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DESIGN in the EDUCATIONAL FIL'.'T an ANALYSIS of PRODUCTION ELKKNTS III TLENTY-ONE V/IDSLY USED NON-THEATRICAL NOTION PICTURES D

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DESIGN in the EDUCATIONAL FIL'.'T an ANALYSIS of PRODUCTION ELKKNTS III TLENTY-ONE V/IDSLY USED NON-THEATRICAL NOTION PICTURES D DESIGN IN THE EDUCATIONAL FIL'.'t AN ANALYSIS OF PRODUCTION ELKKNTS III TLENTY-ONE V/IDSLY USED NON-THEATRICAL NOTION PICTURES Dissertation Presented in Partial Fulfillment of the Requirement* for the Degreo Doctor of Philosophy in the Graduate School of The Ohio State University By ROBERT WALTER WAGNER, B.Sc., : .A, The Ohio State University 1953 Approved by* ' Adviser PREFACE For ten years the writer has played a dual role of film-maker and teacher* In the course of this experience* the process of film­ making and the problems of teaching hare become inseparably inter­ twined* the one enriching the other in a kind of ebb and flow* The chapters whioh follow naturally refleot this inter-related experience* and while they are written with referenoe to practical problems of oonmiunioation by means of film* they are fundamentally oanoerned with how people learn* Of immediate oonoern is an analysis of the rhetorical elements in a group of widely-used educational films* and a comparison of the findings with reoent experimental evidence on Instructional film production and with the accumulated experience of certain successful film practitioners* A synthesis of science and philosophy* of research and practioe* is intended here* in an effort to reach reasonable conclusions and deeper under standings whioh may be ploughed back into the production of motion piotures for education* The writer is aware that in using this approach he is treading on vast and boggy ground* Film-making* like teaching* is both an art and a aclenoe. The limitations of the present research will shortly be oalled to attention* But there oomes a time in the experience of erery film-maker and every teacher* when he is no longer o on tent to work with fragments. He needs a framework* a philosophy* which he - i - A 240-18 11 himself must build from the truths end half-truths whioh lie about him* This study, then, Is a depth analysis of production factors In a group of select educational films, and a synthesis in which the writer seeks to find and test the meanings of what is praotloed, proven, and surmised about educational film production, and to thereby lay a firmer foundation for present practice and for future researoh* The writer wishes to express his sincere appreciation to his advisor, Dr. Bdgar Dale, who has been teacher, counselor, and friend* He also wishes to acknowledge the unfailing and whole-hearted cooperation of Professor F. W. Davis, Chairman of the Department of Photography at The Ohio State Ibxiversity, where the writer learned much of the science and many of the arts involved in motion picture production* Robert W. "Wagner Beadfield Depot, Uaine TABLE OF CONTENTS INTRODUCTION.................................... 1 1. The Nature of the Educational Film . 1 2. Communication and the Film Communique* . 13 PURPOSE OF THE PRESENT STUDY.................... 22 1. The Problem ............................. 22 2. Previous Researoh........................ 23 3. The 2*ethod.............................. 31 4. Limitations of the S t u d y ................ 37 PRODUCERS AND PRODUCTIONS....................... 40 1. The Producers ........................... 40 2. The Productions.......................... 44 ORGANIZATIONAL RACTOBS.......................... 48 1. Evidence from the Present Study.......... 48 2. Empirical Evidence....................... 56 3* Experimental Evidence.................... 60 Summary.......... ....................... 67 VOCABULARY LEVEL AND RATE OF DELIVERY .......... 71 1. Evidenoe from the Present Study.......... 71 2. Empirical Evidenoe....................... 77 3* Experimental Evidence ................... 81 Summary................................ .. 88 AUDIENCE INVOLVEMENT............................ 91 1. Evidence from the Present Study.......... 91 2. Empirical Evidence* ..................... 103 3. Experimental Evidence................... 112 Summary................................ .. 122 CAMERA INTERPRETATION....................... 126 1* Evidence from the Present Study . • • 126 2. Empirical Evidence*..................... 131 3* Experimental Evidence * ................. 136 Summary.................................. 138 COLOR........................................... 141 1. Evidence from the Present S t u d y ........ 141 2* Empirical Evidence....................... 142 3* Experimental Evidence ................. • 149 Summary.................................. 151 iii - TABLE OF CONTENTS (cont.) CHAPTER PAGE IX ANIiATION...........................................154 1. Evidence from the Present St u d y ............. 154 2. Empirical Evidence.......................... 165 3. Experimental Evidence....................... 170 Summary* ........... * * ................ 173 X I-IUSIC AND SOUND EFFECTS.............................176 1. Evidence from the Present St u d y ............. 175 2. Bnpirical Evidence....................... 18 5 3. Experimental Evidence...................... 198 Summary..................................... 201 XI OPTICAL AND SPECIAL EFFECTS ..................... 205 1. Evidenoe from the Present St u d y ............. 205 2. Empirical Evidence ........ .... 213 3. Experimental E v i d e n c e ..................... 221 Summary..................................... 225 XII DESIGNING THE EDUCATIONAL FILM................... 2 28 1. Summary..................................... 228 2. Implications for Production................ 240 3. Implications for Research.................. 244 BIBLIOGRAPHY..................................... 25 3 APPENDIX............................................266 AUTOBIOGRAPHY......................................287 - iv - LIST OF TABLES TABLE PAGE I ANALYSIS OF FILM AND SCENE LENGTH................. 274 II APPROXIi-ATE RUNNING T X I G , IN MINUTES, OF REPRESENTATIVE TEACHING FILMS RELEASED BY FOUR LEADING EDUCATIONAL FILM PRODUCERS............ 279 III AN ANALYSIS OF VOCABULARY LEVEL, SENTENCE LENGTH, AND RATE OF VERBAL DELIVERY. ........ 280 IV ANALYSIS OF CAJ.TERA INTERPREIATIOTT 7/1TH REFERENCE TO LONG SHOTS, MEDIUM SHOTS, AJTD CLOSE UPS. 284 V A C01.3*ARISON OF BLACK AND V/IIITE VS. COLOR PRO­ DUCTIONS OF FOUR LEADING EDUCATIONAL FILM PRODUCERS..................................... 285 VI ANALYSIS OF OPTICAL EFFECTS, .71 Til REFERENCE TO FADES, DISSOLVES, AJTD WIPES................... 286 LIST OF FIGURES FIGURE PAGE 1 Schramm's Diagram of Communication.............. 14 2 Johnson1s Analysis of Communication ............. 15 3 The Teacher and Ada Adams in Learning to Under­ stand Children............................... 95 4 Classroom Scene from Broader Concept of ISethod. • 95 5 An Animated I/Sap and Other Scenes from The River • 156 6 Ceremonial liasks "Animated” by their "fearers in The Loon's Keoklace.......................... 157 7 Animation Techniques in the 1 .1 cGraw-ill 11 Film, Human Reproduction........................... 159 8 Pictorial (Cell Cartoon) Layout for the Film, Brotherhood of lian........................ 16G -IBS 9 The "Famine" 1-ask Zooms in, Synchronized with Swelling Drumbeats in The Loon’s Necklace. 177 10-11-12 Abstract Images Related to Onomatopoetic Sounds . 194 13 A Fragment from Alexander NeTsky, Showing Eisenstein's Plan for Congruence of Ilovement between Picture and i.iusio. .......... 197 14 Teacher’s Guide for Autumn on the Farm* . 2.V&- 37/6 15 Teacher's Guide for land of Liberty (i) • . 2.77. - 27*8 - r i - CHAPTER I INTRODUCTION 1. The Nature of the Eduoational Film "School experiences," according -bo an eminent philosopher of education, "should be of such a kind as to widen and enrich and give greater meaning to li fe as i t goes on in the out-of-s chool envi ronment. If we accept Bode's statement, the "olftssroom" film would simply be one which widens, enriches, and gives greater meaning to life. Traditionally, however, school experiences are classified into studies or disciplines which, as Dewey describes them, are labeled* .conventionally and conveniently under “these heads* (l) those especially Involving the acquisition of skill in performance— the school arts, such as reading, writing* figuring, and music* (2) those mainly oonoemed with acquiring knowledge— "informational" studies, such as geography and history* and (s) those in which skill in do­ ing and bulk of information are relatively less important, and appeal to abstract thinking, to "reasoning," is most marked,2 As a result of this classification of school experiences, films for use in the olaseroom have become similarly grouped ass (1) "in­ structional" films dealing primarily with the teaching of skills* *Bode, Boyd, How Wo Learn, Boston* D, C, Heath and Company* 1940, p. 247, 2 Dewey* John, How We Think, Boston* D. C. Heath and Company* 193S, pp, 61—62, z (2) "expository” films, 'whose purpose is mainly informational, and (S) "incentive" films in which factual information and the exposition of skills are less important than the development of attitudes and the promotion of thought* The types or genres of eduoational films have been defined functionally in a number of different ways by different educators and film-makers* An examination of a few of suoh classifications is interesting, because they reflect opinions on not only what the eduoa­ tional film should do, but also to a oertain extent, what it should be like* UNESCO's Commission on Technical Needs with relation to press, film, and radio, defines two kinds of films whioh loosely cover the eduoational fields 1* Dldaotio films designed to impart facts, skills, and attitudes, and 2. The so-called documentary film, usually designed
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