Academic Films for the Classroom. A History by Geoff Alexander

By Geoff Alexander

Exploring a realm of movie frequently brushed off as campy or contrived, this e-book strains the historical past of lecture room academic motion pictures from the silent period during the Nineteen Eighties, whilst movie eventually started to lose flooring to video-based and electronic media. It profiles 35 person educational filmmakers who performed a task in bringing those approximately 110,000 16mm movies to school rooms throughout North the US, paying specific cognizance to auteur John Barnes and his principally overlooked physique of labor. different subject matters contain: the creation businesses contributing to the expansion and improvement of the tutorial movie style; the advanced heritage of post-Sputnik, federally-funded academic projects which encouraged the expansion of the tutorial movie style; and the denouement of the style in study rooms and its resurgence on the web.

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Focusing on Western Classical Civilization, the later series featured high-powered scholars such as Mortimer Adler, Clifton Fadiman, Bernard Knox, Maynard Mack, and Gilbert Highet, all of whom eventually appeared as hosts in EB films. 28 Academic Films for the Classroom EBF’s instructional materials ultimately extended well beyond academic films to include books, filmstrips and learning aids such as the Study Print series, consisting of packs of 18" ¥ 12" cards suitable for display in classrooms. These materials paralleled the content of EBF Films and enhanced the learning experience.

Mitchell habitually referred to “the unique contribution” of film to classroom curriculum, arguing that through techniques such as time-lapse photography, photomicrography, color, and enlargement, film could show students a world inaccessible through textbooks alone. He also pointedly differentiated EB Films from those made by its chief competitor, Coronet, which, Mitchell maintained, preferred films that correlated curriculum to textbooks, rather than creating superior films that stood on their own as educational materials.

Returning home to Chicago, he and his brothers Alfred (who died in 1951) and John launched Coronet Films in 1934. Smart built what became the largest privately-owned studio east of Hollywood on his estate in Glenview, Illinois. S. Navy by providing his studio for its use to develop training films for World War II. Some Coronet films of the late 1940s are compelling. ) paper products company in progressive nursery and reforestation programs. When government funding declined at the end of the war, Smart hired Jack Abraham, noted for his financial expertise at Paramount Studios, to take over responsibility for the company as general manager.

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