{"title":"What Television Means for the Teacher","authors":"Margaret Divisia","doi":"10.2307/1209722","DOIUrl":"https://doi.org/10.2307/1209722","url":null,"abstract":"TELEVISION is rapidly becoming a new member of the family. Present surveys indicate that one family in twelve has a television set. This new addition to the family is exciting to the other members. It is exciting to the neighbors, too. I hear that it is not the cost of television set that puts a strain on the purse, but the upkeep of the neighbors it attracts and holds. Television is almost a living entity, a companion, a teacher. I want to consider this new member of the family from the standpoint of a schoolteacher. Schoolteachers must be aware of the child's total environment, of all the influences that mold him. Each one is important; yet the most important part of his environment is that provided by his family and his home. Every member is important, so it is vitally necessary to consider this new force that has come to live in the midst of his family. What will be its gifts? How will it change the family? What controls will need to be placed upon it? Will the family once more become a closely knit group, with increasing common interests? Or will father watch the Yanks, mother toss a new salad, and junior gallop away with a favorite cowboy? All these questions, and many more, the teacher needs to ponder. Interest in television is tremendous. The workers in television","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122138593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Veteran's View of Hollywood Authenticity","authors":"Louis van den Ecker","doi":"10.2307/1209713","DOIUrl":"https://doi.org/10.2307/1209713","url":null,"abstract":"FOR THE greater number of producers in Hollywood, authenticity has become a byword. This has come about primarily because of the endless stream of letters that once arrived from all parts of the world protesting and criticizing misrepresentations, anachorisms, anachronisms, and other blunders committed in the making of motion pictures. In the infancy of the motion picture industry, the property boy, the costumer, the art department, and everyone else concerned with the making of a picture, relied on his own imagination and his own individual conceptions in establishing the locale of a motion picture story. The box office was of prime importance; anything else was secondary. Authenticity was of no importance at all. The general attitude was, \"Who knows what is right or wrong, anyway?\" However, the number of letters proved that many knew. So the major corporations began to invest in research departments and materials.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128087440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Making of a Document: \"The Quiet One\"","authors":"Vinícius de Moraes","doi":"10.2307/1209719","DOIUrl":"https://doi.org/10.2307/1209719","url":null,"abstract":"THE REACTION provoked by the documentary The Quiet One constitutes one more proof that the Negro problem is the major test of American democracy. Actually, for the makers of the film the problem did not exist at all. The fact that they chose a Negro boy as the hero of their film, however sly as strategy, is incidental to the spirit of the finished work. The little boy might equally well have been white, yellow, red, or even blue. We must not forget that we are dealing with an intelligent and progressive producing group, miles away from any racial preconception, which always implies stupidity. The problem in this case was special: to expose one of the saddest and most degrading aspects of human misery, that which afflicts children in the midst of a society blinded by the instinct for gain. In stating the matter in this way, I speak only for myself, for I have never seen any such declaration from the film's creators, the members of Film Documents, Inc. It seems to me the real message in the picture, although its discreet publicity spoke of it merely as \"the story of a human being in search of love.\" Yet if we consider that this search takes place within an urban cancer, the slum district of Harlem, and that the one who searches is a little Negro boy, a member of the most humiliated and offended of North American minorities-economically an outcast, emotionally frustrated, mentally backward, socially maladjusted,-we shall see that it is not merely love that the unhappy child needs, but justice, equality of treatment, respect, and dignity, in order to live in the community of men without distinction of color or creed.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130046095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Postwar French Cinema","authors":"G. Sadoul","doi":"10.1525/FQ.1950.4.3.04A00030","DOIUrl":"https://doi.org/10.1525/FQ.1950.4.3.04A00030","url":null,"abstract":"in a state of chronic crisis for the last thirty years. The industry operates on a very narrow basis in France. In a country where half the population lives in the country or in small villages, there are relatively few motion picture theaters, and attendance is limited. For every Frenchman buying one movie ticket, an Englishman buys five or six, an American eight or ten; moreover, the price of admission is three to five times greater in England and America than it is in France. Before 1914, in spite of its undeveloped home market, France had a quasi-monopoly of international film trade. In 1908, according to George Eastman, founder of the Kodak enterprises, the Pathe Company alone was selling twice as many films in the United States as all the American producers put together. But the young American industry soon dominated its home market, and then eliminated French competition in nearly all foreign countries. In 1920 the big companies in Paris, playing a losing game, liquidated their agencies and studios abroad, and relied on importing American, German, and Swedish films for part of their French revenue.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126734920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Television in Relation to Other Media and Recreation in American Life","authors":"D. Smythe","doi":"10.2307/1209397","DOIUrl":"https://doi.org/10.2307/1209397","url":null,"abstract":"and recreation in American life has a choice of two approaches: he can discuss it in terms of the policy questions which arise as the arts of communication are developed, or he can approach it as a social scientist. I have chosen the second approach for this paper. It is not that I am reluctant to deal with controversial policy issues. I simply believe that in the long run the contribution to be sought from the social sciences is fundamental to a wise solution of the policy problems. The other media considered include newspapers, magazines, and books as well as motion pictures and radio, and recreation is taken to mean the use of nonworking time for purposes which serve the needs of the individual's personality. Recreation would embrace activities as diverse as whittling, conversing, gambling, or activity on behalf of church, social group, or political party; in fact, simply \"setting,\" as when one sits on the porch and reflects in silence, may fall within the scope of recreation. All structured use of leisure time is thus recreation. Whether the use of leisure","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122794621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Problems of Film History","authors":"J. Card","doi":"10.2307/1209399","DOIUrl":"https://doi.org/10.2307/1209399","url":null,"abstract":"tended reader, the film student. It would appear to be for his benefit that detailed accounts of the travails of Muybridge and Edison, Friese-Greene and Birt Acres, the Lumieres and Demeny, Paul, Melies, Porter, and Uchatius are now being so generously published. Are there, then, really many students in a field that covers so small a segment in the history of human activity? The line is very thin between the student for whom these books are supposedly written and the writers themselves, for the metamorphosis of student into scholar into historian has rarely been complete. The student turns to the film histories and there finds confusion, gossip, and the wildest sort of speculation. He quickly sees that scholarship is no prerequisite to the writing of motion picture history. Adding his own speculations to the general muddle, he often becomes himself an author of film history. His work may bear a new adjective-critical, phychological, or encyclopedicbut rarely does it present a new historical fact. Film historiography has taken a pattern somewhat akin to that of the film's own historic development. The film moved from the factual, simple pieces of Lumiere and Edison to the \"made-up\"","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123263553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Projecting America Through Films","authors":"R. Katz","doi":"10.2307/1209402","DOIUrl":"https://doi.org/10.2307/1209402","url":null,"abstract":"","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125175821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Plight of the Educational Film","authors":"Ned L. Reglein","doi":"10.2307/1209403","DOIUrl":"https://doi.org/10.2307/1209403","url":null,"abstract":"NED L. REGLEIN, Visual Aids Director of John Wiley and Sons, publishers, was in charge of various aspects of the Army's wartime training film programs from 1941 to 1945, as Chief, Motion Picture Section, A.A.F. Training Aids Division, in 1944, and as Liaison Officer, First Motion Picture Unit, Culver City, in 1945. He has directed educational film production for American Airlines and for Teaching Films Inc.","PeriodicalId":128945,"journal":{"name":"Hollywood Quarterly","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1950-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114750398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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