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Geoff Alexander's Academic Films for the Classroom. A History PDF

By Geoff Alexander

Exploring a realm of movie usually brushed aside as campy or contrived, this publication strains the historical past of lecture room academic movies from the silent period during the Nineteen Eighties, while movie ultimately started to lose flooring to video-based and electronic media. It profiles 35 person educational filmmakers who performed a job in bringing those approximately 110,000 16mm movies to study rooms throughout North the US, paying specific cognizance to auteur John Barnes and his mostly overlooked physique of labor. different issues contain: the construction businesses contributing to the expansion and improvement of the educational movie style; the advanced heritage of post-Sputnik, federally-funded academic tasks which inspired the expansion of the educational movie style; and the denouement of the style in study rooms and its resurgence on the web.

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The Launch of Sputnik and the Renaissance of Academic Film The Soviet launch of the first Sputnik satellite on October 4, 1957, created a climate in Washington that would soon bring dramatic changes to American school curriculum. S. 38 Two. A Cold War Funds a Hot Medium 39 counterparts in mathematics, the sciences, technology, and foreign languages. 1 In 1958, influenced by testimony from Encyclopædia Britannica Film’s William Benton, former FCC chairman Newt Minow, Anna Rosenberg Hoffman, and Adlai Stevenson (who would become chairman of the EBF Board of Directors the following year), Congress passed Public Law 85–864, the National Defense Education Act (NDEA).

I call Hal Kopel, our former producer, who now heads Coronet, and ask him to send several of its films that he feels represent the best they have to offer. At our next Advisory Board meeting I explain to our members where the films are from and that Kopel states they are examples of Coronet’s best products. We are watching the second film of the collection when the Senator explodes. In essence he loudly proclaims that I obviously selected the worst competitive films I could find to make our films look good.

57 The company was left in the hands of Jack Abraham and John Smart, who, in 1955, closed the studio in response to mounting pressures to unionize. Some directors such as Ted Peshak left to form their own companies, which continued to provide films to the Kohl/Riha team on an ad hoc basis. Coronet was led by Abraham until the early 1970s. In summation, perhaps, Coronet’s early academic film output can be characterized as a large number of titles that provided a livelihood for amateur actors and fledgling directors, One.

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Academic Films for the Classroom. A History by Geoff Alexander


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