighter tone. In other words, the

students appear to have repeated the content of the five films common to hoth groups, hut the teachers have added additional content. The variety in selection thus implied should he considered in context with the diff­ erence in the percentage spread from first to tenth position between the

students and the teachers. For the students, this percentage spread is

29 hut for the teachers, it is 16. The difference here is even greater than that for the theatrical films, thus tending to emphasize the idea that although the teachers' preferences may he more varied than those of the students, there is greater agreement among teachers as a group about film preferences. Both Table 29 and. Table 30 support the idea presented in the discus­ sion of film titles in general that there is little commonality between students and teachers in terms of each group's theatrical film preference and television film preference.

Summary of the relationship between students' and teachers' film pre­ ferences;

1. In both over-all and top-ranked theatrical films, students' and

teachers' preferences are quite dissimilar.

2. When selecting, teachers exhibit more variety in production dates,

ratings, and content of theatrical films.

3. Students' and teachers' preferences of television films are more

similar in the top-ranked than in the over-all, but neither repre­

sents much similarity.

4. When selecting television films, teachers display more general

agreement and more variety.

The next step is to look more closely at the students' preferences to determine whether or not such factors as sex, age, and socio-economic sta­ tus have any effect on those preferences.

Of the 5^3 individual theatrical film titles in the study, the students mention 4351 O f these 435 individual theatrical film titles, 128 (29 per cent) are mentioned only by males; 142 (33 Per cent) are mentioned only by females; and 165 (38 per cent) are mentioned by both groups. Taking into consideration the duplication of titles between film and television, these numbers change to 115 (26 per cent), 131 (31 per cent), and 189 (43 per cent), respectively. In terms of age in relation to the 435 film titles, 150 (34 per cent) are mentioned only by junior high students; 121 86

(28 per cent) are mentioned only by senior high students; and 164 (38 per cent) are mentioned by both groups. Accounting for title duplications, these figures alter somewhat to 135 (31 per cent), 110 (25 per cent), and 190 (44 per cent), respectively. With socio-economic status as the factor, the 435 titles are apportioned as follows: 101 (23 per cent) are mentioned only by the lower socio-economic students; 182 (42 per cent) are mentioned only by the higher socio-economic students; and 152 (35 per cent) are mentioned by both groups. Again, the duplications effect changes as follows: 90 (21 per cent), 163 (37 per cent), and 182 (42 per cent), respectively.

In terms of the individual television film titles, the students list

441 of the 550. Of the 441 individual television film titles, 149 (34 per cent) are mentioned only by males; 153 (35 Pe^ cent) are mentioned only by females; and 139 (31 per cent) are mentioned by both groups. Con­ sidering the duplication of titles between television and film, these figures change to 143 (32 per cent), 147 (33 per cent), and 151 (35 per cent), respectively. Applying the factor of age to the 44l titles re­ sults in the following: 144 (33 per cent) are mentioned only by junior high students; 135 (31 per cent) are mentioned only by senior high stu­ dents; and 162 (36 per cent) are mentioned by both groups. These numbers are altered by title duplications to 136 (31 per cent), 132 (30 per csent), and 173 (39 per cent), respectively. In terms of socio-economic status in relation to the 441 film titles, 85 (l9 per cent) are mentioned only by the lower socio-economic students; 207 (47 per cent) are mentioned only by the higher socio-economic students; and 149 (34 per cent) are mentioned by both groups. With duplications of titles considered, the 87 apportionments change to 80 (l8 per cent), 201 (46 per cent), and 160

(36 per cent), respectively.

Analyzing the above information, it appears that the percentages of common film titles, theatrical and television, are fairly consistent both within each category and among the three categories. This situation could suggest that to a certain extent, the factors of sex, age, and socio-economic status have little effect on student selections; the stu­ dents are similar in their preferences. Looking at the percentages of film titles, theatrical and television, that reflect a selection by only one group within a category, there seems to be little differentiation except for the category of socio-economic status. The percentage of films mentioned only by the lower socio-economic students runs from 15 per cent to 28 per cent below that of the films mentioned only by the higher socio­ economic students. This difference could be explained, in part, by the lower percentage of students in the former group. At the same time, it could indicate that beyond the general area of selections common to all students, socio-economic status is more influential on student preference than are the categories of sex and age. A more detailed analysis of spe­ cific film titles might lend more information to this idea. In lieu of that direction, Table 31 indicates the number and the percentage of the ten theatrical films more often mentioned by the students grouped in 1 terms of sex, age, and socio-economic status of community.

Looking at Table 31 as a whole, it can be seen that four theatrical films (U0 per cent) are common to each of the three categories of students.

This percentage corresponds to those of the common theatrical film titles in general and lends support to the idea that certain films are preferred 88 by students regardless of sex, age, or socio-economic status. This idea is further substantiated by the fact that these same four films comprise the first four positions in the over-all student list of ten most fre­ quently mentioned theatrical films (Above, p,8l). This over-all student ranking is duplicated exactly in the senior high group, but the films hold varying positions in the other groups. The fact that these films are all current films and their ratings are either GP or R also corresponds to the findings for the students on the whole.

In the category of sex, Table J 1 illustrates that seven of the ten films (70 per cent) are common to both males and females in each group's list of its ten preferred theatrical films. This is a high percentage of commonality and differs considerably from the 20 per cent in the photo­ graph preferences. This difference might be partially explained by the companionship of the activity of movie-going, as opposed to the individual activity of viewing photographs. Also, visual and/or verbal publicity would accompany the films but not the photographs, at least not the photo­ graphs of the study. Nevertheless, the question of which preference, photograph or theatrical film, is more reflective of students categorized by sex still remains and needs further study. These seven films corres­ pond to the over-all student ten films in that all are current and are fairly evenly distributed over the ratings of G, GP, and R. Also, only two of the seven are without some aspect or degree of violence.

In the remaining three films' for each group, some differences begin tO emerge. In their selections, the females include older films; whereas, the males stay within a two year span of time. The females select G and

R rated films in contrast to the GP rated films of the males. To the 89 TABLE 31 THE STUDENTS' TEN MOST FREQUENTLY MENTIONED THEATRICAL FILMS, BY SEX, AGE, AND SOCIO-ECONOMIC STATUS OF COMMUNITY

Rank Film Date Rating NumLer * Male (N=389) 1 Billy Jack 1971 GP 125 32 2 The French Connection 1971 R 100 26 3 The Godfather 1971 R 92 24 4 Dirty Harry 1971 R 78 20 5 Patton 1970 GP 48 12 6 What's Up Doc? 1972 G 46 12 7 Willard 1971 GP 40 10 8 Airport 1970 G 3? 10 9 Diamonds Are Forever 1971 GP 34 9 10 Love Story 1970 GP 33 8 Female (N=474) 1 Love Story 1970 GP 237 50 2 Billy Jack 1971 GP 149 31 3 The Godfather 1971 R 98 21 4 What's Up Doc? 1972 G 86 18 5 Gone With the Wind 1939 G 72 15 6 Romeo and Juliet 1968 G 60 13 7 Airport 1970 G 49 10 8 The French Connection 1971 R 4 7 10 9 Summer of '42 1971 R 45 9 10 Dirty Harry 1971 R 35 7 Junior High (N=489) 1 Billy Jack 1971 GP 179 37 2 Love Story 1971 GP 154 31 3 What's Up Doc? 1972 G 89 18 4 The Godfather 1971 R 79 16 5 The French Connection 1971 R 76 16 6 Dirty Harry 1971 R 70 14 7 Airport 1970 G 68 14 8 Willard 1971 GP 55 11 9 Patton 1970 GP 41 8 10 Gone With the Wind 1939 G 38 ,8 90

TABLE 31-Continued

Rank Film Date Rating Number % Senior High (N=374) 1 Love Story 1971 GP 116 31 2 The Godfather 1971 R 111 30 3 Billy Jack 1971 GP 95 25 4 The French Connection 1971 R 71 19 5 Gone 'With the Wind 1939 G 53 14 6 Summer of '42 1971 R 48 13 7 Dirty Harry 1971 R 43 11 8 What's Up Doc? 1972 G 43 11 9 Shaft 1971 R 36 10 10 Play Misty For Me 1971 R 34 9 Lower Socio-economic (N=230) 1 Love Story 1971 GP 61 27 2 The Godfather 1971 R 58 25 3 Billy Jack 1971 GP 50 22 4 Shaft 1971 R 44 19 5 The French Connection 1971 R 40 17 6 Willard 1971 GP 33 14 7 Frogs 1972 PG 26 11 8 Gone With the Wind 1939 G 24 10 9 Summer of '42 1971 R 23 10 10 Mark of the Devil 1972 GP 22 10 Higher Socio-economic (N=633) 1 Billy Jack 1971 GP ' 224 35 2 Love Story 1971 GP 209 33 3 The Godfather 1971 R 132 21 4 What's Up Doc? 1972 G 113 18 5 The French Connection 1971 R 107 17 6 Dirty Harry 1971 R 103 16 7 Airport 1970 G 72 11 8 Gone With the Wind 1939 G 67 11 9 Patton 1970 GP 54 9 10 Romeo and Juliet 1968 G 50 8 I 91 over-all student list of ten, the females add two new titles, Romeo and

Juliet and Summer of *42, and omit Willard and Patton. The males add one new title, Diamonds Are Forever (they are the only group to add this title), and omit Gone With the Wind. Most importantly, it appears that the females "build on the theme of love, as in the Love Story: hut the males build, on the theme of violence and brutality, as is in Dirty Harry.

The question, then, appears to be: beyond the area of common selections, is it the theme of a film which distinguishes the male's film preference from that of the female? In order to answer that question, more infor­ mation is needed.

One other aspect in the category of sex is that of the percentage spread from first to tenth position. For the males, this spread is 2k, but for the females, it runs as high as kj, What this difference implies is that there is greater agreement among males as a group in terms of film preference than there is for females. It will be noticed in the following paragraphs thatihis difference in percentage spread between the males and the females is at least double that of the groups in the other two cate­ gories. Also, the male percentage spread of 2 k is comparable to that of all the other groups, but the female percentage spread of k 3 is much higher than the others. This information could mean that as a group, females are in less agreement, are more diversified in their interests than any other group of students.

In terms of the category of age, Table 31 points out that seven of the ten films (70 per cent)are common to both junior high students and senior high students in each group's list of its ten top theatrical film choices.

Six of the seven films are the same as those common to both males and 92

females. The seventh film, Gone With the Wind, replaces Airport for the

latter category "but is mentioned by the female group in their remaining

films. This rather high percentage of commonality for theatrical films

in the age category corresponds to that for the photograph preferences.

As with both the category of sex and the over-all student list of ten

films, these seven films in the age category are current films (although

a re-release, Gone With the Wind is new to the students); they are dis­

tributed over the ratings of G, GP, and R; and they focus on the contents

of love and of violence.

Of the remaining three selections of theatrical film titles for each

group, all are current films. One major distinction occurs in the ratings

of the films. For the senior high students, all three films are rated

R; whereas, for the junior high students, one film is rated G and two

are rated GP. The aforementioned is logical because of the age restric­

tion contained within the ratings; however, as the study points out, this

finding does not mean that the junior high students do not attend the R

rated films. The remaining selections of both groups build on the con­

tent of violence although that of the junior high students is somewhat

milder in form. They add the element of horror or the supernatural;

whereas, the senior high students temper the violence somewhat with the

addition of a film which centers on love. Another major distinction be­

tween the two age groups is the fact that all three of the remaining

theatrical film titles for the senior high students, Summer of '^2, Shaft. and Play Misty For Me. are new to the over-all student list, but none of

the junior high students are new. This situation could indicate that age begins to make a difference in students' preferences immediately after 93 the initial common preferences. There is a difference of only seven points between the percentage spread of junior high students, at 29, and that of the senior high students, at 22. This small difference indicates a similar degree of agreement within each group. In fact, these two groups are closer in their agreement than are the groups in the other two categories.

Table 31 indicates that in the category of socio-economic status, five of the ten theatrical films (50 per cent) are common to both lower socio-economic students and higher socio-economic students in each group's listing of its ten most preferred films. This percentage is somewhat lower than those for the categories of sex and of age, thus suggesting the possibility that socio-economic status is a gi’eater factor than the other two in terms of student preferences. All five films are mentioned by each of the other four groups, with the exception of Gone With the

Wind for the males. This situation reflects the area of general student preference regardless of category. This percentage is also lower that that for the same category in the photograph preferences. On the one hand, this difference could lead to the question of whether or not one percentage is more reflective than the other. On the other hand, it could lead to the question of the influence of the different media of photo­ graphs and of films on preferences. The answers to these questions lie in more extensive research of the issues involved. All of the five films, in terms of production dates, ratings, and content, are consistent with the films in the categories discussed above and with the over-all student list of ten.

All of the remaining five theatrical films for both the lower socio- economic group and the higher socio-economic group are current films. In the former group, three films are rated GP and two are rated R. In con­ trast, in the latter group, three films are rated G; one, GP; and one, R.

These ratings possibly indicate that the lower socio-economic students see more GP and R rated films than the higher socio-economic students do.

One explanation might be that the former students are subject to less parental control than the latter, and so have more freedom in their choices of films. As with the other categories, the remaining five films are generally concerned with the contents of love and of violence. What is of major significance is that four of the five titles for the lower socio­ economic students are new to the over-all student list of ten. They are

Shaft. Frogs. Summer of '42. and Mark of the Devil. Shaft. mentioned also by senior high students, is the only black film to occur in the listings.

Summer of *42 is mentioned also by senior high students and by females; however, Frogs and Mark of the Devil are not mentioned by any other group of students in the ten top theatrical films. In comparison, the higher socio-economic group mentions only one title new to the over-all student list of ten, that of Romeo and Juliet which is mentioned also by females.

This film replaces Willard in the over-all student list of ten, but Willard is the one film from that list that the lower socio-economic students re­ tain. This information points to the idea that socio-economic status, does effect the students' theatrical film preferences, especially in the lower socio-economic group. Looking at the percentage spread between first and tenth position for each of the two groups, it can be seen that there is greater agreement among the lower socio-economic group, further substantia­ ting the difference in their selections from the other groups. 95 Summary of the effect of sex, age, and socio-economic status on

students' theatrical film preferences:

1. Regardless of the students' sex, age, or socio-economic status,

there is a common area of preference.

2. Beyond that common area, socio-economic status exerts the most

influence.

3. Lower socio-economic students are the most distinctive group.

4. Sex and age have less effect.

5. Female students and older students are more diversified in their

selections.

It is necessary, at this point, to look at the television films again.

Table 32 delineates the number and the percentage of the ten television

films most often mentioned by students categorized according to sex, age,

and socio-economic status of community,

Eonsidering Table 32 as a whole, it can be seen that four television

films (40 per cent) are common to each of the three categories of students.

This percentage corresponds to both those of the common television titles in general and that of the common theatrical films in Table 31. These four television films occupy the first, the second, the third, and the sixth positions in the over-all student list of ten most frequently men­ tioned television films (Above, p, 83). In fact, the first three filips,

The Birds. Brian's Song, and West Side Story, hold those respective posi­ tions in every student ranking except for the male group in which West

Side Story moves to the seventh position, being replaced by Ben Hur. The above information further strengthens the idea that there is a common area of student film preference regardless of the student categories of sex, age, and socio-economic status. These four films are evenly divided "be­

tween theater and television as original markets, and all were shown on

television within the six month period preceding the survey. The above

information corresponds to that of the over-all student list of ten

television films.

Next, in looking at the various categories of students, Table 32

shows that, in terms of sex, there are four television films (4-0 per

cent) common to both males and females in each group's listing of its ten

preferred films. These four films are those that are common to all of

the groups of students. This percentage corresponds more closely to that

of the photograph preferences and is lower than that of the theatrical

film preferences. The discrepancy between the two film percentages could

be explained by the fact that there may be a greater number of television

films available than there‘is of theatrical films. The larger number of

television films might reduce the chances for common preferences. It is

also possible that male and/or female television film viewing habits are

different from their theatrical film habits. If such is the case, the

answer to the percentage differences lies within the nature of the differ­

ent media rather than in the percentage of one medium being right and the

other wrong.

In the remaining six television films for each group, some differences

arise. First of all, the males list only one film whose original market

is television, in contrast to the females who list four. Secondly, to

the over-all student list of ten television films, the males add four new

titles, Battle of the Bulge. King of Kings. Psycho. and The Glass House, while omitting Maybe I'll Come Home in the Spring. Up the Down Staircase. 97 TABLE 32 THE STUDENTS' TEN MOST FREQUENTLY MENTIONED TELEVISION FILMS, BY SEX, AGE, AND SOCIO-ECONOMIC STATUS OF COMMUNITY Rank Film Date Original Number % Market | Male (N=389) 1 The Birds 1963 Theater 154 40 2 Brian's Song 1971 Television 105 27 3 Ben Hur 1959 Theater 56 14 4 The Bridge on the River Kwai 1957 Theater 48 12 5 Battle of the Bulge 1965 Theater 46 12 6 Night Stalker 1972 Television 46 12 7 West Side Story 1961 Theater 28 7 8 King of Kings 1961 Theater 26 7 9 Psycho i960 Theater 26 7 10 The Glass House 1971 Television 24 6 Female (N=474) 1 The Birds 1963 Theater 159 34 2 Brian's Song 1971 Television 116 26 3 West Side Story 1961 Theater 105 22 4 Maybe I'll Come Home in the Spring 1971 Television 94 20 5 If Tomorrow Comes 1971 Television 48 14 6 Up the Down Staircase 1967 Theater 68 14 7 The Impossible Years. 1968 Televisior 53 11 8 The Last Child 1971 Televisior 47 10 9 Night Stalker 1972 Televisior 46 10 10 To Sir, With Love 1967 Theater 43 0 Junior High (N=489) 1 The Birds 1963 Theater 197 40 2 Brian's Song 1971 Television 117 24 3 West Side Story 1961 Theater 66 13 4 Up the Down Staircase 1967 Theater 65 13 5 Ben Hur 1959 Theater 50 10 6 The Impossible Years 1968 Television 44 9 7 Maybe I'll Come Home in the Spring 1971 Television 44 9 8 The Bridge on the River Kwai 1957 Theater 43 9 9 Night Stalker 1972 Television 43 9 10 Battle of the Bulge 1965 Theater 40 P 98

TABLE 32-Continued Rank Film Date Original [Number % Market ( Senior High (N=37.4) 1 The Birds 1963 Theater 116 31 2 Brian’s Song 1971 Television 104 21 3 West Side Story 1961 Theater 67 18 4 Maybe I ’ll Come Home in the Spring 1971 Television 61 16 5 Night Stalker 1972 Television 49 13 6 Ben Hur 1959 Theater 48 13 7 King of Kings 1961 Theater 41 11 8 If Tomorrow Comes 1971 Television 37 10 9 The Last Child 1971 Television 27 7 10 The Glass House 1971 Television 25 7 11 To Sir, With Love 1967 Theater 25 7 12 Tribes 1971 Television 25 7 Lower Socio-economic (N=230) 1 The Birds 1963 Television 58 25 2 Brian's Song 1971 Television 56 24 3 West Side Story 1961 Theater 41 18 4 Maybe I'll Come Home in the Spring 1971 Television 35 15 5 The Glass House 1971 Television 32 14 6 King of Kings 1961 Theater 26 11 7 Night Stalker 1972 Television 24 11 8 The Last Child 1971 Television 24 11 9 Ben Hur 1959 Theater 23 10 10 If Tomorrow Comes 1971 Television 23 10 Higher Socio-economic (N=633) 1 The Birds 1963 Theater 255 40 2 Brian's Song 1971 Television 165 26 3 West Side Story 1961 Theater 92 15 4 Up the Down Staircase 1967 Theater 79 12 5 Ben Hur 1959 Theater 75 12 6 Maybe I'll Come Home in the Spring 1971 Television 7D 11 7 Night Stalker 1972 Television 68 11 8 The Bridge on the River Kwai 1957 Theater 56 9 9 If Tomorrow Comes 1971 Television 51 8 10 The Impossible Years 1968 Television 46 1 7 99 If Tomorrow Comes, and The Impossible Years. Of the four new titles, one,

Psycho, is not mentioned by any other group in the listings. For com­

parison, the females add only two new titles, The Last Child and To Sir,

With Love, "both of which are mentioned b y other groups. These two films

replace Ben Hur and The Bridge on the River Kwai on the over-all student

list of ten. Thirdly, the general content' of the remaining six films

for the males is fairly varied, touching on such items as comhat, relig­

ion, and social issues. All of the six films for the females are concern­

ed with various adolescent problems.

The differences stated above imply that beyond the initial common

interest of all students, sex is somewhat of a factor in determining the

television film preferences of students. It appears that males are a bit

more distinctive and varied in their interests than females are. This

idea is substantiated somewhat by a look at the difference in percentage

spread from first to tenth position between the males, at 3^> and the

females, at 25. This difference suggests that males are in less agree­

ment/are more diversified as a group than aie females, at least as far

as television films are concerned. It also appears that females view more made-for-television films than males do. If the previous idea is

true, it would be interesting to pursue the reason. One factor could be

that females prefer that type of film to the theatrical on television]

Another factor might be that more females than males view television during the hours when the made-for-television films are shown.

In the category of age, Table 12 illustrates that six television films

(60 per cent) are common to both junior high students and senior high students in each group's list of its ten preferred television films. This 100

percentage corresponds closely to that for the sane category in hoth

theatrical films and photographs. In fact, of the three categories, age

with its percentages of commonality is the most consistent one from one

section of the study to another. This consistency could suggest that as

an influence on student visual preferences, age is less of a factor than

are sex and socio-economic status. As frith the other groups' films,

these six are evenly divided "between the original markets of theater and

of television.

In the remaining television films for each group, some distinctions

"between the groups begin to emerge. For the junior high students, only

one film has television as its original market; whereas, four films do

for the senior high students. The junior high students add only one new

television film title, Battle of the Bulge, to the over-all student list

of ten, while, at the same time, omitting If Tomorrow Gomes. That added title is also mentioned by the males, as has been previously noted. In contrast, the senior high students add five new television film titles to the over-all student list. They are King of Kings. The Last Child.

The Glass House. To Sir. With Love, and Tribes. Of the five, one. Tribes. is not mentioned by another other group. The titles omitted by the senior high students are Up the Down Staircase. The Impossible Years, and

The Bridge on the River Kwai. In general, the content of the remaining television films for the junior high students focuses on either war or adolescents. The content of the films for the senior high students is much more varied.

The distinctions mentioned above suggest that age does have an effect on student television film preference once the area of common interests 101

is removed. As has been noted, this situation is true for theatrical

films as well. In addition, it appears that beyond that common area, the

older students are somewhat more distinctive and diversified in their

interests than the younger students are. The former group's percentage

spread from first to tenth position is eight points less than the latter's

at 32, thus implying greater agreement as a group among the former. What

is surprising is the greater number of made-for-television films mentioned

by the older students. One explanation could be that the younger students

are subject to more parental control in terms of what they should do or

view on television during the prime time hours. Or maybe the younger

students view fewer television films, as opposed to television programs.

In the final category of socio-economic status, Table 32 shows that

seven of the ten television films (70 per cent) are common to both lower socio-economic students and higher socio-economic students in each group's listing of its ten most frequently mentioned television films. This per­ centage corresponds closely to that for the same category in the photo­ graph preferences, but is higher than that for the theatrical film pre­ ferences. The matter of accessibility enters in here and can partially account for these differences. The limited number of photographs was supplied for the participants in the study, so their choices were re­ stricted to those sixteen. Theatrical films require an admission fee in an amount not always readily available to students, especially ones in lower socio-economic communities. The even distribution of these films, between the original markets of theater and of television is similar to that for the other categories and for the students in general.

Each group's remaining three television films incorporate both 102

original markets of theater and television. A difference does arise,

however, in the specific films mentioned. To the over-all student list

of ten television films, the lower socio-economic students add three new

titles, The Glass House. King of Kings, and The Last Child; at the same

time, omitting Up the Down Staircase. The Impossible Years, and The

Bridge on the River Kwai. In direct contrast, the higher socio-economic

students add no new titles to the over-all student list. They are, in

fact, the only group to duplicate this list exactly. The three films for

each group differ1 also in terms of general content. Those for the lower

socio-economic students touch on social issues, religion, and the super­

natural; those for the higher socio-economic students, on combat and

adolescent concerns.

The above information suggests that, as with both sex and age, socio­

economic status begins to have an influence on student television film

preference once the area of common interest has been recognized. It

appears that this influence is felt more strongly by the lower socio­

economic students. This situation is true also of the theatrical film,

as has been noted above. The distinctive preferences of the lower socio­

economic students are further substantiated by the fact that their percent­ age spread from first to tenth position is only 15, thus implying consid­

erable agreement among the group. The percentage spread for the higher socio-economic students is more than twice that, at 33* must be re­ membered, also, that the higher socio-economic students comprise the group whose preferences most nearly correspond to the over-all student prefer­ ences.

In all, it appears that all three categories of sex, age, and socio­ 103 economic status exert some influence on student television film prefer­ ences; however, sex seems to make the biggest difference. This situation differs from that of theatrical film titles on which socio-economic status seems to have more influence. The explanation for this difference could lie in the ramifications contained within the viewing site for each of these types of films. Accepting this explanation seems more logical and pertinent than rejecting the information because of seeming discrepancies.

Summary of the effect of sex, age, and socio-economic status on stu­ dents' television film preferences!

1. Regardless of students' sex, age, or socio-economic status, there

is a common area of preference.

2. Beyond that common area, sex is the most influential factor.

3. Male students are more varied in their selections.

k. Age and socio-economic status have less effect.

5. Older students and lower socio-economic students are more diver­

sified,

U. Television

The final major portion of the study is that of television programs.

For the study, a "television program" is defined as any program shown on television except for made-for-television films and theatrical films. The program can be shown daily, weekly, bi-monthly, on special occasions,, etc.

It can be of any duration of time, live or taped, on a national network or a public network. The program can be part of the current television season or can be a program which was once a part of some season but is no longer shown. During the conducting of the survey, the participants were asked to list on the appropriate place on the survey form anywhere from 104 zero to ten television programs, with no particular ranking of the pro­ grams as is the case with the photographs. They were given a limited amount of t'imo in which to complete this task.

In the following tables in this section, "rank" refers to theposi­ tion established, by a television program according to the number of times it is mentioned by the participants. The "television programs" are those titles submitted by the participants with the only correction being that of spelling. The "number" refers to the total number of participants in a given group who mention that particular television program in their listing of programs. The "percentage" refers to the ratio between the number of participants in a given group who mention tho television pro­ gram and the total number of participants in that same group.

In the study, there is a total of 325 individual television program titles (Appendix XX). Of those 325 titles, 1?3 (53 per cent) are men­ tioned only by students; 39 (l2 per cent) are mentioned only by teachers; and 113 (35 cent) are mentioned by both groups. The percentage of common titles of television programs is somewhat higher than that for theatrical films and for television films, but it is 3till not very high.

The difference between the percentages is probably due more to the nature of tho two media than to a greater commonality of preferences between students and teachers, Both the greater accessibility and the repetitive nature of television programs would heighten tho chances for a greater number of programs common to students and teachers. It appears, then, that if the preferences are Indicative of viewing habits, students and teachers are not viewing many of the same television programs. This is the situation reflected in a general look at all of tho television pro-

} 105 grams listed. A more specific analysis can be made by looking at the

fifteen television programs most often mentioned by the students in com­ parison to those fifteen most often mentioned by the teachers. Table 33

illustrates the number and the percentage of these top fifteen programs for each group.

As indicated in Table 33» seven of the fifteen television programs

(47 per cent) are common to both students and teachers in each group*s list of its preferred programs. This percentage is somewhat higher than that which indicates the common television program titles in general.

This difference can possibly be explained by the condition of a national television program preference regardless of the individual viewer's classification. As with the area of film, there are some television pro­ grams which gain additional viewers because the programs have started to become popular. The added viewers increase the popularity; thus, the cycle is perpetuated. One question which needs to be asked and the answer pursued is that of motivation. Do the viewers watch a program because it TABLE 33 THE STUDENTS' AND THE TEACHERS' FIFTEEN MOST FREQUENTLY MENTIONED TELEVISION PROGRAMS Teachers (N=13l) Rank Students (N=863) Television Program Number % Television Program Number $ 1 All in the Family 486 56 All in the Family 94 72 2 Sonny and Cher 313 36 Night Gallery 43 32 3 Night Gallery 271 31 News 6 :00/6;30 38 , 29 4 Medical Center. 256 30 Sonny and Cher 29 22 5 Mod Squad 234 27 Masterpiece Theatre 23 18 6 Sanford and Son 233 27 Johnny Carson 22 17 7 FLip “Wilson Show 221 26 Marcus Welby, M.D. 22 17 8 Hawaii 5-0 215 25 Medical Center 21 16 9 Mannix 208 24 Sanford and Son 21 16 10 The Sixth Sense 207 24 Sixty Minutes 21 16 11 Marcus Welby, M.D. 178 21 Dick Cavett 19 15 12 Adam-12 175 20 Laugh-In 19 15 13 Mission Impossible 141 16 The Bold Ones 18 14 14 Love, American Style 138 16 Columbo 18 14 . The Partridge Familv 115 - 13 FLip Wilson Show 1 2 . . 13 1 0 6

is popular or because they actually prefer that program? The above per­

centage corresponds to that for the same two groups in relation to the

television film but is more than double that of the theatrical film. The

explanation here concerns the difference between the availability of the

two media. All seven television programs are evening programs. They can

be classified as follows: two situation comedies, All in the Family and

Sanford'and Son: two comedy variety shows, Sonny and Cher and the Elip

Wilson Show: one science fiction, Night Gallery; and two professional

shows, Medical Center and Marcus Welby. M.D.

In the remaining television programs, all those for both groups are

evening programs. This fact, coupled with the notation above, indicates

that for both students and teachers, the preferred television programs are

evening programs. Differences begin to emerge, however, with a consider­

ation of the specific titles and the types of the remaining programs.

First of all, in their listing, the students build on two classifications

of programs in the common seven by adding two situation comedies, Love.

American Style and The Partridge Family, and one science fiction, The

Sixth Sense. The teachers do not mention these classifications again.

Instead, they build on the other two classifications in the common seven

by adding one comedy variety show. Laugh-In. and one professional show,

The Bold Ones. Secondly, the students exclusively add one new classifica­

tion, the private eye show, by including Mannix and Mission Impossible in

their list of fifteen preferred programs. In contrast, the teachers ex­

clusively add three new classifications: news and documentaries with

6:00/6:30 News and Sixty Minutes as the specific programs; drama with

Masterpiece Theatre as the program; and the talk show with Johnny Carson 10? and Dick Cavetl as the programs. Thirdly, hoth groups add the classifi­ cation of the police show; however, the students mention three programs,

Mod Squad, Hawaii 5-0. and Adam-12. hut the teachers mention only one,

Columbo. Finally, the teachers mention one program from the Public

Broadcasting System, Masterpiece Theatre, but the students mention none.

To summarize, each group builds on two types of programs contained in the common seven, but the students* two are different from the teachers' two. The students add two new types of programs; the teachers add four; one new type is common to both but the specific programs are different.

Altogether, in the remaining programs, the students list four types; whereas, the teachers list six. Also, the teachers include a program from the Public Broadcasting System.

All of the above information further substantiates the idea that there is not a great deal of similarity between students and teachers in terms of each group's television program preferences. They do not watch many of the same programs. They may watch some of the same classifications of programs but different programs in a particular classification. These differences are added to that of the general content of the programs se­ lected by each group. It appears also from the programs that remain after the common ones are removed that the teachers are a bit more diversified in their interests, that they view a greater variety of programs. The percentage spread from first to fifteenth position in the list of preferred television programs is 59 for the teachers, but is 43 for the students.

This difference strengthens the idea of the more varied interests of the teachers.

Summary of the relationship between students' and teachers* television 108 program preferences:

1. Students and teachers view some of the same programs.

2. Beyond that common'area, there is considerable difference in

types and in content of program selection,

3. Teachers are more varied in their selections.

Of the 325 individual television programs listed in the study, the students mention a total of 286, Of these individual television program titles, 54 (19 per cent) are mentioned only by males; 66 (23 per cent) are mentioned only by females; and 166 (58 per cent) are mentioned by both groups. With respect to the category of age, of the 286 titles, 5^

(19 per cent) are mentioned only by junior high students; 6l (21 per cent) are mentioned only by senior high students; and 171 (60 per cent) are mentioned by both groups. In the third category of socio-economic status, the 286 individual titles are apportioned as follows: 26 (9 per cent) are mentioned only by lower socio-economic students; 92 (32 per cent) are mentioned only by higher socio-economic students; and 168 (59 Pe^ cent) are mentioned by both groups. The percentages of television program titles common to the groups within each category of students are fairly consistent from one category to another. This situation is the same as that which exists for both the theatrical film titles and the television film titles, further corroborating the fact that there is a general area of common student preference regardless of student sex, age, or socio­ economic status. Looking at the percentages which reflect selection by only one of the two groups within each category, it can be seen that in sex and in age these percentages are quite similar, but in socio-economic status there is considerable difference between the two groups. The per­ centage of television program titles mentioned only by lower socio­

economic students is 23 points below that of the higher socio-economic

students. Again, this is a situation that has emerged before, specifi­

cally in the area of film. For a more detailed analysis of the student

group, Table 34 indicates the number and the percentage of the television programs most frequently mentioned by the students in terms of sex, age,

and socio-economic status of community.

TABLE 34 THE STUDENTS' FIFTEEN MOST FREQUENTLY MENTIONED TELEVISION PROGRAMS, BY SEX, AGE, AND SOCIO-ECONOMIC STATUS OF COMMUNITY Rank Television Program Number * Television Program Number * Male (N=389) Female (N=474) 1 All in the Family 229 59 All in the Family 2 57 54 2 Sanford and Son 135 35 Sonny and Cher 228 48 3 Hawaii 5-0 132 34 Medical Center 193 41 4 Night Gallery 127 33 Mod Squad 164 35 5 Mannix 120 31 The Sixth Sense 154 32 6 Adam-12 111 29 Marcus Welby, M.D, 148 31 7 Flip Wilson Show 105 27 Night Gallery 144 30 8 Sonny and Cher 85 22 Flip Wilson Show 116 24 9 Mission Impossible 77 20 Sanford and Son 98 21 10 Mod Squad 70 18 Mannix 88 19 11 Cannon 64 16 The Partridge Family 87 18 12 Medical Center 63 16 Love, American Style 85 18 13 Alias Smith and Jones 53 14 Hawaii 5-0 83 18 14 Love, American Style 53 14 The Brady Bunch 81 17 15 The Sixth Sense 53 14 The Mary Tyler Moore 70 15 16 Wide World of Sports 53 14 Show Junior High (N=489) Senior High (N==374) 1 All in the Family 287 59 All in the Family 199 53 2 Sonny and Cher 161 33 Sonny and Cher 152 41 3 Flip Wilson Show 150 31 Night Gallery 143 '38 4 Mod Squad 144 29 Medical Center 121 32 5 Sanford and Son 139 28 Marcus Welby, M.D, 107 29 6 Medical Center 135 28 The Sixth Sense 97 . 26 7 Adam-12 133 27 Sanford and Snn 94 25 8 Night Gallery 128 26 Mannix 91 24 9 Hawaii 5-0 126 26 Mod Squad 90 24 10 Mannix 117 24 Hawaii 5-0 89 24 11 The Sixth Sense 110 22 Flip Wilson Show 71 19 12 Mission Impossible 92 19 Cannon 56 15 13 Love, American Style 90 18 Columbo 49 13 14 The Partridge Family 89 18 Mission Impossible Vi 13 15 The Brady Bunch 86 17 All My Children 48 ■13 16 Love, American Style 48 13 110

TABLE 34-Continued Rank Television Program Number ■ * Television Program Number * 1 Lower Socio-economic (N=230) Higher Socio-economic (N=633) 1 All in the Family 110 48 All in the Family 376 59 2 Sonny and Cher 96 42 Sonny and Cher 217 34 3 Medical Center 86 37 Night Gallery 189 30 4 Night Gallery 82 36 Mod Squad 176 28 5 Flip Wilson Show 68 29 Medical Center 170 27 6 Mannix 64 28 Sanford and Son 170 27 7 Sanford and Son 63 27 Hawaii 5-0 155 24 8 Hawaii 5-0 60 26 Flip Wilson Show 153 24 9 The Sixth Sense 60 26 The Sixth Sense 14? 23 10 Marcus Welby, M.D, 59 26 Mannix 144 23 11 Mod Squad 58 25 Adam-12 136 21 12 Mission Impossible 40 17 Marcus Welby, M.D, 119 19 13 Adam-12 39 17 Love, American Styl 3113 18 14 Dlippo 35 15 Mission Impossible 101 16 15 Cannon 32 14 The Brady Bunch 87 14

Taken in its entirety, Table 3^ points out that ten of the fifteen

television programs (66 per cent) are common to each group's list of its

fifteen most frequently mentioned programs, regardless of the student

categories of sex, age, and socio-economic status. This percentage is

comparable to those for each category's common over-all titles of tele­

vision programs, but it is somewhat higher than those representing the

commonality within the students' ten preferred theatrical films and ten

preferred television films. The difference in the two latter comparisons

can be explained by the increase in both availability and repetition of

television programs, as has been previously noted. These ten .programs

occupy the first ten positions in the over-all student list of fifteen preferred programs (Above, p.105), but they hold varying positions in the

individual group lists in Table 34. All of this commonality is refletive

of an initial over-all student preference of and/or viewing habits for television programs, a situation which occurs also in the area of film.

All of the ten programs are evening programs. They fall into the follow- Ill ing categories: two situation comedies, All in the Family and Sanford and Son: two police shows, Hawaii 5-0 and Mod Squad; two science fiction shows, Njght Gallery and The Sixth Sense: one private eye show, Mannix: two comedy variety shows, the Flip Wilson Show and Sonny and Cher: and one professional show, Medical Center. The "bulk of these shows are fictionalized, often unrealistic accounts of various life situations, thus providing a form of escape entertainment, as opposed to forcing a confrontation of valid issues.

The divisions in Table 3^» in terms of sex, illustrate that eleven of the fifteen television programs (73 pen cent) are common to both males and females in each group's list of its top fifteen choices. This per­ centage of commonality is much higher than that for the same category in the photograph preferences and is somewhat higher than that in the tele­ vision film preferences, but it is comparible to that in the theatrical film preferences. It appears, then, that even with the wide variety and the immediate accessibility of television programs, both of which would increase the viewing potential, sex influences student preferences less here than in the areas of photographs and .of television films. To the ten television programs common to all student categories, males and females alike aid another evening program, the situation comedy of Love. American

Style. This program represents another of those which revolve around, highly contrived situations.

All of the remaining television programs for both groups are evening programs; however, some differences do exist in terms of the types and of the general content of the programs. First of all, the males add to two of the already existing classifications within the common programs by in­ 112 eluding one more police show, Adam-12. and two more private eye shows,

Mission Impossible and Cannon. in their remaining selections. The last title is a new title to the over-all student list of'fifteen. The females also add to two of the already existing classifications, hut to two different ones, hy including one more professional show, Marcus Welby.

M.D.. and three more situation comediea, The Partridge Family. The Brady

Bunch, and The Mary Tyler Moore Show. The last two titles are new to the over-all student list of fifteen. Secondly, the males add two new classifications of programs by mentioning one western, Alias Smith and

Jones, and one sports show, Wide World of Sports. These two titles are also new to the over-all student list of fifteen. In contrast, the females add no new classifications of programs. Thirdly, in the area of general content, it appears that the males build on the elements of violence and of physical activity; whereas, theffemales focus on teen-age adn female- oriented situations.

In all, it seems that beyond the initial programs that are common to both groups in the category of sex, some differences begin to emerge, especailly in relation to the types of programs and the general content of the programs. In comparison to the females, the males are somewhat more diversified in their interests. This idea is substantiated by the fact that, their percentage spread from the first to the fifteenth posi­ tion is a little higher than that for the females. Because this situa­ tion exists also in the area of television films but not in the area of theatrical films, it might be fruitful to pursue the notion that males and/or females are affected differently or have differing relationships with television and film, either as media or as environments. 113 For the category of age, Table 34- specifies that twelve of the

fifteen television programs (BO per cent) are common to both junior high

students and senior high students in each group's list of its fifteen preferred programs. This percentage closely corresponds to those for

the same category in each of the preceding areas - photographs, theatri­

cal films, and television films. This general similarity positively

supports the notion that age is the least influential factor in differ­

entiating among student visual preferences, namely, photographs, films,

and television programs. As with the preceding category and the over­

all student group, these common prograins are all evening programs. Like

the category of sex, the category of age adds the situation comedy, Love.

Arneclean Style, to the programs common to all of the students in Table 34.

The junior high student and the senior high students also add another private eye show, Mission Impossible. This last program also corresponds

to the generally unrealistic content of the programs selected, as is mentioned earlier.

A comparison of the remaining programs cited by each of the two groups in the age category indicates some emerging differences in prefer­ ences. One important element is the introduction by the senior high

students of an early afternoon television program, All My Children. The programs for the junior high students are all evening programs. There are several possible reasons why the former group might have access to early afternoon programs. Because they are older individuals, they would have a little more freedom from parental control over school attendance. Some of the high schools have had to move to a split-shift school day because of crowded conditions, and so many students are 114

finished for the day by noon or 1:00 p.m. Also, many high

school students are on work-study programs which require only a half day

in the school and then a comparable period of time at work. A second

element concerns the types and the specific titles of the programs in

the remaining selections. Both groups supplement the classification of police show; however, their choices of specific shows are different.

The junior high students select Adarn-12; the senior high students,

Columbo. The latter title is a new addition as far as the over-all student list of fifteen is concerned. The junior high students also

supplement the classification of situation comedy by adding two more shows, The Partridge Family and The Brady Bunch. This last title is new to the over-all student list of fifteen. In contrast, the senior high students build on the classifications of the professional show, with

Marcus Welby, M.D.. and the private eye show, with Cannon. Also, they haveagain added a new title, Cannon. Exclusively, the senior high students add the new classification of the soap opera by including All

My Children in their top fifteen choices. A final element is that of the general content of the remaining programs for each group. The junior high students select programs which compound the violence they are already exposed to and programs which revolve around teen-agers. The senior i high students also compound the aspect of violence, and they increase the element of escape entertainment, as do all students, by including another medical professional show and a soap opera.

Again it seems that after a certain point, differences in student preferences appear, although in the category of age, these differences 115 are less predominant over-all than in sex and in socio-economic status.

In the television program selections, there is very little difference

between the two groups' percentage spread from first to fifteenth posi­

tion. In terms of types and of titles of television programs, it appears

that the older students are a bit more diversified in their interests

than the younger students are, at least within the top fifteen program

choices.

In Table 34- it is seen that thirteen of the fifteen television pro­

grams (87 per cent) are common to both lower socio-economic students and

higher socio-economic students in each groups' list of its fifteen pre­

ferred choices. This the highest percentage of commonality achieved by

this category. One possible explanation is that there is no cost that

would limit the availabiltiy of the programs, especially with regard to

the lower socio-economic students. Also, there is the constant repeti­

tion of programs that would further increase the availability. These

explanations are substantiated even more by the fact that only in the

two preferences related to television - television films and television

programs - are the percentages of commonality for the category of socio­

economic status higher than those for either sex or age. What the above

indicates is that students' visual preferences are directly affected by

the visual images available to them, however expansive or limited those

images may be. As with the category of sex, that of socio-economic

status adds Mission Impossible, another private eye show, to the over-all

student list of fifteen. The latter category also adds one more profes­

sional show, Marcus Welby, M.D., and one more police show, Adam-12. All of these evening programs correspond to the general trend of escape 116 entertainmen t.

There are some existing differences between the remaining television program selections for each group. First of all, the lower socio­ economic students include one late afternoon program in their remaining selections, but the higher socio-economic students mention only evening programs. This late afternoon program is shown daily, has a clown as moderator, and presents a different film each day. The selection of this program could possibly indicate an interest in film on the part of the lower socio-economic students and their subsequent attempt to see as many films as possible. It might also be a way of passing the time which exists between the end of the school day and dinner or a job. Homework is not an element of concern for two reasons: one, rarely is homework assigned in the schools located in the lower socio-economic communities; and two, were it to be assigned, the students would probably not do it, nor could they be forced to do it by their parents. Second, the lower socio-economic students build on the existing classification of private eye show by including Gannon in their list of fifteen choices. This title is new to the over-all student list of fifteen but is mentioned also by males and by senior high students. In contrast, the higher socio-economic students build on the existing classification of situation comedy by adding Love. American Style and The Brady Bunch. The lattelr title is new to the over-all student list of fifteen but is mentioned also by females and by junior high students. The lower socio-economic students add one new classification of television programs, the moderated film.

This show, Flippo. a local Columbus-originated program, is, as would be expected, a new title to the.over-all student list of fifteen. The 117

higher socio-economic students add no new types. Third, a difference exists between the general content of the remaining programs. The lower

socio-economic students considerably increase their exposure to violence.

The higher socio-economic students, instead, focus on love and on teen­ age settings.

Altogether, it can be stated that socio-economic status does have an effect on student television program preferences; however, in terms of the initial fifteen preferences, that effect is minimal and less than that for sex and for age. The percentage spread from the first to the fifteenth position is 34 for the lower socio-economic students and 4-3 for the higher. This difference might indicate that the latter group is in less agreement/is more diversified in its interests than is the former. In order to pursue this idea, more selections from each group should be studied and compared.

Summary of the effect of sex, age, and socio-economic status on students' television program preferences:

1. Regardless of the students' sex, age, or socio-economic status,

there is a fairly large common area of preference.

2. Beyond the common area, socio-economic status has themost

effect on the over-all preferences.

3. Lower socio-economic students are more exclusive in their 1

interests.

4. Beyond that common area, sex has the greatest effect on the top-

ranked preferences.

5. Hale students exhibit more variety.

6. Age has the least influence. 118 7. Older students are a little more varied in their selections.

The fallowing statements summarize the findings of the study:

1. Students’ and teachers' visual preferences are most similar in

photograph selection.

2. Students' and teachers' visual preferences are least similar

in theatrical film selection.

3. Beyond any common visual preferences, students and teachers are

quite different in their interests.

4-. Teachers are much more varied in their visual selections.

5. For students, in varying amounts from one visual form to

another, there is an area of common preference regardless of

their sex, age, or socio-economic status.

6 . Socio-economic status has the greatest effect on students'

preferences, exerting the most influence on both over-all

and top-ranked theatrical films, over-all television films,

and over-all television programs.

7. In all their visual preferences, lower socio-economic students

are the most distinctive group.

8 . Sex is the most influential factor in students' preferences of

photographs, top-ranked television films, and top-ranked tele- i vision programs.

9- In photograph preferences, male students and female students

are equally varied.

10. Female students display greater variety in theatrical film

preferences. 119 11. liale students are more diversified in their preferences of

television films and television programs.

12. Age has the least effect on students' visual preferences.

13- Older students are somewhat more varied in their visual

selections.

1 CHAPTER V

CONCLUSIONS: IMPLICATIONS: AND RECOMMENDATIONS

lb is necessary to look once again at the findings of both the pilot survey and the study survey in order to draw the conclusions warranted. Of subsequent concern, then, are the implications of these conclusions in terms of public school education, especially for the

English teacher. Of importance, too, are those recommendations for further study that the writer can make because of her own involvement in and analysis of this particular study. A discussion of these three items follows.

1. Conclusions of the Study

Both the pilot survey and the study survey were designed to pro­ duce information about the visual preferences of certain individuals.

The visual realm was limited to the photograph, the film (both thea­ trical and film-for-television), and the television program. The participants in the surveys were secondary school students, prospec­ tive teachers, and experienced teachers. The information sought fell into two different areas: the extent of commonality of visual prefer­ ences between students and teachers; and the effects of sex, age, and socio-economic status on the students' visual preferences.

Because there were few teacher participants in it, the pilot survey does not contribute much information about the commonality of

120 121 visual preferences between students and teachers. In the study survey, however, the number of teacher participants was much larger and in a significant proportion to the number of student participants. It,

therefore, presents some useful findings about the relationship between students' and teachers' visual preferences:

1. Between students and teachers there is an area of common visual, preference in each of the visual realms - photographs, theatri­ cal films, television films, and television programs - but it varies from one realm to another.

2. The greatest similarity of preference occurs in photograph selection.

3. The .Least similarity of preference occurs in theatrical film selection.

4. Television film and television program preferences are a bit more similar than that of theatrical film, but the amount of commona­ lity in these three realms is relatively small.

5. To some extent, these selections would be affected by the nature of each particular medium, the availability of the various media, the force of national popularity, and the repetition factor; nevertheless, the size of the sample should guarantee an accurate I indication of preference.

6. Beyond the existing common visual preferences of students and teachers, there is considerable dissimilarity in preferences. This dissimilarity is quite pronounced in the areas of theatrical film, television film, and television programs. It incorporates such items 122 as the basis for establishing priorities, the ratings of theatrical films, and the types and the content of films and television programs.

7. Throughout, it appears that as a group, teachers are both in greater agreement and more diversified in their visual preferences than are students.

In terms of student selections alone, the study presents the following information:

1. Both surveys strongly support the idea that there is an area of common preference in each of the visual realms, regardless of the students' sex, age, or socio-economic status.

2. The study survey more specifically documents that among stu­ dents this area varies from one visual realm to another, with the grealest similarity occurring in television program selection and the least in photograph selection. Half-way between these two areas of similarity are those for both theatrical film and television film.

3. Beyond that area of common student preference, both the pilot survey and the study survey illustrate that socio-economic status exerts a very strong influence on secondary school students, especially those located in lower socio-economic communities. This influence is exhibited in school attendance and in classroom involvement, as well I as in visual preferences. In the visual realm, socio-economic status has the greatest effect on students' preferences of both over-all and top-ranked theatrical films, of over-all television films, and of over-all television programs.

4-. Sex exerts some influence on students' preferences, mostly in 123

terms of photographs, of top-ranked television films, and of top-ranked

television programs. The amount of preference variety for both males

and females changes from one visual form to another.

5. Age consistently displays the least influence on students'

preferences, regardless of the visual realm. The older students'

selections appear to be more varied.

The influences mentioned above are exemplified in such factors as

photograph themes, film ratings, accessibility of media, and film and

television program content. The characteristics that distinguish one

medium from another would also have some effect on preferences, but

those effects were not measured by these two surveys.

What may appear to be conflicts between the findings of the pilot

survey and those of the study survey can be explained, instead, in

terms of the differing focuses and extents of the two surveys. For

example, the pilot survey indicates that socio-economic status is the most influential factor in photograph selection; whereas, the study

survey indicates that it is sex. The explanation for this difference

is that the pilot surveyed the number of people who submitted photo­

graphs and the number of photographs submitted by each of those people,

but the study surveyed the selection of five particular photographs

from a set of sixteen. 1

Another example lies in the area of television films. The pilot

survey indicates that socio-economic status has the most influence on

students' preferences, but the study survey shows that sex is the major factor, at least in the ten top-ranked television films. The difference here is the result of two changes that are incorporated into the study 124- survey; namely, the specific differentiation between theatrical films

and television films, and the analysis of specific television film

titles.

A third example exists with television program selection. The

pilot survey suggests that sex exerts the major influence. The study

survey indicates that socio-economic status is the primary factor, at

least in the over-all list of television programs. This discrepancy

is due to the pilot survey's base in the number of programs mentioned,

as opposed to the study survey's base in specific television program

titles, either common to both groups in a category or exclusive to

one group.

These, then, are the major conclusions of the entire study as they

relate to both the extent -of common visual preferences between students

and teachers and the effects of sex, age, and socio-economic status on

the students' visual preferences. The next concern is that of the

implications of these conclusions for public school education.

2. Implications for Public School Education

The findings of this study are certainly of major importance for public school education, especially in terms of the English teacher since photographs, films, and television programs are often a part of I the English curriculum. The following discussion is directed prima­ ry l.y t;i the teacher, the prospective: teacher, or those concerned with

teacher preparation. it will focus on such areas as: (1 ) the need for an awareness of the cultural and experiential gaps between stu­ dents and teachers; (2 ) the importance of a knowledge of the effects 125 of sex, age, and socio-economic status on students' preferences; (3)

both indirect and direct effects of the visual realms on the content

of the classroom; and (4-) the continuing validity of the writer's

study.

1. The study clearly shows that there is an extensive experi­

ential gap between teachers and students in terms of photograph, film,

and television program preferences. This gap is illustrated most

clearly by the fact that the visual area which contains the greatest amount of commonality between teachers and students, photographs at

60 per cent, is the area of least commonality for students as a whole, at 20 per cent. What this situation means is that the two groups neither seek nor are exposed to many of the same images in the form that is most readily available for classroom use; hence, they initially have very little common ground on which to begin building some measure of communication. This gap must be recognized and dealt with in a positive and significant way. If, instead, teachers insist upon igno­ ring the student culture and imposing their own, very little, if any, genuine education will take place. There will be no meaningful rela­ tionship between teachers and students, little sharing of common inte­ rests, and no introducing of new interests. It is the teacher's respon- I sibility to be aware of this cultural gap and to take steps to mini­ mize the lack of knowledge of differing cultures. This statement does not imply that it is only a one-way process, that only the teacher learns about the student culture. The teacher must make the first move in the process, but there should also be a point at which the student learns more about the teacher culture. 126 The teacher can begin by learning as much as possible about the

student culture. The results of this study show both specific student

preferences and general types of student preferences in photographs,

films, and television programs. That information should be used by

teachers in planning the basic curriculum, as well as supplementary materials. Teachers could use the format of this study to conduct

their own surveys with their own students and then build their curri­

culum uii these results.

With this proof of a visual experiential and cultural gap between

teachers and students, there is a strong possibility that there are additional gaps that teachers should explore in order to achieve grea­ ter awareness and understanding of their students. The pilot survey, in particular, suggested the following: the physical and methodolo­ gical structure of a class, whether open or self-contained, directly affects the learning atmosphere and the students' participation in the activities of that class; in planning both daily and weekly class acti­ vities, the teacher should be aware of school policies and student attitudes toward class/school attendance and adjust the plans accor­ dingly; out-of-school pressures on students, such as work and family responsibilities, directly affect the degree of their classroom parti- I cipation; and students' reactions to class materials or plans can be influenced by the teacher's attitudes toward those same activities.

2. Because sex, age, and socio-economic status do affect the student culture, in learning more about that culture, the teacher needs

to have specific information about those effects. The teacher will be 127 the opposite sex of approximately half of the students, will be at least four years older than the oldest students, and may not have come from or live in the same socio-economic status of the school/community in which he or she teaches. This latter situation is especially cru­ cial in the lower socio-economic communities. This study shows that socio-economic status, primarily the lower, is the most influential factor in students' visual preferences, yet, most teachers in those schools neither grew up in nor currently live in those communities.

This study shows also that sex is a significant factor in stu­ dents' visual preferences. It is important that the teacher be aware of both those visual areas that are affected and the ways in which they are affected, and adapt the class planning accordingly. For instance, because male students and female students have distinctly different preferences in television films, the teacher must choose a variety of films for class use so that all students will have an opportunity to respond. In addition, it is important that the teacher consider the implications of this particular finding in lieu of the current emphasis on chauvinism, sexism, and feminism. The teacher must use this know­ ledge of sex differences in a positive way, not in a pejorative one.

In planning class materials, the teacher should be aware of those I which will have over-all student appeal, as well as those which will appeal to a specific sex, age, or socio-economic status. There would be appropriate times for both types, depending upon the particular goal to be achieved. For example, the teacher might be able to use just one or two television programs to illustrate a certain literary 128 technique since there is among students on the whole a high percentage of common television program preferences. On the other hand, if that same teacher wanted to illustrate a particular poetic device by means of comparison to a photographic technique, he or she should use many photographs as examples since there is a low percentage of common photograph preferences among students over-all. An inappropriate selection, because it is either not a part of the student culture at all or a part of only one category of student, would prohibit commu­ nication between the teacher and the students and the achievement of the educational goal.

Another element in class planning has been touched on before and is pertinent here, too. It concerns the combination of days of the week and students' classroom involvement. Both surveys indicate that regardless of sex or age, students from the lower socio-economic status attend school less frequently on Monday and Friday than on Tuesday through Thursday. The teacher should adjust the daily lessons accor­ dingly.

3. All teachers should be aware of the fact that the students' out-of-school visual exposure can have a direct effect on their in­ school behavior; for example, their conversation, their dress, their t mannerisms, their energy, their attitudes, and their emotions. The morning after Brian's Song was shown on television, the students talked ■ of little else. At the peak of Billy Jack's popularity, most male students were learning and practicing karate. After Willard was released, many students, especially in the junior high, were singing 129 "Ben" in the halls and in class. Unless the teacher knew who Brian

Piccolo was, or Billy Jack, or "Ben," there was little understanding of the students1 behavior and wasted opportunity for good communica­ tion. Had the teacher understood the reasons for the students’ beha­ vior, he or she could have used that commonality of experience on which to build the materials of the class, or could have, at least, dealt with those ramifications in a positive and knowledgeable manner.

At this time, a large part, and the most potentially dangerous, of the student visual culture consists of some form or degree of violence.

This exposure could very likely result in more aggressive student behavior in the classroom. The teacher must expect this situation and be prepared to handle it.

Teachers must also give serious thought to the enrichment of the current curriculum through visual materials, especially in those schools located in the lower socio-economic communities. For all stu­ dents, the visual serves as an effective motivational device, as well as an educational one. For example, one of the writer's student tea­ chers verified the fact that a project explained by means of photo­ graphs drew a far greater response from students than one explained only through words. Because of certain limitations due to economy, I education, or social class, many students from lower socio-economic communities are somewhat culturally disadvantaged. The teachers loca­ ted in these schools should increase the students' exposure to aspects of various cultures by filling the room with photographs, incorpora­ ting the visual into the lessons, bringing in magazines, and offering the visual image as an initial learning experience, rather than or in

addition to the printed word. Several of the writer's student teachers

who were in lower socio-economic schools achieved considerable success

with their students through such methods as juxtaposing poems with

appropriate photographs, using contemporary photographs for the gods

and goddesses in the Odyssey, and surrounding the students with visual

images.

U- Even though two years have elapsed between the completion of

this dissertation and the completion of the two surveys, the findings

are still valid and pertinent. First, there is the body of research referred to in Chapter I which, even though some of it occurred over forty years ago, supports the writer's study. Second, of more imme­ diate importance is the current re-appearance of many of the students' preferred films and television programs.

The films are being re-released in both markets of theater and television. In fact, since the surveys, half of the students' ten top-ranked theatrical films have been shown again: two in the theater,

Billy Jack and Willard: and three on television, Patton. Airport. and

Love Stpry. Some other very popular films that have been re-released are Straw Dogs. Biitch Cassidy and the Sundance Kid. Brian's Song. I Night Stalker, and To Sir. With Love.

The television programs re-appear as late afternoon, early evening or late evening local or national network re-runs, or on CATV. A current check of these two program sources reveals such popular shows as The Luc.y Show, Mission Impossible. Mod Squad. and Dick Van Dyke Show 131 In addition, it reveals several shows that fit into popular types - sports show, science fiction show, and private eye show or police show.

All of the aforementioned implications are directly related to public school education and have significant effects on the total functioning of the public school classroom. It seems appropriate at this time to mention that there are other individuals and organizations who might find the procedure or the results of this study useful in their own work.

Within the school there are additional individuals who could use the findings in order to understand better the students they are wor­ king with: for example, guidance counselors, school psychologists, activities directors, media specialists, curriculum co-ordinators, librarians, and administrators. In each case, a knowledge of the various students' visual preferences would improve the individual's relationship with the students and increase his or her capability of helping them.

Besides parents, there are other individuals within the community to whom these findings would be useful, such as youth directors, minis­ ters, social workers, or anyone else who must work closely with adoles- 1 cents. In fact, because their contact with the adolescents might be less frequent than that for those in a school setting, the information of Lhis study could be more significant.

In addition, there are those individuals and organizations who are concerned with producing materials which will appeal to adoles- 132

cents - the publisher, the film producer, the television producer, the record company, the clothing industry. Because adolescents represent such a large portion-of these various markets, the producers are certainly interested in the preferences of those adolescents. The findings of this study would be quite useful to these people.

3. Recommendations for Further Study

The writer's recommendations for further study fit into two general areas: suggestions that pertain to this particular study as it already exists; and suggestions for extensions or changes in direction of this particular study. In both areas, some recommendations pertain to all of the visual realms in the study, as well as additional ones; whereas, other recommendations pertain specifically to photographs, films, or television programs.

The following suggestions apply to a replication of the writer's study:

1. Because of the number of participants and.the extent of the information yielded, a computer should be used for the tabulation of the survey. The use of the computer would save time and minimize errors.

2. Every attempt should be made to limit the number of variables in the conducting of the survey since each variable would have some \ effect, possibly undesirable, on the results.

3. The survey should be conducted on Tuesday, Wednesday or Thurs­ day for participants in the lower socio-economic communities. Those are the days of their highest school attendance.

4-. In selecting photographs for the survey, one must be sure to 133 document the source and date of each photograph in order to help

validate their quality and relevance.

5- There might be a greater variety of choice in the photograph

selections. The results could then be measured with respect bo thab

greater '/-uriety. For instance, if the number of photographs from

which to choose is increased, does that increase affect the influence

of sex, age, and socio-economic status on students' preferences? Or

do their respective influences remain the same?

6. The individual conducting the survey could take his or her

own photographs and use them for the set. This procedure would allow

for more control over the content, the focus, and the size of the photo­

graphs .

7. As well as, or instead of, selecting their own individual

photograph preferences, the participants could be asked to choose those

that they would like people in general to select or those they think

their friends would select. This shift in focus would still reveal

something about the participants' preferences, but maybe in a more indirect, relaxed way.

8. Some attempt could be made to assess each participant's ability or need to distinguish between theatrical films and television I films. It might be that there are no distinctions. On the other hand, one might be preferred over the other, be more common than the other, or be more potent visually than the other. Either of these situations could be affected by the participants' sex, age, or socio-economic status. Many of the films in this study appear on both lists - thea­ 134 trical and television. Did the participants actually remember the point of original viewing, or did they remember the film because of the repetition factor, or both? Is a theatrical film remembered longer than a television film? The answers to these questions might be obtained by personal interviews with the participants after they have filled out the survey forms.

9. For more information about students' television program pre­ ferences, a teacher could use this study in connection with Exploring

Television by William Kuhns as either a reference text or a class text. It is a secondary school workbook designed to help individuals understand, analyze, criticize, evaluate, and judge the experience of television.^ It would reveal a great deal about students' viewing habits, reactions, and perceptions.

The suggestions that follow concern extensions of or changes in the writer's study:

1. In terms of theatrical film preferences, it would be enligh­ tening to determine specifically what distinguishes the male prefer­ ence from the female. The study survey suggests that it might be the theme of the film. Beyond that area of common preference, the females select theatrical films that deal primarily with male/female love 1 relationships, but the males select ones that concentrate on physical conflict and danger. The verification of the causes of these selections would reveal useful information about the role of sex in students1 film preferences.

^William Kuhns, Exploring Television. 135 2. A comparison of the results of this study with those of the

Payne Fund Studies would allow for some comments about the relation­ ship between preference and availability. If what was predominant in film in the 1930’s has become the choice of today, is this an honest choice or a forced choice?

3. This type of relationship could be explored also by comparing in terms of thematic content the percentage of films offered today with the percentage of films currently attended. If preference is directly affected by availability, or vice-versa, what role can the individual viewer assume?

4- Another approach would be to add to the survey a question that involves change or substitution; for example, the participants would be asked what kinds of photographs, films, and television programs they would like to see offered. Their responses could then be studied in terms of whether they reflect any real change or just repeat what is already offered and/or chosen.

5. More studies of the effects of films and television programs on adolescents' knowledge, attitudes, emotions, health, and conduct would be helpful. The Payne Fund Studies are over forty years old.

The Surgeon General's Report concentrates on violence in television i programs.

6. The basis for students' television program preferences should be explored. Are selections according to type of shows, to persona­ lities in the shows, or to current fads? A comparison of the listing of defunct programs to current programs should aid in that analysis. 136 7. Both surveys Indicate that teachers view more Public Broad­

casting System programs than students do. This situation needs to be

analyzed to a greater extent as it could reveal more information about

the nature of the culture gap between students and teachers. It

should contribute to a better understanding of each group's attitudes

toward and preferences in television programs.

8. The survey should be conducted in different geographical areas

of the United States to see if location has a significant effect on

students' preferences. The results of the survey conducted In Arizona

(Above, p. 12) suggest that students' geographical location has little

effect.

9. When administering the survey, a teacher might purposely vary

the phraseology of the survey instructions from one group of students

to another and then assess the effects of these variations. The results

could be interpreted in comparison to general classroom procedures and methods, i.e., the influence of verbal communication on students'

attitudes, preferences, and responsiveness.

10. One very important concept that should be dealt with fairly

extensively at some point is the effects that the characteristics of

a particular medium have on students' preferences. These characteris- I tics would include such items as cost, availability, form, structure,

and movement. Also, do the effects of these characteristics vary depending on the student factors of sex, age, and socio-economic status? For example, does sex exert more influence on photograph preference than on film preference because the differences in the 137 nature of the two media cause different responses from males and

females ?

11. A corollary to the above concept is the idea that an indivi­

dual's preference for a particular visual medium may be a reflection

of that person's thoxight processes. For example, a student may res­ pond more to photographs because his or her own conceptualization of ideas occurs in still images; whereas, another student may respond more completely to film because he or she formulates ideas in moving patterns. Or one student may prefer film because he or she functions well in a single, continuous exposure; but another student may prefer television programs because he or she needs a repeated, episodic sti­ mulus. If this situation were true, this kind of knowledge would be invaluable for the teacher in terms of selecting individually appro­ priate materials and methods.

12. Another important question to be answered is the role that immediacy plays in visual preferences, as opposed to the role of pri­ macy. Are students and teachers affected differently by these factors?

Although neither survey in this study was designed to check this issue, the results suggest that students may be influenced more by immediacy.

This situation could be analyzed by conducting the survey with the same I group of participants at several time intervals and then comparing the results.

13* Closely connected with the question of immediacy is that of repetition. For example, to what extent does repetition of viewing a film affect the preference for that film? Again, are students and 133 teachers affected differently? More information about this issue could have direct bearing on classroom materials and procedures.

L4. It would be interesting to assess the influence that a parti­ cular current event might exert on students' visual preferences. This analysis could be achieved by carefully selecting appropriate items for the survey. If there were a direct effect, it should subsequen­ tly influence a teacher's class planning in that he or she use visual representations of those events in conjunction with the other class­ room activities. For example, the teacher could build a vocabulary lesson or a composition exercise on photographs of a recent event.

15. A thorough content analysis of visual preferences would achieve several results: for theatrical films, that aspect of the

Payne Fund Studies would be up-dated; more information would be known about current film and television program offerings; and detailed comparisons could be made between what is offered visually and what is preferred.

16. The study survey suggests that for students, there is a certain predictability of response from one visual medium to another, based mostly on content. For example, those individuals who preferred the photographs of a motorcycle also preferred motorcycle films; and I those participants who listed horror and science fiction films and television programs also selected the horror photograph. Studying the relationship of preferences among visual realms could be achieved by analyzing the individual survey forms of the participants. This information would have a direct bearing on a teacher's knowledge and 139 underslanding of students.

17- Similar to Paul Witty's survey of television program prefer­

ences (Above, p. 18), the survey might ask participants what photo­

graphs, films, and television programs they did not like. The results

could be especially helpful, in understanding the differences between

the students' and the teachers' preferences.

18. As in the Arizona study (Above, p. 12), a section in the

survey might ask for preferred books read in the past year or two. The responses could be compared to the visual preferences in terms of general content, as well as in similar titles - specific films or tele­ vision programs which have subsequently been published. The results would inform teachers about what the students are reading and would also guide the teachers in. selecting reading for the students.

19. The survey might assess also current student preferences for magazines and comic books. That assessment, combined with those for novels and/or the visual areas, would allow for an extended analysis of the interrelationship of preferences in several areas. Does the

"predictability of response" mentioned above (number 16) apply to other areas also? If so, by tapping one source of student preference, the teacher can be fairly confident of making appropriate selections in 1 other areas.

20. because music and lyrics hold such an important position in the lives of contemporary adolescents, their preferences should be documented and studied for whatever knowledge they can contribute about those adolescents. What songs are preferred? Are they preferred HO because of the music, the lyrics, or the group? To what degree do the

adolescents distinguish among these factors? Incorporating these

elements within the classroom materials would help to breach the gap

between in-school and out-of-school activities, as well as the one

between teachers and students.

21. Closely connected to the above are the album covers for phonograph records. It would be useful to determine the effect of

those covers on adolescents' preferences. Do adolescents select a record because of the photograph on the cover? This kind of analysis could lead to more general comments about the role of a photograph in all adolescent choices - a topic which has already been touched on.

If there is a direct effect, then the teacher should be incorporating photographs into all aspects of the classroom.

The above recommendations are intended for those individuals who may wish to replicate or in some way extend this writer's study. They are based primarily on the total experience of the study and represent modifications or extensions that emerged as a result of that involve­ ment.

I APPENDIX I

LETTER TO STUDENT TEACHERS

Hi!

I need your help, I am currently working in a seminar on the socio­ logy of film. What I have chosen to do for a project is to analyze the kinds of images that students choose to see and/or like. The entire project is too involved to discuss fully here hut I will make my results known to you in one of the seminars. I hope that the information will he hoth revealing and helpful to English teachers.

This is what I would like you to do for me. On January 31 > would you ask each of your students to he looking at photographs (newspaper, magazine, snapshots, etc.) during that week and on Thursday or Friday (Feb. 3 or 4) bring in two or three that he really likes, (They can he returned, if necessary.) On Thursday or Friday, have each of the students fill out the form supplied and then collect both the form and the photo­ graphs (clipped together).

Would you yourself do the same thing and ask your co-operating teacheralso to participate. Please keep the three groups separate and label them. (You could put names on yours and on the co-operating teacher's.)

Notes of the form: Names of students are not necessary hut do keep the photographs with the form for each student. I would prefer theatrical movies hut if the students want to include ones they have seen on television, that's okay. Any number of movies and television programs is okay. Emphasize sincere replies.

Note to Central: Please give Andy all the materials at the end of the day on Friday.

Note to Dublin: Please give Lana all the materials......

Note to Walnut Springs: Please give Vickie all the m a t e r i a l s .....

Note to Blendon: Becky, you’re on your own.

Note to Buckeye: Please give the materials to Phil as soon as possible.

141 14 2

I will make arrangements to pick up these materials from each of these people sometime that Friday or over the week-end. Be sure to re­ turn those forms that you don't use.

Listen, I really do need this information and I hope you will help me out. If you have any questions at all please call me. Obviously the whole study depends on this material. APPENDIX II

PILOT SURVEY FORM

School______

Subject______Grade

Age______

Sex______

Movies I have seen and like:

Television programs I like to watch:

I

143 Y 7 T Central High School Blendon Junior High JalnutJunior Springs 3uckeye Junior High Dublin School High High M F PILOT TABULATION POEM TABULATION PILOT APPENDIX III APPENDIX 7 o 011 10 12 ST CT APPENDIX IV

COLLATION OF THE RESULTS OF THE PILOT

Blendon Junior High MF 7 ST ft enrollment 2 L T_ i 172

total 22 32 54 0 ± 170 participants /° 96.5 0 i

yes/no 22 32 54 0 i % 100 100 100 0 100 pictures total no 22 35 57 0 1 average 1 1 1 0 1

total 105 185 290 0 5 movies

average 4.7 5.7 5 0 5

total 150 405 555 0 4 television

average 6.8 12.6 10 0 4 Buckeye Junior Kish M r S ST CT

enrollment 88 35 3 3

total 52 43 67 28 2 "i participants ! Cl P 76 80 66 33

y e s /no 7 9 14 2 1 0 a /j 13 20 21 7 50 0 pictures total no. 16 21 35 2 1 0 average 3 2 2.5 11 1 0 to tal 113 147 206 54 10 4 movies average 2 3 3 2 5 4

total 246 437 494 189 12 2 television

average 4.7 10 7 6.8 6 2 Walnut Springs Junior H, H F 7 ST CT

enrollment 50 2 2

total 27 17 44 2 2

participants & 88 100 100 yes/no 26 16 42 2 1 pa 96 94 95 100 50 pictures total no. 14-0 148 288 32 14 average 5 8.7 6.8 16 14 total 104 82 186 14 10 movies

average 3.8 4.8 4 7 5

total 96 105 201 10 12 television

average 3.4 6 4-5 5 6 ? f Central -Hi jV, Sohoc-1 FT Q 10 ■ i 12 ST CT enrollment 54 155 154 3 3

total 129 97 16 111 92 7 6 4 participants % 50 50 65 75 50 yes/no 10 U 0 15 8 1 6 1 Jo 7 16 0 14 8 14 100 25 pictures total no . 23 26 0 25 22 2 29 1 average 2 1.8 0 1.6 2.7 2 4.8 1 total 428 357 40 408 312 25 37 11 movies

average 3 3.6 2.5 4 3 3 6 2.7

total 597 615 28 671 479 34 17 16 television average 4.6 6 2 6 5 5 2.8 4 T\ibl i n Hi ph R^Vioo"' K 12 ST C.T

Snrcllment 27 16 2 2

total 32 28 23 37 - r 0 Darticipants % 85 80.1 50 0

yes/no 29 27 19 37 0 0 a A’ 90.6 96 82 100 0 0 pictures total no 83 85 51 117 0 0 average 2.5 3 2.6 3 0 0 total 201 195 191 208 19 0 movies

average 6 7 8 5 19 0

total 173 135 167 111 6 0 television

average 5 1.8 7 5 6 0 APPENDIX V

PILOT FILM LIST

A^Students B=Teachers

A(N=479) B(N=19) (R) The Adventurers 2 (uj An Affair to Remember 1 (G) Airport 23 1 (GPj Alice's Restaurant 2 (PG) The Anderson Tapes 3 (g ) The Andromeda Strain 8 1 (GP) Anne of a Thousand Days 2 1 (Gj The Aristocats 5 2 (Uj Around the World in Eighty Days 1 (R) The Baby Maker 4 (H) The Babysitter 1 (U) Backstreet 1 The Ballad of Andy Crocket 1 (GPj The Ballad of Cable Hogue 2 (GP; Bananas 3 (uj Bandolero 1 (Rj Barbarella 1 (Gj The Barefoot Executive 2 (Gj The Battle of Britain 3 (u) The Battle of the Bulge 9 The Battle of the Worlds 1 (Gj Beneath the Planet of the Apes 10 (Uj Ben-Hur 8 1 (xj Beyond the Valley of the Dolls 1 (R) The Big Doll House 5 (GPj Big Jake 6 1 (PG) Billy Jack 117 5 (Uj The Birdman of Alcatraz 1 (u) The Birds 9 (GP) Black Jesus 3 (U) Black Sunday 5 (GP) Bless the Beasts and Little Children 3 (R) Blood Thirsty Butchers 3 (Rj Bloody Mama 1+ (Gj Blue Water, White Death 1 (R) Bob and Carol and Ted and Alice 1 (PG) Bonnie and Clyde 5 (uj Born Free 6 (u) The Born Losers 2 (U) The Boston Strangler Brian's Song 23 (U) The Bride of Frankenstein 9 (U) The Bridge Over the River Kwai 22

150 151

A.(N*479). B(N=19) (PG) Bullit 2 (GP) The Bus is Coming 22 1 (GP) Butch Cassidy and the Sundance Kid 22 2 (r ) C.C, and Co. 1 (G) Camelot 5 (U) Captain Sinbad 1 (U) The Cardinal 1 (R) Carnal Knowledge 1 2 (R) Catch-22 1 (lH Charade 1 (G) Charlie 1 (G) Chitty, Chitty, Bang, Bang 2 (R) Chrome and Hot Leather 3 (G) Cinderella 2 (u) City Lights 1 (GP) Cold Turkey 11 (G) The Computer Wore Tennis Shoes 3 (PG) Cool Hand Luke 5 (R) Cotton Comes to Harlem 7 (GP) Count Yorga 1 (GP) Cromwell 1 (GP) The Cross and the Switchblade 5 Crowhaven Farm 3 Culter's Trail 2 (r ) Cycle Savages 1 (U) The Day the World Stood Still 1 (U) Days of Wine and Roses 1 (U) Desert Fox 1 Devil Pride 1 (GP) Diamonds Are Forever 27 (r ) Diary of a Mad Housewife 1 (U) The Diary of Anne Frank 1 Dirty Dingus McGee 2 (PG) The Dirty Dozen 22 1 (R) Dirty Harry 29 1 (R) Doctor's Wives 1 (R) Dollars 2 (u) Dondi 1 (GP) Downhill Racer 2 fGP) Dr. Phibbs 7 (GP) Dr. Strangelove 1 (GP) Dr. Zhivago 8 Duel at Sundown 1 (u) Duel in the Sun 1 (R) Easy Rider 4 2 (GP) Elvis Presley 6 (GPj Evil Kneivel 12 Evil Ritual 1 152

A(N=479) B(N-19) (Uj Exodus 1 (U Explosive Generation 1 Five Easy Pieces 1 (GP) Fool's Parade 1 ( ^ For Love of Ivy 2 (« Frankie and Johnny 3 (R< The French Connection 9 1 (R, Friends 4 Funny Girl 2 1 U] A Funny Thing Happened on the Way to the Forum 1 Games 1 Georgy Girl 1 The Ghost of Mr. Chicken 2 Gidget 1^- Gimme Shelter 1 Gone With the Wind 28 The Good, The Bad, The Ugly 1 Good Neighbor Sam 1 Good-bye, Columbus 5 Good-bye, Mr. Chips 4 The Graduate 1 2 Grand Prix 8 Grand Slam 1 The Grasshopper 1 The Great Escape 5 The Great Race 5 The Great White Hope 3 u The Greatest Story Ever Told 2 The Green Berets 1 Grimm's Fairy Tales 2 Guess Who's Coming to Dinner? 10 The Guns of Navarone k Guys and Dolls 1 Gypsy Colt ^ Halls of Anger 1 Hamlet Hang 'em High 3 Hardcase 5 (U) The Haunting 1 (GP The Hawaiians 1 (U) The Heart is a Lonely Hunter 1 (G Hell Fighters 1 153

A(N^79) B(N=19) Hello, Dolly 1 Hell's Angels 17 Hell's Angels on Wheels 5 The Hellstom Chronicle 2 Help! 1 Honky 3 The House of Dark Shadows 3 The House of Death 1 The House of Wax 7 The House That Bleeds 1 The House That Dripped Blood 10 How the West Was Won 1 Hunters Are For Killing 10 The Hunting Party 1 Husbands 1 Hush, Hush, Sweet Charlotte 4 I Eat Your Skin, I Drink Your Blood 5 I Love My Wife Ice Station Zehra 6 If l The Illustrated Man 1 Imitation of Life 7 In Cold Blood 1 In Harm's Way 9 In Search of the Castaways 1 In The Heat of the Night 1 Inherit the Wind 1 The Interns 1 The Invisible Ray 1 (g ) It's a Mad, Mad., Mad World 4 Iwo Jima 1 Jane Eyre 2 Joe I!! Journey to the Center of the Earth Kelly's Heroes 5 8 ?Kidnapped 3 (U The King and I 1 (U King Kong 3 (U The King of Kings 3 (GP) Kotch 3 (C) The Lady and the Tramp 6 (M) Lady in Cement 1 The Last Man 1 (UJ The Last Man on Earth 1 (R Last Summer 4 Laurel and Hardy 2 8 Lawrence of Arabia 1 (M The Learning Tree 3 (GP) Le Mans 5 (U) Let No Man Write My Epitaph 1 (Rj Let's Scare Jessica to Death (R) The Liberation of L. B, Jones (R; The Libertine (U) Lilies of the Field (GP) Little Big Man (R) Little Fauss and Big Halsey The Lone Survivor (uj The Longest Day (R) The Losers (xj Love and Its Joys (g) The Love Bug Love, Hate, Love (Rj Love Machine (R) Love Object (GP) Love Story (u) Lt. Robin Caruso, USN McClintock Mad Passion (u) Madame X (PG) The Magnificent Seven (PG) A Man Called Horse The Man Eaters (GP) The Man in the Wilderness The Man of War (Uj The Man With the Golden Arm (Uj Marat Sade (g ) Marooned (Gj Mary Poppins (R) MASH Maybe I'll Come Home in the Spring (GP) Me, Natalie (X) Midnight Cowboy Mighty Joe (Uj Miracle on 34th Street (uj The Miracle Worker (uj Modern Times (uj Modesty Blaise (U) Monsters of the World (GP) Mr. Tibbs (uj Mutiny on the Bounty (G) My Fair Lady Naked Under Leather The Neon Ceiling (R) Night of the Living Dead Night Stalkers (Uj 1984 (Rj 99 Women (uj Oklahoma (G; Oliver (GP) Omega Man 155

A(»-479) B(N=19) On A Clear Day You Can See Forever 2 Once Upon a Time in the West 1 100 Rifles 7 1000 B. C. 5 1000 Convicts and a Woman 2 The Other Side of the Mountain 1 Our Man Flint 2 The Owl and the Pussycat 2 Paint Your Wagon 8 Parent Trap 3 Party Time at the Lion’s Den 1 Patton 38 Pearl Harbor 1 Planet of the Apes 31 Play Girl Killer 1 Play Misty For Me 13 2 Plaza Suite 1 Portrait of Jennie 2 1 The Power 1 Pretty Maids All in a Row 2 Psycho 3 A Raisin in the Sun 1 Red Sky at Morning 1 Return of the Seven 1 Rio Lobo 1 The Robe 2 Robin Hood 1 Romeo and Juliet 17 Rosemary’s Baby 9 Run, Apaloosa 1 Run, Simon, Run 6 (G) Run Wild, Run Free 3 (GP) Ryan’s Daughter 4 The Screaming Woman 57 (u; Seven Brides for Seven Brothers 2 (U The Seven Faces of Dr. Lao 1 (U The Seventh Seal (R Shaft 55 (u Shane 10 She Waits 3 Sheriff 1 (ii) The Slave l (r ; Soldier Blue l Something Evil 10 (g ) Son of Flubber 2 Son of Kong 1 (G) Song of Norway 1 (U) Sons of Katie Elder 1 Sorry, Wrong Number 3 (GP) Soul to Soul 3 (G) The Sound of Music 12 156

A(N=479) B(N=19) South Pacific 2 Speedway 5 Spencer’s Mountain 2 Spin Out 2 The Spiral Staircase 1 The St. Valentine's Day Massacre 2 Star-Spangled Girl 3 Stay Away, Joe 7 The Stewardesses 7 Straight Jacket 1 Straw Dogs 11 Such Good Friends 1 Summer of 42 21 Summer Place 1 Sunday in New York 1 Sweet November 1 Sweet Rachael 3 Sweet Sweetback's Badass Song 13 The Swiss Family Robinson 4 T. J, Baskin 3 Take the Money and Run 1 The Taming of the Shrew Tammy 3 Tell Me That You Love Me, Junie Moon 1 The Ten Commandments Terror in the Night 17 That's No Way to Treat a Lady 1 There's a Girl in My Soup 3 S i They Shoot Horses, Don't They? 'U‘ Thirteen Ghosts 3 g ' Thoroughly Modern Millie 1 (ui The Three Faces of Eve 1 R( Three in the Attic 4 GP) Thunderball 2 (u ! Thunder Road 4 (G , Tick Tick Tick 3 (°< To Catch the Wind 1 To Kill a Mockingbird 2 (R. To Sir, With Love 14 Today We Kill, Tomorrow We Die 1 (B) Together 3 (G) Tora, Tora, Tora 11 Tribes 8 (G) True Grit 16 Two-headed Transplant 2 (H) Two Lane Blacktop 3 (GP) Two Mules For Sister Sara 1 2000 Leagues Under the Sea 1 2001: A Space Odyssey 11 8 i The Undefeated 1 157

A(N=479) B(N=19) The Undertakers 3 (U) Up the Down Staircase 7 (GP) Valdez is Coming 6 (GP) Valley of the Dolls 6 (PG) Vanishing Point 2 (U) The Vikings 1 (U) Wait Til Dark 1 The Walking Dead 1 (R) Watermelon Man 5 Welcome Home, Johnny Bristol 3 Werewolf of London 1 Werewolfs on Wheels 5 (U) West Side Story 3 (R) What Do You Say to a Naked Lady? 3 (m ) Whatever Happened to Aunt Alice? 1 (GP) What's the Matter With Helen? 1 When Michael Calls 7 (Gj Where Angels Go 1 (M) Where Eagles Dare 17 (U) Who's Minding the Mint? 1 (U) The Wild Ones 1 (PG) Wild Country 3 (GP) Willard 35 (g ) Willie Wonka and the Chocolate Factory 4 (u) The Wizard of Oz 2 1 Woman in Chains 48 (R) Woodstock 12. (g ) The Yellow Submarine 1 (GP) You Only Live Twice 1 (G) Yours, Mine, Ours 6

I APPENDIX VI

TOP-RANKED FILMS OF THE PILOT

A=Students B=Teachers A(N~479) B Q w l 1. (GP) Billy Jack 117/2W 5/25% 2. (GP) Love Story 85/18% 3/16% 3. The Screaming Woman* 57/12% 4. (R) Shaft 55/11% 5. Woman in Chains* 48/10% 6. (GP) Patton 38/ 8% 2/ll% 7. (GP) Willard 35/ 7% 8. Night Stalkers* 32/ ?% l/ 5% 9. (G) Planet of the Apes 31/ 8% 10. (R Dirty Harry 29/ 6% 1/ 5% 11. (G) Gone With the Wind 28/ 6% 3/l6% 12. (GP) Diamonds Are Forever 27/ 6% 13. Love, Hate, Love* 25/ 5% 14. (G) The Love Bug 24/ 5% 15. Maybe I'll Come Home in the Spring* 24/ 5% 16. (G) Airport 23/ 5% l/ 5% 17. Brian's Song* 23/ 5% 18. (u ) The Bridge Over the River Kwai 22/ 5% 19. (GP) The Bus is Coming 22/ 5% 20. (GP) Butch Cassidy and the Sundance Kid 22/ 5% 2/ll% 21. (PG) The Dirty Dozen* 22/ 5% l/ 5% 22. R) MASH 22/5% 2/11% 23. (R) Summer of 42 21/ 4% 6/32%

*Probably

158 APPENDIX VII

STUDENTS' AND TEACHERS' TOP NINE FILMS IN THE PILOT

A-Students B=Teachers

A(N=479) B(N=19) 1. (GP) Billy Jack 117/24% 5/25% 2. (GP) Love Story 85/18% 3/16% 3. The Screaming Woman 57/12% 4.(H) Shaft 55/11% 5. Woman in Chains 48/10% 6. (GP) Patton 38/ 8% 2/11% 7. (GP) Willard 35/ 7fo 2/11% 8. Night Stalkers 32/ 7% 1/ 5% 9. (G) Planet of the Apes 31/ 6%

1. (R) Summer of 42 21/ 4% 6/32% 2. (GP) Billy Jack 117/24% 5/2 6 % 3. (GP) Dr. Zhivago 8/ 2 % 5/26% 4. (G) Romeo and Juliet 17/ 4% 5/26% 5. (Gj Fantasia 3/ 1% 3/l$S 6. (g) Gone With the Wind 28/ 6% 7. (GP) Little Big Man 19/ 4% 3/l6% 8. (GP) Love Story 85/18% 3/l6% 9. (G) 2001: A Space Odyssey 11/ 2%

I

159 APPENDIX VIII

PILOT TELEVISION PROGRAM LIST

A=Students B=Teachers

A(N=479) B(N=19) Adam 12 75 Alias Smith and Jones 6o 1 All in the Family 148 10 All My Children 12 All Night Theater 22 American Sportsman 2 Animal Kingdom 3 Archie's TV Funnies 1 Armchair Theater 14 Arnie 16 As the World Turns 2 Bear Cats 3 Bewitched 39 Bill Russell Show 5 Billy Graham Crusade 3 Black Journal 1 The Bold Ones 15 2 Bonanza 18 Brady Bunch 75 1 Bright Promise 2 1 Bugs Bunny 5 Cades County 14 Cannon 30 Captain Kangaroo 4 Carol Burnett 29 1 Chiller Theater 36 Chuck White 3 Civilization 2 Concentration 1 Dance Band 2 Daniel Boone 29 Dark Shadows 3 David Frost 2 Days of Our Lives 1 Dean Martin 13 Dick Cavett ■2 3 Dick Van Dyke (New) 33 Dick Van Dyke (Old) 4 1 Doris Day Show 20 Dr. Simon Locke 2 Dragnet 13 Eddie's Father 21 l Edge of Night 14 Electric Co. 3

160 Emergency F. B. I. Family Affair 50-50 Club Firing Line First Tuesday Flintstone Flip Wilson Flippo Football Funky Phantom Funny Face Funny Side General Hospital Getting Together Gilligan's Island Glen Campbell Gomer Pyle Green Acres Guiding Light Gunsmoke Hawaii Five-0 Hee Haw Here Come the Brides Hogan's Heroes Hollywood Squares I Dream of Jeannie I Love Lucy I'll See You in Court Ironside It Takes a Thief Jackson 5 Jacques Cousteau Jimmy Stewart Show Johnny Carson Josi and the Pussycats The Judge Juvenile Jury Kopy Kats Lassie Laugh-In Let's Make a Deal Longstreet Lost in Space Love, American Style Love is a Many-Splendored Thing Love of Life Lucy's Toy Shop McHale's Navy Man Fb?om Uncle A(N=4?9) B(N=19) Mannix 96 1 Marcus Welby, M.D, 94 2 Mary Tyler Moore Show 36 Masterpiece Theater 2 1 Me and the Chimp 57 Medical Center 128 3 Meet the Press 1 Mission Impossible 65 2 Misteroger's Neighborhood 1 Mod Squad 114 2 My Three Sons 32 Mystery Movie 28 2 NBC White Paper 1 Name of the Game 2 Night Gallery 106 7 Odd Couple 25 O'Hara 3 One Life to Live 1 Owen Marshall 14 Partridge Family 63 1 Password 4 “ Paul Dixon 1 Persuaders 2 Phil Donahue 1 Pink Panther 6 Road Runner 4 Roller Derby 8 Romper Room 5 Room 222 50 1 Sanford and Son 58 Sarge 2 Scooby-Doo 3 Search for Tomorrow 2 Secret Storm 5 Sesame Street 6 6:00 News 7 4 The Sixth Sense 30 1 60 Minutes 7 2 Smith Family 7 Somerset 1 Sonny and Cher 96 Soul 10 Star Trek 3 Storefront Lawyers 1 That Girl 13 Then Came Bronson 11 This is Your Life 6 This is Your World 2 To Tell the Truth 12 Traffic Court 8 Truth or Consequence Twilight Zone Virginia Graham Wagon Train Walt Disney Walter CronkLte Wide World of Sports Wild, Wild West You Are There Zoom APPENDIX IX

STUDENTS’TOP-RANKED TELEVISION PROGRAMS IN THE PILOT

A-Students B=Teachers

A.(N=4.79) b (n =19) 1. All in the Family 148/31% 10/53% 2. Medical Center 128/2?% 3/16% 3. Hawaii Five-0 126/26% 2/11% 4. Mod Squad 114/24% 2/11% 5. Night Gallery 106/22% 7/37% 6. Flip Wilson 102/22% 7/37% 7. Mannix 96/20% 1/ 5% 8. Sonny and Cher 96/20% 1/ 5% 9. Marcus Welby, M.D. 94/20% 2/11% 10. Adam-12 75/16% li. Brady Bunch 75/16% 1/ 5% 12. Love, American Style 68/15% 1/ 5% 13. Mission Impossible 65/14% 2/ll% 14. Partridge Family 63/13% 1/ 5% 15. Alias Smith and Jones 60/13% 1/ 5% 16. Sanford and Son 58/12% 17. Me and the Chimp 57/12% 18. I Love Lucy 55/11% 19. Room 222 50/10% 1/ 5% 20. Bewitched 39/ 8% 21. Longstreet 39/ 8% 1/ 5%

164- APPENDIX X

STUDENTS' AND TEACHERS' TOP SEVEN TELEVISION PROGRAMS IN THE PILOT

A-Students B=Teachers

A(n =479) B(N=19) 1 . All in the Family 148/33$ 10/53$ 2 . Medical Center 128/27$ 3/16$ 3. Hawaii Five-0 1 2 6 / 2 6 % 2/11$ 4. Mod Squad 114/2*$ 2/11$ 5. Night Gallery 106/22$ 7/37$ 6. Flip Wilson 102/22$ 7/37$ 7. Mannix 96/20$ 1/ 5$ l. All in the Family 148/31$ 10/53$ 2 . Flip Wilson 102/22$ 7/37$ 3. Night Gallery 106/22$ 7/37$ 4. 6:00 News 7/ 3$ 4/21$ 5. Dick Cavett 2/ |$ 3/16$ 6„ Laugh-In 37/ £$ 3/16$ 7. Medical Center 128/2?$ 3/16$

165 APPENDIX XI

STUDY SURVEY FORM

SCHOOL ______SUBJECT GRADE ______AGE ______SEX ______

MOVIES: the best ten I have ever seen

Theatrical Television

TELEVISION: the most frequent programs that I choose to watch

PHOTOGRAPHS: my preference from best to top five 1. ______2. ______3. ______

5. ______

166 APPENDIX XII

PHOTOGRAPHS USED IN THE STUDY

i

167 168

1 Photograph 1. 169

1 Photograph 2. 170

1 Photograph 3. 1 Photograph 4* 172

1 Photograph 5. Photograph 174

1 Photograph 7. Photograph 8, Motorcycle World. March, 1972, pp. 30-31. 176

a-

1 Photograph 9> Life. November 26, 1971, P» 59* 177

1 Photograph 10. Photograph 11, McCall's. November, 1971, P- 93. 179

1 Photograph 12. Si LTD. | PTLAND]

1 Photograph 13, Saturday Review. October 2, 1971, p. 181

1 Photograph 14. 182

1 Photograph 14. 183

Photograph 15, National Geographies, July, 1969, P* 108. 184

1 photograph 16, Life. October 29, 1971, p. 70. APPENDIX XIII

STUDY T-y3ULATI0:; FORM

r>* 7F a - i 8F Of.; 9F IG-'i 10F IJII 11F 12-1 12F Ri l J

Blendcn Junior High

Walnut Springs Junior High

Barrett Junior High

Reynoldsburg High School

Walnut Ridge High School

South High School APPENDIX XIV

RESULTS OF THE STUDY PHOTOGRAPH SELECTIONS

A-Students B^Teachers O M a l e INFemale E=Junior High F^Senior High G=Higher Socio-economic H=Lower Socio-economic

B C D E F G H Photograph N-863

1 105/12# 479/56#

2 110/13# 306/35#

3 16/ 2# 151/17# 4 146/17# 551/64#

5 7/ 1# 167/19# 6 10/ 1# 111/13#

7 183/22# 538/62#

8 108/13# 384/44#

9 8/ 1# 154/18#

10 16/ 2# 242/26#

ll 33/ 4# 250/29#

186. 187 A B C D E F G H Photograph N=863 N==131 N=389 N=4-74- N=4-89 N=374 N=633 N=23Q

12 5/ 1# 7/ 5% 1/ ■§# V 1# 1/ \ % V 3# 3/ 1% 2/ 1# 82/10# 4-8/37# 31/ 8# 51/ H ^ 38/ 8# 44/12# 63/IO# 19/ 8#

13 32/ 3% 0/ 0# 25/ 6# 7/ 2# 16/ 3# 16/ 4# 26/ 4# 6/ 2# 24-7/29# 6/ 5% 173/44# 74-/16% 164-/34# 83/22# 186/29# 61/27#

14- 49/ 6# 3/ 2# 18/ 5% 31/ 7# 33/ 7# 16/ 4-# 24-/ 4-# 25/11# 24-1/28# 21/i 6# 68/17# 1 7 ? / % % 153/31% 88/24-# 150/24-# 91/4-0#

15 8/ 1# 2/ 2# 6/ 2# 2/ f# 5/ 1# 3/ -|# 7/ 1# 1/ 1# 203/24-# 41/31# 3 3 / 2 5 % 104-/22# 1 2 2 / 2 5 % 81/22# 147/23# 56/24-#

16 23/ 3% 0/ 0# 0/ 0# 23/ 5% 23/ 5% 0/ 0# 14-/ 2# 9/ 4-# 95/11% 2/ 2# 12/ 3% 83/18# 81/17% 14-/ 4-# 55/ 9# 4-0/17$ APPENDIX XV

THE PERCENTAGE OF BOTH STUDENTS' AND TEACHERS’ FIRST CHOICE SELECTIONS FOR EACH PHOTOGRAPH

Students ______Teachers ------

100

90

80

70

60

50 40

1 2 6 8 10 11 12

I

188 APPENDIX XVI

THE PERCENTAGE OF BOTH STUDENTS’ AND TEACHERS' OVER-AIL SELECTIONS FOR EACH PHOTOGRAPH

Students ______Teachers ------

100

90

80

70 11 60

5 0 bo

30

20 v 10

0 10 11 12 16

i

189 APPENDIX XVII

CORRESPONDENCE RELATED TO THEATRICAL AND TELEVISION FILMS

t

190 191

16 W. Tulane Dr. Apt. D Columbus, Ohio 4-3202 July 6, 1973

Mr. David Parker Library of Congress Film and Photography Section Washington, D. C.

Dear Mr. Parker,

It has been suggested to me that I contact you for some information I need. I am a doctoral candidate in English education at The Ohio State University and am currently writing my dissertation. The thesis concerns the results of a survey that I administered twice in the first half of 1972 to determine the secondary school students' and teachers' preferences in terms of movies, television programs, and photographs. The survey form was open in that the participants entered the titles of the films and the television programs themselves. Since that time, I have regular­ ly consulted the newspaper and various other sources to record both the dates and the ratings of the almost one thousand film titles I am working with. The problem now is that I still have some films that I have been unable to date and/or rate. Because the participants entered the titles, there is the possibility that they confused the wording of the titles. Also, some of the titles are for made-for-television films and I realize you may not have that information. Nevertheless, I am sending you my list of unknowns and asking for your help. If you' could, would you indicate for me the missing information. If there are additional sources I could pursue, I would appreciate knowing them too. I have checked The Indepen­ dent Film Journal and The Film Daily Yearbook 1970.

One other item that I need is the current analysis of the movie audi­ ence, its composition in terms of age. Do you know of a recent assess­ ment that I could look at or do you have those figures yourself?

I would be most appreciative of any help you could give me. I feel that I've exhausted the sources here in Columbus. I will be at my current address until the middle of August. After that I will be at 199 Regent Street, Saratoga Springs, New York, 12866, teaching at Skidmore College. If I can share my findings with you, I will be happy to do so.

Thank you very much. Sincerely,

Ms. Nedra Stimpfle 192

16 W. Tulane Dr. Apt. D Columbus, Ohio 4-3202 July 6, 1973

Mr. Sam Shuboff National Association of Theater Owners Loew's Morse Road Columbus, Ohio

Dear Mr. Shuboff,

It has been suggested to me that I contact you for some information I need. I am a doctoral candidate in English education at The Ohio State University and am currently writing my dissertation. The thesis concerns the results of a survey that I administered twice in the first half of 1972 to determine the secondary school students1 and teachers' preferences in terms of movies, television programs, and photographs. The survey form was open in that the participants entered the titles of the films and tele­ vision programs themselves. Since that time, I have regularly consulted the newspaper and various other sources to record both the dates and the ratings of the almost one thousand film titles I am working with. The problem now is that I still have some films that I have been unable to date and/or rate. Because the participants entered the titles, there is the possibility that they confused the wording of the titles. Also, some of the titles are for made-for-television films and I realize you may not have that information. Nevertheless, I am sending you my list of unknowns and asking for your help. If you could, would you indicate for me the missing information. If there axe additional sources I could pursue, I would appreciate knowing them too. I have checked The Independent Film Journal and The Film Daily Yearbook 1970.

One other item that I need is the current analysis of the movie audi­ ence, its composition in terms of age. Do you know of a recent assess­ ment that I could look at or do you have those figures yourself?

I would be most appreciative of any help you could give me. I feel that I ’ve exhausted the sources here in Columbus. I will be at my current address until the middle of August. After that I will be at 199 Regent Street, Saratoga Springs, New York, 12866, teaching at Skidmore College, If I can share my findings with you, I will be happy to do so.

Thank you very much. Si ncfiXfilv.

Ms. Nedra Stimpfle 0 193

16 W. Tulane Dr. Apt. D Columbus, Ohio 4-3202 July 6, 1973

Mr. Jerry Knight 91 N. Stanwood Rd. Columbus, Ohio 4-3209

Dear Mr. Knight,

It has been suggested to me that I contact you for some information I need. I am a doctoral candidate in English education at The Ohio State University and am currently writing my dissertation. The Thesis concerns the results of a survey that I administered twice in the first half of 1972 to determine the secondary school students' and teachers' preferences in terms of movies, television programs, and photographs. The survey form was open in that the participants entered the titles of the films and the television programs themselves. Since that time, I have regularly con­ sulted the newspaper and various other sources to record both the dates and the ratings of the almost one thousand film titles I am working with. The problem now is that I still have some films that I have been unable to date and/or rate. Because the participants entered the titles, there is the possibility that they confused the wording of the titles. Also, some of the titles are for made-for-television films and I realize you may not have that information. Nevertheless, I am sending you my list of unknowns and asking for your help. If you could, would you indicate for me the missing information. If there are additional sources I could pursue, I would appreciate knowing them too. I have checked The Independent Film Journal and The Film Daily Yearbook 1970.

One other item that I need is the current analysis of the movie audi­ ence, its composition in terms of age. Do you know of a recent assessment that I could look at or do you have those figures yourself?

I would be most appreciative of any help you could give me. I feel that I've exhausted the sources here in Columbus. I will be at my current address until the middle of August. After that I will be at 199 Regent Street, Saratoga Springs, New York, 12866, teaching at Skidmore College. If I can share my findings with you, I will be happy to do so. 1

Thank you very much. Sincerely,

Ms. Nedra Stimpfle ^ 194

16 W. Tulane Dr. Apt. D Columbus, Ohio 43202 July 6, 1973

Boxoffice Ben Shlyen, Editor-in-chief and Publisher 825 Van Brunt Blvd. Kansas City, Mo. 64124

Dear Mr. Shlyen,

It has been suggested to me that I contact you for some information I need.’ I am a doctoral candidate in English education at The Ohio State University and am currently writing my dissertation. The thesis con­ cerns the results of a survey that I administered twice in the first half of 1972 to determine the secondary school students' and teachers' preferences in terms of movies, television programs, and photographs. The survey form was open in that the participants entered the titles of the films and the television programs themselves. Since that time, I have regularly consulted the newspaper and various other sources to record both the dates and the ratings of the almost one thousand film titles I am working with. The problem now is that I have some films that I have been unable to'date and/or rate. Because the participants entered the titles, there is the possibility that they confused the wording of the titles. Also, some of the titles are for made-for- television films and I realize you may not have that information. Nevertheless, I am sending you my list of unknowns and asking for your help. If you could, would you indicate for me the missing information. If there are additional sources I could pursue, I would appreciate know­ ing them too. I have checked The Independent Film Journal and The Film Daily Yearbook 1970*

One other item that I need is the current analysis of the movie aud­ ience, its composition in terms of age. Do you know of a recent assess­ ment that I could look at or do you have those figures yourself?

I would be most appreciative of any help you could give me. I feel that I've exhausted the sources here in Columbus. I will be at my current address until the middle of August. After that I will be at 199 Regent Street, Saratoga Springs, Mew York, 12866, teaching at Skidmore College. If I can share my findings with your, I will be happy to do so.

Thank you very much.

Sincerely,

Ms. Nedra Stimpfle 195

16 W. Tulane Dr. Apt. D Columbus, Ohio 4-3202 July 6, 1973

The Independent Film Journal Morton Sunshine, Editor 1251 Avenue of the Americas Hew York, N. Y. 10020

Dear Mr. Sunshine,

It has been suggested to me that I contact you for some information I need. I am a doctoral candidate in English education at The Ohio State University and am currently -writing my dissertation. The thesis concerns the results of a survey that I administered twice in the first half of 1972 to determine the secondary school students' and teachers' preferences in terms of movies, television programs, and photographs. The survey form was open in that the participants entered the titles of the films and television programs themselves. Since that time, I have regularly consul bed the newspaper and various other sources to record both the dates and the ratings of the almost one thousand film titles I am working with. The problem now is that I still have some films that I have been unable to date and/or rate. Because the participants entered the titles, there is the possibility that they confused the wording of the titles. Also, some of the titles are for made-for-television films and I realize you may not have that information. Nevertheless, I am sending you my list of unknowns and asking for your help. If you could, would you indicate for me the missing information. If there are addi­ tional sources I could pursue, I would appreciate knowing them too. I have checked The Independent Film Journal and The Film Dally Yearbook 1970.

One other item that I need is the current analysis of the movie aud­ ience, its composition in terms of age. Do you know of a recent assess­ ment that I could look at or do you have those figures yourself?

I would be most appreciative of any help you could give me. I f(eel that I've exhausted the sources here in Columbus. I will be at my cur­ rent address until the middle of August. After that I will be at 199 Regent Street, Saratoga Springs, New York, 12866, teaching at Skidmore College. If I can share my findings with you, I will be happy to do so.

Thank you very much.

Sincerely,

/kciiCL. ' i v t Ms. Nedra Stimpfle The 196 Independen L Film Journal

July 23, 1973

Ms Nedra Stimpfle 16 W. Tulane Dr. Apt. D Columbus, Ohio 43202

Dear Ms. Stimpfle,

I am returning your list with as much information as I am able to get hold of included. Some of the titles you gave me I have never heard of and could not find in the limited material I have with me at the office. Other titles rang a bell but I could find no information on them anyway. And a number of the titles were for made-for-TV films and, in a few cases, TV series about which I simply have no data. I have tried to list such things on your pages as well as possible alternative titles when I could.

I would recommend that you contact the Motion Picture Association of America at 522 Fifth Avenue in New York (sip code: 10036) for any further information regarding ratings. For television films you might try the Televi sion Information Office of the National Association of Broadcasters at 745 Fifth Avenue (zip code: 10022). The theatre collec­ tion of the Library and Museum of the Performing Arts at Lincoln Center might also be able to help you; they have extensive film reference mat­ erials.

As to a recent survey of the movie audience, I would say try the M.P.A.A. Some surveys of various audiences in parts of the country have crossed my desk but nothing as all encompassing as you want. I am sorry my help has been somewhat sketchy but it's been a busy summer, and my reference materials are somewhat sketchy.

Odncerely Yours

Lewis Archibald Associate Editor

1251 AVENUE OF THE AMERICAS/NEW YORK, N. Y. 10020/Circle 6-6460 197

SKIDMORE COLT.EGE Saratoga Springs, New York 12866 Department of Education

January 8, 1974-

Jack Valenti, MPAA 522 Fifth Avenue New York, N. Y. 10036

Dear Mr. Valenti,

While teaching at Skidmore College, I an also trying to finish my doctoral dissertation from the Ohio State University in Columbus, Ohio. Dr. Robert Wagner, Chairman of the Department of Photography and Cinema at Ohio State and a member of my committee, suggested that I contact you for some information I need. M y thesis concerns the results of a survey that I administered twice in the first half of 1972 to determine the secondary school students' and teachers' preferences in terms of movies, television programs, and photographs. The survey form was open in that the participants entered the titles of the films and the tele­ vision programs themselves. Since that time, I have regularly consulted the newspaper and various other sources to record both the dates and the ratings of the almost one thousand film titles I am working with. The problem now is that I still have some films that I have been unable to date and/or to rate. Because the participants entered the titles, there is the possibility that they confused the wording of the titles. Also, some of the titles are for made-for-television films and I realize you may not have that information. Nevertheless, I am sending you my list of unknowns and asking for your help. If you could, would you indicate for me the missing information. If there are additional sources I could pursue, I would appreciate knowing them too. I have checked The Inde­ pendent Film Journal and The Film Daily Yearbook 1970.

One other item that I need is the current analysis of the movie audience, its composition in terms of age. Do you know of a recent assessment that I could look at or do you have those figures yourself?

I would be most appreciative of any help you could give me. I feel that I have exhausted the sources available to me. If I can share my' findings with you, I will be happy to do so.

Thank you very much.

Sincerely, //&cL Gu, Ota Nedra R. Stimpfle Instructor 198

MOTION PICTURE ASSOCIATION. OF AMERICA, INC. 522 FIFTH AVENUE NEW YORK, N. Y. 10036

January 15, 1974-

Miss Nedra R. Stimpfle Department of Education Skidmore College Saratoga Springs, New York 12866

Dear Miss Stimpfle:

I am returning herewith your list of pictures which was referred to me by Mr. Valenti.

Eleven have been identified. The remainder are ■undoubtedly tele­ vision viewings or else tire examples of poor recall of wording.

Enclosed is an analysis of attendees by age groups.

Sincerely yours,-

A ' * ' Michael Linden Director of Research

ML/if Encl. (2)

I Yearly Movie Admissions (Current Survey — 1972) Average No. Average No. MOVIEGOERS YEARLY Admissions A.dmissions POPULATION PER YEAR AIM ISSIONS Per Person Per Moviegoer Millions % Millions % Millions % PER YEAR PER YEAR

Total public, r 1 age 12 and over 161.3 100# 97.7 100*i o o 7.4 12.2

AGE

12-15 16.3 10# 12.7 13% 13# 9.8 12.6

16-20 19.2 12 17.7 18 30 18.6 20.1

21-24 13.5 9 11.8 12 16 14.2 16.3

25-29 14.3 9 12.0 12 14 11.2 13.8

30-39 23.2 U 16.3 17 11 5.6 8.0

40-49 24.0 15 13.3 14 10 5.1 9.3

50-59 21.5 13 8.7 9 4.8 4 1,9 60 and over 28.8 18 5.2 5 2 0.9 $.1

vOi—1 vO 200

8KTW0RE ('.OIJJIOE Cara toga Springs, Mew York 12866 Department of Education

January 8, 197/+

Television Information Office of National Association of Broadcasters 74-5 'Fifth Avenue New York, New York 10022

Dear Ms/Sir:

While teaching at Skidmore College, I arn also trying to finish iny doctoral dissertation from the Ohio State University in Columbus, Ohio. Dr. Robert. Wagner, Chairman of the Department of Photography and Cinema at Ohio State arid a member of my committee, suggested that I contact you for some information I need. Ky thesis concerns the results of a survey that I administered twice in the first half of 1972 to determine the secondary school students' and teachers' preferences in terms of movies, television programs, and photographs. The survey form was open in that the participants entered the titles of the films and the television programs themselves. Clnee that time, I have regularly consulted the newspaper and various other sources to record the dates of those films made directly for television. My problem is two-fold: I am unsure as to which ti ties are films that wore made for television alone; and I do not have dates for all of these films. There is also the problem of incorrect titles. Because the participants entered the titles, there is the possibility that they confused the wording of the titles. I am sending you my list of unknowns and asking for your help. Would you please indicate which titles are television films and when these films were made. If there are resource materials I could use to find this information, 1 would appreciate knowing that.

I would be most grateful for any help you could give me. I feel that I have exhausted the sources available to ine. If I can share my findings with you, I will be happy to do so.

Thank you very much.

Instructor 201

Television Information Office of the National Association of Broadcasters 74-5 Fifth Avenue, New York, N. Y. 10022, Plaza 9-6800 James D. Poteat Librarian January 16, 1974-

Dear Ms. Stimpfle:

I have received your letter of January 8 requesting assistance in veri­ fying names of the television programs and dates in your survey for preparation of your doctoral dissertation- I am afraid that even if we had the records we would not be able to undertake such an extensive research project for you.

If you should be in New York City during the time you are working on your dissertation, I would be glad to have you call or write me for an appointment to use our library and information center. Some of the ver­ ification, I think, would be done by use of our files. However, your list contains many titles that are unfamiliar to me.

I am assuming that when you sent out your survey you covered only a spe­ cific geographical area and requested information covering a certain period in time. If this is the case, then I suggest your best bet would be to obtain copies of the TV GUIDES which covered that area and time period. It would be a slow search, but I would suggest that most of your titles would be available in that manner.

I am sorry that I cannot be of more help to you, but I wish you the best of luek in your search.

Cordially,

Ms. Nedra R. Stimpfle Skidmore College Saratoga. Springs, N.Y. 12866

JP:vc 1 PLEASE NOTE: This page not included in material received from the Graduate School. Filmed as received. UNIVERSITY MICROFILMS APPENDIX XVIII

STUDY THEATRICAL FILM LIST

A=Students C=Male Students E=Junior High Students G=Higher Socio-Economic Students B=Teachers D=Female Students F=Senior High Students H=Lower Socio-Economic Students

A B c D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 The Abominable Dr, Phibbs V 1fo 0/ 0 % 3 / ¥ 1/ i* V 1# 0/ 0^ 4/ 1# 0/ 0# GP 1971 The Adventurers 1/ ¥ 0/ Ofo 0/ Ofo y ¥ 0/ Ofo y ¥ y ¥ 0/ ($ R 1970 Airuort 8 6 /1 0 $ 3/ 2fo y?/io$ b -9/lO fo 6 8 /W o 18/ 5^ 72/11# 14/ 6# G 1970 Alex in Wonderland 0/ O f 1/ 1% R 1971 Alice in Wonderland 0/ 0 % 1 / ¥ G 1951 Anastasia 0/ 0% 1/ 1fo U 1956 The Anderson Tapes 5/ 3# 0 / a f V 1% 1/ i* 3/ 3# 2 / i ^ 5/ 3# 0/ 0# PG 1971 The Andromeda Strain 9/ 1# 0/ Ofo 7/ 2% 2/ ■§# 3/ 1# 6/ 2^ 7/ 1£ 2/ l£ G 1971 Anne of a Thousand Days 5/ 1% V 3% 2/ \% 3/ 1^ V 1^ 1 / ^ 5/ 1% 0/ 0% GP 1969 The Apartment 0/ 0% 1/ 1% U I960 The April Fools 0/ 0% 1/ ¥ M 1969 The Aristocats 7/ ¥ 0/ 0 % 3/ ¥ V 1^ 3/ l£ V 1^ 6/ l£ l / l * G 1970 Around the World in 80 i / ¥ 1/ 1% 1 / ¥ 0/ i / i * 0/ Ofo 0/ 07S l / * * Days U 1956 A B C D E F G H N=863 N=131 ■389 N=474 N=489 N=374 N=633 N=230 The Babymaker 3/ ¥ 0/ O f 1 / 4* 2/ 4* 0/ 3/ 1% 2/ 4* 1 / 4* R 1970 Bambi 2/ \% 0/ 0f 2/ us 0/ 0% 2/ US 0/ ($ 2/ Us 0/ 00 G 19^2 Bananas 3 / ¥ 0/ 0% 1 / 4* 2/ us 2/ 4* 1 / 4* 1 / 4* 2/ 1% GP 1971 Bang Bang Gang 1/ ¥ 0/ 0% 0/ 0^ 1 / 4* 1/ 4* 0/ 0/ 00 1 / 4* X 1969 Barbarella i / ¥ 0/ 0f 0/ 1/ 4* 0/ 0^ 1 / 1/ 4* 0/ 00 R 1968 The Barefoot Executive 7/ 0/ 0f V 1# 3/ 1# 4/ 1# 3/ 1# 3/ 10 V 2# G 1971 Baron Von Richtofn 1/ ¥ 0/ O f 1/ 4* 0/ 0^ 0/ 0^ 1 / 4* 1 / 4* 0/ 00 GP . 1971 Batman 1/ ¥ 0/ 0% 1 / 4* 0/ 0# 1 / 4* 0/ C06 1 / 4* 0/ 00 G 1967 Battle of Britain 3/ ¥ 0/ O f 2/ 4* 1 / 4* 2/ 4* 1 / 4* 3/ 10 0/ 00 G 1969 Battle of the Bulge 2/ \% 0/ 0% 2/ 4* 0/ 0^ 2/ 4* 0/ o?s 2/ 4* 0/ of u- 1965 Beeket 0 / Ofo 2/ U 19 64 Bedknobs and Broomsticks 7/ 1% 0/ 0% 2/ us 5 / 1# 7/ 1% 0/ 00 6/ 10 1/ ¥ G 1971 Ben Hur 9/ 1# 7/ 5% 6/ 2^ 3/ 4/ 5/ 10 6/ 3 / 10 GP 1959 Beneath the Planet of the 7/ ¥ 0/ 0f 3/ 4* V 1# 5 / 2/ 4* 5 / 10 2/ 10 Apes G 1970 Beth i / ¥ 0/ O f 0/ 0# 1 / 4* 0/ <# 1 / ¥ 1 / 4* 0 / of NA NA Beyond the Planet of the 3/ ¥ 0/ 0# 1 / 4* 2/ Us 2/ 4* 1/ ¥ 2 / 10 1/ ¥ Apes G 1970 Beyond the Valley of the 2/ ¥ 0/ ($ 2/ Us 0/ 2 / US 0/ Ofo 1/ Us 1 / ¥ Dolls X 1970 AB c DEFGH N=863 N=13l N=474 N=489 N=374 N=6334 N=230 The Bible...In the 4// 3 ^% 0/ 0% 2/ i* 2/ i* i/i* 3/ 1* 2/ ^ 2/ 1% Beginning U 1966 The Big Doll House 5/ 1* 0/ 0% 2/ |* 3/ 1* 4/ 1^ 1/ 2* 1/ gt 4/ 1# R 1971 Big Foot 2/ i* 0/ O f 2/ |* 0/ O f 2/ i * 0/ 0^ i / i * 1/ i* PG 1970 Big Jake 18/ 2* 0/ 0* 14/ k f 4/ 1# 10/ 2^ 8/ 2* 17/ 3* 1/ i* GP 1971 Big Mama 2/ ¥ 0/ O f 2/ |* 0/ C$ 2/ i* 0/ 0* 0/ 0* 2/ 1* R 1970 The Big Mouth 7 / lf° 0/ 0% 5/ 1* 2/ i* 7/ 1* 0/ C$ 7/ 1% 0/ 0^ G 1967 The Big Store 2 / i * 0/ 0% 0/ ($ 2 / ¥ 0/ 0^ 2/ |* 1/ i* 1/ U 1941 Billy Jack 274/32^ 10/ Efo 125/32* 149/31* 179/37* 9 5 / 2 5 % 224/35^ 50/22^ GP 1971 The Bird. With the Crystal 1/ i* 0/ 0* 0/ 0* l / i * i / i * 0/ 0^ 1/ i* 0/ 056 Plummage GP 1970 The Birds 5/ 1* 1/ 1* l / i * 4/ 1# 5/ 1* 0/ Ofo 2/ i* 3/ 1* U 1963 The Biscuit Eater i/i* 0/ 0% 0/ 0^ i / i * 1/ 0/ 0* i / i * 0/ 0% G 1940 Black Jesus 0/ c* 1/ 1* GP 1971 Black Moses i /i* 0/ 0* i/i* 0/ o?s 0/ Ofo l / i * 0/ 0* 1 / i * GP 1971 Black Orpheus 0/ of 1/ 1* U I960 Black Sabbath 1/ ¥ 0/ 0% 0/ 0* 1/ i* 1 / i * 0/ o?s i / i * 0/ 0* U 1964 Blackbeard’s Ghost i / i * 0/ 0* i/i* 0/ Ofo i / i * 0/ 0* i / f * c/ 0^ U 1968 Bless the Beasts and 38/ h f 2/ 2* 8/ 2$ 30/ 6# 26/ 5* 12/ 3* 33/ 5* 5/ 2* Children GP 1971 AB C D E F G H N=863 N=131 N=389 N = W N=489 N=374 N=633 N=230 Blood Beast From Outer 1/ §75 0/ O f 1/ ¥ 0/ 0% 1 / ¥ 0/ Ofo o f o f i f ¥ Space U 19 66 Bloodthirsty Butchers 4/ 1 % 0/ ofo 2/ §75 2/ §75 4/ 1% o / of 4/ ¥ o / of R 1970 Bloody Mama 2/ ¥ 0/ 075 2/ -§75 0/ 0?5 2-1 ¥° 0/ Ofo 2/ §75 o/ o f R 1970 Blow-Up i/i* 0/ 075 0/ 075 i/ ¥ 1 / ¥ o / of 1/ §?5 0/ o f U 1967 The Blue Angel 0/ o f 1/ 175 u 1959 The Blue Coat i/i* 0/ 075 i /i* o/ o?5 o / of 1/ ¥ 1/ §;5 0/ 075 NA NA The Blue Max 3/ ¥ 0/ O f 3/ §75 0/ i/ ¥ 2/ ¥ 3/ 1 % 0 / Ofo U 1966 The Boatniks i / i * 0/ 0?5 0/ 075 1/ T* o / 1/ §75 0/ 075 1/ -§-75 G 1970 Bob and Carol and Ted V ¥ ° 1/ 1* 0/ 075 1/ §75 1 / §75 o / 075 1/ §-75 o / ofo and Alice R 1969 Bonnie and Clyde 17/ 275 4/ 375 10/ 375 7/ 175 8 / 2 % 9 / 2 ^ 16/ 375 1/ §75 PG 1967 Bora Free !/§■* 0/ 075 0/ Q?5 1/ i* 1/ §75 0/ 075 1/ -§75 0/ 075 U 1966 Born to be Wild i / ¥ 0/ 075 i /i* 0/ 0* o / ofo 1/ -§75 o/ ofo 1 / ¥ u 1938 The Boston Strangler 3/ §75 0/ 075 i /i* 2/ 1* 1 / §75 2 / §55 2/ §-75 1/ §75 R 1968 Bride of Frankenstein 2/ §75 0/ O f 2/ §75 0/ 075 1/ i* 1/ i* 1/ §* 1/ ¥ U 1935 Brides of Blood i / i * 0/ 075 1/ 1* 0/ 0% 0/ 075 1/ §75 0 / Ofo 1/ §75 u 1968 The Bridge on the River 2 / ¥ 2/ 275 2/175 0 / Of 1/ ¥ 1/ I* 2/ §75 0/ ($ Kwai u 1957 ' 206 Brother John i / i * 0/ 075 0/ 075 1/ ¥ 0/ Ofo 1/ §75 0/07? 1/ §75 GP 1971 A B c D E F G H N=863 N=131 n=389 N=474 N=489 N=3?4 N=230 The Brothers Grimm 2/ & 0/ ofo 2/ 0/ ¥ TP 1 / P 1 / P G 1962 A Bullet for Pretty Boy 1/ ¥ 0/ Ofo 1/ ■§$ 0/ ¥ 0/ 0^ 1/ ^ 1/ 0/ ¥ R NA Bullit l V ¥ 1/ 1% 14/ 4^ 0/ 0% 5/ 1# 9/ 2^ 12/ 2^ 2/ lfo PG 1968 Bury Me An Angel 1/ \% 0/ Ofo 0/ ¥ 1/ ¥ 1/ ^ 0/ (# 0/ 0^ i f ¥ R NA The Bus Boy i f ¥ 0/ Ofo 0/ 1/ ifo i/ 0/ ($ 1/ 0/ 0% NA NA The Bus is Coming 2/ \% 0/ Ofo 1/ 1/ o/ 2/ •§?£ 0 / 0% 2/ l£ GP 1972 Butch Cassidy and the 23/ ¥ 18/1 h % 13/ 3^ 10/ 2^ 12/ 2^ 11/ 3^ 20/ ¥ 3/ 1# Sundance Kid GP 1969 The Butcher 1 / ¥ 0/ Ofo 0/ ¥ 1/ I* 0/ ($ U ¥ 0/ 0?S 1/ GP 1972 C. C. and Co. i / ¥ 0/ O f 0/ ($ 1/ & 0/ ¥ . 1/ i* 1/ 1% o/ c$ R 1969 Cabaret 3/ ¥ V ¥ 0/ 0^ 3/ 1^ 2/ i* 1 / ^ 2/ -§■£ i / ¥ PG 1972 The Cabinet of Dr, 0/ Ofo 1/ 1# Caligari U 1919 Cactus Flower 3/ ¥ 0/ ¥ 1/# 2/ 3/ 1* 0/ 0^ 3/ 1^ 0/ 0# GP 1969 Call of the Wild 2/ \% 0/ o?s 0/ ¥ 2/ ^ 2/ 0/ 0% 2/ 0/ 0% U 1935 Camelot 13/ ¥ 12/ 9^ 2 f ¥ 11/ 2^ 4/ 1?S 9/ 2^ 12/ 2$ i / ¥ G 1967 Carmen, Baby 1/ ¥ 0/ ¥ 1/ ^ 0/ 0^ 0/ 0^ i / ¥ 0/ 0?S i / ¥ R 1967

Carnal Knowledge 1 / ¥ 3/ 27S 0/ 07s 1 / ^ 0/ 0^ 11 ¥ l/-§5£ 0/ ($ R 1971

Carousel . 0/ Ofo 1/ 1^ 207 U 1956 A B O'"'O D E F G H 00 N=863 N=131 0 N=474 N=489 N=37^ N=633 N=230 Carry On Camping 3/ ¥ 0/ ¥ 1/ ¥ 2/ ^ 3/ 1# 0/ 0?S 3/ 1# 0/ 0% R 1972 Casino Royale l / ¥ 0/ 0 % 1/ i* 0/ ($ 1/ 2^ 0/ 0$£ 1/ i* Of ¥ U 1967 Castle Keep i f ¥ 0/ ¥ i f ¥ 0/ 056 0/ 0^ 1/ ¥ 1/ i* Of ¥ R 1969 Catch 22 3/ ¥ 3/ ¥ 1 / i* 2/ ^ 0/ 0^ 3/ 1# 1/ 2/ ¥ R 1970 Charlie the Lonesome 1/ ¥ 0/ 0% 0/ c$ l / S * 0/ ¥ 1/# 1/ o f ¥ Cougar U 1967 Charley 7/ ¥ 7/ ¥ 0/ 7/ 1# 3/ 1# V 1^ 6/ 1* 1/ ¥ G 1968 Charro 1/ ¥ 0/ ¥ 0/ ¥ 1/ i* 0/ 0^ 1/ 0/ 0^ V ¥ G 1969 Chastity 1/ ¥ 0/ 0% 0/ c$ 1/ ¥ 0/ 0% \ f ¥ 1/ ¥ o f ¥ R 1969 Cheyenne Social Club 1/ ¥ 0/ 0% 0/ ¥ i f ¥ 0/ 0^ ¥ ¥ o f ¥ 1/ ¥ GP 1970 Chitty, Chitty, Bang, Bang 9/ ¥ 0/ ¥ 5 f ¥ V 1^ 8/ ¥ 1/ # 8/ 15S i / ¥ G 1968 Choppers Alive ¥ ¥ 0/ 0 % i f ¥ 0/ ¥ 0/ ¥ i / i * ¥ ¥ 0/ ¥ NA NA The Christmas Tree i f ¥ 0/ ¥ 0/ 0^ i f ¥ i f ¥ 0/ 0# o f ¥ i f ¥ G ' 1969 Chrome and Hot Leather 2/ ¥ 0/ ¥ 2/ ^ 0/ 0^ i f ¥ 1/ ¥ 2/ ¥ o f ¥ R 1971 The Cincinnati Kid i f ¥ 0/ ¥ 0/ 0^ i / i * 0/ i f ¥ 1/ ¥ o f ¥ U 1966 The Circus i f ¥ 0/ ¥ 0/ 07S V ¥ 0/ 0^ 1/ # o f ¥ i f ¥ G 1928 Cisco Pike i f ¥ 0/ ¥ 0/ ($ i f ¥ 0/ ¥ i f ¥ o f 0 % i f ¥ R 1971 A Clockwork Orange 17/ ¥ 9/ ¥ 7/ 2^ 10/ 2^ 3/ 35 14/ n f ¥ 6/ ¥ o X 1971 05 ABC D E FGH N=86l N=131 N=389 N=474 N=489 N=374 N=633r N=230 The Clowns i / 4 * 0/ Ofo 0/ Ofo l / 4 * 0/ 00 1/ 40 1/ 40 0/ 00 G 1971 Cold Turkey 14/ 20 0/ Ofo 6 / 20 8/ 2% 5/ 1* 9/ 20 11/ 20 3/ 10 GP 1971 0/ 00The Collector 0/ 00The 1/ 10 U 1965 The Computer Wore Tennis 5/ 30 0/ Ofo 1/ 40 4/ 10 3/ 1* 2/ 40 3/ 10 2/ 10 Shoes G 1969 The Concert for Bangladesh 3/ ¥ 0/ 00 2/ 1/ ¥ 1-t / / 2 -i-of/° 2/ 40 0/ 00 3/ 10 G 1972 Coogan's Bluff i / 4 * 0/ 0% 0/ 00 1/ 4* 0/ 00 1/ |0 0/ 00 1/ 40 R 1968 Cool Breeze 21/ 2fo 0/ 00 12/ 3* 9/ 20 6/ 30 15/ 40 3/ 10 17/ 7* R 1972 Cool Hand Luke 5/ 1* 2/ 20 4/ 1$ 1/ 40 2/ ¥ 3/ 10 3/ 10 2/ 10 PG 1967 The Corpse Grinders 1/ ¥ 0/ 0# 1/ 4* 0/ 0% 0/ Ofo 1/ 40 1 / 4 0 0/ 00 U 1970 Cotton Comes to Harlem 6 / 10 1/ 3# 2/ |0 4/ 10 0/ 00 6/ 20 0/ 00 6/ 30 R 1970 Count Yorga, Vampire i / 4 * 0/ 00 1 / 4 0 0/ 00 1/ 0/ 00 1 / 4 0 0/ 00 GP 1970 The Cowboys 16/ 2 % 1/ 1* 9/ 20 7/ 1* 7/ 3# 9/ 20 13/ 20 3/ 10 GP 1972 The Cross and the 11/ 10 0/ 00 7/ 20 4/ 1# 8/ 20 3/ 10 11/ 20 0/ 00 Switchblade GP 1970 The Curse of Frankenstein i / 4 * 0/ Ofo 0/ 00 1/ 4* i / 4 * 0/ 00 1 / 4 0 0/ 00 PG 1957 The Damned 1/ ¥ 0/ 00 1/ 4* 0/ Ofo 0/ 00 1 / 4 * 0/ 00 1/ 40 X 1970 The Dare Devils 1/ ¥ 0/ 00 1/ 40 0/ 0% 1/ 4* 0/ 00 0/ 00 1/ 40 PG 1972 Dark Shadows 2/ ¥ 0/ 00 0/ 00 2/ 4* 2/ 40 0/ 00 2/ |0 0/ 00 NA NA AB C D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 Darling Lili 2/ ¥ 0 / 3 % 0 / 0 % ~ Z [ \ % 1/ ¥ I / ? 2/ \ % “0/ 0# G 1970 David and Lisa 0/ 0 % 2/ 2 % U 1962 A Day in the Life of Ivan 0/ 0 % I f I% Denisovitch G 1971 Days of Wine and Roses 0/ Cf% 1 / 0 % U 1962 The Devils ¥ ¥ 1 / ¥ 0/ 0 % 1/ ¥ 0/ 0# 1 / 1 % i / ¥ 0/ 0# X 1971 Diamonds Are Forever 48/ 6 % 0/ 0# 3 V ¥ 14/ ¥ 32/ 7* 16/ 4# 35/ 6% 13/ 5% GP 1971 The Dirty Dozen 13/ 2# 0 / 0 % 10/ 3 % 3/ ¥ 8/ 20 5/ 3* 8/ 1# 5/ 2# PG 1967 Dirty Harry 1 1 3 / 1 3 % 5/ ¥ 7 8 / 2 0 % 35/ ¥ 7 0 / W o 43/13# 103/16# 10/ 4# R 1971 Dr. Dolittle 3 / ¥ 0 / 3 % 1/ ¥ 2/ ¥ 1/ 1% 2/ f# 1/ 1% 2/ 1# U 1967 Dr. Strangelove O f 0 % 2/ 2 % GP 1964 Dr. Zhivago 12/ Ifo 31/24# 2/ |# 1 0 / ¥ 6/ 1# 6/ 2% 9/ 1# 3/ 1% GP 1965 Doctor's Wives 1/ ¥ 0/ 3 % 1 / 1 % 0 / ¥ i / i % 0/ 0# 1 / 1 % 0/ 0# R 1971 Dollars 7/ ¥ 0/ 3 % 5/ 1% 2/ f# 5/ 1% 2 / ¥ 7/ 1% 0/ 0# R 1971 Donovan's Reef 0 / 0 % 1 / ¥ U 1963 Double Trouble 4/ 1% 0/ o# 0/ 0# 4/ 2# 3/ 1% 1 / 1 % 2/ f# 2/ 1# U 1967 Dracula 3 4/ ¥ 0/ % i / ¥ 3/ 2# 2/ |# 2 / ¥ 2 / ¥ 2/ 1# U 1931 210 East of Eden 0 / 0# 1 / ¥ U 1955 A B c D E F G H N=863 N=131 N=389 N=489 N=374 N=633 N=230 Easy Coins, Easy Go 1/ 1* 0/ 0* 0/ 0* 1/ 1* 0/ 0* 1/ 1* 0/ 0* 1 / 1 * U 1967 Easy Rider 16/ 2* 4/ 3?S 12/ 3* V 1 % 5/ 3* 11/ 3* 14/ 2% 2/ 1# R 1969 El Topo 1 / 1 * 2/ 2* 0/ O f 1/ us 0/ 0% 1/ I* 1 / 1 * 0/ :o* X 1971 Elvira Madigan 0/ 0% 2/ 2* R 1967 The Endless Summer 0/ 0% 1/ 1* U 1966 Escape From the Planet 3/ 1* 0/ ($ 1/ 1* 2/ 1* 2/ US 1/ 1* 3/ 1* 0/ q* of the Apes G 1971 Evel Knievel 18/ 2* 0/ 0* 13/ 3* 5/ 1# 13/ 3* 5/ 1* 16/ 3* 2/ 1* GP 1971 i Exodus 2/ 1* 1/ 1* 1/ 1* 1 / 1 * 2/ US 0/ o* 2/ US 0/ 0% U I960 Fantasia 2/ 1* 6/ 5* 1/ 1* 1/ US l/l* 1/ us 1 / 1 * 1/ 1* G 1940 Fantastic Voyage 4/ 1% 0/ Q* 4/ 1* 0/ 0* 2/ 2/ US 3/ 1* 1/ 1* G 1966 Far From the Madding Crowd 0/ o f 1/ 1* U 1967 Fiddler on the Roof 23/ 3* 15/11* 5/ 1* 18/ 4* 5/ l* 18/ 5* 15/ 2* 8/ 3* G 1971 Finian*s Rainbow 5/ 1* 0/ 0* 1/ 1* 4/ 1% 2/ \% 3/ 1* 4/ 1* 1/ 1* G 1968 Five Card Stud 1/ 1* 0/ 0# 1/ 1* 0/ 0?S 1/ 1* 0/ o£ 1/ 1* 0/ OjS U 1968 Five Easy Pieces i / l * 4/ 3# 1/ 1* 0/ 0% 0/ 0* 1/ 1* 0/ 0* 1/ 1* -R 1970 Five-Man Army i / l * 0/ afo 1/ 1* 0/ Q?S 1/ 1* 0/ o* 0/ O f 1/ 1* GP 1970 Flight of the Doves 2/ 1* 0/ 0* 0/ o f 2/ US 1/ 1* 1/ us 2 / 1 * 0/ O f 211 G 1971 A O H W c D E F G H £ 1 —

1 N=474 N=489 N=374

N=863 £ N=389 N=633 N=230 Flim-Flam Man 3 / ¥ 2/ 10 T? 0 / 0 % 3/ 1# 2 / P V ? U 1967 Follow Me Boys i / ¥ 0/ Ofo 0/ 00 i / l * 0/ 00 1/ 10 0/ 00 1/ 10 U 1966 Fools 0/ Ofo 2/ ¥ GP 1970 Fools Parade i / ¥ 0/ o f 0/ 00 1/ ¥ 0/ 00 1/ |0 0/ 00 1/ f0 GP 1971 For Love of Ivy 2/ ¥ 0/ Ofo 0/ 00 2/ ¥ 0/ 00 2/ |0 0/ Ofo 2/ 1# U 1967 For Pete's Sake i / ¥ 0/ o f 0/ 00 1/ ¥ 0/ 0% 1/ |0 0/ 00 1/ 10 NA NA Frankenstein 2/ ¥ 0/ 00 2/ ¥ 0/ o?s 0/ 00 2/ 10 1/ i0 1/ ¥ U 1931 Frankenstein Created i / ¥ 0/ 00 i / ¥ 0/ 0% 1/ 10 0/ 00 0/ 00 1/ 10 Woman U 1967 The French Connection 147/170 6/ 5% 1 0 0 / 2 6 % 47/1056 76/160 71/190 107/170 40/170 R 1971 Friends 41 1% 1/ 10 0/ 00 4/ 1# 2/ 10 2/ 10 3/ 10 1/ |0 R 1971 Frogs 33/ ¥ 0/ O f 19/ 5 % 14/ 3g 19/ 40 14/ 40 7/ 10 26/110 PG 1972 Funny Girl 15/ 20 15/110 0/ 00 15/ 3^ 7 / 1 0 8 / 2 0 11/ 20 4 / 2 0 G 1968 The Gang That Couldn't 3 / ¥ 0/ 00 2/ 10 1/ I# 3/ 10 0 / Ofo 3/ 10 0/ o f Shoot Straight GP 1971 Gargantua 1/ ¥ 0/ ofo i / | 0 0/ 0^ 1/ f0 0/ Ofo 0 / o f 1/ 10 NA NA Genesis I and II 0/ Ofo 1/ 1% NA NA Georgia, Georgia 4/ ¥ 0/ 00 ¥ ¥ 2/ 1/ 10 3/ 1# 0 / 0 0 4 / 2 0 R 1972 Getting Straight i / ¥ 1/ 1% i / ¥ 0/ 00 1/ 10 0/ 0% 1/ 10 0/ 00 212 R 1970 AB c D E F G H N=863 N=13! N=389 [=474 N=489 N=374 N=633 N=230 The Ghost and Mr, Chicken 1/ 15 0/ a i 1 / 1 5 0/ 05 1 / 1 5 0/ 05 1 / 1 5 0/ 05 G 1966 Giant 0/ 05 2/ 2% G 1956 Gigot 0/ 05 1/ 1% U 1962 Ginger 5/ 15 0/ o5 4/ 15 1/ 15 4/ 15 1/ 15 3/ 15 2/ 15 X 1971 The Glory Guys 1 / 1 5 0/ o f 1/ 15 0/ o5 0/ 05 1 / 1 5 1 / 1 5 0/ 05 U 1965 The Go-Between 0/ 05 1/ 15 GP 1971 The Godfather 190/225 26/205 92/245 98/215 79/165 111/305 132/215 58/255 R 1971 Goldfinger 10/ 15 2/ 25 10/ 35 0/ o5 7/ 15 3/ 15 6/ 15 4/ 25 PG 1964 Gone With the Wind 9 1 /1 1 % 35/275 19/ 55 72/155 38/ 85 53/145 67/115 24/105 G 1939 The Good, The Bad, and 5/ 15 0/ o5 5/ 15 0/ 05 2/ 15 3/ 15 4/ 15 1/ 15 the Ugly R 1968 Goodbye, Charlie 1/ h% 0/ 05 0/ 05 1/ 15 1 / 1 5 0/ 05 0/ 05 1/ 15 U 1964 Good-bye, Columbus 2 / 1 5 1/ i5 1 / 1 5 1/ 15 1/ 15 1 / 1 5 2/ 15 0/ o5 R 1969 Good-bye, Mr, Chips 0/ o5 2/ 25 G 1970 The Graduate 4/ 15 9/ 75 2/ 15 2/ 15 3/ 15 1/ 15 4/ 15 0/ o5 PG 1967 Grand Illusion 0/ o5 1/ 15 U 1938 Grand Prix 6/ 1% 1/ 15 6/ 25 0/ o5 4/ i5 2/ 15 6/ 15 0/ o5 U 1966 The Grapes of Wrath 0/ a fo 1/ 15 213 U 1940 A B c D E FGH N=863 N=131 N=389 N=474- N=A89 N=374 N=633 .. N=230 The Grasshopper 2/ ¥ 0/ 0% 2/ ¥ 0/ o f 2/ |7S 0/ O f 2/ 4* 0/ o f R 1970 The Great Dictator 0/ o?5 1/ 1 % G 1940 The Great Escape 0/ 0% 2/ 2?o U 1963 The Great Imposter 0/ 0% 1/ 1% U I960 The Great Race 2/ ¥ 0/ o f 1/ 4* 1/ 4* 2/ |7S 0/ 07S 2/ 4* 0/ afo U 1965 The Great White Hope V 17s 2/ 2?S 1/ 47s 3/ 1# 2/ 4* 2/ 4* 1/ Its 3/ 1* GP 1971 The Greatest Story Ever 1/ ¥ 0/ o f 0/ o f i / 4 * 0/ o f i / 4 * 1/ # 0/ 0% Told U 1965 The Green Berets 6/ 17s 0/ afo 6/ 2?S 0/ 07S i / 4 * 5/ 1* 5/ 1* i / 4 * U 1968 Guess Who’s Coming To 7/ 1/ 1% 1/ 6/ 2% i / 4 * 5/ 1* 1/ Its 6/ 3% Dinner? U 1967 The Gunfighters 1/ ¥ 0/ o f 1/ ^ 0/ 0% 0/ 072 i / 4 * 1/ Its 0/ Q?S U 1950 The Guns of Navarone 1/ ¥ 1/ Ifo 1/ 4* 0/ o f 0/ 076 i / 4 * 1/ 4* 0/ QTS U 1961 Gutter Girls 1/ ¥ 0/ o f i / ¥ 0/ 07S i / 4 * 0/ oss 1/ 4* 0/ o f NA NA Hamlet i / 4 * 1/ 1 % 0/ ot£ 1/ ^ 0/ 07s i / 4 * 1/ 4* 0/ 07s G 1969 Hang Your Hat on the Wind 1/ ¥ 0/ o f 0/ 07s 1/ i / 4 * 0/ qts 1/ 4* 0/ 07f G 1971 Hang 'em High 2/ ¥ 0/ o f ¥ ¥ 1 / 1 * 2 / i * 0/ 07s 1/ 4* 1 / 4 * R 1968 A Hard Ride Home ¥ ¥ 0/ o f 1 / 4 * 0/ 0* 0/ 0?S i / i * 1/ 4* 0/ 0% NA NA Harper 2/ ¥ 0/ o f 1/ ^ 1/ 4* 1/ 1/ |ts 1 /# PG 1966 A B c D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 The Heart is a Lonely 0 / ¥ > 7/ 5 % Hunter U 1968 Hello, Dolly 4/ 1% 2/ 2$ 0/ Q7S V 2/ i * 2/ |T£ 3 / 1* 1/ i * G 1969 Hells Angels on Wheels 4/ 1 % 0/ 0% 4/ 17S 0/ 07S 2/ I ts 2/ i * 2/ i * 2/ 1* U 1967 Hells Angels "69 10/ 1 % 0/ 0% 10/ ¥ 0/ 0% 8/ ¥ 2/ 1* 5 / 1* 5 / 27s GP 1969 Hercules vs. the Vampires !/ ¥ > 0/ 0% 0/ o f 1/ ¥ 0/ ¥ 1/ 0/ 0% 1/ 1* NA NA Hey There, Yogi Bear V ¥ 0/ 0 % 1/ ¥ 0/ ¥ 1 / ¥ 0/ 07s 1/ i * 0/ 07s U 1964 High Noon 0/ 0% 2/ 2 % G 1952 The Hitchhikers 2/ ¥ 0/ ¥ 1/ ¥ 1/ i* 2/ i* 0/ 07s 0/ 0% 2/ Ifo R. 1972 Hold On! 1/ Its 0/ o f 0/ o f 1/ i* 0/ ots 1/ i* 0/ ¥ 1/ ¥ U 1966 Hombre 1/ | % 0/ 076 1/ ¥ 0/ 07s 0/ ots 1/ ¥ 1/ ¥ 0/ ¥ U 1967 The Homecoming 0/ 0% 1/ 1 % U 1948 The Honkers 1/ ¥ 0/ Q7S 0/ o f 1/ -Its 1/ 0/ 07s 0 / ots i / i * R 1972 Horror in the Night 1/ ¥ 0/ 072 1/ ¥ 0 / ots 1/ i * 0 / 07s 0 / ¥ i / i * NA NA The Horse in the Grey 3/ ¥ 0/ 076 0/ o f 3/ 1% 3/ 3* 0 / 07s 3 / 3* 0/ 07s Flannel Suit G 1968 Hospital 22/ 3% 0/ 07S 12/ ¥ 10/ ¥ 17/ 37s 5 / 3# 21/ 3?S i / i * PG 1971 Hot Box 1/ ¥ 0/ afo 0/ ¥ 1/ Its ■ i/i* . 0 / 0% 0/ 0?S i / i * R 1972 The Hot Rock 1/ \% 0/ 076 0/ ¥ i / i * 1/ i* 0 / gts i / i * 0 / 07s PG 1972 AB C D E F G H N=863 N=131 =389 N=^74 N=489 N=37^ N=633 N=230 Hot Rods to Hell 1/ ¥ 0/ 0% 1/ ¥ 0/ Off l / ¥ 0/ ($ 1/ ¥ 0/ ($ U 1967 House of Blood 1/ ¥ 0/ 0% 1/ ¥ 0/ Qffo 1/ 2^ 0/ C$ 0/ Off 1/ GP 1971 House of Dark Shadows 11/ 2% 0/ 0% 3/ ¥ 8/ 2# 7/ V 1 % 5/ 1# 6/ # GP 1970 House of Wax 2/ ¥ 0/ Qffo 1/ ¥ 1/ ¥ 2/ 0/ 2/ f* 0/ 00 TJ 1953 The House That Dripped 3/ ¥ > 0/ 0% 1/ ¥ 2/ 3/ 3# 0/ 0?? 2 / ¥ 1/ ^ Blood GP 1971 How the West Was Won ¥ ¥ 1 / 1 % i / ¥ 0/ ($ 0/ <# 1/ 1* 0/ Off l / l * G 1962 Hud 0/ osf 2/ 2% U 1963 Hush, Hush, Sweet 3/ ¥ 0/ Qffo 2/ ^ 1/ i* 2 / ¥ 1/ ¥ 2/ i# i/i* Charlotte U 1965 I Drink Your Blood, (I Ea-t 11 ¥ 0/ 0% 0/ 0^ i/i* i / ¥ 0 / Qffo 0/ ($ 1/ Your Skin) R 1971 I Love You, Alice B, i f ¥ 0/ Off i/i* 0/ 05& 0/ ($ 1/ ¥ 1/ 1 5 0/ 0% Tolkas! U 1968 I Never Sang For My Father 0/ off 2/ 2% GP 1970 I Walk the Line 1/ ¥ 0/ Qffo 0/ o?s 1/ ¥ 0/ <# i f ¥ 0/ Qffo l / ^ GP 1970 Imitation of Life 0/ 0% 1/ 2% U 1959 The Impossible Years 9/ 2% 0/ Off 2/ i* 7/ 2?$ 7/ 3# 2/ ¥ 9/ ^ 0/ Qffo U 1968 In Cold Blood 0/ off 1/ 2% U 1967 In Her Majesty’s Secret 3/ ¥ 0/ Off 3 / ¥ 0/ C$ 3/ 0/ c$ 3/ 0 / Off Service ; GP 1970 216 In Like Flint 2/ ¥ 0/ Qffo z / ¥ 0/ <$ 0/ 0?? 2 / ¥ 0/ ($ 2/ U 1967 AB C D E F G H N=863 N=131 N=J89 N=4-74- N=4-89 N=37A N=633 N=230 In The Heat of the Night 1/ ¥ 1/ 1# 0/ 0# l / ¥ 0/ 0# 1 / f # 0/ 0# "“1/1# U 1967 Interlude 0/ 0# 1/ 1# U 1968 Island of the Blue 2/ ¥ 0/ 0# 0/ 0# 2/ I # 2/ f# 0/ 05? 2/ i# 0/ 0£ Dolphins U 1964- I t ’s A Mad, Mad, Meid World 12/ 15? 1/ 1# 6/ 2# 6/ 25? 7/ 1# 5/ 1# 9/ 1# 3 / 1 # G 1963 Joe 3 / i # 1/ 1# 2/ I# 1/ ¥ 0/ 05? 3/15? 3/ 1# 0/ 05? R 1970 Jules et Jin 0/ 0# 2/ 2# U 1962 The Jungle Book 3 / i # 0/ 0# 0/ 05? 3/ 1# 2/ i# 1/ i# 2/ |# 1/ |5? U 1967 Kelly's Heroes 7/ 1# 0/ 0# 5/ 1# 2/ ¥ 5/ 1# 2/ i# 6/ 15? 1/ -§5? GP 1970 Kidnapped 2/ i # 1/ 1# 1 / i # 1/ ¥ 2/ ■§# 0/ 0# 2/ j# 0/ 05? G I960 The King and I 0/ 0# 1/ 1# U 1956 King Kong V 1# 1/ 1# V 1# 0/ 05? 3/ l# 1/ i# 2/ -§5? 2/ 1# U 1933 King Kong vs, Godzilla 3 / i # 0/ 0# 2/ 1% 1 / i # 3/15? 0/ 0# 1/ i5? 2/ 15? G 1963 King Lear i / i # 1/ 1# 1/is* 0/ 0# 1/ i# 0/ 05? 1/ 1# 0/ 0# U 1916 King of Kings 5/ 1# 2/ 2# V 15? 1/f# 0/07? 5 / 1 # 0/05? 5/25? U 1961 Klute 9/ 1# 2/ 2 1/ i# 8/ 25? 0/05? 9/ 25? 8/ 15? 1/ -§-5? R 1971 Kotch 7/ 1# 2/ 2# 2/ i # 5/ 1* 2/ i# 5/ 1# 7/1# 0/ 05? GP 1971 Lady and the Tramp 3/ i# 0/ 0# 1/ i# i t ¥ 3/ ¥ 0/ 0# 3/15? 0/ 05? 217 G 1955 A . B G D E F G H N=863 N=!31 ■389 N=474 N=489 N=374 N=633 N=230 Lady Frankenstein 1/ ¥ 0/ Ofo 0 / W o 1/ \% 0/ ¥ 1/ \/\% 0/ 0% R 1972 The Last Man On Earth 1/ ¥ 0/ Ofo 1/ ¥ 0/ 0/ ($ i / ¥ 0/ ¥ 1/ i* U 1964 The Last of the Dare i / ¥ 0/ Ofo i / ¥ 0/ 1 / i* 0/ 0^ i / i * 0/ 0^ Devils * NA NA The Last Picture Show 22/ ¥ 12/ ¥ 7/ 2* 15/ 3^ 5/ ¥ 17/ 5% 16/ 3^ 6/ 3* R 1971 The Last Rebel i / ¥ 0/ ofo ¥ ¥ 0/ c$ i / i * 0/ ($ 0/ c* 1/ i* GP 1971 The Last Run 1/ ¥ 0/ Ofo 1/ 1* 0/ c$ i / i # 0/ C$ 0/ ¥ i / i * R 1971 The Last Summer 7/ ¥ 2/ ¥ 3 /i* 4/ ¥ 0/ 0# 7/ 2^ 5 f ¥ 2/ 1* R 1969 The Law Man i / ¥ 0/ Ofo 1/ ¥ . 0/ C$ 0/ ¥ ¥ of ¥ 1/ i* GP 1971 Lawrence of Arabia 0/ ¥ 2/ ¥ G 1962 Le Mans 1/ ¥ 1/ ¥ 0/ 07S 1/ 4* 1/ i* of ¥ 1/ i* 0/ c* GP 1971 The Learning Tree i / ¥ 1/ ¥ 0/ ¥ 1/ 4# 0/ ¥ i / ¥ 0/ 0^ i / i * M 1969 Let It Be ¥ ¥ 0/ ¥ 0/ ($ 1/ I* 0/ ($ i / ¥ i /i* 0/ 0* G 1970 Let's Scare Jessica to ¥ ¥ 0/ Ofo 0/ ¥ i/4* 0/ ¥ i / i * i / i * 0/ ¥ Death R 1971 The Liberation of L,B. 5/ ¥ 0/ o f 1/ i# 4/ 1?£ 1/ 1* 4/ 1% 0/ o* 5f ¥ Jones R 1970 Lt. Robinson Crusoe, U.S,.N. 2/ i% 0/ ¥ 2 / i * 0/ c$ 2/ !* 0/ 2 / i * 0 / ¥ U 1966 Lilies of the Field i / i * 0/ ¥ i / ¥ 0/ ¥ 0/ ¥ i /i* i /l* 0/ ¥ > U 1963 The Lion in Winter 0/ Ofo 3/ ¥

U 1968 BUZ AB C D E F G H N=863 N=131 t=389 N=474 N=489 N=374 N=633 N=230 Little Big Man 15/ ¥ V 3* 8/ 2# 7/ 2?5 7/ 15S 8/ 2* 13/ 2# 2/ 1# GP 1970 Little Fauss and Big 1/ ¥ 0/ Off 1/ ¥ 0/ 0^ 0/ Off 1/ i f ¥ 0/ 0# Halsey R 1971 Little Murders 0/ Off 1/ ¥ R 1971 The Living Desert 1/ ¥ 0/ 0fo 0/ ($ 1/ £0 1/ £* 0/ 0# V ¥ 0/ 0# G 1953 The Loneliness of the Long 0/ 0% 2/ 2 % Distance Runner U 1962 The Longest Day 1/ ¥ 0/ 0% 1/ T* 0/ Off 0/ l / i * ¥ ¥ 0/ 0# U 1962 Lord of the Flies 0/ o% 1/ ¥ u 1963 The Losers 1/ ¥ 0/ 0% 1/ 0/ Off ! / ¥ 0/ 0# 0/ 0# i / i * R 1970 The Love Bug 28/ 3* 0/ Off 11/ 3* 17/ 4£ 24/ 5^ 4/ 1# 27/ 4# 1/ i* G 1968 The Love Machine 9/ 1% 0/ Off 3/ i* 6/ 2^ 0/ (# 9/ 2# 5/ 1* 4/ 256 R 1971 Love Object i f ¥ 0/ Off ¥ ¥ 0/ 0^ i / ¥ 0/ 0# i / i * 0/ Q# X NA Love Story . 270/3]$ 2/ 2^ 33/ 237/50^ 154/31# 116/21# 209/33* 61/27* GP 1970 Lovers and Other Strangers 3/ ¥ 2/ 2^ 2/ i* i / i * 2 / ¥ i / ¥ 3/ 3# 0/ Off R 1970 Macbeth 0/ Qffo 2/ 2^ U 1963 McCabe and Mrs, Miller 4/ Ifo 0/ ($ 3/ 1* 1 / ¥ 3/ 1# 1 / ¥ 4/ 1# 0 / Off R 1971 McKenna's Gold 2/ ¥ 0/ ($ 2/ 0/ c$ 2 / ¥ 0/ 0% 2 / ¥ 0/ 0# M- 1969 Mad Dogs and Englishmen 2/ ¥ 0/ 0^ l / f £ i / i * i / i * 1/ ¥ ¥ ¥ 1 / 1 * GP 1971 *=86A_, n =131 ^ N=389 N=474 N=489 N=374 N=o33 N=230 Madroon 1/ 15 0/ 05 0/ 05 1/ 15 0/ 05 1/ 15 ' i / 1 5 0/ o5 M 1969 The Magic Christian 0/ 05 1 / 15 GP 1969 The Magnificent Seven i / 1 5 0/ 05 0/ 05 1/ ¥ 1/15 0/ 05 1/15 0/ 05 PG I960 Making It 2/ & 0/ 05 2/ 0/ 05 2/ 15 0/ 05 1/15 1/15 R 1971 A Man and a Woman 0/ OSS V 35 U 1966 A Man Called Horse 10/ 15 1/ 1 % 7/ 25 3/ 35 6/ 15 V 15 8/ 35 2/ 15 PG 1970 A Man Called Peter 0/ Qffo 1/ 05 U 1955 A Man For All Seasons 0 / 0 5 2/ 25 G 1966 Man in the Wilderness 6/ 15 0/ 05 5/ 35 1/ 15 5/ 15 1/ 15 5/ i5 1/15 GP 1971 The Manchurian Candidate 0/ Q5 2/ 2 % U 1962 Marat/Sade 0/ 05 1/ 15 U 1967 Marjorie Morningstar 0/ 05 1/ 1# U 1958 Mark of the Devil 39/ 35 0/ 0% 22/ 65 17/ ^5 32/ ?5 7/ 25 17/ 35 22/105 GP 1972 Marooned 1 / 1 5 0/ 05 1/ 15 0/ 05 1 / 1 5 0/ 05 1 / 1 5 0/ g5 G 1969 Mary and Me 1/ ¥ 0/ Ofo 1/ 15 0/ 05 1/ 15 0/ o5 0/ 05 i / 1 5 R 1969 Mary Poppins 6/ 15 0/ 05 0/ o5 6/ 25 3/ 35 3/ 35 6/ 35 0/ o5 U 19 64 Mary Queen of Scots 2/ 15 1/ 0/ 0 % 2 / 1 5 2/ 15 0/ 05 2/ 15 0/ o5 GP 1972 A B C D E F G H N=863 N=131 , N=389 N=474 N=489 N=374 N=633 N=230 MASH 28/ 35 7/ ¥ 18/ 55 10/ 25 ~ 1 0 / B 18/ 55 2 1 / 35 7/ 35 R 1970 Medium Cool 0/ Qffo 1 / 15 X 1969 Meet Me At the Fair 0/ Qffo 1/ 1% U 1952 Meet Me In St, Louis 2/ ¥ 0/ Qffo 0/ 05 2 / ¥ 1/15 1/ i5 1/15 1/15 u 1944 Midnight Cowboy 7/ 15 17/135 3/ |5 4/ 15 2 / ¥ 5/ 15 6/ l5 1/15 X 1969 Million Dollar Duck 4/ 156 0/ Qffo 0/ 05 4/ 15 2/ 15 2/ |5 3/ 15 1/15 G 1971 Mini-Skirt Moh 1/ ¥ ° 0/ Qffo 0/ Off 1/15 1 / # 0/ o5 0/ o5 1/15 U 1968 The Miracle Worker 0/ Off 1/ ITS u 1962 Mr, and Mrs, Bo Jo Jones V ¥ 0/ o5 0/ 05 1/ 15 0/ 05 1/15 1/15 0/ 05 NA NA Modern Times V ¥ 2/ 2# 0/ 05 1/15 0/ o5 i/!5 1/15 0/ o5 G 1936 Mondo Cane 0/ Qffo 1/ Off R 1963 Monsieur Verdoux 0/ Qffo 1/ 1# U 1937 Monte Walsh 1 / ¥ 0/ 05 i/15 0/ Qffo i/15 0/ o5 0/ o5 1/15 GP * 1970 The Moods of Surfing 0/ 05 1/ NA NA Mother Goose V ¥ 0/ 05 1/ ¥ 0/ o5 0/ Off 1/15 1/15 0/ o5 NA NA The Mummy's Tomb 11 ¥ 0/ Qffo 0/ 05 1/15 1/ 15. 0/ o5 1/15 0/ o5 U 1942 Munster, Go Home 5/ 15 0/ 05 4/ 15 i/15 5/ 35 0/ .05 5/ i5 0/ o5 G 1966 B C D E F G H N=863 N=131 T=389 N=4?4 N=489 _N=3?4 N=633 N=230 Murderer's Row 1 / 1 0 0 / 075 i / ¥ 0/ O f i / 4 0 0/ 00 1/ 10 0/ 00 U 1966 Murphey's Wax 1 /1 0 0/ Ofo 1/ ¥ 0/ 00 i/ 1 0 0/ 00 1 /1 0 0/ 00 GP 1971 The Music Man 3/ ¥ 1/ 10 0/ 00 3/ 10 3/ 10 0/ 00 3/ 10 0/ 00 U 1962 My Fair Lady 6/ 10 3/ 20 0/ 00 6/ 20 3/ 10 3/ 10 5/ 10 1 /1 0 TT 1964 My Side of the Mountain 4/ 10 0/ Ofo 2/ 10 2 /1 0 4 / 10 0/ 00 4 / 10 0/ 00 G 1969 National Velvet 1/ 40 0/ Ofo 0/ 00 1 /1 0 1 /1 0 0/ 00 1 /1 0 0/ 00 U 1944 Never Give A Sucker An 0/ 00 1/ 10 Even Break G 1941 Never On Sunday 0 / Ofo 1/ 10 U I960 Nicholas and Alexandria i/ 1 0 0/ Ofo 0/ 00 1 / 10 1/ 10 0/ 00 1/ |0 0/ 00 GP 1971 Night of Bloody Horror 2/ ¥ 0/ Ofo 1/ 10 1/ 10 1/ 10 1/ 10 2/ 10 0/ 00 R 1970 Night of Dark Shadows 3/ ¥ 0/ Ofo 1/ 10 2/ 10 2/ 10 1/ 10 1/ 10 2/ 10 GP 1971 The Night of the Grizzly 1/ ¥ 0/ O f 0/ 00 1/ 10 0/ 00 1/ 10 0/ 00 1/ 10 TJ 19 66 The Night of the Living 7/ 30 0/ Ofo 5/ 10 2/ 10 2/ 10 5/ 10 5/ 10 2/ 10 Dead R 1968 Ninety-nine Women 1 / ¥ 0/ Ofo 1/ 10 0/ 00 1/ 10 0/ 00 1/ 10 0/ 00 R 1969 North by Northwest 0/ Ofo 1/ 10 U 1959 The Odd Couple 1/ ¥ V 30 1/ 10 0/ 00 0/ 00 1/ 10 1/ 10 0/ 00

GP 1968 222 Odd Man Out 0 / Ofo 1/ 10 U 1947 A B C D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 Oklahoma 2/ 2/ 2* 0/ Ofo 1 / l[\% if \f> 2fk % 0/ Of U 1955 The Old Man and the Sea 0/ O f 1/ 1* U 1958 Old Yeller 2/ ¥ 0/ ($ 1 /i* 1/ 1* i/ i* i/ i* 1/ i* i f ¥ U 195? Oliver 16/ 2 fo V 3* 3/ 1* 13/ ¥ 12/ 2^ 4/ 1# 12/ ¥ 4/ 2^ G 1968 The Omega Man 15/ 2 % 0/ Ofo 13/ ¥ 2/ i* 11/ 2% 4/ 1^ 14/ 2^ i/i* GP 1972 On A Clear Day You Can i f 1% i/ I% 1/ ¥ 6/ 1% 3/ 1* 4/ 3/ 3* 4/ 2$£ See Forever G 1970 On Any Sunday 11/ 0/ Ofo 9/ 2^ 2/ f* 9/ ¥ 2/i* 11/ 2^ 0/ G 1970 On the Beach i / i * 0/ Ofo i f ¥ 0/ ($ 0/ 0^ i/i* 0/ 00 1/ ¥ U 1959 On the Town i/ ¥ 0/ Ofo 0/ c$ i / i * 0/ i/I* 0/ O f i/ i* U 19^9 On the Waterfront 0/ Ofo 1/ I% U 1954 Once Upon A Time in the i / i * 0/ Ofo 1 / 1 * 0/ 0^ 0/ c$ i / i * 0/ o f 1/ i* West M 1969 One Hundred and One 8/ 1% 1/ 1% 1/ 2* 7/ 2% 7/ i* i/ ¥ i f 1* i / i * Dalmations G 1961 One Thousand Angels on 2/ 0/ Ofo 2/ i* 0/ ($ 2 / ¥ o f o f 2 / ¥ 0/ C$ Wheels NA NA One Thousand, B tC, 3/ ¥ 0/ Ofo 3 / i * 0/ ($' 3/ l* o f o f 2 / ¥ i / i * U 1967 Our Man Flint 21 ¥ 0/ Ofo 2 f ¥ 0/ <$ 0/ QjS 2/ ¥ > 0/ ($ 2/ 3# U 1966 The Out of Towners 2/ ¥ 1/ If o 1/ i* i / ^ 1 / i * i f ¥ 2 / i * 0/ 0* G 1970 The Owl and the Pussycat 2 / ¥ 1/ 1% 0/ ($ 2/ ^ i/i* i f ¥ 1 / i * 1 / 1 * R 1970 A B G D E F G H N=863 N=131 r=389 N=474 N=489 N=374 N=633 N=230 Paint Your Wagon 1 7 / 2$ 1 / 1% 9/ 8/ 2J6 8/ 2^ 9 / 2^ 13/ 25S 4/ 2% GP 1969 Paper Lion 1 / ¥ 0/ 0% 0/ 0% 1 / 1/ ¥ 0/ 1 / 1% 0 / O f NA 1968 The Parent Trap 1 / ¥ 0 / 0% 0/ O f 1/ ¥ 1/ 0/ 0% 1 / ¥ 0/ ($ U 1969 A Patch of Blue i / ¥ 1/ 1% 0/ 0% 1 / T% 0/ <# ¥ ¥ 0/ O f l / i % U 1965 Patton 67/ %fo 9 / ¥ 48/12^ 19/ 4^ 41/ 8% 261 5 V ¥ 13/ 5% GP 1970 The Pawnbroker 0 / O f 1/ 1% U 1964 Performance ¥ ¥ 0 / 0% 0/ 1 / I* 0/ 00 1 / 1% 1 / 0/ 00 X 1970 Peter Gunn i / ¥ 0/ 0% 0/ 00 1 / 0/ 00 1/ 0/ 00 1/ I* U 1967 Peter Pan 2/ ¥ 0 / Ofo 1/ 1 / 2/ 1% 0/ 00 2/ 0/ 00 G 1953 Pink Doll House i / ¥ 0/ 0% 1/ 0/ 00 1/ 1% 0/ 00 0/ 00 1/ £% NA NA Pink Panther U ¥ 0 / O f 1/ ¥ 0/ Ofo 1/ ¥ 0/ Ofo 1/ ¥ 0/ Ofo U 1964 Pinnochio 0/ 0% 1 / 1% G 1940 The Plague of the Zombies ¥ ¥ 0/ 0% i / ¥ 0/ Ofo 0 / Ofo 1 /1 % 0 / 00 1 /1 % U 1966 The Planet of the Apes 20 / ¥ 1 / Ifo 15/ ¥ 5 / 3# 1 6 / 30 4 / 10 1 5 / ¥ 5 / 20 G 1968 Planet X 1 / ¥ 0 / 0% 1 / ¥ 0 / 0$ 1 / i * 0 / 0% 0 / 00 i / i % NA NA Play Misty For Me 5 0 / 6% 2/ ¥ 16 / 4 0 3 4 / 7% 1 6 / 3 0 3 4 / 9% 4 4 / 75? 6/ 3% R 1971 Plaza Suite ¥ ¥ 0/ 0% i / i % 0/ 00 1 / 1% 0/ 0 0 l / ¥ 0/ 00 224 GP 1971 A B C D E F G H N=863 N=131 [=389 N=474 N=489 N=374 N=633 N=230 Pocket Money 4/ 1% 0/ Ofo 3/ ¥ 1/ ¥ V 1# 0/ 0% k f 1 % ~ 'o f Of PG 1972 Pollyanna 0/ O f 1/ 1% U I960 The Prime of Miss Jean 0/ Ofo 1/ 1% Brodie GP 1969 Prince of Darkness i f ¥ 0 / O f o f ofo 1/ ¥ o f Ofo i/ ¥ ° 0 / ofo i/ ¥ NA NA The Prize 0/ ofo 1/ 1 % U 1963 Psycho l / ¥ 0 / O f i f ¥ o f ofo o f Ofo i/ ¥ 0 / o f i f ¥ U I960 Quo Vadis 0/ Ofo 1 / ¥ U 1951 The RA Expeditions 7/ 1% 0/ 0% 4/ 1% 3/ ¥ 6/ 1 % i/ ¥ 7 f ¥ o o f o f G 1971 Rascal i f ¥ 0/ O f o f Ofo i/ ¥ 1/ ¥ o f o f 1/ ¥ O f ofo G 1969 Rebecca 0/ Ofo i f 1% U 1940 Red Line 7000 2/ ¥ 0/ Ofo 2/ ¥ o f o f i f ¥ ¥ ¥ 0 / Ofo 2/ Ifo U 1965 Red Sky at Morning 2/ ¥ > 1/ 1 % 1/ ¥ i f ¥ i/ ¥ i/ ¥ 2/ ¥ O f O f GP 1971 The Red Tent 0/ O f 1/ ¥ G 1971 The Reivers y ¥ 0 / ofo 1/ ¥ o f of i f ¥ o f o f o f o f I f ¥ GP 1970 The Reluctant Astronaut y ¥ o f ofo 1/ ¥ o f ofo i/ ¥ o f o f I f ¥ o f o f G 1967 The Return of Count Yorga y ¥ O f ofo i f ¥ o f ofo i f ¥ o f o f ¥ ¥ o f o f GP 1971 The Return of the Seven y ¥ O f ofo o f Ofo 1/ ¥ U ¥ o f o f i/ ¥ o f o f U 1966 A B c D E F G H N=863 N = m =389 J N=474 N=489 N=374 N=633 ... N=230

Ring of Bright Water 8/ 15? 0/ 05? 1 / ¥ 7/ 1 % 8/ 25? 0/ 0?$ 8/ 1% 0/ 0 % G 1969 Rio Lobo 2/ \% 0/ 05? 2/ 0/ Ofo 1/ |5? 1/ |5? 1/ |5? 1 / i * G 1970 Riot on Sunset Strip 1/ -§5? 0/ Ofo 0/ 0 % i / i * i / i * 0/ 05? 0/ 05? i / i * U 1967 The Robe 0/ 05? 1/ 1% U 1953 Robinson Crusoe 1/ \% 0/ Ofo 1/ 0/ 0% i f ¥ 0/ 0% T-/ ¥ ° 0/ 0% u 1964 Romeo and Juliet 61/ 75? 1 5 / 1 1 % i / i * 60/135? 28/ 65? 33/ 95& 50/ 8% 11/ ¥ GP 1968 Room at the Top 0/ O f 1 / 1% U 1958 Rosemary's Baby6/ 15? 4/ 35? i / i * 5/ 1% 2/ 1% 4/ 1# 3/ 3* 3/ 3# U 1968 Rough Riders l / i * 0/ Ofo i / i * 0/ 05? i / i * 0/ 05? 0/ 05? 1/ i* U 1927 Run, Angel, Run 1 / ¥ 0/ Ofo 0/ 05? i / i * i / i * 0/ 05? 1 / i * 0/ Ofo R 1969 Run Wild, Run Free 1/ ¥ 0/ Ofo 0/ 05? 1/ i* 1/ i* 0/ O f 1 / i * 0/ 05? G 1969 The Russians are Coming, i / ¥ 0/ Ofo 0/ 05? 1/ i* 0/ Ofo i / ¥ i / i * 0/ 05? The Russians are Comingl966

Ryan's Daughter U 16/ 2% 7 / 5 % 0/ 05? 16/ 3 % 5/ 3* 1 1 / 3 % 9/ 3# 7/ 3$ GP 1970 Sacco and Vanzetti 0/ 05? 2/ 2% GP 1971 The Salt of the Earth 0/ 07? 1 / 1 % U 195^ San Francisco 1/ ¥ 0/ Ofo 0/ 05? 1 / 1 * 0/ 05? 1/ |5? 0/ 05? i / i * U 1936 Satyricon i f ¥ O f ofo 1/ i* 0/ ofo 0/ 0% i / i * 0/ 0% i / i * R 1970 AB c D E F G H N=863 N=lll r=389 N=474 N=489 Nl374 N=633 N=230 The Savage Seven 1/ ¥ 0/ 0* 0 / Ofo 1/ i* 0 / 0% 1/ 2* 0 / 0 * 1 / i * GP 1968 School Girls 3/ ¥ 0/ Off 2/ ¥ 1/ ¥ 3/ 1* 0 / 0 * 2/ I* 1/ i* R NA S or ear., Baby Scream 1/ ¥ 0 / Ofo 0 / Ofo i/i* 1/ i* 0 / 0 * 0 / 0 * i / i * R NA See No Evil 20/ 2* 0/ Of 3/ ¥ 1 7/ 4% 1 7/ 3% 3/ 1* 20/ 3* 0 / Ofo GP 1971 Send Me No Flowers 1/ ¥ 0/ Ofo 0 / Qffo i/i* 1/i* 0 / 0 * 1 / i * 0/ 0* U 1964 Seven Brides for Seven 0/ 0* 1 / 1* Brothers TJ 195^ The Seven Minutes i f ¥ 0/ Ofo 1/ ¥ 0/ 0# 1/1* 0/ 0* 0 / 0 * i / i * R 1971 The Seventh Seal 0/ Q* 3/ 2* U 1957 Sex, Love, Hate i / i * 0/ Ofo 0 / Q* 1 / i * 1/ 1* 0/ Q* i / i * 0/ Qffo NA NA Shaft 5 7 / 7 % 1/ 1* 29/ 28/ 6% 21/ 4* 36/10* 13/ 2* 44/19* R 1971 The Shaggy Dog 1 / ¥ 0/ O f 0/ 0* 1/1* 0/ Ofo 1/ i* 1 / i* 0/ 0* U 1959 * Shane 0/ 0* 4/ ¥ U 1958 She Devil on Wheels i / i * 0/ Qffo 0 / 0 * l/i* 1/i* 0/ 0* 0/ 0* i / i * NA NA Shenandoah 0/ 0* 1/ 1* U 1965 The Shield of Falworth 1/ ¥ 0/ Off 1 / i * 0/ Ofo 0/ 0* 1 / i * 0/ 0* i / i * NA NA Ship of Fools 0/ 0* 1/ ¥ U 1965 The Shoes of the Fisherman 2/ ¥ 0/ ofo 1/ f* 1/i* 1/i* i/i* 2/ |* 0/ 0* G 1968 A B C D E F G H N=863 IKL31 *=389 N=474 N=489 N=374 N=633 N=230 Silent Running 2/ 1* o f Ofo ¥ ¥ i / l * 2 / # o f O f 1/ 1* 1/ 1* G 1972 Simon: King of the ‘Witches 1/ ¥ 0/ Ofo O f Ofo i f ¥ 1 / 1 * O f Ofo 1 / 1 * 0/ R 1971 Single Men Only 1/ ¥ 0/ Ofo o f ofo I f ¥ 0/ ¥ ¥ 0/ ($ 1 / 1 * NA NA Sleeping Beauty 3/ ¥ 0/ Ofo 1/ ¥ 2/ -§•£ 2 f ¥ 1/ ¥ 2/ ^ 1 / 1 * G 1966 Snow White i / l * 2/ 2 % o f Ofo 1/ 1* V ¥ O f Ofo 1/ 1* 0/ 0^ G 1965 Soldier Blue 2/ ¥ 0/ Ofo 1/ ¥ 1/ i / l * i / l * 1 / 1 * 1 / 1 * R 1970 Something Big 1/ ¥ 0/ Ofo O f Ofo 1/ ¥ i f ¥ o f Ofo 1 / 1 * 0/ R 1971 Sometimes A Great Notion 8/ 1% 0/ Ofo 5/ 3* 3/ 6 / 1% 2/ ¥ 7/ 1* 1 / 1 * GP 1971 Son of FLubber 3/ ¥ 0/ Ofo 2/ 1 / 1 % i f ¥ 2/ ¥ 2/ ^ 1 / 1 * G 1963 Son of Lassie 1/ ¥ 0/ Ofo O f ofo I f ¥ i / l * 0/ ($ 1 / 1 * 0/ 0# U 1946 Song of Norway 2 / ¥ O f Ofo O f Ofo 2/ i f ¥ i / l * 2/ 0/ Ofo G 1970 Song of the South 1 2 / 1% 0/ Ofo 3/ ¥ ° 9/ 2^ 10/ 2 % 2/ ¥ 12/ 2^ O f Ofo G 1946 Soul Soldier 1/ ¥ O f ofo o f ofo o f Ofo 1 f ¥ . 0/ Q# 1 / 1 * PG 1972 The Sound of Music 46/ ¥ I Q / W o 11/ 35/ 7* 22/ 4^ 24/ 6^ 32/ 5* 14/ Ofo au 1965 South Pacific 1/ ¥ 4/ ¥ of Ofo of Ofo 1/ 1* 1/ O f Ofo U 1958 Spartacus 0/ Ofo I f 1% U 1962 Speedway 10/ 1% O f Ofo 4/ 1# 6 / 1 % 10/ 2^ 0/ ($ 6/ 1$ 4/ 2^ R 1968 f A B C D E F G H N=863 N=131 *=389 N=4?4 N=489 N=374 N=633 . N=230 Spinout 3 / P 0/ Ofo 2/ 1* 1/ i* 3/ 0/ 0* 1/ ¥ 2/ 1* G 1966 The Split 1/ ¥ 0/ Ofo 1/ 0 / 05s 0/ 0* 1/ 1* 0/ o* i / ¥ U 1968 Star-Spangled Girl 7/ 1* 0/ Ofo 0/ Q* 7/ 1* 7/ 1* 0/ 0# 6/ 1* i / i * G 1971 The Sterile Cuckoo 3/ ¥ 2/ 2 % 0/ 0* 3/ 1* 2/ 1* i / i * 3/ 3* 0/ o* GP 1969 The Stewardesses 5/ ¥ 0 0/ Ofo 3/ ^ 2 / ¥ 5/ 3* 0/ o* 5/ 3# 0/ o* X 1970 The Stones 1/ ¥ > 0/ Ofo 0/ Ofo 1/ i* 0/ Ofo i / i * 1/ ¥ 0/ 0% NA NA Straw Dogs 8/ 1% 1/ ¥ > 3/ ¥ 5/ 3* 4/ 1# 4/ i* 3/ 3# 5/ 2* R 1971 The Strawberry Statement 2/ ¥ 0/ Ofo i / i * 1/ i* 0/ 0% 2/ i * 2/ |* 0/ o* R 1970 The Student Nurses 1 / ¥ 0/ 0/ Ofo 1 / i* 0 / o* i / i * 1 / 4 * 0/ Ofo R 1970 Summer of '42 62/ 7fo 13/10* 17/ 4* 45/ 9* 14/ 3$ 48/13* 39/ 6* 23/10* R 1971 Sunday, Bloody Sunday i / ¥ 1/ 1* 0/ 0* 1/ i* 0/ 0* i / i * 0/ 0% i/i* R 1971 Support Your Local Sheriff 5/ 1* 0/ 0* 3/ i* 2/ f* 4/ 1# i /i* 4/ l# i / ¥ G 1969 Sweet Charity 1/ ¥ 0/ Ofo 0 / o* 1/ 4* 1 / 1 * 0/ o* 0/ 0* i / ¥ G 1969 Sweet Kill 2/ ¥ 0/ 0* 0/ o* 2/ 1 * 2/ f* 0/ Ofo 0/ Ofo 2/ i* R NA Sweet, Sweet Sweetback's 13/ ¥ > 0 / 0* 5/ 1* 8/ 2* 3/ 3* 10/ 3* 0/ 0* 13/ i* Badass Song X 1971 Swiss Family Robinson 7/ ¥ 0 0/ 0* 5/ 1# 2/ 5/ 1* 2/ 1* 7/ 1* 0/ o* G i960 T,R, Baskin 1/ ¥ 0/ o* 0 / 0 * 1/ f* 0/ Ofo i /i* i / i * 0/ Ofo GP 1971 AB C D E F G H N=863 N=131 r~389 N=474 N=489 N=374 N=633 N=230 Tarzan 3/ ¥ 0/ 0% 3/ ¥ 0/ Ofo 3 / 1 % 0 / W o 3 / 1 * 0/ Qffo U 1968 Tell Me That You Love Me, i / i * 0/ 0# 1/ ¥ 0/ 0^ 0/ 1 / ¥ 1/ i * 0/ 07s Junie Moon GP 1970 The Ten Commandments 19/ 25s 1/ 2 % 9/ 25s 11/ 2^ 5 / 1 * 14/ 4% 13/ 2?S 6/ # Un 1956 There1s A Girl In My Soup 1/ ¥ 0/ CJg 0/ 0# 1/ 0/ 0^ 1/ 1* 0/ 0^ i /i* R 1970 They Might Be Giants 0/ Ofo 1/ 1* G 1971 They Shoot Horses, Don't 3/ ¥ 7/ 1* 0/ 3/ i* 1/ 1* 2 / £0 2 / i * i / i * They? PG 1969 This Man Must Die 0/ Qffo 1/ 3# GP 1970 Thoroughly Modern Millie 2/ ¥ 0/ Qffo 0/ c$ 2 / -§# 2 / ^ 0/ ($ 2 / ^ 0/ o£ G 1967 A Thousand Clowns 0/ Qffo 1/ 1# U 1966 Three Hundred Spartans 1/ ¥ 0/ 0# 1/ ^ 0/ 0^ 0/ ($ 1/ i* 0/ ($ i /i* U 1962 Through A Glass Darkly 0/ Ofo 1/ 1* U 1962 Thunderball 8/ 1% 0/ 7/ 2^ 1/ i* 4/ 3# 4/ 5 / 1 * 3/ GP 1965 Tick, Tick, Tick 2/ & 0/ Qffo 2/ f # 0/ 00 0/ O f 2 / K 0/ 0# 2/ 3# G 1970 To Drink the Vampire's 1 / 1 * 0/ (# i / i * 0/ O ff 0 / O ff 1/ 1* 0/ 0%' i / i * Blood NA NA To Kill A Mockingbird 0/ 5/ 4* U 1962 To Sir, With Love 8/ 2# 1/ 1* 0/ ($ 8/ 2^ 3/ 1 * 5 / l * 5 / 3* 3/ 1* R 1967 Today the EL’rth, Tomorrow V ¥ 0/ ($ i / i * 0/ 0^ 1/ i * 0/ ($ i/i* 0/ 0^ the World NA NA A B C D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633, N=230 Together 4/ 15 0/ Ofo 1/ i f 3/ I f o/ 05 4/ 15 V ¥ 3/ 15 X 1972 Tom Jones 0/ 05 1 / 15 U 1963 Tora, Tora, Tora 10/ 15 0/ Ofo 9/ 25 1/ 15 6/ 3# 4/ 1% 10/ 25 0/ o5 G 1970 The Touch 0/ 05 1/ 15 R 1971. A Town Without Pity 0/ O f 1 / 1% U 1961 True Grit 31/. 45 1/ 1% 22/ 65 9/ 25 24/ 35 7/ 25 29/ 35 2/ 15 G 1969 Twenty Thousand Leagues i/ ¥ 0/ Ofo 1/ |5 0/ 05 1/15 0/ o5 1/ 15 0/ o5 Under the Sea U 195^ Two A Penny 3/ ¥ 0/ ofo 1/ 15 2/ 15 2/ |5 1/ 15 2/ |5 1/ 15 G NA Two For the Road 0/ ofo 1 / 1 % U 1967 Two Lane Blacktop 5/ i5 0/ ofo 3/ 15 2/ 15 o/ 05 5/ 15 4/ i5 1/15 R 1971 Two Mules for Sister Sara 3 / i f 0/ ofo 1/15 2/ 15 2/ 15 1/ 15 3/ 15 o/ o5 GP 1970 2001 - A Space Odyssey 26/ 35 12/ 95 21/ 35 5/ 15 10/ 25 16/ 45 18/ 35 8/ 35 G 1968 Two Women 0/ Ofo 1/ U 1961 Ulysses 0/ Ofo 1/ 15 u' 1967 Uncle Tom's Cabin i/ 15 0/ Ofo 0/ o f 1/15 1/15 o/ o5 1/ 15 o/ o5 U 1926 The Undefeated y ¥ > 0/ 05 o/ o5 1/15 1/15 o/ 05 0/ i5 i/ ^ GP 1969 The Undertaker and His Pals 4/ 15 0/ 05 4/ i5 o/ o5 2/ 15 2/ 15 1/ 05 3/ U NA A B C D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 The Unsinkable Molly Brown 1/ ¥ 1/ ¥ 0/ Of 1/ ¥ 1/ ¥ 0/ Ofo 1 / \% 0/ Ofo U 1964 Up the Down Staircase 0/ ofo / 0/ 1 / ¥ 0 1/ # ofo 1/ ¥ 0/ c$ i / l * U 1967 Valdez is Coming 2/ ¥ 0/ Ofo 2/ ^ 0/ 2/ 0/ 05s 1/ » 1/ GP 1971 Valley of the Dolls 5 / 2 % 0/ Ofo 4/ 1/ 3* 2 / ^ 3/ 2! ¥ 3/ 3* R 1967 The Vampires 1/ ¥ 0/ Ofo 0/ Ofo 1/ i* 1/ ¥ 0/ 00 i / 3 * 0/ o$£ U 1957 Vanishing Point 9/ 1% 1/ 2 % 7/ 2^ 2/ 3% 5/ 1* 4/ ig 9/ 0/ Ofo PG 1971 The Vanishing Prairie i / 3 * 0/ Ofo 0/ 0^ i / 3 * 1/ 0/ Ofo 1/ ¥ 0/ ($ G 1954 Velvet Vampire 1/ ¥ 0/ ($ H ¥ 0/ o# 1/ 0/ o?s 0/ 0^ 1/ 5^ R 1971 Viva Las Vegas i / 3 * 0/ 0^ 1/ ^ 0/ Ofo i / 3 * 0/ Q0& 0/ 1/ -§-% U 1964 Von Ryan's Express i / ¥ 0/ 1/ ^ 0/ 0/ ($ i / 3 * 0/ Ofo 1 / 3 * U 1965 Wacky World of Numbers 1 / ¥ 0/ 0/ 1/ ^ i / 3 * 0/ c$ 1 / ¥ 0/ <# NANA Wait Til Dark 3/ ¥ 1/ I% 0/ ($ 3/ 1# 1 / ¥ 2/ 3* 3/ 3# 0/ 0* U 1968 Walking Stick 1/ ¥ 0/ ($ 0/ Ofo 1/ / * i / 3 * 0/ c$ i / 3 * GP 1970 War and Peace 0/ Ofo 1/ 1% U .1968 Waterhole #3 i / 3 * 0/ ($ 1/ ¥ 0/ O f 0/ O f 1/ 3* 1/ ¥ 0/ G* U 1968 Watermelon Man 4/ ¥ 0/ Ofo 2/ ¥ 2/ 2/ -§# 2/ 1/ 3# 3/ 1* R 1970'

West Side Story \ 13/ ¥ 0 10/ 8£ 2/ 11/ 2^ 6/ 1# 7/ 6 / 1 % 7/ 3^ w U 1961 A B C D E F G H N=863 N=131 N=389 N=469 N=374 N=633 N=230 What Do You Say To A 3 / 4% 0/ 0% 2 / ¥ ° 1/ 4% 0/ Of 3 /1 # 2 / 1 % l / ¥ Naked Lady? R 1970 What Ever Happened to 2/ 4% 0/ 0% 0/ 0% 2/ f% 0/ 0% 2/ 1% 0 / O f 1 / 1 % Aunt Alice? M 1969 What's the Matter with 2/ 4% 0/ 0% 0/ Of 2/ 2/ 0/ 0% 1/ 4% 1/ 4% Helen? GP 1971 What's Up Doc? 132/15% 3 / 2% 46/12% 86/18% 89/18% 43/11% 113/ 18% 19/ 8% G 1972 Where Eagles Dare 2 / i% 0 / 0% 2/ 0/ Of 2/ |% 0/ 0% 1/ | % 1/ -§•% . M 1962 White Fury 1 /4 % 0 / 0% 1/ |% 0/ O f 1/ |% 0/ 0% 1/ 0/ 0% NA NA Who's Afraid of Virginia 0 / Q% 4 / 3% Woolf? U 1 9 6 6 The Wild Bunch 4 / ^ 0 / 0% 3/ 4% 1/ 4% 0/0% V 1% 2/ f % 2/ 1% R 19 69 The Wild Country 2 / i% 0 / 0% 0/ Ofo 2/ 1 % 0/ 0% 2/ -§-% 2/ |% 0/ O f G 19 71 Wild in the Streets 1 / 4% 0 / 0% 0/ O f 1/ \% 0/ O f 1 / \ f 0/ 0% 1/ |% U 1 9 6 8 The Wild One 0/ 0% 1 / 1% U 1 9 5 4 Wild Riders 2 / 4% 0 / 0% 1/ 1% 1/ 1/ 4% 1/ 4% 1/ 4% 1/ 4% R 19 71 Wild Rovers 1 /4 % 1 / 1% 0/ Of 1/ \f 1/ |% 0/ 0% 0/ 0% 1/ GP 19 71 Wild Strawberries 0/ 0% 2 / 2% U 1 9 5 7 The Wild Wild West 1/ 4% 0 / 0% 1/ 0/ Of 1/ 1% 0/ o f 1/ i% 0/ 0% NA NA Willard 7 5 / 9% 0 / 0% 40/10% 35/ 7f 55/11% 20/ 5% 38/ 6% 33/14% GP 19 71 Willie Wonka in the 3 / 4 % 0 / 0% 1/ 4% 2/ 1% 1/ 4% 2/ 1% 2/ 4% 1/ 4% s Chocolate Factory ^ 1971 A B c D E F H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 Wings 0/ of. 1/ 3# U 1927 Winning 0/ O f 1/ 355 PG 1969 With Six You Get Eggroll 3 / i * 0/ 055 0/ 0% 3/ 3# 3/ 1* 0/ 055 3/ 3* 0/ 055 U 1968 The Wizard of Sinbad i / i * 0/ 055 0/ 0% i / i * 0/ 055 1/ T* 0/ 055 1/ ¥ U I960 Women in Cages 13/ 255 0/ O f 2/ §55 11/ 255 6/ 155 7/ 255 4/ 1?5 9/ 455 R 1973 Women in Chains 3 / i * 0/ 055 2/ §55 i / i * 2/ i / i * 0/ 055 3/ 1^ 1'JA NA Women in Love 0/ Ofo 1/ 3# R 1970 Woodstock 26/ 3* 2/ 255 11/ 3* 15/ 9/ 255 17/ 5^ 19/ 3$ 7/ 3* R 1970 Wuthering Heights 2 / ¥ 1/ 3# 0/ 0% 2/ 1-55 0/ 055 2/ §55 1/ i* 1/ I* G 1970 X, Y, and Zee i / i * 1/ 155 0/ 055 1 / i * 1 / i * 0/ 055 1/ i* 0/ Of R 1972 The Yearling 0/ Ofo 1/ 15 G 1946 The Yellow Submarine 0/ 055 1/ 3# G 1968 You Only Live Twice 3/ ¥ 0/ 055 3/ i* 0/ O f 2/ -§55 1/ i* 2/ §55 i / i * GP 1967 Your Cheatin Heart i / ¥ 0/ 055 1/ §55 0/ 055 0/ 055 i / i * 1/ ^ 0/ 055 U 1964 You're A Good Man, Charlie 2/ ¥ 1/ 155 2/ §55 0/ 055 i / i * i / i * 1/ I* 0/ 055 Brown G 1970 Yours, Mine, Ours 7/ ¥ 0/ 055 0/ 055 7/ 3# 6/ 155 1/ i* 7/ 3^ 0/ 055 G 1968 Z 0/ 0* 1/ 3* GP 1969 A B G D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 Zabriski Point 0/ O f 1/ 1# X 1970 Zachariah 1/ ¥ 0/ ($ 1/ \ % 0 / C/fo 0/ Ofo 1/ -§# 1/ 0/ ($ GP 1971 Zorba the Greek 0/ O f 1/ I# U 1964

to V jJ APPENDIX XIX

STUDY TELEVISION FILM LIST

A-Students C=Male E=Junior High G=Higher Socio-economic B=Teachers D=Female F=Senior High H=Lower Socio-economic

ABCDEFGH N= 86? N=i?i N=^89 N=489 N= 374 N= 633 N= 280 Aaron Slick of Punkin Crick 0/ o f 1/ 1 % 1952 Abbott and Costello 2/ j f 0/ O f 2/ % f O f 1 / jr% 1 / 2/ 0/ C% 1955 Ada 2/ 0/ O f 0 / (fo 2/ \% 0/ O f 2/ ^ 0/ C$ 2/ !$ 1961 w Adam’s Rib 0 / <$> 1 / 1% ^ 19^9 An Affair to Remember 4/ 1$ 0/ ($ 1/ 3/ 0/ <$ 4/ 1$ l/ ^ 3/ 1% 1956 Africa - Texas Style! 1/ ■§?£ 0/ 1/ 0/ C0S 1/ ^ 0/ ($ 1/ 0/ O f 19 67 The Alamo 1/ 0/ 0% 1/ \ % 0 / O f 0 / Ofo 1/ ■§f l/ \ % 0/ O f I960 All About Eve O f O f 1/ 1% 1950 All That Heaven Allows 1 / W ° 0/ 0% 0/ <$ 1/ •§?£ 0/ ($ 1/ l/ 0/ O f 19 55 Along the Rio Grande 1 / ¥ ° 0/ O f 1/ 0/ O f l/ 0/ l/ 0/ O f 19^1 The Andersonville Trial 0 / O f 1/ 1$ 1970 The Angel and the Badman l/ 0 / O f 1/ -§?£ 0 / Ofo ~L/ W° 0/ Ofo 0/ Of 1./ iff 194-7 AB c D E F G H N=86l N = m :38? N=474 N=489 N=374 N=633 N=230 Annie Get Your Gun 2/ 10 0/ 00 2/ Wo 0/ 00 1/ 4* 1/ 2 / 1 0 0/ 00 1950 Anzio 4/ 10 0/ 00 4/ Wo 0/ 00 4/ 10 0/ 00 4/ 10 0/ 00 1968 Apache Uprising 7/ 1% 0/ c0 5/ W 2/ 10 5/ 10 2/ 10 0/ 00 7/ 00 1966 The Apartment i / 1 0 0/ 00 0/ Wo 1/ 10 0/ 00 1/ # 0/ 00 1 / 1 0 i960 Around the World in Eighty 0/ C0 1/ 1% Days 1956 Around the World Under the 2/ 10 0/ Wo 2/W 0/ 00 1/ 10 1/ 10 1 / 1 0 i / 1 0 Sea 1966 Arreviderci Baby 2/ & 0/ w > 2/ 10 0/ 00 2/ |0 0/ 00 0/ 00 2/ 10 1967 Arsenic and Old Lace 2/ 10 1/ Ifo 0/ 00 2/ |0 0/ 00 2 / 1 0 0/ 00 2/ 10 1944 Assignments Munich 6/ 10 1/ 10 3/ 10 3/ 10 3/ 10 3/ 10 4/ 10 2/ 10 1970 Back Prom the Dead 1/ 10 0/ w > 0/ 00 1/ 10 1/ 20 0/ 00 1/ 10 0/ 00 1957 Backstreet i / W 0/ Wo 0/ 00 1/ 10 0/ 00 1 / 1 0 1/ 20 0/ 00 1961 The Bad Seed 1/ 1/ Wo 0/ 00 1 / 1 0 0/ 00 i / 1 0 0/ 00 1 / 1 0 1956 The Ballad of Andy Crocker 2/ 10 0/ Wo 2 / W o 0/ 00 1 / 1 0 1 / 1 0 2/ 10 0/ 00 1969 The Bamboo Saucer 4/ 10 0/ Wo 4/ 10 *0/ 00 2/ 10 2/ |0 2/ i0 2/ 10 1967 Bandolero 2/ W o 0/ Wo 2/ 20 0/ 00 1 / 1 0 1 / 1 0 1 / 1 0 1 / 1 0 1968 Barabbas 1 / W o 0/ Wo 0/ 00 1 / 1 0 0/ 00 1 / 1 0 1/ 10 0/ 00 1962 237 A B c D E F G H N=863 »=1TL N=^74 N=489 N=374 N-633 N=230 The Barefoot Contessa 2/ ifo 0/ Q# 0/ O f 2 / W o 0 / o f z T W 0/ Ofo 2 / 1 # 1954 Bat Man 1 / 1 # 0/ 0# 1/ 0/ 0# l / ¥ Of ofo 1/ i* 0/ 0# 1967 Battle of the Bulge 49/ 6# 0/ C# 3/ 1* 40/ 8# 9/ 2# 44/ 7# 5/ 2# 1965 Beach Blanket Bingo 12/ 3# 0/ 0# 2/ i# 10/ 2# 6/ 3# 6/ 2# 10/ 2# 2/ 1# 1965 Beach Boys 2 / i # 0/ 0# 0/ 0# 2/ I# i / i * 1/ 1* 1/ i# l / i # NA The Beast With Five Fingers i / i # 0/ 0# 0/ Ofo 1/ i# 1/ 1# 0/ 0# l / i # 0/ o fo 1946 Beauty and the Beast 0/ Ofo 1/ 3# 1946 The Bell 2/ i# 0/ O f 2/ 1# 0/ 0# i / i # 1/ 1* 1/ I# 1/ i# 1967 The Bellboy 1/ i# 0/ 0# 0/ 0# 1/ 1* 0/ 0# 1/ 1# 1/ i* 0/ o fo I960 Ben Hur 98/11# 11/11# 56/14# 42/ 9# 50/10# 48/13# 75/12# 1 ^ /lO fo 1959 Berserk 9/ 1# 0/ O f V 1# 5/ 3* 5/ 3# 4/ I# 5/ 1# V i# 1968 The Big Country 0/ 0# 2/ 2# 1958 The Big Mouth 17/ 2# 0/ 0# 10/ 3# 7/ 3* 13/ 3# 4/ 1# 15/ 2# 2/ 1# 1967 The Biggest Bundle of Them 1 / i # 0/ 0# 1/ 1# 0/ 0# i / l # 0/ 0# 1/ i* 0/ Ofo All 1963 Bird Man of Alcatraz i / i # 0/ O f i / i * 0/ 0# 1/ f# 0/ 0# i / i * 0/ 0# 1962 Birdmen 27/ 3# 1/ 3# 18/ 5# 9/ 2# 17/ 3# 10/ 3# 27/ 4# 0/ 0# NA 238 A B c D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 The Birds 3 1 3 / 3 6 % 8/ 6 % 154/40$ l'59/34$ 197/40$ 116/31$ 255/40$ 58/25$ 1963 Black Beauty 2/ ¥ 0/ 0 % 0/ cfo 2 / ¥ 2/ |$ 0/ 0$ 2/ |$ 0/ 0$ 1966 The Black Cat 2 / ¥ 0/ 0 % 0/ Cfo 2/ ¥ 1/ 1$ 1/ 0/ 0$ 2/ 1$ 1966 Black-Eyed Jacks 1 / ¥ 0/ 0% 0/ Cfo 1 ¥ i / i * 0/ 05? 1/ 1$ 0/ 0$ 1961 Black Sabbath 4/ ifo 0/ 0 % 2 / ¥ 2 / ¥ 3/ 1$ i / i * 2 / | $ 2/ 1$ 1964 Black Sunday 1 2 / Ifo 0/ 0% 8/ 2$ 4/ 1$ 11/ 2$ i / i * 10/ 2$ 2/ 1$ 1961 Black Water Gold 1 / ¥ 0/ 0% 1/ ¥ 0/ 0$ 0/ 0$ 1/ 1 $ i / i * 0/ 0$ 1970 The Blob 5/ ¥ 0/ 0$ 3/ 1$ 2 / ¥ 5/ i$' 0/ 0$ 4/ 1$ 1/ 1$ 1958 The Blue Angel 0/ 0$ 1 / I f 1959 Blue Hawaii 1 / ¥ 0/ ¥ 0/ 0$ 1 / ¥ i / i * 0/ Cfo 1 / 1 $ 0/ 0$ 1962 The Blue Max 1 1 / Ifo 0/ C f 11/ 3$ 0/ 0$ 6/ 1$ 5/ 1$ 7/ 1$ 4/ 2$ 1966 Boeing - Boeing 14/ 2$ 0/ Cfo 3 / i * 11/ 2$ 11/ 2$ 3/ 1$ 14/ 2$ 0/ 0$ 1966 Born Free 28/ ¥ 0/ Cfo 6/ 2$ 22/ 5$ 16/ 3$ 12/ 3$ 18/ 3$ 1 0 / 4 $ 1966 Boys, Boys, Boys 1/ ¥ 0/ Cfo 0/ 0$ 1/ ^ i / i * 0/ 0$ 1 / 1 $ 0/ 0$ NA The Brain and the Spinal V ¥ 0/ Cfo 0/ Cfo 1 / p ! / ■ ¥ 0/ 0$ 1 / 1 $ 0/ Q$ Cord NA H 0 CM O Brian's Song 2 2 1 / 2 6 % w 26/20% a 116/24$ 117/24# 165/26$ 56/24$ 1971 MU vD A B c D E F GH N=863 N=131 =389 N=47^ N=^89 =37^ N=633 N=230 Bride of Frankenstein 5/ 1* 0/ ¥ 3/ ¥ 2 / 1 % 3/ 1% 2 / 1 % 3/ 1% 2/ I# 1935 The Bridge on the River Kwai 62/ ?% 1 / i f -Q /1 2 % i V 3% 43/ 9% •9/ 5% 56/ 9% 6/ 3% 1957 Brown Rebel 1 / 1 % 0/ Cfo 0/ Cfo 1/ 1% 1 / 1 % 0/ ($ 1 / 1 % 0/ ($ NA But I Don’t Want To Get Married 1/ 1% 0/ Cfo 1/ ¥ 0/ c$ 1 / 1 % 0/ Cfo 0/ 07S 1/ 1% NA Bye Bye Blackbird 1/ 1% 0/ Cfo 1/ 1% 0/ 1 / 1 % 0/ c$ 0/ 0^ 1 / 1 % NA The Caddy x / ¥ 0/ Cfo 1/ 1% 0/ Cfo 0/ 1 / 1 % 0/ Cfo 1 / 1 % 1953 The Caine Mutiny 0/ o% 1/ 1% 195^ Call Her Mom 3/ ¥ 0/ Cfo 0/ 0^ 3/ 1% 2 / 1 % 1 / 1 % 0/ 07S 3/ 1% NA Carousel 1/ ¥ 0/ Cfo 0/ c$ 1/ 1% 0/ ($ 1 / 1 % 1/ 1% 0/ ($ 1956 Carter's Army 6/ 1% 1/ Ifo 6/ 2% 0/ ($ 3/ 1% 3/ 1% 3/ 1% 3/ 1% 1969 Casablanca 0/ 0% 1/ If o 19^2 Case 1/ ¥ 0/ Cfo 1/ 1% 0/ 0% 1 / 1 % 0/ 0/ 0% 1 / 1 % NA Casino Royale 1/ ¥ 0/ Cfo 1 / 1 % 0/ ($ 1 / 1 % 0/ 0% 1 / 1 % 0/ 0% 1967 Cat Ballou V i f 0/ Cfo 2/ 2/ i* 3/ 1% 1 / 1 % 2/ |% 2/ 1^ 1965 Cat On A Hot Tin Roof 5 l X % V 3% 1 / 1 % V 1# 3/ 1% 2/ 1% 3/ 1% 2/ 1% 1958 Chain Gang Women 1/ ¥ 0/ Cfo 0/ 0% 1/ 1% 0/ ($ 1 / 1 % 0/ 0% 1 / 1 % NA 072 C D E F G • H N=863 [=389 N=^_ N=489 N=374 N=633 N=230 The Charge of the Light 1/ ¥ i f ¥ 0/ ¥> 1/ ±% o/ a# i/ \% o/ o% Brigade 1968 Charlie Brown (A Boy Named) i f 1/ ¥ 0/ 0% 1/ ¥ 0/ 0;% 1/ ¥ O f 0 % 1969 Cheaper By the Dozen 3/ ¥ 1/ ¥ 2/ ¥ 3/ 1:% 0/ 0% 3/ 1 % O f 0% 1950 The Children's Hour 0/ 0% 1962 Cinderella 0/ ¥ > 1966 Cinderfella i f ¥ 1/ ¥ 0 / 07s o f ($ 1/ o f ¥ 0 1/ I960 Circus Revenge 1/ ¥ 0/ ¥ 1/ ¥ o f 0^ 1/ i* o f ¥ 0 1 / NA Citizen Kane 2/ ¥ 2/ ¥ o f 0% O f ($ 2/ ¥ 1/ ¥ 1/ 1941 Clamtake 1/ ¥ o f ¥ 1/ ¥ 1 / # 0/ ¥ > 0/ ¥ 0 1/ 1967 Cleopatra 18/ 2 % 9/ ¥ 9/ 2% 7/ l?s 11/ ¥ 8/ ¥ > 10/ 1963 Code 2 i f o f 0% 1/ ¥ 0/ ¥ 0 1 / ¥ 0/ ¥ 1/ 1953 College Confidential i f ¥ > 1/ ¥ 0/ 0% 1/ ¥ 0/ ¥ 0 0 / ¥ 0 1/ i* I960 Colossus: The Fortin Project 5 / ¥ 0 3/ ¥ 2/ ¥ V ¥ 0 1/ ¥ 3/ 1% 2/ 1# 1970 Congratulations, It's A Boy 15/ ¥ ° 1/ ¥ i V ¥ 9/ ¥ 0 6/ ¥ 8/ 1% 7/ 3^ 1971 Coogan's Bluff i f ¥ ° 1/ ¥ 0/ 0% 1/ ¥ 0/ ¥ 0 1/ ¥ 0/ 0% 1968 The Crawling Hand 1/ ¥ 0/ 0% 1/ ¥ 0/ ¥ 1/ ¥ 1/ ¥ 0/ 0% 1958 TO A B G D E F CM O . H N=863 N=131 =38? N=474 N=489 =374 N=230 1 —

Crawl Space 8/ 10 1/ 1% 3/ 3% 5/ l* 4/ 10 4/ 10 1 4/ 20 1971 Creature from the Black 4/ 1% 0/ 00 4/ 10 0/ 00 4/ 10 0/ 00 2/ 30 2/ 10 Lagoon 1954 Creatures of Destruction 1/ 3% 0/ 00 i / 3 % 0/ 00 1/ 3* 0/ 00 1/ 30 0/ 00 1968 Crowhaven Farm 2/ ¥ 2/ 20 0/ 00 2 ! ¥ 2/ 30 0/ 00 i / 3 % 1 / 3 % 1970 The Crucible 0/ Q0 1/ 10 1958 The Crucifixion 1/ ¥ 0/ 00 0/ 00 1 / ¥ 0/ 00 i / i * i / 3 % 0/ 00 NA Curse of Dracula 2 / ¥ 0/ 00 2 / ¥ 0/ 00 2/ |0 i / l % 2 . 30 0/ 00 1971

Curse of the Swamp Creature i / 3 % 0/ 00 0/ 00 1 / ¥ 0/ 00 i / l % 0/ 00 1/ 3% 1966 Cutter's Trail i / 3 % 0/ 00 1 / 1 * 0/ 00 i / i * 0/ 00 1/ 30 0/ 00 1970 D-Day, the Sixth of June 2/ ¥ 0 / 00 1/ 1* 1/ 30 2/ 3-0 0/ 00 2/3% 0/ 00 1956 The Damned City 2/ ¥ 0/ 00 2 / 1 * 0/ 00 2/ 10 0/ 00 2/ 3% 0/ 00 NA Darbey's Rangers i / 3 % 0/ 00 1/ i * 0/ 0% 0/ 00 i / i * 1 / 3 % 0/ 00 1958 Daring Game 1/ ¥ 0/ 00 i / 3 % 0/ 00 i / i * 0/ 00 1/ 3% 0/ 00 1968 Daughter of the Mind 2/ ¥ 0/ 00 0/ 00 2/ ¥ 1/ 3* 1/ 1% 2/ 3% 0/ 00 1972 David Copperfield 0/ 00 1/ 10 1934 The Day the Earth Stood 6/ 10 0/ 00 5/ 1* i / i * 2/ 3-0 4/ 10 3/ 1% 3/ 1% ro Still 1951 -p- A B C D g P G H N=863 N= 131 N= 389 N= 4?4 N=489 N=374 n=633 n=230 Days of Wine and Roses l / ¥ 2/ ¥ 0/ 0 % 1/ ¥ 0 / ( $ 1 / 4* i! 4* 0 / ( $ 1962 The Deadly Bees 8/ ¥ 0/ 0% 3 / ¥ 5 1 ¥ 5/ 3/ 1 # VV 2^ 1967 The Deadly Hunt 0/ 0 % 0/ 0 % 0% % 1/ ¥ 1 / ¥ 0 / 1/ ¥ 1 / ¥ 0 / 0 NA Death of a Salesman 0/ 0fo 1/ 1% 1951 A Death of Innocence 2/ ¥ 0/ 0% 1 / ¥ 1 / ¥ 2 / 2^ 0 / 0,% 2 / ¥ 0 / 1971 The Death of Me Yet 2/ ¥ 1/ 1% 0/ 0% 2/ ¥ 1 / 4* 1 / ¥ 2 / ¥ 0 / 0% NA Death Takes a Holiday 9/ ¥ 0/ 0% 4/ 1% 5/ 1 % 2 / 4* 7/ ¥ 9/ ¥ 0 / ¥ 1934 The Defiant Ones 0 / 0% 1/ ¥ 1958 Desire Under the Elms V ¥ 1/ 1 % 0/ 0 % 1 / ¥ 0 / c$ 1/ ¥ 0 / 0% 1 / ¥ 1958 Die, Die, My Darling 1 / ¥ 0/ Qffo 0/ 0 % 1 / ¥ 0 / 1/ ¥ 1 / ¥ 0 / 0% 1965 The Dirty Dozen 26/ 3% 1 / 1 % 22/ 6 % 4/ ¥ 15/ 3 ^ 11/ ¥ 18/ ¥ 8/ ¥ > 1967 The Disorderly Orderly 7 / ¥ 0/ 0 % 4/ 1% 3/ 1% 5/ 2/ ¥ V ¥ 3/ ¥ 1964 Dr, Cook's Garden 3/ ¥ 1 / 1 % 1 / ¥ 2/ 4* 2/ 4* 1/ ¥ 2. ¥ 1/ ¥ 1971 Dr. Jekyll and Mr. Hyde 1/ ¥ 0/ 0 % 1/ ¥ 0/ 0% 1/ 4* 0 / 0% 1/ ¥ 0/ 0% 1941 Dr, Strangelove G% 2 / ¥ 0/ 0 % 1 / ¥ 1 / ¥ 1/ 4* 1/ ¥ 2/ ¥ 0/ 1964 Do Not Fold, Spindle or 15/ 7 % 1 / ¥ 3 / ¥ 12/ ¥ 9/ 2 ^ 6/ 2% 9/ ¥ 6/ ¥ Mutilate 1971 fO Uj A B C D E F G H N=863 N=131 '=389 N=474 N=489 N=374 N=633 N=230 Don't Look Behind You 3/ 10 1/ 1% 1/ 10 2/ ¥ l / ± 0 2/ ¥ 2 / 1 % ~ y ¥ ° NA Don’t Raise the Bridge, Lower 9/ 10 0/ 00 3 / ¥ 6/ 10 7/ 10 2/ 10 8/ 10 i / 1 0 the River 1968 Doomsday Flight 0/ 00 1/ 1# 1970 Double Jeopardy 3/ 10 0/ 00 0/ 00 3/ 10 3/ 10 0/ 00 3/ 10 0/ 00 1971 Double Trouble 19/ 20 0/ 00 2/ 10 17/ 40 12/ 20 7/ 20 9/ 10 10/ 4# 1967 Dracula 7/ 1# 0/ 00 1 / 1 0 6/ 10 6/ 10 1 / 1 0 5/ 10 2/ 10 1931 Duel 2 / ¥ 3/ 20 2/ |0 0/ 00 2/ 10 0/ 00 2 / 1 0 0/ 00 1971 Easy Gome, Easy Go 1/ ¥ 0/ 00 0/ 00 1 / 1 0 1/ 00 1/ 50 0/ 00 1/ 10 1967 El Cid 4/ 10 1/ 1# V i0 0/ 00 3/ 10 1/ 10 3/ 10 1 / 1 0 1961 Ellery Queen, Don’t Look 0/ 00 2/ 20 Behind You NA Enter Laughing i / 1 0 0/ 00 1/ 10 0/ 00 1/ 10 0/ 00 0/ 00 i / 1 0 1967 Ethan Frome 0/ 0% 1/ 1# NA Exodus 2 / ¥ 1/ lg 1/ ¥ 1/ 10 1 / 1 0 1/ 10 1 / 1 0 i / 1 0 I960 Eye of the Gat 2/ ¥ 0/ 00 1/ 10 1 / 1 0 1 / 1 0 1/ 10 1 / 1 0 i / 1 0 1969 The Eyes of Charles Sand 2/ ¥ 0/ 00 1/ 10 1/ 10 0/ 00 2 / 1 0 0/ 00 2/ 10 1972 The Failing of Raymond 27/ ¥ 0/ 00 6/ 20 21/ 40 3/ 10 24/ 60 21/ 30 6/ 30 1971 A B C D E F G H N=863 N=131 N=l- K389 N=474 N=489 N=374 N=633 N=230 The Family Jewels V ¥ 0/ 0% 0/ O ff 1/ 5% 0/ 0% 1/ 1/ ¥ 0/ 0^ 1965 Fantastic Voyage 4/ 1 % 0/ ($ 2/ ¥ 2/ 2/ 2/ b / 1% 0/ O ff 1966 Far From the Madding Crowd 4/ 1 % 3/ 2?S 2 f ¥ 2/ ^ 3/ 3* 1/3*' 3/ 3# 1/ 1967 Farenheit 451 1/ ¥ 0/ 0^ ¥ ¥ 0/ C$ 0/ 0^ 1 / 3 * 1 / 3 * 0/ 0# 1966 A Farewell To Arms 6 / 1* 0/ O ff i f ¥ 5/ 3# 1 / 3 * 5/ 1% 6/ 1# 0/ ($ 1957 Father Goose 1/ ¥ 0/ 0 % ¥ ¥ 0/ ($ 0/ ($ 1/ 3* 1/ 3* 0/ 0?? 19 64 Fathom 4/ 1 % 0/ Qffo ¥ ¥ i / ¥ 4/ 3# 0/ ($ 4/ 2# 0/ O ff 1967 The Fearless Vampire Killers 1/ ¥ 0/ 0 % ¥ ¥ 0 / O ff 0/ ($ i / 3 * 0/ 00 1/ 1967 The Feminist and the Fuzz 10/ 1% 0/ O ff 4/ if o 6 / lf o 6/ 1# 4/ 1# 7/ 3# 3/ 3# n a Fighting Sullivans 0/ c% 1/ 1 % NA Fireball Forward 1/ ¥ 0/ 0% 1/ 3* 0/ 0^ 1/ ¥ 0/ 1/ 3* 0/ 0^ 1966 Five Desparate Women 2/ ¥ 0/ 0% 0/ 0^ 2/ 3* 0/ O ff 2/ 3* 0/ 2/ 1# NA Five Million Years to Earth ¥ ¥ 0/ of* 1/ 3* 0/ O ff 1/ ¥ 0/ 0^ 1/ 3* 0/ 0# 1968 Flight of the Phoenix 3/ ¥ 0/ Qffo 3/ 3* 0/ O ff 3/ 1% 0/ Qffo 3/ 1# 0/ 0^ 1966 The Flim Flam Man 1 / ¥ 0/ ¥ 0/ O ff 0/ Qffo 0/ Qffo 1/ ¥ 0/ 07s 1/ ¥ 1967 Follow in My Footsteps i f ¥ > 0/ O ff 0/ Qffo 1/ ¥ 1/ ¥ 0/ Qffo 0/ 0# 1/ ¥ NA A B G D E F G H N= 863 N=131 N389 N=474 N=489 N=374 N=633 N=230 The Forgotten Man 12/ 1% 0/ Qf% V 1* 8/ 2 % 6 / 1 % 6 / 2 % 10/ 275 ” 2 / 1 % NA Francis the Talking Mule i / 3 * 0/ Qffo 1/ 0/ 075 1/ 3# 0/ Qffo i / 3 * 0/ 075 19^9 Frankenstein 5/ l* 0/ O ff 5/ 1# 0/ 075 3/ 15s 2/ ¥ V ¥ i / 3 * 1931 Frankenstein Conquers the 1 / \ % 0/ O ff 1/ i* 0/ 075 0/ Qf% 1/ ¥ 0/ 07s i / 3 * World 1966 Frankenstein Meets the Wolf 5/ 1* 0/ Qffo 3/ i* 2/ 2/ ¥ 3/ 1* 2/ ¥ 3/ 1* Man 19*0 From Earth to Moon i / 3 * 0/ Qffo 1/ i* 0/ 075 1/ ¥ 0/ O ff i / 3 * 0/ c$ 1958 From Here To Eternity 2/ \% 1 / 1 % 0/ 075 2/ 3^ 0/ Qffo 2 / \ % 0/ 075 2/ i£ 1953 From the Terrace 1 / ¥ 0/ O ff 0/ 075 1/ ¥ 0/ Off 1/ 3^ i / 3 * 0/ o£ I960 Funeral in Berlin 3/ ¥ 0/ Qffo 2/ 075 1/ ¥ 0/ Qffo 3/ 1# 2/ 3^ i / 3 * 1966 Funny Face 2/ ¥ 0/ O ff 2/ 3* 0/ Qf% 2/ ¥ 0/ ($ 2/ ¥ 0/ 075 1957 A Funny Thing Happened On The 2/ ¥ 0/ O ff 2/ 3* 0/ Off 1/ ¥ i / 3 * 2/ ¥ 0/ 07s Way to the Forum 1966 Game of Risk i/‘3* 0/ Qffo 1/ 3* 0/ Qf% 0/ Qffo i / 3 * i / 3 * 0/ 075 NA Games 1/ w ° 2/ 2 % 0/ 075 1/ ¥ 0/ Qf% i / 3 * 0/ ot5 1/ 3* 1967 Gaslight 0/ Qf% 1 / ¥ 1 9 ^ The Geisha Boy 8/ If o 0/ Qffo 2/ ^ 6/158 6/1# 2 / ¥ V 1# V 27s 1958 The Ghost and Mr. Chicken V Ifo 0/ Qf% 3/ i* 1/ 3^ 3/ 3* 1/ 3* 3/ 3* i / 3 * 1966 ro -i^ o A B CD E FG H N=863 N=131 [=389 N=474 N=489 N=374 N=633 N=230 The Ghost of Frankenstein 1/ ¥ 0/ O f 1/ 0/ QTS 1/ 1% 0/ ors 1/ 4* 0/ orS 19^0 Ghost Story 0/ Qffo 2/ 2% 1971 Gidget 11/ 1% 0/ O f 1/ 10/ 2/S 8/ ITS 1/ 2?S 8/ ¥ 1/ 1959 Gidget Gets Married 9/ 1% 0/ O f 0/ Qffo 9/ 2TS 8/ 1# 1/ 2?S 8/ ¥ 1/ 1% NA Gidget Goes Hawaiian 1/ 1% 0/ O f 1/ O ff 0/ ¥ 1/ 2TS 0/ 1/ ¥ 0/ 4* 1961 Gidget Goes to Rome 4/ ¥ ° 1/ O f 0/ ¥ V Qffo 1/ 4* 3/ OTS 4/ ¥ 0/ QTS 1963 Gidget Grows Up 2/ ¥ 0/ O f 0/ Qffo 1/ ¥ 0/ ¥ 1/ 05S 0/ ¥ 1/ 0% 1969 The Gift of Love ¥ ¥ 0/ O f 0/ O ff 1/ ¥ 0/ ¥ 1/ OTS 0/ ¥ 1/ cts 1958 Gigi 1 / ¥ 0/ O f 0/ O ff 1/ ¥ 1/ O ff 0/ 4* 1/ Qffo 0/ 4* 1958 Gigot 1/ ¥ 0/ Qffo 0/ Qffo 1/ ¥ 0/ Qffo 1/ 4* 1/ ¥ 0/ o?s 1962 Girl Happy 6/ 1% O f O f 21 ¥ 4/ 1% 4/ ¥ 2/ 4* 3/ ¥ 3/ ITS 1965 Girl Trouble 1/ ¥ O f 0% 1/ ¥ 0/ Qffo 1/ ¥ 0/ 0TS 1/ ¥ 0/ QTS 1942 Girls! Girls! Girls! 11/ 1% O f Qffo 0/ Qffo 11/ 2% 9/ ¥ 2/ 4* 8/ ¥ 3/ ITS 1962 The Glass House 5 6 / 6 % 11/ 8% 24/ 6fo 32/ ¥ 31/ 6 % 25/ 7^ 24/ 4% 3 2 / W o 1971 The Glenn Miller Story V ¥ O f O f 0/ Qffo 1/ ¥ 0/ 0 % 1/ ¥ 0/ O ff 1/ 4* 1954 Godzilla, King of the Monsters 5/ ¥ O f Qffo 5/ ¥ 0/ O ff 5/ ¥ 0/ Qffo 4/ ¥ 1/ ¥ to 1956 -t>- <3 AB CD E F G H N=863 Nfl31 N=389 N-474 N-489 N=374 N=633 N=230 Good Morning, Miss Dove 2/ ¥ 0/ O f 0/ 0% 2/ 1* 1/ i* 1/ 1/ ¥ 1/ i* 1955 Good-hye, Raggedy Ann b f ¥ 0/ ($ 0/ 0^ V 1% 0/ 0^ 4/ ITS 3/ ¥ 1/ i* NA Grand Prix 2/ i f 0/ O f O f 2/ i* 0/ 2/ i* 0/ 2/ ¥ , 0/ ¥ 1966 The Grapes of Wrath ¥ ¥ 2/ 2?S 0/ o f 1/ ¥ 0/ 07s 1/ ¥ 1/ ¥ 0/ ¥ 19^0 The Great Escape 21/ ¥ 0/ 0^ 20/ 5% 1/ ¥ 14/ ¥ 7/ ¥ 16/ ¥ 5/ ¥ 1963 The Great Imposter 1/ ¥ 0/ 0% 0/ o f 1/ ¥ 0/ o f 1/ ¥ 0/ ¥ 1/ ¥ I960 The Great Race 14/ 0/ O f 9/ ¥ > 5/ i f 11/ ¥ > 3/ ¥ 12/ ¥ 2/ ¥ 1965 lcf The Green Berets i / ¥ 0/ 0% 1/ ¥ 0/ o f 1/ ¥ 0/ o f 0/ ¥ 1/ 2*" 1968 Guess Who's Coming to Dinner? 22/ ¥ > 2/ 2$ V ¥ 18/ ¥ 9/ O f 13/ ¥ 13/ ¥ 9/ b f 1967 Gunga Din 1/ ¥ 0/ 0% 1/ ¥ 0/ o f 0/ o f 1/ ¥ 1/ ¥ 0/ ¥ 1939 Guns of Navarone 23/ ¥ 1/ 1% 22/ 6 % 1/ 5% 18/ b f 5/ ¥ 21/ ¥ 2/ ¥ 1961 Gypsy 1/ ifo 0/ 0?S 0/ O f 1/ ¥ 1/ ¥ 0/ o f 1/ ¥ 0/ ¥ 1962 The H Man 1/ ¥ 0/ 0?6 0/ o f 1/ ¥ 0/ o f 1/ ¥ 0/ o f 1/ ¥ 1959 The Hallelujah Trail 1/ ¥ 0/ O f 0/ o f 1/ ¥ 1/ ¥ 0/ ¥ 1/ ¥ 0/ ¥ 1965 Hamlet 0/ 0 f 3/ 275 1969 The Hand 1/ ¥ 0/ ($ 0/ o f 1/ ¥ 1/ ¥ 0/ ¥ 1/ ¥ 0/ ¥ 1961 svz A B C D E F G H N=863 N= 131 N=389 N=474 N=489 N=374 N=633 N=230 A Hard Day’s Night 1 / ¥ 0/ 0% ~ y w ° 0/ 0% 0 / Ofo 1/ ¥ 1/ \% o/07S 1964 The Harness 0/ 0% 1/ 1* 1971 Harper 1 / ¥ 0/ 07S 0/ 07S 1/ 1* 1/ i* 0/ 0# 1/ 0/ 075 1966 Harvey 10/ 1% 5/ 4^ 2/ i* 8/ 8/ 275 2/ i* 8/ J* 2/ 1* 1972 Hatari! i / ¥ 0/ Qffo 0/ 07s 1/ 1/ I* 0/ 07s 1/ 0/ GTS 1962 The Haunting 5/ 1% 1/ ITS 3/ Its 2/ 1* 2/ i* 3/ 1* 3/ 1* 2/ 1* 1963 Heidi 2/ ¥ 1/ ITS 0/ 07s 2/ 1* 0/ O ff 2/ £« 2/ 0/ 07S 1968 *} Hell Fighters 26/ J fo 0/ Qffo 22/ 67S V 1* 21/ b% 3/ 1* 23/ 4j6 3/ I/O 1970 Hell’s Angels 1/ ¥ 0/ 07S 0/ 07S 1/ 1* 0/ O ff 1/ 0/ QTS 1/ ¥ 1930 Hercules 1 / ¥ 0/ 07S 1/ 0/ 07S 1/ ¥ 0/ QTS 1/ i* 0/ O ff 1959 High Noon 2/ ¥ 3/ 3$ 2/ 1* 0/ 07S 2/ ¥ 0/ 07S 2/ ¥ 0/ O ff 1952 The Homecoming 2/ ¥ 0/ 0% 0/ 2/ i* 0/ Qffo 2/ i* 0/ O ff 2/ ¥ 1970 Hootenanny Hoot 1/ ¥ 0/ Qffo 1/ ¥ 0/ 0% 1/ ¥ 0/ 0?S 0/ O ff 1/ ¥ 1963 The Horse in the Gray Flannel 2/ ¥ 0/ O ff 0/ Qffo 2/ 1* 1/ ¥ 1/ ¥ 1/ ¥ 1/ ¥ Suit 1968 Houdini 1/ ¥ 0/ 07S 1/ ¥ 0/ Qffo 1/ ¥ 0/ Qffo 1/ ¥ 0/ O ff 1953 The Hounds of the Baskervilles 2/ ¥ 0/ 07S 1/ ¥ 1/ ¥ 2/ ¥ 0/ Qffo 2/ ¥ 0/ O ff 1971 JO \D A B C D E F G H 1-1=863 11=131 Ibrsq N=A74 N=489 N=374 H=633 N=230 n/ rvt "i / Xr.'ir/ n / r>-' T7 X77ijv n / nr; T7~. 1 The House on 22nd Street 1/ if 0/ 0/ 0/ of 1/ 2/J 0/ 01 1/ 2 /-■ 0/ Of. 1/ 2/° 1945 JLr' ir^ The House That Would Hot Die 1/ if 0./ 0/ 0/ of 1/ 0 0/ Of 1/ 2/J 0/ Of 1/ JLv*2<° 1969 ir.' How Awful About Alan 11/ If 0/ of. 1/ 2-' 10/ 2f 5/ 6/ 2f 5/ If 6/ 3% 1970 0/ OfHow I Spent My Simmer 0/ OfHow 1/ JL/3 Vacation NA i ■*' 1 A Howling in the Woods 7/ 1/ 0/ Of 1/ 2/J 6/ If 3/ 4/ X/3 2/ 2 5/ 2f 1971 Huckleberry Finn i/ u 0/ 01 0/ Of 1/ JLr?2/J 0/ Of 1/ ir'2/° 0/ Of 1/ JL^2/J 1960 Hush, Hush, Sweet Charlotte 8/ If 3/ 2f 0/ of 8/ 2f 1/ -i_c* 7/ 2f 4/ If V 2f 1965 lrf Ija i_c' Hydra 1/ i-/ 0/ Of 1/ a/-’ 0/ Of 1/ 2 J 0/ ZP 1/ ZP 0/ Of NA The Hypnotic Eye 0/ 0/ 1/ If 1960 I Want To Live! 0/ 0/ 1/ If 1958 Ice Station Zebra 16/ 2 % 1/ If 15/ 4f 1/ if 6/ If 10/ 3f 14/ 2f 2/ If 1968 If Tomorrow Comes 74/ 9f 0/ Of 6/ 2f 68/142 37/ 8f 37/l0f 51/ 8f 23/l0f 1971 Imitation of Life 11/ If 2/ 8f l / i f 10/ 2f 2/ if 9/ 2f 3/ If 8/ 3 % 1959 The Immortal 2/ if 0/ Of 1/ if X/1 •/ ic' 2/3 0/ of 2/ if 1/ if 1/ if NA The Impossible Years 65/ 8f 0/ Of 12/ 3f 53/H f 44/ 9f 21/ 6 % 46/ 7f 19/ 8f 1968 In Broad Daylight l/ if 0/ of 0/ Of 1/ if 0/ Of X/1/ 2/J 1/ if 0/ Of

NA 250 A B. c D F C- H N=863 M=133 N=38Q i;=474 K=489 N=374 ", c! 11=633 N=230 In Harm's Way 14/ 0/ 0/ 11/ 3/ If 7/ If 7/ 2f 11/ 2f 3/ if I9o5 ir/ 1 r* ir-’ ic* ic,’ In Like Flint 2/ 2 P 0/ 0f 2/ 2 0/ Of 2/ O , J 0/ Of 1/ ZP 1/ ZP 1969 1 -• In Search of America 22/ J p 1/ If 1/ 21/ 4f 8/ 2f 14/ 4f 18/ 3f 4/ 2f 1970 In The Heat of the Wight 0/ of 1/ 1/ 1967 Inherit the Wind 0/ 0/, 1/ If I960 The Innocents 0/ 05s 1/ 15s 1961 Interlude 0/ Of 2/ 2f 1968 ir/ ir’ ] c" ic-* The Invisible Man 2/ ZP 0/ 0/ 2/ 2 - 0/ of 2/ 2* J 0/ Of 2/ 2< J 0/ Of 1933 ic ic' The Invisible Man Returns 1/ 2/-’ 0/ 0/i 1/ 2 0/ of 0/ Of 1/ -2P 0/ Of 1/ 1940 ic? ir* ic 1 0* The Ipcress File 1/ 2 0/ 0/ 1/ 2 'J 0/ of 0/ Of 1/ 2 P 1/ 2 /J 0/ Of 1965 1 r* ic/ ic/ ic/ The Iron Claw 1/ g/o 0/ of. 1/ 2 P 0/ of 0/ of 1/ ZP 1/ ZP 0/ of HA -ir' ic* ic/ ir/ It Happened at the World's 1/ 2^ 0/ of 0/ Of 1/ ZP 0/ of 1/ 2/J 0/ Of V 2/J Fair 1963 _Lcf ic/ ic/ JLc* It Takes More Than Money 1/ 2^ 0/ of 0/ Of 1/ 2/o 0/ of 1/ 2 P 1/ 0/ of HA J. T. 0/ of 1/ If 1969 ic’ ir- ic/ Jack of Diamonds V 2/° 0/ of 1/ ZP 0/ of 0/ of 1/ 2/° 1/ 0/ of 1967 Jaguar's Eye 0/ 0 % 1/ If NA JLpf ic/ Jailhouse Rock 1/ 2 P 0/ of 0/ Of 1/ 1/ ZP 0/ Of V ■£f 0/ of 1957 A B C D E F G H N=S63 N=131 N= 389 it 4.7 4 11=489 IT-374 N=633 N=230 Jane Eyre 2/ if 4/ 3f 0/ Of 2/ if 0/ Of 2/ if 1 / i f 1/ if 1970 Johnny Belinda 0/ Of, 1/ J./V 194-8 Johnny Reb 1/ if 0/ 0/i 0/ of 1/ if 0/ Of 1 / i f 1/ if 0/ of HA Johnny Tiger 1/ if 0/ Of 0/ Of l / i f 0/ Of 1/ if 1/ if 0/ of 1966 Journey to Shiloh 4/ If 0/ of 0/ of 4/ if 3/ If 1/ if 4/ if 0/ of 1968 1 / I s fL-’ Journey to the Far Side -V ZP 0/ of 1/ 2/G 0/ Of 1/ if o/ of 1/ if 0/ of of the Sun 1960 Jules and Jim 0/ of 2/ 2f 1962 Julie 2/ if 0/ Of 0/ of 2/ if i/ 2/J 1/ if 2/ if 0/ of 1956 Ltf Julius Caesar 1/ if 1/ If 1/ 2/J 0/ of 0/ Of 1/ if 0/ Of -1!■/ / I 2 s P 1952 1 / ic Juniper's Daughter 1/ 2/i 0/ Of 0/ of ■V 2/J 0/ of J-/ ZP 1/ if 0/ Of NA Justin Morgan Had a Horse 1/ if 0/ Of 1/ JLr/2 0/ Of 1/ if 0/ Of 0/ if 0/ Of NA Karen Is Dead 0/ Of 1/ Of HA Key Witness JS 2/ if 0/ Of 2/ ZP 0/ of 2/ if 0/ Of 2/ i/i 0/ Of 1960 The King and I 5/ If, 3/ 2f 2/ IS2 /■' 3/ if 0/ of 5 / If 4/ If 1/ if 1956 King Kong JLcf 1/ if 0/ Of 1/ ZP 0/ of 1/ if 0/ Of 0/ of 1/ if 1933 i s King Kong vs. Godzilla 3/ if 0/ Of 3/ ZP 0/ of 3/ If 0/ Of 3/ If 0 . of 1963 King of Kings 53/ 6f 2/ 2f 26/ 7f 27/ 6f 12/ 2f 4 1 / H f 27/ 4f 2 6 /n f 1961 A B c D E F G H 11=863 N=131 fc.389 N=A7A N=A89 N=37A N=633 N=230 Knife in the Water 0/ 03 1/ 1 f 196A Kona Coast 0/ Of 1/ 1:f 1968 V Kung Pu 0/ Of 1/ 1f NA The L-Shapea Room 8/ If 0/ Of 8/ 2f 0/ Of 3/ If 5/ If A/ If A/ 2f 1963 Lady and the Tramp 0/ Of, 1/ 1 f 1955 Lady in Cement 0/ 0 f 1/ 1968 Lassie Come Home iy1 / -ijC/2 p 0/ 0 % 0/ Of 0/ if 0/ Of 1/ if 1/ if 0/ Of 194-3 The Last Child 0/ Of 1/ If NA The Last Man on Earth 5 A/ 6f 8/ 6f 7/ 2f A7/l0f 27/ 6f 27/ 7f 30/ 5f 2A/l0f 196A 1 / id? The Last of the Mohicans 11/ 155 0/ Of 8/ 2f 3/ If, 9/ 2f */ 2 /•> 10/ 2f ■V 2/° 1936 The Last One Hundred 1/ if 0/ Of l / i f 0/ of V i f 0/ Of 1/ if 10/ Of Miles 1966 Laurel and Hardy 0 / of 1/ If 1965 Les Miserables 3/ if 1/ 1 f 3/ if 0/ of 3/ If 0/ Of 3/ If 0/ Of 1952 -l cl Let No Man Write My 0/ Of 1/ ±/0 • Epitaph I960 T / ■i"C' ic? ir? Ac? Light in the Forest -V 2/° 0/ Of 1 / 2/° 0 / Of 0 / Of 1 / ZP 0 / Of 1 / 2 P .1958 JLr? -] cf ic? Li’l Abner 7/ If 0/ Of 2 / 2/J 5 / Jl/O 7 / if 0 / Of 0 / Of 1 / 2/° 1959 1 / ir? ic? id? Lilies of the Field -V 2 Is 0/ 0% 1 / •2/, 0 / of 0 / of 1 / ZP 1/ 2/J 0 / Of 1963 AB C D G H [-1=863 r!=131 11=389 11=4.74. 11=4.89 N= 374. M—633 N=230 Living Free 2/ if. 1/ If J-/) L 2/-’ - ' — =rrry-*-/ S'3 0/ Of 2 / i f 2/ if 0/ Of 1972 Lciita V if 0/ of 0/ Of' 1/ if 1/ if, 0/ Of i/ if, o/ of 1962 The Lone Ranger 0/ of 1/ -w?- The Lost Flight 4/ If 0/ of 4/ if 0/ Of 3/ if 1/ if U 1 1/ ZP NA The Lost Man 1j3 V if 0/ of 0/ Of 1/ if 0/ of i/if 0/ of 1/ ZP 752 1969 A B c 0 E F G H 11 -0 11=863 N=131 [=389 j>~- I [-489 11=374 N=63; N-230 Lost Moment 0/ 0% 1/ ir 1947 1 / Ac/ Lost World ■V z p 0/ or 1/ ir 0/ or 1/ ir 0/ or 1/ 0/ or 1960 Love, Hate, Love 30/ % 3/ 2r i/ir 29/ 6r 14/ 3r 16/ 4T 21/ 9/ 4l 1971 Love is a Many-Splendorei 3 / i T 0/ or 0/ or 3/ ir 0/ or 3/ ir 3/ 0/ or Thing 1955 Love Letters 0/ or 1/ ir 1945 ri 0/ or 1/ ir 1931 0 / Ac' Ma and Pa Kettle p-r Z P 0/ or 2/ ir 0/ or 2/ i r 0/ or 2/ 0/ 0% 1949 Madame Sin 0/ 0^ 1/ ir NA Madame X 7/ 1% 1/ ir 0/ or 7/ ir 4/ ir 3/ ir 7/ 0/ 0% 1966 Magnificent Obsession 0/ or, 1/ ir 1954 The Magnificent Seven 3/ ir 2/ 2r 2/ ir i/ir 2/ ir 1/ ir 2/ 1/ iT 1960 The Major and the Minor 0/ or 1/ ir 1940 A Man and a Woman 0/ or 1/ ir 1966 A Man Called Peter i/ir 2/ 2* 0/ or V JLr'2a> 0/ or 1/ Ac*2/J 1/ Af2 P 0/ 0% 1955 JLr' Ac* 1 / As* The Man From Laramie 2/ ir 0/ or 0/ or 2/ ZP 0/ or 2/ ZP 1/ 2/° -L/ 2 P 1955 The Man Who Cried Wolf Ar' Ac* 1 f As* 1/ ir 0/ or 0/ or 1/ 2/J 0/ or 1/ 2P 0/ or -V ZP

1970 5 5 2 Marriage: Year One 0/ or 1/ ir NA AB c D uT? F G H 11=863 N=131 11=389 11=474 N=4S9 11=374 11=633 N=230 Maybe I'll Come Home 105/1855 5/ 4/ 11/ 3f 94/20f 44/ 9f 61/16,5 70/Ilf 35/l5f in the Spring 1971 Miracle on 34-th Street 5/ If 2/ 2/3 0/ Of 5/ If 1/ if 4/ If 4/ If “1•V / 194-7 - / I-? The Miracle Worker 3/ if 0/ 0/ 1/ if 2/ if' 1/ if 2/ if> V 2V 2/ if 1962 Mirage 0/ Of 1/ If, 1965 Mr. and Mrs. EoJo Jones 38/ 4/ 2/ 2/ 1/ if 37/ 8f 15/ 3f 23/ 6f 26/ 4f 12/ 5f 1970 The Mole People 1/ if 0/.0f 1/ if 0/ of 1/ if 0/ Of V if 0/ Of 1956 Monkey Business 0/ 055 1/ Ifo 1952 Morgan! 0/ 0/ 1/ If 1966 The Mouse That Roared 0/ Of 1/ If 1959 The Mummy 8/ 1/ 0/ Of 5/ if 3/ If 7/ If -L/1 / JLctf2/o 8/ If 0/ Of 1932 The Mummy Meets Franken­ 1/ 2/J 0/ Of 0/ of 1/ if' V i f 0/ Of 1/ if 0/ Of stein and the Wolf Man NA Murder Twice Removed 0/ Of 2/ 2f 1971 The Music Man 3/ if . 0/ Of J-/1 / — o/J ~ f 2/ if 2/ if V if 2 / if 1/ if 1962 Mutiny on the Bounty 1/ if 1/ If 1/ if 0/ of 0/ of 1/ if 1/ if 0/ of 1962 My Favorite Martian V if 0/ Of 1/ if 0/ of V if 0/ of 0/ of 1/ if NA V 1—1

My Friend Flicka 0/ 0/, 194-3 My Sister Eileen 1/ 2/J 0/ Of 0/ of 1iy / —^ 2/j 1/ of 1/ if 0/ of 1/ if 1955 A B c D E F G H N=863 N=131 *=389 N=4?4 N=489 N=374 N=633 N=230 My Sweet Charlie 11/ ifo 5/ b % 1 / & 10/ 2fo 3/ 2# 8/ 2* 7/ 1* 4/ 2* 1970 Mystery People l / ¥ 0/ cf i / ¥ 0/ 0% 1/ ffo 0/ 0* 1/ 0/ Cfo NA The Naked Prey 0/ Ctfo 1/ 1% 1966 The Neon Ceiling 5/ i f 3/ 2* 0/ Cfo 5 / 1* 2/ |* 3/ 1# 5 / 1# 0/ Cfo 1971 Nevada Smith 0/ 0% 1 / i f 1966 The Night of the Grizzly 1 / ¥ 0/ c f i / ¥ 0/ 0* 1 / # 0/ 0* i / i * 0/ 0* 1966 The Night of the Hunter 0/ 0% 1 / Ifo 1955 The Night of the Living 1 / ¥ 0/ Cfo 1 / ¥ 0/ 0* 1 / ¥> 0/ 0* i / i * 0/ 0* Dead 1968 Night Slaves V ¥ 0/ C f 0/ cfo 1/ ¥ 1 / 1* 0/ Cfo 1/ 0/ 0* 1970 The Night Stalker 92/11% 3/ 2% b 6 / l 2 f o 46/10* 43/ 9% 49/13£ 68/11* 24/11* 1972 An Occurrence at Owl 1 / ¥ 0/ Ofo 0/ cfo 1/ 1* 0/ 0* l / i * 1 / i * 0/ 0* Creek Bridge 1963 Of Mice and Men 0/ 0% 1/ Ifo 1939 Oklahoma 14/ 2* 0/ Cfo 3 / ¥ 11/ 2fo 10/ 2* 4/ 1# 11/ 2* 3/ 1* 1955 The Old Man and the Sea 0/ Cfo 1/ Ifo 1958 On the Beach 1/ ¥ 0/ 0fo 0/ Cfo 1 / ¥ 1/ ffo 0/ 0* i / i * 0/ 0* 1959 On the Waterfront 0/ 0% V Ifo 1954 257 The One and Only Original 1/ ¥ 0/ Ofo 0/ Cfo 1/ 1* 0/ c* l / l * 0/ 0* 1 / i * Family Band 1969 A B C D E F G H N=863 N = m N=489 N=374 * * 3 1 . N=230 One Hundred Rifles 1/ ¥ 0/ 0% i/ ¥ ° 0/ 0% 0/ <# i / i * o/ i / i * 1969 One Million Years B.C. 4/ i f 0/ Cfo 4/ i f 0/ 0^ 3/ 3* i/ 1* 3/ 3^ i / i * 1966 Our Man Flint 1/ ¥ 0/ Cfo 0/ Cfo 1 / i * 0/ C$ y ¥ 0/ Cfo i / i * 1966 The Out of To’.mers i/ ¥ 0/ Cfo 0/ ($ 1 / i * 0/ c$ i/ ^ 0 / C f 1/ 2* NA The Over the Hill Gang 7/ 0/ Cfo 6/ 2?? V ¥ 5/ 3* 2/ ^ 6/ 3# i/ i* 1970 The Ox-Bow Incident 0/ cfo i/ I f 1943 PT 109 \ / ¥ 0/ Cfo 2/ i* 0/ 2/ i* 0/ 2/ i* i/ i* 1963 \ Palm Springs Week-End i / i % 0/ Cfo 0/ 1/ i* 0/ Cfo 1/ i * 0/ i/ W° 1963 Paper Man Z/& 0/ Cfo 0/ Cfo 2/ i* 0/ Cfo 2/ i* 1/ i* i/ ¥ 1969 Paris Blues y ¥ 0/ Cfo 1/ ¥ 0/ 0/ Cfo 1/ i* 0/ i/ ¥ 1961 A Patch of Blue 2 / ¥ 2/ ¥ 0/ Cfo 2/ I* 1/ ¥ 1/ i* 2/ I* 0/ c f 1965 The Pawnbroker 3/ ¥ 1/ Ifo 2/ ¥ 1/ i* 0/ Cfo 3/ 3# 1/ i* 2/ Ifo 1964 The People 0/ c f 2/ ¥ 1972 The Phantom of the Opera 2/ ¥ 0/ C f 0/ Cfo 2/ i* 0/ Cfo 2/ i* 2/ i* 0/ Cfo 1962 The Philadelphia Story 0/ cfo 1/ I f 1940 Picture Mommy Dead 3/ ¥ 0/ Cfo 0/ Cfo 3/ 3# 0/ Cfo 3/ 3# 2/ 1/ ¥ 1966 Pillow Talk 1/ ¥ 1/ 1 % 0/ Cfo 1/ i* 0/ Cfo 1/ 1/ i* 0/ Cfo 1959 A B c D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 The Pit and the Pendulum 16/ 2% 0/ 0% 9/ 2% 7/ ll/ 2% 5/1% 12/ 2% 4/ 2% 1961 Porgy and Bess 0/ 0% 1/ 1% 1959 Pork Chop Hill 1/ i* 0/ 0% 0/ 0% 1/ 1% i / i * 0/ 1/ 0/ 0% 1959 Potemkin 0/ 0% 1/ 1% 1925 The President's Lady 0/ 0% 1/ 1% 1953 The Price of Tomatoes 0/ 0% 1/ 1% NA The Proud Rebel 0/ 0% 1/ 1% 1958 Psycho 43/ 5 % 3/ 2% 26/ ^ 17/ 4% 19/ 4% 24/ 6% 31/ 5% 12/ 5% i960 The Quiet Man 0/ Cfo 1/ 1% 1952 The Rainmaker 0/ Cfo 1/ 1% 1956 The Rains Came 0/ Cfo 1/ I# 1939 Ransom for a Dead Man 0/ Cfo 1/ 1% NA Rapport 1/ i* 0/ 0% 1/ i* 0/ 0% 1/ ■§% 0/ 0% i / i * 0/ C% NA Rapture 1/ i* 0/ 0% 0/ 0% 1/ 0/ 0% i / i * 0/ 0% 1/ t* 1965 The Rare Breed 1/ 0/ 0% 0/ 0% i / i * 0/ 0% i / i * i / i * 0/ 0% 1966 The Raven 1/ i* 0/ o% i / i * 0/ Q% i / i * o/ 0% 0/ 0% 1 / i * 1963 Rear Window 3/ i* 1/ 0/ 0% 3/ 3* 1/ i* 2 / i % 2/ i / i * 1954 K) v_n \D A B C D E F G H N=863 N=131 N=389 N = U 7 U N=4-89 N=3?4- N=633 N=230 Rebecca 0/ C f 3/ 2^ 19^0 Rebel Without a Cause 0/ C f 1/ 1# 1955 Red Ball Express 1/ ¥ 0/ 0?S 1/ 4* 0 / 00 1/ 4* 0 / 00 1 / 4 * 0 / 00 1952 The Red Death 1 / ■ ¥ 0/ C f 0 / 00 1 / 4* 0/ 00 1 / 4^ 1 / 4^ 0 / 0% NA The Red Shoes 0/ 0% 1/ 194-8 The Reluctant Heroes 11/ I f 0/ 0% 10/ 3* 1 / 4* 9/ 20 2 / 4^ 11/ 2# 0 / 00 NA Reptilious 1 / jfo 0/ C f 1/ 4* 0 / 00 0/ Cfo 1 / 4^ 1 / 4^ 0 / 00 1962 Resurrection i / I * 0/ ($ 0/ c f 1/ 4* 0/ Cfo 1/ ¥ 0 / 00 1 / 4^ 1962 The Return of Dracula 2/ 4* 0/ 00 1/ ¥ 1 / 4*’ 2/ ¥ 0 / c f 1 / ¥ 1 / 4^ 1958 The Return of the i / 4* 0/ 00 1/ ¥ 0 / c f 1/ ¥ 0 / c f 1 / ¥ 0 / c f (Magnificent) Seven 1966 Revenge 6 / i f 0/ Q0 1/ ¥ 5/ ¥ 3/ 1* 3/ i f V i f 2 / i f 194-8 Rio Grande 1/ 4* 0/ 00 1/ ¥ 0 / Cfo 1/ 4* 0 / c f 0 / c f 1 / ¥ 1950 Rip Van Winkle i / 4* 0/ 00 0/ c f 1/ ¥ 1/ 4* 0/ c f 1 / ¥ 0 / c f 1921 River of Gold 4-/ I f 0/ C f 1/ ¥ 3/ Ifo 2/ 4* 2/ ¥ 2 / ¥ 2/ i f 1971 The Road to Bali i / 4* 0/ 00 1/ ¥° 0/ Cfo 0/ 00 1/ ¥ 1/ ¥ 0/ c f 1952 The Road to Hong Kong i / 4* 0/ 00 1/ ¥ 0/ Cfo 0/ 00 1/ ¥ 1/ ¥ 0/ C f 1962 The Robe 5/ l* 0/ 00 1/ ¥ V Ifo 1/ 4^ V 1% V 1* 1/ ¥ 1953 A B C D E F G H N=863 N=131 ’-389 N=474- N=489 N=374 N=633 N=230 Robin Hood 0/ 00 1/ i* 1922 Robinson Crusoe 1/ i* 0/ 00 1/ ¥ 0/ O f i f ¥ 0/ 00 1 / 1 * 0/ 00 1964 The Rookies 9/ 30 0/ Qffo 5/ 2% 4/ I f 2/ 7/ 20 9/ 10 0/ 00 1971 Rough Night in Jerico 1/ ¥ 0/ Qffo 0/ O f i f ¥ i f ¥ 0/ 00 1/ 1* 0/ 00 1967 Run A Crooked Mile 0/ 00 1/ Ifo NA Run, Simon, Run 26/ 3* V ¥ 6/ 1@ 2 0 / 40 13/ 3* 13/ 3* 20/ 30 6/ 3* 1970 Sabre Jet i f ¥ 0/ Qfo 1 / 1 0 0/ 00 1 / 1 * 0/ 00 1/ i* 0/ 00 1953 The St. Valentine's Day 10/ 10 0/ O f 9/ 20 1 / 1 * 7/ 30 3/ 30 6/ 10 4/ 20 Massacre 1968 The Sand Pebbles 4/ 10 0/ O f 4/ 10 0/ 00 2/ 10 2/ 10 3/ 30 i / i * 1966 The Sandpipers 1/ ¥ 0/ O f 0/ 00 1 / 1 * 0/ 00 1/ 1* 0/ 00 1 / i * 1965 The Screaming Woman 34/ 40 2/ 20 4/ 20 30/ 60 14/ 30 20/ 50 24/ 40 10/ 40 1971 The Secret Garden i f ¥ 0/ O f 0/ 00 1 / ¥ 1 / 1 * 0/ 00 1 / 1 * 0 / O f 1949 See the Man Run 2/ |0 0/ O f 0/ 00 2/ 10 1 / 1 * 1 / 1 * 2/ 10 0 / C f NA Send Me No Flowers 1/ ¥ 0/ O f 0/ 00 1 / 1 * i / i * 0/ 00 1/ T* 0/ 0* 1964 Sergeant York 0/ Qffo 1/ I f 1941 Seven Days from Sundown 1/ ¥ 0/ C f i f ¥ 0/ 00 i / l * 0/ 00 1 / 1 * 0 / O f NA The Seven Faces of Dr, 1 ) 1/ ¥ 1/ I f i f ¥ 0/ 00 i / l * 0/ 00 i f ¥ O f O f 1964 A B C D E F G H N=863 N=131 =389 N=474 N=489 =374 N=633 N=230 The Seven Samurai 0/ 0% 1 / 1# 195^ Shane 21 W o 1/ 1^ 2/ ¥ 0/ ($ 2/ 0/ 00 2/ i* 0/ 0% 1953 She Waits 3 / ¥ o / ($ 0/ cfo 3/ 1# 3/ 1* 0/ O f 3/ 3* 0/ 00 1972 She Wore A Yellow Ribbon 0/ Qfo 1/ 1# 1949 The Shoes of the Fisherman 3/ ¥ 0/ Qffo 2/ ¥ 1/ i* 2/ V ¥ 2/ 1* 1/ 2* 1969 Silent Wight, Lonely Night 0/ Qffo 1/ Ifo NA The Silver Chalice i/ ¥ 0/ Of 1/ T* 0/ ($ 1/ i* 0/ 00 i / i * 0/ C f 195^ Sinbad the Sailor 1/ ^fo 0/ O f 1/ T* 0/ ($ 1/ 2^ 0/ Qfo i / i * 0/ 00 1963 Ski Party 1/ ¥ 0/ Cfo 0/ 1/ 1* 0/ C* i / ¥ 0/ 00 1/ 2* 1965 Smokey i/ ¥ 0/ Cfo 0/ ($ i / i * 0/ cfo V ¥ 1/ i* 0/ 00 1966 Snow Goose i/ ¥ 0/ Qfo 0/ cfo i/ I* i / i * 0/ 00 i / | * 0/ 00 1971 Snow Treasure 3/ ¥ 0/ Qfo 3/ i* 0/ 0% 3/ 1* 0/ 00 3/ l* 0/ cfo 1968 Sole Survivor 3/ ¥ 0/ O f 3/ i* 0/ 0^ 3/ .1* 0/ cfo 3/ l* 0 / Qfo 1970 Some Like It Hot i/ ¥ 0/ Qfo 0/ i/ ¥ i/ i* O f cfo 1 / 1 * 0/ 00 1959 Something Evil 6 / Ifo 1/ Ifo 0/ 6/ 1# 5/ l* i f ¥ 6/ ltf 0/ 00 1972 Something Wild 2/ \% 0/ Cfo 0/ Qfo 2 / ¥ 0/ 00 2/ |* 0/ 00 2/ 10 1961 Son of Captain Blood 1/ ¥ 0/ Cfo 0/ C$ i/ 1* 0/ Qfo i / i * i/ ¥ 0/ 00 1964 AB C D E F G H N=863 N=131 N-369 m e g — N=374 N=230 Son of Frankenstein 0/ 0^ 2 / f S 0/ 0% 3 / i * i / W 3/ 3* ' V ¥ > 1939 The Song of Bernadette 0/ 07$ 1 / 1% 1943 The Sons of Katie Elder i / i * 0/ 0% i / i * 0 / 07$ 0/ ($ i / i * 1/ |7$ 0/ 07$ 1965 Sorry, Wrong Number 5/ 1* 0/ 07$ 1/ ¥ 4/ 1% V 1% 1/ |7$ 0/ Cfo 5/ 27$ 1948 The Sound and the Fury 0/ 07$ 1/ 17$ 1959 South Pacific 4/ 17$ 2/ 27$ 0/ 0% 4/ Ifo 3/ 1* i / i * 4/ 17$ 0/ 0?$ 1958 Spartacus 3/ 1* 0/ 07$ 2/ i / i * 0/ 07$ 3/ 3* 0/ c$ 3/ 1* 1962 Speedway 23/ 3^ 0/ 07$ 13/ 3% 1 0 / 2fo 20/ 3^ 3/ :* 15/ 2?$ 8/ 37$ 1968 Spencer's Mountain 6/ 1# 0/ 07$ 0/ 0% 6 / Ifo 0/ 0% 6/ 2$ 3/ 3* 3/ 3# 1963 Spinout 6/ itf 0/ 07$ 5/ i / i * 6/ 1# 0 / Cfo 5/ 3# i / i * 19 66 The Spiral Staircase 1/ i* 0/ C f l / i * 0/ Cfo 0 / C f i / i * 1/ Its 0/ 07$ 1946 Splendor in the Grass 0/ 07$ 1/ 17$ 1961 The Spy Who Came in From 0/ 07$ 1/ 3# the Cold 1965 Stalag 17 1/ |?$ 0/ 07$ 0/ Ofo i / i * 0/ 07$ i / i * 0/ 07$ 1/V 1953 State Fair 2/ |7$ 0/ 07$ 0/ 07$ 2 / & 0/ C$ 2/ z / i * 0 / C f 1962 Stay Away, Joe 11/ 37$ 0/ C f 3/ ¥ 8/ 2 f 11/ 2% 0/ o?$ 7/ 1# 4/ 2^ 1968 A Streetcar Named Desire ■0/ C f 8/ 67$ ro O' 1951 VjJ AB C D E F G H N=863 N=131 3=389 N=W N=489 N=37^ N=633 N=230 Submarine Command. 1 / P 0/ Qfo 1/ P 0/ 0% 1/ ¥ 0/ O f 1 / P 0 / 0 % 1951 Suddenly Last Summer 0/ C f 1/ l£ I960 Suddenly Single 1/ P 0/ 0% 0/ Cfo 1/ p 0/ P 1/ P 0/ p 1/ P NA Sun Demon 1/ ¥ 0/ 0^ 1/ ¥ 0/ 0^ 1/ P 0/ P 1/ p 0/ P NA Sunday in New York 2/ p 0/ 0^ 1/ ¥ 1/ p 2/ P 0/ 0?S 0/ p 2/ P 1963 The Swamp People i / ¥ 0/ O f 1/ ¥ 0/ P 1/ P 0/ 0^ 1/ p 0/ P NA Sweet Bird of Youth 0/ O f 3/ 2^ 1962 Sweet, Sweet Rachel l / P 0/ 0?S 0/ of 1/ p 1/ P 0/ P 1/ p 0/ 0% 1971 Tall Story 1/ ¥ 0/ o£ 0/ Cfo 1/ p 0/ P 1/ p 1/ p 0/ Cfo I960 The Taming of the Shrew 0/ 0% 1/ P 1967 Tammy 1/ ¥ 0/ Q% 0/ cfo 1/ p 0/ P 1/ p 1/ p 0/ Cfo 1967 Tarzan 9/ ¥ 0 1/ P 6/ 2 f 3/ p 6/ I f 3/ 1% 7/ 1% 2/ I f 1968 A Taste of Evil V Ifo 0/ 0^ 0/ C f V 1% 2/ ¥ 2/ p V 1% 0/ Cfo NA The Tattered Web 2/ ¥ 1/ 1% 1/ ¥ 1/ p 0/ Cfo 2/ p 0/ Cfo 2/ If NA Tea and Sympathy 0/ Cfo 1/ P 1956 Tell Them Willie Boy is 2 1 ¥ 1/ I f 0/ C f 2/ p 1/ ¥ 1/ p 1/ ¥ 1/ ¥ Here 1970 Ten Little Indians 1/ ¥ 0/ 0^ 1/ ¥ 0/ Cfo 1/ ¥ 0/ Cfo 1/ ¥ 0/ Cfo ro 1965 £ A B C D E F G H N=86l N=131 1=389 N=474 N=4-89 N=37^ N=633 N=230 Terror in the Sky 13/ 2% 3/ 2^ 3/ ¥ 10/ 2# 11/ 2^ 2/ i*' 12/ 2^ 1/ i* NA Texas Across the River i / i * 0/ i / i * 0/ 0^ i / i * 0/ 0^ l / i * 0/ 0^ 1966 That Crazy Red Head i / i * 0/ 0^ 0/ Cfo i / i * 1/ 0/ 0^ 0/ ($ 1 / i* NA That Touch of Mink 2/ ¥ 0/ Cfo 0/ 0^ 2/ i* 0/ Qfo 2/ ^ 2 / ¥ 0/ 0% 1962 That's Life 1/ i * 0/ Qffo 1/ I* 0/ i / i * 0/ Qfo 0/ C$ 1 / ¥ NA The Thief 6/ 1% 0/ Qffo 2/ 1* V 1# 3/ i* 3/ 3* l / i * 5/ 2^ 1952 The Third Reich i / i * 0/ Off 1/ 1% 0/ 0^ 0/ 0^ 1/ i* 1 / i * 0/ 0^ NA Thirteen Ghosts i / i * 0/ Qffo 1/ ifo 0/ c$ 0/ o?s 1/ # 0 / 05S 1 / i* I960 Thirteen Steps 1/ \% 0/ Qffo i / i * 0/ 006 1/ i* 0/ 0% i / i * 0/ 0% NA The Three Faces of Eve i / ¥ 1/ 1% 0/ Cfo i / i * 0/ O f i / i * 0/ 0* 1/ ■ ¥ 1957 Three Hundred Spartans i / i * 0/ Cfo 1/ 0/ 0^ 0/ ($ i / i * 0/ 0 $ i / i * 1962 Three On a Couch 2/ \% 0/ 0% 2/ i* 0/ Qfo 2/ 0/ 0% 2/ ¥ 0/ 0# 19 66 The Three Stooges 1/ |% 0/ Qffo 1/ i* 0/ Qfo 0/ 0* i / i * i / i * 0/ Qfo 1963 Thunder Road 2/ 0/ Qffo 1 / i / i * 1/ i* 1/ ^ 1/ i* i / i * 1958 Tickle Me 2/ i* 0/ Q% 0/ c$ 2/ ¥ l / i * 1 / i * 0/ 0* 2/ 1% 1965 Tiger Bay 0/ c$ 1/ 1% 1959 To All My Friends on Shore 3 / ¥ 0/ Qfo 0/ Qfo 3/ l* 0/ 0% 3/ 1* 0/ 0* 3/ l* 1972 o A B c D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 To Hell and Back 1/ ¥ ° 0/ 0^ i / i * 0/ 00 1/ 4* 0/ 00 1/ 40 0/ 0% 1955 To Kill a Mockingbird 18/ 2 % 5/ 4^ 4/ 1^ 14/ 3* 12/ 20 6/ 20 15/ 20 3/ 1# 1962 To Sir, With Love 52/ 6 % 4/ 3* 9/ 2^ 43/ 9* 27/ 60 25/ 70 35/ 60 17/ 7* 1967 Tom Jones 1 / 4 * 0/ 0% 1/ 0/ 00 0/ 00 1/ i* 1/ i* 0/ 0% 1963 Toys in the Attic 1/ \% 0/ 0 % 0/ i / i * 1/ i* 0/ 00 1 / i * 0/ 0% 1963 The Trackers 11/ 1 % 0/ afo 5/ l* 6/ 10 9/ 20 2/ i* 10/ 20 1 / i * NA Tribes 30/ 3* 1/ 1 % 16/ 1# 14/ 3* 5/ l* 25/ 70 24/ 40 6/ 3* 1971 The Trouble With Angels 3/ ¥ 0/ 0 % 1/ i* 2/ i* 1 / 4 0 2/ i* 2/ i* 1 / i * 1966 Twelve O'clock High 2/ i* 0/ 0 % 2/ ■§* 0/ 00 2/ i* 0/ 00 2/ i* 0/ 00 1949 Twenty Thousand Leagues 2/ 0/ 2/ i* 0/ 00 1 / i * i / i * 2/ i* 0/ 00 Under the Sea 1954 Two For the Road 0/ 0% 1/ 0% 1967 Two Mules for Sister Sara 2/ 0/ 1/ i* 1/ i* 2/ i* 0/ 00 2/ i* 0/ 00 1970 Two on a Bench 5/ 1# 1/ lfo 1/ i* V 1 % V 1/ i* 3/ 1% 2/ 156 NA Two on a Guillotine 2/ \% 0/ 0 % 2/ i* 0/ 00 2/ i* 0/ 00 2/ i* 0/ 00 1965 The Umbrellas of Cherbourg 0/ 0 % 1/ 1% 1964 The Unknown Man 1 / ¥ 0/ 0# 0/ 00 1/ ¥ 1/ i* 0/ 00 0/ 00 1/ i* 1951

Up Periscope 3 / ¥ 0/ 0% 3/ 4* 0/ 00 3/ 1* 0/ 00 3/ 10 0/ 00 266 1959 A ! B C D E F G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 Up the Down Staircase 89/10% 2/ 2% 21/ % 68/14% 65/13% 2V 6% 79/12% 10/ 4% 1967 Valley of the Zombies 1/ ¥ 0/ 0% i / i * 0/ 0% 1/ ¥ 0/ 0% 1/ 0/ 0% 1946 The Vampire 0/ 0% 1/ 0% 1957 Vampire Killers 1/ ¥ 0/ 0% 1/ & 0/ 0% 1/ ■§* 0/ 0% 1/ i* 0/ 0% NA Vanishing Point 2/ ¥ 1/ 1% i / f * i/I* 0/ 0% 2/ 0/ 0% 2/ 1% 1971 Vertigo i / i * 2/ 2% 0/ 0% i/i* 0/ 0% i / i * i / i * 0/ 0% 1958 The Vikings i / i * 0/ 0% i/i* 0/ 0% i / l * 0/ 0% H ¥ 0/ 0% 1958 Village of the Vampires 1/ ¥ 0/ 0% 1/ i* , 0/ 0% 1/ ¥ 0/ 0% 1/ i* 1/ i* NA Von Ryan's Express 2 / ¥ 0/ 0% 2 / i * 0/ 0% i / i * 1/ 1 * 1/ i* 1/ i* 1965 Wake Me When the War is 1/ ¥ 0/ 0% 0/ 0% i / i * i / i * 0/ 0% 1/ i* 0/ 0% Over 1969 War and Peace 0/ 0% 1/ 1* 1968 War of the Worlds 3/ ¥ 0/ 0% 3/ 1% 0/ 0% 1/ i* 2/ 3/ 1% 0/ 0% 1953 War Wagon i f ¥ 0/ 0% 1/ ¥ 0/ 0% 0/ 0% i/I* i / i * 0/ 0% 1967 Waterloo Bridge 0/ 0% 1/ 1% 1940 Way, Way Out 2/ ¥ 0/ 0% i /i * i/i* 2/ 1% 0/ 0% 2/ i% 0/ 0% 1966 Wednesday Night Out 2/ ¥ 0/ 0% 0/ 0% 2/ ¥ 2/ 1% 0/ 0% 2/ i% 0/ 0% 1972 Weekend of Terror 1/ ¥ 0/ 0% 0/ 0% i/i* 0/ 0% i / i * 0/ 0% 1/ ¥ > NA O' <1 A B GBEF G H N=863 N=131 N=389 N=474 N=489 N=374 N=633 N=230 Welcome Home, Johnny 6/ 1 % 0/ 0% 2/ 5* V 35 5/ 1* 1/ 3* V 1% 2/ 1% Bristol 1971 Werewolf of London 2 / ¥ 0/ 0% 2/ ¥ 0/ 0# 1/ 3* i / 3 * i / 3 * 1/ 1* 1935 West Side Story 133/15* 7/ 5 % 28/ 7 f 105/22% 66/13% 67/18% 92/15% 41/18% 1961 What Ever Happened to 10/ 1% 1/ 1% 2/ ¥ 8/ 2% 5/ 1* 5/ 1* 4/ 1% 6/ 3% Baby Jane? 1962 What's A Nice Girl Like 1/ ¥ 0/ 0 % 0 / O ff i / 3 * 0/ 0% i / 3 * i / 3 * 0/ 0% You,...? NA What's the Matter With y ¥ 0/ 0% 0/ 0% y ¥ i / 3 * 0/ 0% 0/ 0% 1/ 1* Helen? 1971 When Michael Galls 22/ 3% 0/ Q ffo 3/ 3* 19/ 17/ 3% 5/ l« 8/ 1% 14/ 1% 1971 Where Angels C-o, Trouble 3/ 3* 0/ Q ffo 1/ 3# 2/ 1% 2/ 1% i / 3 * 21 ¥ 1/ 1* Follows! 1968 Where Eagles Bare 14/ 2% 1/ 1 % 13/ ¥ 1/ 3* 8/ 2% 6/ 2% 10/ 2% 4/ 2% 1969 Where the Boys Are 16/ 2 % 0/ Q ffo 4/ 1% 12/ 2% 11/ 2% 5/ 1* 8/ 1% 8/ 3* I960 White Christmas 3/ ¥ 0/ Q ffo 0/ 0% 3/ 1* 2/ 3% i / 3 * 3/ 1* 0/ 0% 1954 Who's Minding the Mint? 1/ 3* 0/ Q ffo y ¥ 0/ 0% 0/ 0% i / 3 * i / 3 * 0/ 0% 1967 The Wild Seed y ¥ 0/ Q ffo 0/ Q ffo 1/ 3* 0/ 0% i / 3 * 0/ 0% 1/ 3* 1965 The Wings of Eagles y ¥ 0/ Q ffo y ¥ 0/ 0% i / 3 * 0/ 0% i / l * 0/ 0% 1959 Winnie the Pooh and the 0/ 0% 1/ 1% Blustery Bay 1967 Witches Mirror y ¥ 0/ O ff 0/ 0% y ¥ i / 3 * 0/ 0% i / 3 * 0/ 0% NA 268 Witness for the Prosecution 0/ 0% 2/ 2% 1957 • A B C D E F G H N=863 N=131 :389 N=474 N=489 N=374 N=633 N=230 The Wizard of Oz 5 / 1 % 3 / 2 % 0/ 0^ 5 / 1 # 3/ 1# 2/ ^ 4/ 1% v 1 9 3 9 The Wolf Man 9 / 1% 0/ ($ 8/ 2^ 1/ ¥ > 7/ 1^ 2/ 1% 8/ 1% i/ 1941 Women in Chains 1 3 / 2 % 1/ 1# 6/ 2 % 7/ l£ 4/ 1^ 9/ 2^ 6/ 1^ 7/ 2 % NA Wuthering Heights 8/ 1% 0/ 0% 0/ 0^ 8/ 2?S 3/ 5 / 1% 4/ 1 % 4/ 2% 1 9 7 0 Yellowstone Kelly 0/ 0% 1/ 1# 1 9 5 9 Youngblood Hawke 1/ ¥ 0/ Off 0/ ($ 1/ I# 0/ OjG l / i * 0/ o?s 1 / ^ 1964 Your Cheatin’ Heart 0/ 0% 1/ 1# 1964 $ 0 9 % / / 2/ 1$ 0/ 0$ 0/ c$ 1 / W o 0 0 H V 2$ 3 1 / W o 3 9 / W o Y l O / W o N=230 $ 2fo 3 / 2$ 2/ ¥ 1 / # 31/ 5^ 16/ 6 2 / W o 2 6 / W o 15 13/ 2# 3 7 6 / 5 9 % N=633 136/21$ # % ^ 3 2 5 9 / W ° / W o / c$ 8/ 2^ 11/ 7/ i / i * 2 0/ 0%2 1/ 1 l / 3 * 10/ b 6 / l j % k l± m / N=374 % ^ ^ W> 3 9 % 0 27 / / / W o / W o /

1/ 6/ 5 / 0 1 6 6 l V 3^ 13/ 13 2 6 7 / 5 9 % 133 N=489 ^ J% 3 /W 2 / W o 0/ ($ 0/ ($ 0/ 0% DEFG 6 0 12/ 6 U / W 16/ 11/ 2^ 5 1 / W o N=474 % / \ % 0/ ($ 2 2/# 4/ l / # l / ¥ 13/ 3^ 5 3 / W o 229/59% 257/5^% N-389 111/29

APPENDIX XX #V %> % % % Ifo 0 W o 0 0 2 0 P=Senior High H=Lower Socio-economic TELEVISIONPROGRAM LIST E=Junior High G=Higher Socio-economic / / / 0/ 0 1/ 0/ ($ 3/ 1/ 1# 1/ I# 0/ 0 3/ 0 B c 1/ 1# 9 ^ / 7 2 % f=131 % % % ^ % % % Ofc 2 0 2 2 % 7 2 20 5 6 / / / / / / / z / ¥ 0 0/ 6 i / ¥ A 62 20 13 16 13/ 110/ljfo N=863 m 175 Amos andAndy AndyWilliams Show All in the Family The Adams Family American Sportsman AndyGriffith Show B=Teachers I>=Females The Alfred Hitchcock HourAlias Smith and Jones 1/ All MyChildren Amateur's Guide toLove American Bandstand Adam - 12 AAU Track A=Students C=Males 270 A B c D E F G H N=863 N=131 N=389 N=474 N=4-89 N=374 5-633 N=230 Another World 5/ 15 1/ ¥ 0/ Ofo 5/ 35 2 / ¥ 3/ 15 3/ 15 2/ 15

Archie's TV Funnies 9/ 15 i f 15 5/ 3* 4/ 15 51 35 4/ l5 5/ 15 4/ 25

Armchair Theater 10/ 136 0/ 05 9/ 25 1/ 45 5/ 35 5/ 15 5/ 15 5/ 25

Arnie 35/ 45 2/ 25 10/ 35 25/ 55 25/ 55 10/ 35 27/ 45 8/ 35

As the World Turns 6/ 15 0/ 05 1/ |5 5/ 355 1 / 1 5 5/ 15 4/ 15 2/ 15

Ask the Mayor l / ¥ 0/ 05 1 / 1 5 0/ 05 1 f ¥ 0/ o5 1/ 15 0/ 05

Auto Racing 6/ 15 0/ 05 6/ 25 0/ 05 4/ l5 2 / | 5 5/ 15 1 / 1 5

The Avengers i f ¥ 0/ 05 1/ 1-5 0/ 05 0/ 05 1 / 1 5 1 / 1 5 0/ 05 The Banana Splits 0/ 05 1/ o5

Barrier Reef 3/ ¥ 0/ 05 1 / 1 5 2f ¥ 3/ 3# 0/ o5 3/ 15 0/ 05

Baseball 25 f ¥ 2/ 25 23/ 6% 2/ 14/ 35 11/ 35 22/ 35 3/ 15 Basketball 21/ 25 2/ 25 19/ 55 2/ |5 11/ 25 10/ 35 16/ 35 5/ 25 Batman 3/ 15 0/ 05 3/ 15 0/ 05 3/ 15 0/ o5 3/ 15 0/ 05

The Bearcats 8/ 15 0/ 05 V 1# V 1* 7/ 15 1/ 15 4/ 15 4/ 25 Ben Casey 0/ 05 1/ ¥

Bewitched 50/ 65 4/ 35 9/ 2# 41/ 95 25/ 55 25/ 75 33/ 55 17/ 75

The Big Valley 6/ 1% 0/ 05 0/ 05 6/ 15 0/ o5 6/ 25 4/ 15 2/ 15 271 A B C D E F G H K=8c3 11=131 = 389 N=474 N=489 P:=374 111=633 11=230 — ZTi— Trr— Bill Cosby Show 2/ if 0/ Of 1/ if i/ if 1/ if 1/ if 2/ 2/J 0/ Of

Bill Russell Show 27/ 3% 3/ 2f 16/ 4f 11/ 2f 8/ 2f 19/ 5f 19/ 3f 8/ 355

Black Journal 5/ If 0/ Of 0/ Of 5/ If 0/ Of 5/ If 0/ Of 5/ 2f

9 --c' Bob Hope Specials 2/ if 1/ If 2// 2 P 0/ Of 1/ if 1/ if 0/ Of 2/ If

The Bold Ones 47/ 5f 18/l4f 16/ 4f 31/ 6f 20/ 4f 27/ 756 38/ 6f 9/ $5

Bonanza 43/ 5f 5/ 4f 20/ 5f 23/ 5f 22/ 4f 21/ 6f 30/ 556 13/ 5f

The Brady Bunch 1 1 0 / 1 3 % 0/ Of 29/ 7f ■ 81/1756 86/l7f 24/ 6f 87/l4f 23/lOf ■fe-a i—t Bright Promise 0/ Of 0/ Of 4/ If 3/ If V if 4/ If 0/ r.‘

Bugs Bunny 12/ 1 % 0/ Of 10/ 356 2/ if 9/ 255 3/ If 9/ If 3/ If

Burke’s Law 2/n / Air2 /■> 0/ of 2/ if 1/ if 0/ Of 1/ if 0/ Of 2/ if

CBS Comedy Hour -L/1 / JLc? a/10 0/ of 0/ of 1/ if 0/ Of 1/ if 0/ Of -L/ 2/a

Cade’s County 43/ 3 % 1/ If 26/ 7f 17/ 4f 14/ 3f 29/ 8f 29/ 556 14/ 6f

Camera Three 0/ Ofo 1/ J o

Candid Camera l/ if 0/ of 0/ Of 1/ 5f 1/ if 0/ of 1/ if 0/ Of

Cannon 93/llf 9/ 7f 64/l6f 29/ 6f 37/ 8f 56/l5f 6l/l0f 32/l4f

Captain Kangaroo 3/ 556 0/ of 2/ if 1/ 5f 29// -1-c-2/° 1/ if 2/9 / 2/° 1/ if 272 Car 54 - Where Are. You? l/ if 0/ Of 1/ if 0/ Of 0/ of 1/ if -L/ 2/° 0/ Of A B C D F F G H N-863 N=131 N=389 H=A7A N=A89 11=374 r=633 N=230

riC? Carol Burnett 57/ ( p 9/ 7/ j 6/ 2/o 51/3--J-,3 26/ 5f 31/ Sf 34/ 555 23/ Of 1st ir/ if’ Casey Jones 1/ 2 P 0/ Of 1/ 0/ Of 1/ 2/o 0/ Of 1/ if o/ ef JLr' Casper 1/ 2-° 0/ Of 0/ Of 1/ 2/J 1/ S/o 0/ Of 1/ if 0/ Of

if/ _w JLc? lr; Children's Film Festival 2/ 2/o 1/ 1/ ' 1/ 2/0 1/ 2/'a 0/ Of 2/ 2'° i/ if 1/ if

cc> Chiller Theater 40/ Op 3/ 255 21/' 5f 19/ 4f 19/ 4f 21/ 6f 28/ 4f 12/ if JLe? Chronclog 4/ I/O 10/ 8 / 3/ 2/J 1/ if/2 P 1/ 2/0 1/ 2-0 3/ If 3/ If Isf JU* Chuck White Presents 2/ 2/s 0/ 055 0/ Of 2/ 2 P 0/ Of 2/ 2/J 0/ Of 2/ If

Civilization 0/ 0/ 1/ 1/

College Bowl 0/ 0/ 1/ If

Columbo 85/10/ 18/1455 47/3-2f 38/ 855 36/ 7f 49/l3f 72/1156 13/ 5/o

-i ct ic/ 1 £?/ _La/ Combat 5/ X p 0/ Of 4/ If 1/ S/o 0/ Of 5/ If 4/ -L/o 1/ 2P

l a JLtf Coronet Blue 1/ SP 0/ Of 1/ 2 P 0/ Of 0/ Of 1/ if 1/ 2/o 0/ Of

Ofl? The Courtship of Eddie's Father 34/ 4/ 4/ J p 0/ Of 34/ 7f 19/ 4f 15/ 4f 26/ 4f 8/ 3f

Daniel Boone 41/ 5f 0/ Of 20/ 5f 21/ 4f 32/ 756 9/ 2f 32/ 5f 9/ 456

Dark Shadows 30/ 3fo 0/ Ofo 6/ 2f 24/ 5f 24/ 5f 6/ 2f 19/ 356 11/ 5f

oef JLcv* David Frost Show 1/ 556 3/ /C/o 0/ Of 1/ 2/° 0/ Of 1/ 2P 0/ Of 1/ 2P ?o -c David Little John 0/ 0 / 1/ 156 VO A E C D E F G H

N=863 H=131 1=389 N=474- . 11=4.39 !=374 M=633 N=230 Days of Our Lives 9/ If 4/ 3f 0/ Of 9/ 2f 4/ If 5/ If 6/ If 3/ If

Dean Martin Shew 18/ 2 % 3/ 2f 10/ 3f 8/ 2f 8/ 2f 10/ 3f 10/ If 8/ 3f

Death Valley Days 2/ if 0/ Of 0/ Of 2/ if 0/ Of 2/ if 2/ if 0/ Of

The Defenders 0/ Of, 1/ If

Deputy Davg i/ u 0/ Of 1/ O 0/ Of 1/ if 0/ of 1/ .Lc*' 0/ Of

Dick Cavett Show 10/ If 19/15f 2/ 8/ 2f 2/ if 8 / 2f 7 / 1/j1 ^ 3/ J-/J

n d Dick Van Dyke Show (New) 80/ 9f 8/ 6f 29/ ( jO 5l/llf 63/l3f 1 7 / 5f 66/l0f 14/ 6f

) cf ccj Dick Van Dyke Show (Old) 39/ 5 % 8/ 6f 16/ 23/ 5f 19/ 4f 20/ 5f 34/ 2/0 5 / 2'"

Dobie Gillis 2/ if 0/ Of 1/ if 1 / i f 2/ if 0/ Of 2/ _Le* 0/ Of

n c f Doctor in the House 15/ 2f 3/ 3f 9/ 2f 6/ If 6/ If 9 / 2f 10/ ttjo 5 / 2f

Ac I d Dr. Kildare l/ if 0/ Of 1/ a/o 0/ Of 1/ if' 0/ Of 1/ 2/J 0/ Of

The Doctors 6/ If 1/ If 0/ Of 6/ If 2/ if A/ If 5/ if 1/ Ac?

Ac? O / AC Ac? Don Rickies Show 4/ if 0/ Of 2/ S/3 2/ if 2/° 2/ 2 / ° 3/ If 1/ 2/°

Donna Reed Show 3/ if 0/ Of 0/ Of 3/ If 0/ Of 3/ If 0/ Of 3/ If

-1 cf i d Doris Day Show 33/ 4f 0/ Of 5/ 1 /0 28/ 6f 14/ 3f 19/ 5f 23/ 10/ 4f

Dragnet 18/ 2f 1/ If 12/ Ocf 6/ if 12/ 2f 6/ 2f 16/ oc? 2/ if

East Side, West Side 0/ Of 1/ If *7LZ A B F G H N=863 11=131 :=389 11=474 11=489 11=374 11=633 & =230 Ed Sullivan Show 3/15 0/ 053 2/ £5 1/ 15 o / 05 3/ 15 2/ 15 1/ 15

The Edge of Night 33/ 45 0/ 0/ 3 / 1r5 3 0 / 65 1 7 / 35 16/ 45 19/ 35 14/ 65

The Electric Company 5/ 3 $ 0/ 053 1 / 15 4 / 15 4 / 15 1/ 55 4/ 15 1/ 15

Emergency 60/ 7% 2/ 25 3 0 / 85 3 0 / 65 47/105 13/ 35 50/ 85 10/.45

The F. B. I. 31/ 45 3/ 25 1 6 / 45 1 5 / 35 1 9 / 45 12/ 35 25/ 45 6/ 35 1—1 F Troop 0/ 0/ 4 / 15 1 / 15 1 / 15 4/ 15 4/ 15 1/ 15

Family Affair 10/ 1 % 2/ 25 2/ 15 8 / 25 6 / 15 4/ 15 9/ 15 1/. 15

i / .Lc - Family Theater 1/ 15 0/ 05 V 15 o / 05 - V 2/J 0/ 05 1/ 15 0/ 05

-| / -Ltf Father Knows Best 1 / 15 o/ 05 o / o5 1 / 15 -V 2 - 0 0/ 05 1/ 15 0/ 05

Firing Line 0/ 0# 1/ 15

Flash Gordon 1-L/ / -tn's/J o/ 05 1 / 15 o / 05 0 / 05 1/ 15 1/ 15 0/ 05

Flintstones 52/ 65 0/ 05 2 0 / 55 32/ 75 36/ 75 16/ 45 ; 30/ 55 22/105

Flip Wilson Show 221/265 17/135 L05/ 75 116/245 150/315 71/195 153/245 68/295

Flipper Ui / —1 2 J°c' o/ 05 1 / 15 o / 05 -L/1 / io' g P 0/ 05 1/ 15 0/ 05

Flippo 87/105 5/ 45 49/135 38/85 52/115 35/ 95 52/ 85 35/155

1 The Flying Hun iy1 / 2/^ o/ 05 o / 05 •V/ 2 /° i-/ 2/J 0/ 05 1/ 15 0/ 05

Focus on Columbus 0/ 05 1/ 15 275 A B L F G H N=863 N=131 1=389 N=474 N=4S9 N=374 11=633 11=230 Football 37/ 4/ 7/ if 31/ 8f 6 / If 22/ 4f 15/ 29/ -//- 8/ 2f

The Forsyte Saga 0/ Of. 1/ If

Ac' Ac/ U-: 1 r* The Fugitive 2/ if 3/ 2f 1/ 2/J 1/ 2/J 1/ o, J 1/ O',.-’ 0/ Of 2/ If 1 1/T? Funky Phantom 5/ If 0/ Of 5/ If 0/' Of 4/ If 1/ 2/j 4/ If 1/ 2/J

I—1 Ac' 1 - Ac Fury 0/ Of 0 / Of 1/ 2/J 0/ Of 1/ O 1/ 0,1 0/ Of

1 / Ac/ _Lr' I The Galloping Gourmet 1/ if 0/ Of J-/ 2/J 0 / Of 1/ a/J 0/ of 1/ 2/J 0/ Of

Ac? Ac 1^ 1 Garrison's Guerrillas 3/ if 0/ Of 1 / 2/J 2/ 2/J 2/ 2/ if 1/ 2/J 2/ If

General Hospital 32/ 4f 4/ 3f 0 / Of 32/ 7f 10/ 2f 22/ of 9/ If 21/ 9f

George of the Jungle 0/ Of 1/ If

Ac/ Ac/ Get Smart 10/ If 1/ If 8/ 2/s 1 / 2/J 8/ 2f 2/ 2 / 9/ If 1/ 2/J

Ac/ J_c/ Ac' Ac/ Getting Together 2/ if 0/ Of 0 / Of 2/ 2/J 1/ if 1/ 2/- 1/ 2/J 1/ 21° Ac Gilligan's Island 21/ 2f 0/ Of 14/ 4f 7/ If 16/ 3 % 5/ if 20/ 3f 1/ 2/J Ac' Ac/ Ac/ Girl Talk A/ 2/° 0/ of 0 / Of 0 / Of 1/ 2/J 1/ 2/J 0/ Of 1/ 2/J

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The Great .American Dream Machine 1/ 2 P 4/ 32 0 / 02 1 / 2/J o / 02 V 42 •*•/ 2/J o / o2

Green Acres 27/ 32 1 / 12 2 2 / 62 5 / 12 9 / 22 1 8 / 52 2 1 / 32 6 / 52

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Guitar, Guitar i/ 2 P o / 02 o / o2 l / 4 2 o / 02 1 / 42 o / o2 1 / 42

Gun smoke 54/ 62 4 / 32 3 0 / 82 2 4 / 52 36/ 72 18/ 52 4 0 / 62 1 4 / 62

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Hallmark Hall of Fame 4/ 1 % 10/ 82 o / 02 4 / 12 o / 02 4 / 12 4 / 12 o / 0; n / ic2 Harlem Globetrotters 5/ 1% o / 02 2/° 3/ 12 4/ 12 1/ 42 2/ 42 3 / 12

Hathayoga 3 /4 2 o / 02 o / o2 3 / 12 o / o2 3 / 12 3 / 12 o / 02

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The Headmaster 1 / 42 o / 02 1 / £2 o / o2 1 / 42 o / o2 1 / 42 o / o2

Hee-Haw 26/ 3/i 1 / 12 1 2 / 32 1 4 / 22 1 6 / 32 1 0 / 32 1 9 / 32 7 / 32

Here Come the Brides 2/ -s-2 0 / 02 o / 02 2 / & V 42 1 / 42 9 / -M2/° o / 02

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High Chapparal 3 / 42 o / 02 2 / 42 1 / 42 2 / 42 1 / 42 2 / 42 -L/ 2/° A B c n E G H -u 1.1=863 M-131 ■=389 HxA74 N=489 h*j OO 11=633 N=230 Xc' Highway Patrol 1 / o/j 0 / 0 / 1 / 33 o / 03 0 / 03 1 / 2-3 l / 6 3 0 / 03 ta I —

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I Love Lucy 3 2 / 43 4 / 33 8 / 23 24/ 53 23/ 53 9/ 23 2 3 / 43 9 / 43

I Spy 0 / 0$ 1 / 13

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Jeopardy 1/ os 1/ IS cc' Jerry Beck's All Night Theater 41/ t/J 1/ is 25/ 6S 16/ 3S 29/ 6S 12/ 3/ 28/ AS 13/ ->/*> X/‘ The Jetsons 7/ Ifi 0/ OS 2/ v>; v 5/ IS 7/ IS­ 0/ OS 7/ IS 0/ OS

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Johnny Carson (The Tonight Show) a V 5 % 22/l?S 23/ 6S 18/ AS 10/ 2S 31/ 8S 27/ AS 14/ 6S

Johnny Quest 7/ I1 p01 0/ OS A/ is 3/ IS A/ is 3/ is 5/ IS 2/ ~ c\

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Katherine Kuhlman 0/ Cl 1/ IS

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Lawrence Welk 0 / 02 1 / 12

Leave It To Beaver 7 / 12 0 / 02 1/ ir2 6 / 12 7 / 12 0 / 02 7 / 12 o / o2

Let's Make A Leal 3 8 / 42 0 / 02 14/ 42 2 4 / 52 2 1 / 42 1 7 / 52 2 6 / 42 1 2 / 52

Lidsville 5 / 12 1 / 12 1 / 52 4 / 12 1 / i2 ' 4 / 12 3 / 12 2 / 12 $ H Little Lulu 1 / i2 0 / o2 0/ 02 o/ 02 i / 1/ 1t2 o / o2

The Lone Hanger 0 / -1^2 P 0 / 02 i / h 2 o/ 02 2 / £5 2 / -g2 2/^2 0/ 0"

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Lost in Space 1 8 / 22 0/ 02 7 / 22 1 1 / 22 1 2 / 22 6 / 22 1 4 / 22 4 / 22

Love, American Style 138/162 2 / 22 53/142 85/182 90/182 48/132 113/182 25/112

Love is a Many Splendored Thing 3 1 / 42 2 / 22 0/ 02 3 1 / 62 9 / 22 2 2 / 62 9/ 12 22/102

Love of Life 9 / 12 0 / 02 o/ o2 9 / 22 3 / 12 6 / 22 4 / 12 5 / 22

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McCloud 1 4 / 22 0 / 02 9 / 22 5 / -L/j 5/ 12 9 / 22 11/ 00? 3/ 12 0 / -t' -Lis’ McHale's Navy 2 / ifo 0/ 02 2/ 2/J 0/ 02 2/. 22 0/ 02 V 2/J 1/ ■§2 A B C D E F G H N=863 11=131 N=389 N=A7A K=A89 M=37A 11=633 H=230 McMillan and Wife 60/ 7f 4/ 3f 26/ 7f 3A/ 7f 31/ 6f 29/ 8f 50/ Sf 10/ Af

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Make Your Own Kind of Music 1/ if 0/ Of 0/ Of 1/ if 1/ if 0/ Of 1/ if 0/ Of

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The Man From Uncle 5/ 15S 0/ Of 2/ if 3/ if 1/ if 4/ If A/ if •V1 / JLc/ 2/3

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Marcus Welby, M.D, 178/21% 2 2 / 1 7 % 30/ Sf lA8/31f 1 1 / 1 5 % 107/29f H9/i9f 59/26f

Mary Tyler Moore Show 86/1055 16/I2f 16/ 4f 70/l5f ' 56/llf 30/ 8f 66/l0f 20/ 9f

Masterpiece Theatre 7/ If, 23/l8f 2/ if 5/ If 5/ If 2/ if 6/ If l/ if 1 / -Ltf Maverick ■ V 2/3 2/ 2f 1/ if 0/ Of, 0/ Of 1/ if 1/ if 0/ Of

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Medical Center 2 5 6 / 3 0 % 21/1655 6 3 / 1 6 % 93/41/ 135/28f 121/3255 1 1 0 / 2 1 % 86/37f

Meet the Press 0/ 055 1/ If

Merv Griffin 12/ IJS 3/ 3f 2/ if 10/ 2f 3/ If 9/ 2f 9/ If 3/ If 281 Mickey Mouse 3/ if, 0/ Of 0/ Of 3/ If 1/ if 2/ if 3/ If 0/ Of n A B Li D E F G H N=863 fe!31 ::=389 N=474 11=489 N=374 N=633. .. N=230 Highly House 3/ If 0/ Of 1/ If 2/ If 2/ If, 1/ If 3/ If 0/ Of

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Monday Night Sports 4-7/ 5f ■ 1/ If 40/l0f 7/ If 30/ 6f 17. 5f 43/ 7f 4/ 2f The Monkees U if 0/ Of 2/ |f 2/ If 1/ If 3/ If 4/ If 0/ Of The Munsters 8/ If 0/ Of 3/ |f 5/ If 8/ 2f 0/ Of 8/ If 0/ Of My Mother the Car 3/ If 0/ Of 0/ Of 3/ If 3/ If 0/ Of 3/ If 0/ Of

My Three Sons 27/ 3f 1/ If 4/ If 23/ 5/S 16/ 3f 11/ 3f 19/ 3f 8/ 3f My World and Welcome To It 0/ Of 2/ 2f

Mystery Movie 72/ 8f 3/ 2f 41/llf 31/ 6f 36/ 7f 36/lOf 59/ 9f 13/ 5f NBA Basketball Game of the Week 16/ 2f 4/ 3f 16/ 4f 0/ Of 9/ 2f 7/ 2f 15/ 2f 1/ If

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Ac/ 1 / Ac/ National Geographic 2/ 2/J 7/ 5f i/ if 1/ if A/ 2 /J 1/ if 2/ if 0/ Of

Ac/ The New People 1/ 2/J 0/ Of 0/ of 1/ if 0/ Of 1/ if 1/ if 0/ Of

Ac/ .1

The New Zoo Review 0/ Of 1 1/ 2/J l/ if 0/ Of 0/ Of 1/ if & 0/ Of The Newlyweds 0/ Of 1/ If

News 6:00/6:30 17/ 2f 38/29f 9/ 2f 8/ 2f 5/ If 12/ 3f 11/ 2f 6/ 3f

Ac? cc? 1 / -La/ News 11:00 3/ 2/J 7/ 2/ if -V1 / i-0' 2/J 1/ if 2/ if -V 2/J 2/ If

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IJC4 O^! The Odd Couple 59/ f,0 2/ tZ/o 28/ 7f 31/ 6 f AO/ 8f 19/ 5f 43/ 7f 16/ 7f

T CT 0/ A_c/ O'Hara, U.S. Treasury 8/ If 1/ I/O A/ 2/J 5/ -If 5/ If 3/ If 6/ If 2/ If

Olympics 0/ Ofa 1/ 1 / J

One Life To Live 14/ 2f 0/ Of 0/ Of 14/ 3f 4/ If 10/ 3f 5/ if 9/ 4f One Step Beyond Ac/ 2/ if 0/ of 2/ 2/J 0/ Of 0/ Of 2/ Y 0/ of 2/ If

Ac/ Ac/ Oral Roberts 1/ Y> 0/ of 0/ Of 1/ 2/J 1/ 2/J 0/ of if 0/ Of

Ac/ -1 C? -1 Our Street 3/ 2/J 0/ of 0/ Of 3/ ± P 0/ Of 3/ J./3 V if 2/ If

Ac/ Ac/ JLcf Ac/ Outer Limits 2/ 2/J 0/ of 2/ 2/J 0/ Of 2/ 2 P 0/ of 1/ 2/J 1/ if A B C D E F G H N=863 N-131 N=389 N=474 N=489 N=374 N=633 N=230 JCf Owen Marshall, Counselor at Law 26/ 3% 5/ 4% 6/ 2% 20/ 4/3 9/ 2% 17/ 5% 16/ 3 % 10/ 4%

Paladin, Have Gun, Will Travel , 1/ 4 % 0/ 0% 1/ 2/» 0/ 0% 0/ 0% i/ 4% 1/ 4 % 0/ 0% The Partners V 4% 0/ 0% 1/ & 0/ 0% 1/ 4% 0/ 0% i/ 4% 0/ 0%

r—1 rjo f The Partridge Family 115/13% 1/ 28/ ( p 87/18% 89/18% 26/ 7% 84/13% 31/13%

1 of Password 16/ 2 % 1/ ± p 4/ 1% 12/ 2% 3/ 13/ 3% 11/ 2% 5/ 2%

Paul Dixon Show 5/ 1% 0/ 0% 2/ 4 % 3/ 1% 1/ 4 % 4/ 1% 2/ 4% ' 3/ 1% Perry Mason 0/ 0% 4/ 3 %

The Persuaders 6/ 1 % 0/ 0% 3 / "2% 3/ 1% 3/ 1% 3/ 1% 5/ 1% V 4%' Peyton Place 3/ 4 % 0/ 0% 1/ 4 % 2/ 4 % 2/ 5% 1 / 4 % 2/ 4% l/ 4 % Phil Donahue 0/ 0% 8/ 6% ic* Pinbusters V 4% 0/ 0% 0/ 0% i/ 2/u ^ 1/ 4 % 0/ 0% 0/ 0% V 4 % Pink Panther 29/ 3% 1/ 1 % 20/ 5% 9/ 2% 17/ 3 % 12/ 3 % 21/ 3% 8/ 3%

-i d Please Don't Eat The Daisies 3/ 4% 0/ 0% 0/ 0% 3/ I/O 3/ 1% 0/ 0% 3/ 1% 0/ 0%

Popeye X d 1/ ■5% 0/ 0% 0/ 0% 1/ 2 P 1/ 4 % 0/ 0% 1/ 4 % 0/ 0% Primus I d 2/ 4 % 0/ 0% 0/ 0% 2/ 2 1° 2/ 4 % 0/ 0% 2/ 4% 0/ 0% Pufnstuff 1/ 4 % 0/ 0% 1/ 4 % 0/ 0% 1/ 4 % 0/ 0% 1 / 4 % 0/ 0% Rat Patrol 3/ & 0/ 0% 2/ 4 % 1/ 4 % 3/ i% 0/ 0% 2 / 4 % i/ 4% A B C D E F G H N=863 N=131 N=389 N=474. N=A89 N=374 N=633 N=230 Red Skelton 6/ if 0/ Of 6/ 2f 0/ Of 4-/ If 2/ if 6/ If 0/ Of i -1/ Return to Peyton Place V if 0/ Ofo 0/ Of -V g/10 -V 2/3 0/ Of 0/ Of V 2 P

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Rocky and Bullwinkle 0/ 0f 1 / If

The Rogues 0/ Of 1/ If

Roller Derby 1 5 / 2 % 1/ If 13/ 4f 2/ if 6/ If 9/ 2 % 12/ 2f 3/ if

Room 222 70/ 8$ 7/ 5f 25/ 6f 50/llf 44/ 9f 26/ 7f .51/ 8f 19/ 8f

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Run For Your Life 0/ Of 1/ If Sabrina the Teenage Witch V ¥ 0/ Of 0/ Of 1/ if 0/ Of 1/ if 1/ if 0/ Of

The Saint l/ if 0/ Of 0/ Of 1/ if 0/ Of 1/ if 1/ if 0/ Of

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A B c D E F G H N=863 N-131 N=389 :;=474 N=489 N=374 N-633 . . N=230 Search for Tomorrow 2/ £? 0/ 0? 0/ 0? 2/ i? 1/ £? 1/ i? 1/ i? 1/ i?

Secret Agent U 1% 0/ 0? 3/ i? 1/ i? 2/ £? 2/ £? 3/ 1? 1/ i?

Secret Storm 14/ 2? 0/ 0? 2/ ?? 12/ 2? 4/ 1? 10/ 3? 8/ 1? 6/ 2?

Sesame Street 8/ 1? 4/ 3? 3/ 5? 5/ 1? 5/ 1? 3/ 1? 5/ 1? 3/ 1? 1 / -Lc/ Session - l/ i? 0/ 0? 0/ 0? 1/ -2? t/ 2A> 0/ 0? i / i ? 0/ 0?

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The Sixth Sense 207/24?° 15/11? 53/14? 154/32?110/22? 97/26? 147/23? 60/ 26:'

Sixty Minutes 15/ 2% 21/16? 4/ 1? 11/ 2? 3/ 1? 12/ 3? 8/ 1? 7/ 3?

Sky King 2/ U 0/ 0? l/ i? •V 2/° 0/ 0? 2 / i ? 2/ i? 0/ 0?

The Smith Family 10/ 1J6 0/ 0? 2/ i? 8/ 2? 7/ 1? 3/ 1? 9/ 1? 1/ i? The Smothers Brothers 0/ 0? 2/ 2? 1 / in' O / if/ Somerset 3/ i? 0/ 0? •V 2/° 2/ i? 2/ £2 ■vi / 2/°

Sonny and Cher Comedy Hour 313/36? 29/22? 85/22? 228/48? 161/33? 152/41? 217/ 34? 96/42?

Soul 8/ 1? 0/ 0? l/ i? 7/ 1? 0/ 0? 8/ 2? 0/ 0? 8/ 2?

Split Second 6/ 1? 0/ 0? 2/ i? 4/ 1? 1/ i? 5/ 1? 4/ 1? 2/ 1?

Sport Car Drag i/ i? 0/ 0? 1/ 2? 0/ 0? 0/ 0? 1/ i? 1? i? 0/ 0? A B E F G H N=863 N=131 N=389 N=A74. N=489 N=374. N=633 N=230 I r f JL^ Sports Action Profile 1/ 2 P 0/ Of. 1/ 2/3 0/ Of V 2 P 0/ Of 1/ 2/° 0/ Of 1 JLrf “I c f 1 of Sports Challenge 8/ if 0/ of 7/. 2f ' 1/ 2/° 4/ 1/0 4/ 1/5 7/ If 1/ if

Star Trek 27/ 3f 8/ 6f 15/ 4f 12/ 2f 17/ 3f 10/ 3f 21/ 3f 6/ 3f

X a ! _Lc/ JLrf Superman 2/ 2 P 0/ Of 1/ 2/° 1/ 2 P 2/ if 0/ Of 1/ 2/° V if

Surrender at Appomatax (Appoint­ 0/ o:f 1/ 1/j ment With Destiny) X e r Take A Giant Step 1/ 2 P 0/ of 0/ Of 1/ 2P V if 0/ Of 0/ Of 1/ if

Terror in the Night 19/ 2f 1/ If 11/ 3f 8/ 2f 14/ 3f 5/ I/O1 d 12/ 2f 7/ 2f

That Girl 10/ 2!% 2/ 1/ 2/° 9/ 2f 0/ Of 10/ 3f 10/ 2f 0/ of

XsH That Was the Week That Was 1/ 2 P 1/ 2f 0/ Of 1/ 2/a 0/ Of V if 1/ if 0/ Of

Then Came Bronson 16/ 2 % 0/ Of 6/ 2f 10/ 2f 9/ 2f 7/ 2f 12/ 2f 4/ 2f

Thirty Minutes With..,. 0/ Ofo 2/ 2f

This Is Your Life 13/ 2fo 0/ Of 3/ 2/° 10/ 2f _ 8/ 2f 5/ If 12/ 2f 1/ if Three On A Match 3/ Y 0/ Of 2/ if 1/ if 0/ Of 3/ If 3/ If 0/ of The Three Stooges V Y p 0/ Of 1/ if 0/ Of 1/ if 0/ Of 1/ if 0/ of

Tim Conway Show ± J t .1^ V 2 P 0/ Of 1/ if 0/ Of 1/ 2 P 0/ Of 1/ Y p 0/ of

Time Tunnel 1 JSt X jU of 3/ Y p 0/ Of 1/ 2 P 2/ 2 P V if 2/ if 3/ If 0/ 287 X jH 1 of Timmy and Lassie 6/ 156 0/ Of 2/ 2 P 4/ I/O 1/ if 5/ if 5/ If V 2 P A B C D E F G H N=863 N=131 N=389 N=A74 N=489 N=374 N=633 N=230

-10/ To Tell The Truth 9/ I/O 0/ Of 5/ 2f 4/ If 7/ If 2/ if 9/ I/O 0/ of ic- Today Show 3/ 2/o 4/ 3% 3/ if 0/ Of 2/ if 1/ if 2/ 2/0 1/ 2/0 in' JLc? Tom Jones 1/ 2/0 0/ Of 0/ Of 1/ 2/o 0/ Of 1/ if 0/ Of 1/ 2/0 X p! Traffic Court 7/ lfo 1/ JL/j 5/ If 2/ 2/J 5/ If 2/ if 4/ If 3/ If

Truth or Consequences 33/ 4f 0/ Of 7/ If 26/ 6f 23/ 5f 10/ 3f 20/ 3% 13/ 5f Twilight Zone 11/ If 1/ if 4/ If 7/ -L/o 8/ 2f 3/ if 8/ I/O 3/ I/O

Untamed World 4/ l/o 0/ Of 4/ If 0/ Of 3/ if 3/ If . 1/ 2/o 3/ 1/3 -1 d It* The Untouchables V 2 P 1/ X/O 1/ 2/o 0/ Of 0/ of 1/ if 0/ of 1/ 2/:

-j d I p ! Virginia Graham Show 7/ I/O 1/ lfo 0/ Of 7/ I/O 0/ of 7/ 2f 6/ If 1/ 2/o

.L a ' Voyage to the Bottom of the Sea 2/ 2/° 0/ Ofo 2/ if 0/ of 2/ 2/0 0/ Of '2/ if 0/ Of

Wagon Train 3/ .L2/o r f 0/ Of 1/ if 2/ 2/o 0/ of 3/ If 3/ if 0/ Of

-1 ct What's My Line 0/ 055 ■ 1/ 1/0

Wide World of Sports 61/ 7$ 3/ (L/oO of 5 3 /U % 8/ 2f 38/ 8f. 23/6f . 52/ 0/0 9/ 4f

Wild Kingdom 4/ lfo 1/ If 3/ if 1/ if 2/ if 2/ if 2/ Ipf2/o 2/ If

Wild, Wild West 40/ 5* 0/ of 31/ 8f 9/ 2f 18/ 4f '22/ 6f 29/ 5f 11/ 5f

The Wonderful World of Disney 35/ 4f 2/ 2f 13/ 3% 22/ 5% 24/ 5f " 11/ 3f 28/ 4f 7/ 3f

iar 288 Woody Woodpecker 2/ 2/0 0/ Of 1/ if 1/ i% 1/ if 1/ if 1/ if 1/ if A B C D E F G H N=863 N=131 I'T-389 H=4-7A M=489 N=37A N-633 M=230 World Press o/ Of 1/ If

Wrestling 0/ of 1/ If

You Are There 1/ if 0/ Of 1/ if 0 / Ofo 0 / Ofo l/ if o/ of l/ i^

You Asked For It 1/ if 0/ Of 1/ if o/ of 1/ if 0/ of 1/ if o/ of

The Young Lawyers o/ of 1/ If

The Young Rebels -V1 / -A-®' 2/° 0/ of 1/ if 0/ of 1/ if o/ of 1/ if o/ of

io $ SELECTED BIBLIOGRAPHY

Ashton Warner, Sylvia. Teacher. Bantam Books. New York: Simon & Schuster, Inc., 1963.

Bruner, Jerome. The Process of Education. Vintage Books. New York: Alfred A. Knopf, Inc., 1962.

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