New York State Council on the Arts

The spread of education has givenmost people the apparatus ofcriticism; what it has not always giventhem is the knowledge how to usetheir machine for an end that is notmerely trivial or destructive. Yetcriticism is essentially a method ofappreciation. It has no necessaryconnexion with the awful luxuries ofcontempt or condemnation.

According to Rev. John Culkin,

director of Fordham University's new

Center for Communications, the

average student will have spent

15,000 hours of his life watching

television and motion pictures by the

time he graduates from high school.

Sleep is the only comparable

competitor for his time. Despite this

staggering statistic, the opportunities

for formal analysis and discussion

of the art of the film within the class-

room are limited, if they exist at all.

The New York State Council on

the Arts, with first-year matching

funds from the National Council on

the Arts, has established its film

program to assist New York State

schools and community groups that

are concerned with developing

patterns of visual discrimination for

the confusion of images that bombard

us daily. Where the chance to see

outstanding films does not now exist.

the Council's program will help make

fil m classics of the past and present

more readily available. Where there is

interest in critical analysis of visual

media, the Council hopes to

encourage it.

John B. HightowerExecutive Director

New York State Council on the Arts

The broad purpose of the Council's

film program is to increase awareness,

understanding, and appreciation of the

art of motion pictures. Several differ-

ent areas of support are encompassed

in the program, and assistance in each

of these areas is described in detail

within this booklet. In addition, the

Council enthusiastically supports the

proposed establishment of an Amer-

ican Film Institute which would pro-

vide for the preservation, protection,

cataloging, and screening of films old

and new, and offer nationally the serv-

ices and resources presently available

in other countries at such institutions

as the British Film Institute and the

Cinematheque Francaise.

Table of Contents

Community Film Appreciation

Page

3

Aid To Film Study Curricula 11

Aid To Film Societies 13

Books And Periodicals 14

Film Sources 16

What was the purpose of the Program?

"To understand why we think a movie wasgood or not. Not just because we liked it,but why."

"To open new avenues for us; to make usmore critical of what we see; to let us get agreater understanding of other people."

"To widen our cultural background."

"To examine their visual and sound(content); to learn to be critical and see howmuch we live on movies."

"To gain some education and not judge apicture by the name."

"To show these examples of foreign and-domestic films; to compare them with eachother and see something with a plot deeperthan "Goldfinger."

COMMUNITY FILM APPRECIATION This program is aimed at narrowingwhat has been described as the gapbetween the quality of a film and thequality of one's perception of it. Itoffers concurrent opportunities in filmappreciation to separate audiences ofelementary schoolchildren, secondaryschool students, and adults. Briefly, itprovides for the screening of a dif-ferent series of movies for each agegroup in the community, with each filmfollowed by organized discussion orconversation.

The program is intended primarilyfor communities where opportunitiesto see movies of high artistic merit arerare, and it is available only to com-munities which can contract to par-ticipate on all three levels. (Thus acommitment of participation from aschool district is a necessary prere-quisite.) Potential benefits for studentsextend beyond the opportunity in filmappreciation the program offers adults.The film series and subsequent dis-cussion in classroom and corridor cancombine to equip students with habitsof perception, analysis, and judgmentwhich they can apply to the magnitudeof moving images that confronts themdaily. According to the director ofFordham University's Center for Com-munications, Rev. John M. Culkin, Si.,by the time a student completes high 3

Should the Program be continued?

"I think it should be—I can still remember alot about each movie; it puts a mark on yourbrain."

"Yes, it can show how different people are—like David and Lisa. People laugh at them anddon't understand; this film gave you somethingof an understanding of them."

..otherwise we wouldn't get to see any ofthe good films."

"Yes, some important ideas come out inanalyzing these films. It also helps you injudging movies."

"It broadened my mind as to differentkinds of films, different from what I wouldgo and see myself."

"I believe it should because, speaking formyself, I learned some interesting things aboutthe lives of different peoples in differentparts of the world."

Stills from David and Lisa, The Bicycle Thief,and Singin' in the Rain. In the first CommunityFilm Program to be sponsored by the Council,both secondary school students and the adultssaw these three films. Other films included inthe first series were Ballad of a Soldier and I' mAll Right, Jack.

school today he has spent some 10,000hours in the classroom but in the sameperiod has seen more than 500 filmsand spent 15,000 hours watching tele-vision—watching in an untrained, un-discriminating way. In particular, thestudent film series is aimed at helpinghim to an informed evaluation of whathe sees. In addition, a student's in-volvement in animated class discus-sion evoked by film showings and thesecond sight probing of his experienceof a film is also likely to have a bene-ficial effect on participation elsewherein the curriculum.

A community film appreciationprogram can involve between five andten feature-length films for each ofthe three age groups. The films areshown at intervals of approximatelythree weeks in a local movie houserented by the Council for each day onwhich the three different showingstake place.Elementary schoolchildren Studentsin the fourth, fifth, and sixth gradessee movies made expressly for chil-dren between the ages of seven andtwelve. The films chosen are live actionmovies, not cartoons, with charactersgenerally of the same age as the view-ers. Showings, which are scheduledfor the morning during released timefrom school, are usually between 60

(continued on page 9)

5

Questions towards a study of The Golden Fish

Prepared for the New York State Council on the Arts Film Project, 1966-67

The Golden Fish (France, 1959) is a J. R. Cousteau Production directed by EdmondSechan. It is in color; no dialogue. This 20-minute film has won a Critics Interna-

tional Prize at the Cannes Film Festival and a U.S. Academy Award as Best ShortSubject.

The Golden Fish

A little boy home from school passes through a carnival in a park near his home ashe is on the way to a store for milk. A goldfish being offered as a prize at one of the

carnival booths captures his fancy and seems to sense the boy's yearning. Thebeautiful fish is almost taken by a bearded man who has won the right to a prize.

Although the man makes it clear that he wants the goldfish, the fish manages toelude the net as the attendant gropes in the water tank. The man is persuaded to

take another prize. The boy completes his errand and comes back with his bottleof milk to find the man still trying to win the goldfish. The man accidentally knocks

over the bottle, which shatters. He gives the boy coins to replace the milk, and theboy impulsively uses the money to play the game. He wins, and the fish eagerlyswims into the net.

The boy goes happily home, where he hopes the fish and his canary will becomegood friends. The goldfish is so happy in his new home that in a moment of joy he

leaps out of his bowl and lands flopping on the tabletop. The boy is away at schooland his mother is at work. As he lies gasping with the canary singing excitedly. a

shiny black cat stalks menacingly through a window into the room. The story endson a happy note but only after highly dramatic developments. A delightful guitaraccompaniment enhances the movie.

Typical study guide prepared for elementaryschool classes. The Golden Fish was one of thefil ms included in the Council's initial CommunityFilm Program. Stills from the film appear above.The study guides are supplied by the Council asteaching aids to stimulate class discussion afterfilm showings.

Questions 1. In the beginning, the boy was shown walking down the street among hisschoolmates. What did this scene tell about the boy?

2. How did you feel about the boy and his mother being Chinese instead ofFrench like most of the other people in the film? Why do you think the filmmaker

made the boy Chinese instead of French?

3. How did the filmmaker tell us about the boy's daily life? (schoolbooks, the

scene of the mother going to work, standing in line to punch the time-clock, theboy arriving home to an almost empty house, the empty-bottle errand, etc.).

4. Remember when the boy found the carnival and the game with fish forprizes, but only one gold-colored fish in the tank? What happened between the

goldfish and the boy then? (Fish knew the boy wanted him so much).5. How did you feel towards the big man with the black beard and hat when hewas trying to win the goldfish? How did you feel towards him after the milk was

knocked over and spilled and he gave the boy money to replace the milk? Differently?6. Did the boy ever finish his errand and get some milk to take home? When the

boy took his prize goldfish home what did you think (worry, concern) about thespilled milk, spent money, and mother?

7. Do you remember what the next scene was? How did the filmmakers showus that it was the next day? Do you think the film needed to have words or talking?

8. What kinds of sound did the filmmakers use to help tell the story? (Where

was the music happy, exciting, ominous, etc.?)9. Have you ever seen a fish swim like the boy's goldfish did: a bird move or

fly in a cage the way the pet canary did? Why do you think they acted that way?10. Do you think the cat put the fish back in his bowl on purpose or was it a

happy accident? Was the cat bad?

Peekskill Evening Star, Thursday, October 20, 1966

First Film Pleases Students, FacultyBy NANCY NASON

Peekskill educators, concerneda few days ago over the pos-sible "risky start" involved inopening their experimental filmprogram with the movie, "Davidand Lisa," found themselvesfacing the other side of the coinafter some class discussions yes-terday morning.

"We're off to such a goodstart that I'm afraid everythingelse is going to be anti-climac-tic," Drum Hill Junior HighPrincipal Edward Jacobsoncommented. "But if it keeps uplike this, there's no question thatit has great significance interms of the entire way we'retrying to educate these kids."

Mr. Jacobson, who admittedyesterday morning he had ap-proached Tuesday's showing"with reservations" found it"hard to restrain my enthusi-asm."

With 1,300 students in theParamount Theater Tuesdayfor the special showing spon-sored by the New York StateCouncil On The Arts, severalteachers observed, "You couldhave heard a pin drop in there."

"When we were leaving, " Mr.Jacobson said, "there were sev-eral teachers standing at thedoor, and I said to them, `Areyou thinking what I'm think-ing'?"

Classes Discuss FilmsWere the kids being careful

not to ruin a good thing inspending school time at the mov-

ies? Or was it something else?That question was answered yes-terday as English classesthroughout the two schoolsdelved into their reactions to"David and Lisa."

In a room with Johnny Tre-main's Boston on one black-board, "Treasure Island" out-lined on another and a sternchalk admonition, "Causes ofmisbehavior in my class atDrum Hill," on a third, a newexperiment in education beganfor George Lillyman and hiseighth grade English class.

Laying the ground rules forthe discussion, Mr. Lillyman toldthe youngsters, "Let's under-stand this right at the start.There are 25 pairs of eyes inthis room and there are 25ways of seeing that picture.There are no right or wronganswers. You've got good eye-sight and what you see is cor-rect for you."

Then he guided the studentsthrough a 50-minute discussionof a movie that had introducedthem to two mentally ill teen-agers searching, at least accord-ing to this pair of eyes, for loveand through love for life itself.

New Look At People"I liked it," one girl com-

mented. "I thought it gave us achance to see how people whoare sick or something behave.We think they are dumb, butDavid was real smart. "

"David was too smart," addedanother. "His parents had never

hit him or anything when he wasa kid and he was afraid to havesomebody touch him because hedidn't know what would hap-pen."

"David was scared of beingtouched because he was scaredof death," a girl interjected.

Following a brief discussion ofDavid's relationship to his par-ents, another girl scored the"childishness" of his behavior.

"He acted like a three-year-old having a tantrum, " she said."But the doctor told us why,"another answered. "He said thatwhen you're sick you don't haveany choice in how you act. It'swhen you're well that you dohave a choice."

Teenagers Are "Nuts"Commenting on a scene in

which a townsman yells at theyoungsters, "Bunch of nutsspoiling the town," one boy of-fered an exclusive teenage ex-planation.

"He didn't mean they werecrazy," he said. "He meantteenagers. That's the way a lotof people talk to teenagers."

Discussing a scene in whichLisa seeks comfort in a sculp-ted family in a museum, onegirl said quietly, "She knew thestatue would not tell her to getlost."

"The statue had so much moreto offer her," another added.

"Their understanding of thismovie amazes me," Mr. Jacob-son observed later. "Their un-

derstanding is telling us a lotof things. Knowing more aboutthem will help make us betterteachers and, make no mistakeabout it, they understand somuch more than any of us real-ize they do."

Big Consequences"It' s fantastic, " Mr. Lillyman

observed. "I thought it would betremendous, but I'm stillamazed. Some of those kids whowere speaking up and askingexcellent questions haven't saidanything before. They've justsat there."

One boy who exhibited a par-ticularly sensitive reaction tothe movie, Mr. Lillyman said,has been one of his "disciplineproblems."

"This has big consequences,"Mr. Jacobson observed.

"If we can just once get themto turn that dial away from"The Monkees" because they'dreally enjoy watching some-thing good instead, we'll havereally accomplished something,"Mr. Lillyman said. "But, to tellyou the truth, when I see someof those kids speaking up whohaven't said a word before, Iget the feeling we've accomp-lished something already."

Yesterday afternoon the stu-dents saw "I'm All Right, Jack,"a British comedy, starring PeterSellers.

Student comment at the end of the Program:

"I know the films helped me in English, andI know it will help others not just in Englishbut in other activities because you can pictureyourself in the movie doing something right orwrong."

"It's a step in the right direction—aclassroom need not be the only place to learn,and the system should realize this."

"Students in years to come will be educatedin this fashion—it was an introduction."

"It was a break from usual school life, andsome of the films were inspiring."

"I think it's a chance to get out of theordinary rut and learn at the same time aboutlife and people."

"The students enjoy most of the films;discussing the films may cause a student'soutlook on life to change."

The first Community Film Program incorporateda number of distinguished shorts in addition tofeature films. Stills above are from Mosaic andThe Running, Jumping, and Standing Still Film.Other shorts that were shown in the series wereTwo Men and a Wardrobe, Day of the Painter,and The Critic.

and 80 minutes in length. An admis-sion charge of 150 per film can bepaid by either the student or theschool district. Discussion guides aresupplied for all films in the series tohelp teachers in conducting classesthe day after the showing.Secondary students Students in theseventh through twelfth grades seefilms of artistic merit appropriate totheir ages. Occasionally the film willbe the same one shown to adults inthe evening. Showings, which areusually scheduled for the afternoonduring released time from school,range in length from 80 to 100 min-utes. An admission charge of 250 perfil m can be paid by either the studentor the school district. Discussionguides are supplied for all films in theseries to help teachers in conductingclasses the day after the showing.Adults The films for adults are shownin the evening at 7:30 p.m. Discussionsin a community meeting place followeach showing, with either a local filmbuff or a visiting critic engaged by theCouncil acting as discussion leader.(Critics engaged by the Council haveincluded faculty members from nearbyuniversities and popular critics likeHollis Alpert of Saturday Review andJudith Crist of The World JournalTribune.) The discussion period is 9

intended to involve all present in con-versation about the movie just seen.Tickets to both films and discussionsessions are sold in advance at aspecial series rate of 75¢ per eveningor the night of each showing at $1.00.Administrative procedure Schooladministrators can stimulate the initi-ation of a community film program,but a local sponsoring organizationlike a service club or woman's groupshould take responsibility for all ar-rangements necessary to the opera-tion of the series in a particularcommunity. Through contract withsuch a sponsor, the Council will pro-vide funds to rent both theatre andfilms, to print tickets and flyers, andto provide for any necessary advertis-ing and promotion. (Payments to visit-ing speakers will be made directlyfrom the Council.)

The sponsor retains 25% ofreceipts from ticket sales. An addi-tional 25% is turned over to the localtheatre (above and beyond the basicrental charge for the house). Theremaining 50% is deposited in anescrow account to support a similarprogram in the succeeding year. Asponsor is not required to meet aquota of ticket sales, and assumes nofinancial liability in taking on respon-

10 sibility for local arrangements.

Elementary school children saw nine films in the first Community Film Program. Stills above arefrom (left column) The Shepherd, Romance of Transportation, Skinny and Fatty, and (right column)The Captain, White Mane, and Whistle Down the Wind. Other films in the children's series wereLines Vertical and Lines Horizontal.

AID TO FILM STUDY CURRICULAThe Council provides both advisoryservice and financial aid toward theinitiation of film study courses at sec-ondary schools and colleges wherethey are not already offered. In addi-tion, it offers assistance to such insti-tutions that are interested in improvingthe film courses presently in theircurricula.Workshops and conferences PeriodicCouncil-sponsored workshops areopen to instructors who wish to initi-ate film study in their schools; con-ferences, also sponsored by theCouncil, will enable teachers of filmstudy to make direct contact with pro-fessional people engaged in the cre-ative and technical aspects of filmmaking.

A two-day workshop to be heldin New York in Spring 1967 will includein its program screening and analysisof feature films and short subjects.how-to discussion of teaching tech-nique in film study classes, and asurvey of the shape and content ofexisting film courses. Applications forworkshop attendance should beaccompanied by a note of approvalfrom the teacher's school administra-tor. There is a $10.00 registration fee.The Council will provide lunches andlodging (but not transportation) for

participants. Teachers who attend maybe called upon later to lead similarworkshops in their own school systems.

The Council's first film confer-ence, also to take place in New York,is tentatively scheduled for Fall 1967and may be held in conjunction withthe Lincoln Center Film 'Festival.Speakers will include film makers,directors, actors, screenwriters, critics,and distributors. Attendance will beopen to both film study instructors andhigh school and college teachers con-cerned with aspects of film making inother subject areas.Film rental To encourage broaderuse of artistically significant films theCouncil will provide up to $300 annu-ally to match funds allocated by sec-ondary schools and colleges for therenting of films to be used in new filmstudy courses. For institutions whichnow have accredited film studycourses, it will also provide up to $300to match any increase over the filmrental budget for the previous year.Applications for film rental assistancefor new courses should include adescription of the course and a listingof the films to be used, distributors,and rental fees. Applications fromschools with existing courses shouldinclude program and rental fees forthe prior year as well.

Speaker's bureau The Council willhelp schools and colleges obtain filmprofessionals to participate in theirfil m study curricula for short periodsof time, providing as much as 50% ofthe visitor's fee (up to a maximum of$150 for a one-day engagement plus$50 for each additional day in whichthe visitor takes part in the program).A list of available lecturers—critics,screenwriters, directors, and techni-cians--prepared in cooperation withthe American Federation of FilmSocieties will be furnished upon re-quest. Council support will be providedupon approval of a planned program.Applications must be received at leastfour weeks prior to the lecture daterequested, and at least two weeksshould be allowed for the processingof such applications.

AID TO FILM SOCIETIESCouncil support is intended to helpfil m societies and study groups expandtheir present resources through thefollowing services:American Federation of Film SocietiesThe Council will sponsor a one-yearassociate membership in the Federa-tion for societies which are not alreadymembers. Membership provides asubscription of the Federation'smonthly "Film Society Review." It alsoplaces at the associate's disposalother periodicals, publications, andmaterials relating to programming,program notes, cataloging, manage-ment, and operational procedure.Speaker' s bureau The Council willhelp societies and study groups toinclude lectures by film experts intheir programs, providing up to $150to assist with as much as 50% of alecturer's fee. A list of available lec-turers—critics, screenwriters, direc-tors, and technicians—prepared incooperation with the American Fed-eration of Film Societies will be fur-nished upon request. Council supportwill be provided upon approval of aplanned lecture. Applications must bereceived at least four weeks prior tothe lecture date requested, and atleast two weeks should be allowedfor processing such applications.

Study guides The Council has com-missioned a limited number of filmstudy guides that through exploratoryquestions stimulate thinking and dis-cussion about the technical andaesthetic significance of specific films.Additional guides are now in prepara-tion. Study groups and film societiesmay obtain free sample guides and alisting of all films for which guideshave already been prepared.

13

BOOKS AND PERIODICALS

There are many useful and informativebooks and periodicals devoted to filmmaking and film appreciation whichare not regularly stocked in book-stores or found in libraries. The fol-lowing list is adapted from "FilmStudy in the High School," by the Rev.John M. Culkin, S. J., Director of theCenter for Communications, FordhamUniversity.

GeneralAGEE, JAMES. Agee on Film. Vol. I.432 pp. McDowell, Obolensky, Inc.,1958. $6.00. Beacon Press, paper,$2.45. Essays and reviews by one ofthe better critics and screenwritersoffer the chance to observe a livelyand critical mind at work.FULTON, A. R. Motion Pictures. 320pp. University of Oklahoma Press,1960. $5.75. Good introduction to allaspects of the film with chapters com-paring film with drama, the novel, andtelevision.HOUSTON, PENELOPE. The Contem-porary Cinema. 222 pp. Penguin Books,1963. Paper, $1.25. An English criticlooks at the postwar film world withinsight and enthusiasm.HUGHES, ROBERT (ed.). Film: BookII: Films of Peace and War. 256 pp.Evergreen, paper, $2.45. Excellent es-says on the war film.KAEL, PAULINE. I Lost It At TheMovies. 365 pp. Atlantic, Little, Brownand Co., 1965. $6.00. Bantam Books,paper, 95¢. A first-rate critic rangesthrough films of the last 20 years.KNIGHT, ARTHUR. The Liveliest Art.352 pp. New American Library, 1957.Paper, 75¢. A popular study of the his-tory of film up to 1957 with annotatedbibliography of 100 books on film.LEONARD, HAROLD (ed.). The FilmIndex: A Bibliography. Volume I, TheFilm as Art. 780 pp. (The Museum ofModern Art Film Library and the H. W.Wilson Company, 1941.) Arno Press,1966 (Reprint). $22.50. A massive bib-li ography, compiled under the WPA,that includes over 8,500 entries on

every conceivable aspect of the his-tory, technique, and aesthetics of filmmaking.TALBOT, DANIEL (ed.). Film: An An-thology. 650 pp. (Simon and Schuster,1959.) University of California Press,paper, $2.25. Excellent general anthol-ogy of writing about the film.TAYLOR, JOHN RUSSELL. CinemaEye, Cinema Ear. 294 pp. Hill andWang, 1964. $5.95. Paper, $1.95. Ali vely study of some key film makersof the 1960's: Fellini, Antonioni,Bunuel, Bresson, Bergman, Hitchcock,Truffaut, Godard, and Resnais.WARSHOW, ROBERT. The ImmediateExperience. 282 pp. (Doubleday andCo., 1962.) Anchor Books, paper,$1.25. A perceptive and thoughtfullook at popular culture with two su-perb essays on the gangster film andthe Western.

Film StudyBLUESTONE, GEORGE. Novels intoFilm. 237 pp. University of CaliforniaPress, 1961. Paper, $1.95. A goodstudy for the English teacher analyz-ing the techniques appropriate toliterature and to films. Book-film com-binations under study are: The In-former, Pride and Prejudice, TheOx-Bow Incident, Grapes of Wrath,Madame Bovary, and WutheringHeights.CALLENBACH, ERNEST. Our ModernArt—The Movies. 116 pp. ChicagoCenter for Liberal Education for Adults,1955. Paper, $1.00. A "how-to-do-it"guide for film study programs includ-ing a proposed course intended to

stimulate teachers to work out theirown programs.FISCHER, EDWARD. The Screen Arts.184 pp. Sheed and Ward, 1960. $3.50.A basic introduction to film and TVappreciation.HODGKINSON, ANTHONY W. ScreenEducation. 100 pp. UNESCO Publica-tions, 1963. Paper, $1.00. Excellentstatement on the goals and methodsof screen education, summarizing thebest of what has been done in Euro-pean elementary and secondaryschools.LYNCH, WILLIAM. The Image Indus-tries. 159 pp. Sheed and Ward, 1959.$3.50. An articulate plea for a con-structive and humanistic approach tofilms and television.McANANY, EMILE, and WILLIAMS,ROBERT. The Filmviewer's Handbook.208 pp. Paulist Press, 1965. Paper,950. Practical introduction to the whatand how of establishing a film studygroup. Includes a short history of film,an analysis of film techniques, a sam-ple film series, and source informa-tion on books and films.MALLERY, DAVID. The School and theArt of Motion Pictures. 147 pp. Na-tional Association of IndependentSchools, 1966 (Revised Edition).Paper, $1.00. A lively, articulate, andpractical study on the many roles offilm in the schools. Brief commentson several hundred films and onplaces within the curriculum wherefilms can be studied and used.NATIONAL COUNCIL OF TEACHERSOF ENGLISH. Motion Pictures and theTeaching of English. 168 pp. Appleton -

Century-Crofts, 1965. Paper, $1.95.Useful introduction to the place ofmotion pictures within curriculum. In-cludes analyses of Grapes of Wrath,Citizen Kane, and The Miracle Worker.PETERS, J. M. L. Teaching About theFilm. 120 pp. UNESCO Publications,1961. $4.00. Good summary of ap-proaches to film study developed inEurope.REISZ, KAREL. The Techniques ofFilm Editing. 288 pp. Hastings House,1959. $9.95. A liberal education in therelationship of editing to mood,rhythm and development of the film.STEWART, DAVID C. (ed.). Film Studyin Higher Education. 174 pp. Ameri-can Council on Education, 1966.Paper, $2.75. Includes descriptions offil m courses in some key collegesalong with incisive criticism pro andcon of the courses and of film studyin general.

PeriodicalsCahiers du Cinema (English Edition).635 Madison Avenue, New York, N.Y.10022. Monthly. $1.25 per issue. $9.50per year.Catholic Film Newsletter. 453 MadisonAvenue, New York, N.Y. Monthly. $5.00per year.Film Comment. 838 West End Avenue,New York, N.Y. 10025. Quarterly. $1.00per issue. $3.75 per year.Film Culture. GPO Box 1499, NewYork, N.Y. 10001. Quarterly. $4.00 peryear.Film Facts. P.O. Box 213, VillageStation, New York, N.Y. Bi-monthly.$20.00 per year.Film News. 250 West 57th Street, NewYork, N.Y. 10019. Bi-monthly. $5.00per year.Films and Filming. 154 Queen Street,Portsmouth, England. Monthly. $6.25per year.Films in Review. 31 Union Square West,New York, N.Y. Ten issues per year.$6.00.Green Sheet. 522 Fifth Avenue, NewYork, N.Y. Monthly. Free to organiza-tions.Media and Methods. 124 East 40thStreet, New York, N.Y. 10016. Monthly,September—May. $3.00 per year.Sight and Sound. 155 West 15thStreet, New York, N.Y. 10011. Quar-terly. $4.00 per year.

FILM SOURCES

There are several dozen distributorsof 16-mm feature films for non-theat-rical use in the United States, and filmsocieties and study groups who cus-tomarily deal with only one or two areprobably restricting their program-ming unnecessarily. The EducationalFilm Library Association has com-pleted work on a single source vol-ume, "Feature Films on 16," whichmay be ordered directly from the As-sociation, 250 West 57th Street, NewYork, N.Y. 10019, at $5. An appendixli sts the names, addresses and tele-phone numbers of 35 distributorswhose films are cataloged in "FeatureFilms on 16." The companies listedbelow represent the major distributorswith main or branch offices in NewYork State.

Audio Film Classics, 10 Fiske Place,Mount Vernon, N.Y. 10550.Brandon Films, Inc., 200 West 57thStreet, New York, N.Y. 10019.Contemporary Films, Inc., 267 West25th Street, New York, N.Y. 10001.Continental 16, 241 East 34th Street,New York, N.Y. 10016.Embassy Pictures, 1301 Avenue of theAmericas, New York, N.Y. 10019.Films, Inc., 38 West 32nd Street, NewYork, N.Y. 10001 (branch office). Mainoffice: 425 N. Michigan Avenue, Chi-cago, III. 60611.Janus Films. 24 West 58th Street, NewYork, N.Y. 10019.Museum of Modern Art Film Library,11 West 53rd Street, New York, N.Y.10019.National Film Board of Canada, 680Fifth Avenue, New York, N.Y. 10019.Louis de Rochemont Associates, 267West 25th Street. New York, N.Y.10001.Royal 16 International, 711 Fifth Ave-nue, New York, N.Y. 10022.Sterling Educational Films. 241 East34th Street. New York, N.Y. 10016.Teaching Film Custodians. 25 West43rd Street, New York. N.Y. 10036.

CREDITS

Page Source2 Photographer: Emil Cadoo4 Photographer: Emil Cadoo5 Top to bottom

Continental Distributing Inc.The Museum of Modern ArtMetro-Goldwyn-Mayer

6-7 Columbia Pictures Corporation9 Top to bottom

National Film Board of CanadaJanus FilmsJanus Films

10 Top to bottom left column

National Film Board of CanadaNational Film Board of CanadaJay K. Hoffman,

World Presentations, Inc.Top to bottom right column

Jay K. Hoffman.World Presentations, Inc.

Childhood ProductionsPathe-America Distributing Co.

12 Photographer: Emil Cadoo

Design. Martin Stephen MoskofPrinting: Grenex Incorporated

United Artists 16MM. 729 SeventhAvenue. New York, N.Y. 10019.United World Films. 221 Park AvenueSouth, New York. N.Y. 10003.

1 6

COMMUNITY FILM SERIES

I am interested in further information about how the Council's program can be implemented in my community.

The local school district is

The superintendent of schools is

My name and title

q I am interested in Council support for renting filmsfor my course.

q I would be interested in engaging a lecturer for mycourse. Please send a list of speakers and an appli-cation for Council assistance.

Please sponsor an associate membership in theAmerican Federation of Film Societies for the comingyear. We are not now members.

q We are interested in engaging a lecturer. Please senda list of speakers and an application for assistance.

q Please send sample study guides and titles of thoseprepared.

Name and title

Please send sample study guides and titles of thoseprepared.

Nelson A. Rockefeller, Governor

Members of the Council

Seymour H. Knox, Chairman

Henry Allen Moe, Vice Chairman

Max L. Arons

Mrs. Harmar Brereton

Hy Faine

August Heckscher

Louis Clark Jones

David M. Kaiser

Eric Larrabee

Mrs. David Levene

Frederick W. Richmond

Mrs. Richard Rodgers

Mrs. Aline Saarinen

Frank Stanton

Hale Woodruff

Staff

John B. Hightower, Executive Director

Peter Bradley, Film Program Director

Harry Deutsch, Special Projects Director

Arthur Kerr, Touring Program Director

Allon Schoener, Visual Arts Director

Suzanne Fogelson, Office Manager

New York State Council on the Arts

250 West 57th Street/New York, N.Y. 10019

Telephone (212) 586-2040.