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A historical study of cooperative Protestant religious film in America from 1914 to 1972
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Content
A HISTORICAL STUDY OF COOPERATIVE PROTESTANT
RELIGIOUS FILM IN AMERICA FROM 1914 TO 1972
by
Joseph Lewis Bridges
A Dissertation Presented to the
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(Communications)
August' 19 75
UMI Number: DP22320
All rights reserved
INFORMATION TO ALL USERS
The quality of this reproduction is dependent upon the quality of the copy submitted.
In the unlikely event that the author did not send a complete manuscript
and there are missing pages, these will be noted. Also, if material had to be removed,
a note will indicate the deletion.
UMI'
Dissertation Publishing
UMI DP22320
Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author.
Microform Edition © ProQuest LLC.
All rights reserved. This work is protected against
unauthorized copying under Title 17, United States Code
ProQuest LLC.
789 East Eisenhower Parkway
P.O. Box 1346
Ann Arbor, Ml 4 8 1 0 6 - 1346 -
UNIVERSITY OF SOUTHERN CALIFORNIA
THE GRADUATE SCHOOL
UNIVERSITY PARK
LOS ANGELES, CALIFORNIA 90007
This dissertation, written by
........JOSEPH...LEWIS...BRIDGES...........
under the direction of h..Ls... Dissertation Com
mittee, and approved by all its members, has
been presented to and accepted by The Graduate
School, in partial fulfillment of requirements of
the degree of
PK,D.
c M
' 76
B SSI
D O C T O R O F P H I L O S O P H Y
Dean
Date..
DISSERTATION COMMITTEE
' JChairm an *
.far*. ---
ACKNOWLEDGMENT
To Charlyn, my wife, who, also being a writer, knows
the agonies of research, yet allowed me to proceed with
this study, who encouraged me when it got tough, and who
has shared the real joy of accomplishment and learning
that has come from this project.
TABLE OF CONTENTS
LIST OF TABLES...................................... vii
Chapters
I. THE PROBLEM AND DESIGN OF THE STUDY........... 1
The Problem
Statement of the Problem
Significance of the Problem
Limitations of the Study
Design of the Study
Materials and Procedures
Definition of Terms
Review of Literature and Data Resources
Preview of Remaining Chapters
II. ORIGINS OF RELIGIOUS FILM ACTIVITY........... 11
Introduction
Missionaries and Mission Boards
YMCA Beginnings in Film Distribution (1911)
Inter-Church World Movement
International Church Film Corporation (1919)
Harwood Huntington— Sacred Films Incorporated
(1921)
Paul Smiths-American Motion Picture Corpora
tion (1925)
The Bible Film Company (1916)
James K. Shields< — Plymouth Pictures (1919)
John E, Holley— Holy Land Pictures (1922)
Russell H. Conwe 11— Temple Producing
Company (1922)
J. A. McGill— Historical Film Corporation
I (1923)
Graham C. Patterson— Herald Non-Theatrical
J Pictures, Inc. (1923)
; Lutheran Church
j Various Denominations (1924)
■ Ten Commandments
j Educational Screen Magazine
■ Epworth League
iii
CHAPTERS
I Harmon Foundation and Religious Motion
; Picture Foundation (RMPF)
j Mary Beattie Brady
Presbyterian Church
: International Film Services
! Technology Advnaces
More Missions
Yale University Project
Film Articles
International Council of Religious Educa
tion (1937)
Moral Objections (1933)
J. A. Rank
Africa Experiment
Rev. James K. Frederich— Cathedral Pictures
(1939)
Charles Anson Bond— Foundation
III:. POST-WAR: RELIGIOUS EDUCATION USES FILM ....
International Council of Religious Educa
tion (1944)
Audio-Visual Workshops (1944)
William S. Hockman
Visual Education Fellowship (194 7)
Beyond Our Own Dedication (1947)
Audio-Visual Evaluation Program (194 8)
Distribution and Availability Discussed (1949)
Film Festival at Green Lake
Producers Meet
Regional Workshops
Seventh Workshop Stresses Utilization (1950)
Leadership Training
National Council of Churches Absorbs Inter
national Council of Religious Education
Production Conferences (1951)
| Production and Use of Audio-Visuals
Discussed <
Donald Lantz
Teach the Bible Theme (1952)
Theme: Audio-Visuals in Church Curriculum
(1953)
Theme: Functional Audio-Visuals (1954)
Eastman Kodak Report (1956)
j Theme: Basic Issues Rethought (1957)
! First Executive Consultation (1958)
, Education Theory Emphasized
Theme: Christian Communications (1959)
Audio-Visual Training Survey Featured (1960)
100
iv
:CHAPTERS
I
: Audio-Visuals Approached from Learner
I Standpoint (1961)
Self-Instruction in Religious Education
1 Theme: Establishing Goals (1962)
Theme: Putting Christian Content into Media
Forms (1963)
New Term Discussed: "Instructional Tech
nology" (1964)
1 IV. POST-WAR INTERDENOMINATIONAL COOPERATIVE
ACTIVITIES AND ORGANIZATIONS .................
Religious Film Association
Protestant Film Commission Fore-Runner
Protestant Film Commission Develops
Missions — RAVEMCCO
PFC/PRC Consider Merger
National Council of Churches
The Broadcasting and Film Commission
Communications Research Project
BFC West Coast Office
BFC— Budget
BFC— Production
BFC— Distribution
Changes--Experience
Funds
Personnel
: Emphasis on Laity
I Broadcasting Emphasis
Annual Film Awards--Controversy and Effect
BFC/NCC Relationship Changes— Office of
Communication Develops
From Production to Consultation
i
i V. RELIGIOUS FILM QUESTIONNAIRE RESULTS ....
I VI, SUMMARY, CONCLUSIONS AND IMPLICATIONS FOR
! FURTHER STUDY ................................
I
Summary
I Conclusions
1 Implications for Further Study
; appendices
A. Letter of Inquiry to Selected Persons
Knowledgeable and Experienced in Religious
Film History . .............................
192
255
268
281
v
APPENDICES
B. Listing of Names and Addresses of Persons
Receiving Letter in Appendix A ............... 2 83
C. Confidential Religious Film Questionnaire . . 2 85
D. Listing of Names and Addresses of Persons
Receiving Questionnaire in Appendix C . . . . 2 89
E. Listing of Film Titles and Descriptive
Material of Top Twenty Films Noted in
Questionnaire ................................. 296
SOURCES CONSULTED ................................. 304
LIST OF TABLES
TABLES
1. Attendance at First International AV
Workshop.................................... Ill
2. Attendance Report— Fourth International
Workshop in AV Education.................... 114
3. Estimated Annual Figures for Religious Motion
Picture Production over the Period of 1915 to
1955 152
4. Figures Reveal How Many Films Were Produced
and/or Sponsored by Denominations Compared to
Those Released by Independent Studios (1947
to 1955) 153
5. Figures Reveal the Median and Arithmetic
Averages of the Running Times of Religious
Films Annually, 1947 to 1955 155
I
I
vii
CHAPTER I
THE PROBLEM AND DESIGN OF THE STUDY
A. The Problem
Statement of the Problem
The general problem of this study is to trace the
historical development of the cooperative American Prot
estant religious motion picture endeavor from its origin
(1914) until 1972. This general problem is divided into
the following constituent questions:
(1) What cooperative agencies have produced
religious films and what has been their affiliation with
organized church bodies?
(2) To what uses have the films been put within the
church program? Missions? Education? Stewardship?
(3) What have been the distribution methods and
ipolicies?
(a) May agencies produce for any sponsor?
| (b) Have religious producers been successful at
producing films on speculation?
i
i (4) For what reasons have churches established
I
i
jcooperative film production agencies and under what
financial arrangements and guidelines?
: (5) How have these conditions and arrangements
ichanged throughout the period studied?
I
Significance of the Problem
The study is thought to be significant for the
^following reasons:
(1) For many years a fairly large segment of the
motion picture industry has been devoting time and money to
making films for religious groups and churches.
(2) No systematic research report has been prepared
dealing with the history of this activity.
(3) Preliminary investigation revealed that
religious film making has undergone significant changes in
format, style, production and distribution techniques.
(4) The rise and fall of businesses and agencies
iestablished to produce and distribute films for church use
has been significant.
Limitations of the Study
The study is limited to an examination of the
:American Protestant religious film industry rather than any
developments within the Roman Catholic or Jewish churches.
I
| It is not the problem of this study to investigate
i
Igovernmental politics, national economic conditions or
I
! social movements during the period other than those which
i
i
jmight directly relate to the status of cinema in the Protes-
■tant churches. Film content is also not considered per se.
! Normally, in an historical study, the bulk of the
information would come from researching the published
material on a given subject and very little would be
derived from interviews or "raw data." Because of a con-
I
[siderable lack of literature on this topic, this study
j
leans heavily on correspondence and interviews with
individuals who had actually witnessed the development of
i
^religious film, and on an original questionnaire, business
Records, journals, brochures of historic value, conference
i
I
land seminar notes and other data.
t
j Specific developments in individual denominations
|are not considered pertinent to this study unless that
'activity related to some film project or organization in
|which several agencies participated.
! With the same criteria, this study necessarily
j
;omits the . ..specific- developments of a number of
!independent film producers, especially of the more
evangelical, conservative variety. Some of the larger
iproducing agencies became involved in cooperative
jdenominational projects and so are considered in reference
I
|
to that involvement.
I
! B. Design of the Study
j Materials and Procedures
! The initial step taken in the research was to review
the printed literature which deals with religious film.
jThis included published books, magazine articles, journal
notes, bulletins, reports, brochures, pamphlets, minutes to
^meetings and office records. A large variety of these
works had to be investigated since most of them gave mere
sketches regarding films for the church.
The second step was to prepare a letter of inquiry
with a few basic assumptions stated, accompanied by a
irequest for their reflection and response. This letter was
sent to persons who had had pivotal positions or in some
Iway influenced developments in religious film history.
'Both a sample letter and the persons to whom it was sent is
I
contained in Appendices A and B, respectively.
A significant step in the study is the use of
■personal interviews. The interviews began soon after some
of the responses to the first letter were returned, but
'prior to mailing out the general questionnaire. This was .
to assure that more pointed and significant questions could
be asked due to the researcher's knowledge by that time. In
this way, the mail responses help make the interviews pro
ductive and, in turn, both help keep the questionnaire
short and responses easier.
A questionnaire was then prepared and sent. (see
Appendix C for the sample and Appendix D for the list of
persons to whom sent.) The percentage of responses and
results of the questionnaire survey are explained in
.Chapter Five. The form was sent to 110 persons, selected
I 4
I to represent the various aspects of the religious film
j
ibusiness: writers, producers, directors, actors,
distributors, critics, denominational leaders, and users
I (i.e. ministers, youth directors, Christian education
i
I leaders and the like). They were selected according to
,their own acquaintance to religious film, according to
I their access to religious film and also, in light of their
own history and career in the area of religious film
i
{production, distribution and utilization.
I
t
I The next step required the viewing and evaluation of
t
;a small sample of religious film produced during the
{period. Films were selected for viewing by noting the top
i
I
films listed on the returned questionnaires, especially if
{they were good examples of a style, area of production or
|trend setter. A listing of film titles and descriptions
i
{thereof, most of which have been viewed, is contained in
{Appendix E. Non-availability of prints was the prime
j
iobstacle in actual viewing, as well as scheduling
{conflicts. This problem was not felt too serious to the
!
{major thrust of the paper, since trends and not the films
|themselves were under specific consideration.
i
The methodology of research in this study may be
considered historical analysis. Since a study of an
historical development is presented, the study is analyzed
jin context of that history.
Definition of Terms
j ■ — ■ ■ ■ ■ ■ ■ ........................... ................................ ................................ ................................
The "church," as referred to in this study, is
defined as the collection of organizations supported by
I
Protestant believers in Jesus Christ, or Christianity.
"Religious," as in "religious motion pictures,"
refers to those films which were ostensibly prepared for
[use by or viewing in a church or denominational context.
Generally, such films have been designed to train, educate,
[generate support, inspire, inform, or persuade that a given
[Christian concept was acceptable and recommended as a way
!of life. Current thought seems to reject such terms as
I
jbeing too narrow, since many "secular" films speak just as
[eloquently to the condition of man and his frustration in
[seeking answers to questions beyond his human knowledge.
i
[Regardless of that broader, more inclusive definition, this
[study uses the term, "religious," within the limitations
i indicated.
i
'Review of Literature and Data Sources
■ Search of appropriate indices and bibliographies
I
(reveals a distinct lack of any information in the specific
‘area of cooperative efforts within the religious motion
[
■picture industry, let alone an organized historical
I
[analysis. The following data sources have been researched.
I
1 (1) Technical and scholarly journals, not
specifically devoted to cinema have been researched through
iexamination of the following indices:
1 (a) Reader's Guide to Periodical Literature/
!1900 to 1971.
(b) Poole's Guide to Periodical Literature,
1802 to 1906.
(c) The Industrial Arts Index, 1929 to 1971.
(d) The Education Index, 1929 to 1971.
(e) The International Index to Periodical
Literature, 1907 to 1971.
(2) Pertinent films and related materials have been
• made available by selected producers or distributers of
Religious materials.
(3) Franklin H. Knower's listing of graduate work
in speech-communications in Speech Monographs, published
lannually, reveals no work specifically on cooperative
i
!religious film production history.
Three Master's Theses in the general area of reli
gious film have been found. One, by Ralph M. Nichols, was
entitled "A Survey of the Production of Religious Motion
P i c t u r e s . it presents a very brief sketch on the
i development of religious films as a background to the
^Franklin H. Knower, "An Index to Graduate Work in
i the Field of Speech," Speech Monographs (Annually 1958-
! 1971).
^Ralph M. Nichols, "A Survey of the Production of
Religious Motion Pictures" (unpublished Master's Thesis,
Dept, of Cinema, University of Southern California, 1950).
(analysis of the current formats and production trends in
31950.
i
I
| Another thesis, entitled "The Special Dramatic
(Problem of the Lutheran Television Series 'This is the
3
■Life,1" was written in I960, by Gene Bjerke. Very little
in the way of film history is presented in this study.
I
Bjerke presents, a fairly complete history of the media
,activities of the Lutheran church (Missouri Synod)
t
represented in this particular TV series.
I The last thesis, written by William M. O'Rork is
[entitled "A Comparative Study of Production Costs of
I 4
'Religious Film Making" and includes no history at all. It
[is an analysis of the production problems and costs, and
r
gives some insight into the business methods of some church
i
[groups. O'Rork's methodology is- to compare the costs of
I
[film production in a commercial Hollywood studio with those
in a church-owned and staffed studio.
[ The above three reports of research provide some
'background and reference sources for this study, however,
!
I
;little can-be used from their texts.
« 3
! Gene Bjerke, "The Special Dramatic Problem of the
(Lutheran Television Series, 'This is the Life'"
'(unpublished Master's Thesis, Dept, of Cinema, University
fof Southern California, I960).
I 4
t William M. O'Rork, "A Comparative Study of
Production Costs of Religious Film Making" (unpublished
[Master's Thesis, Dept, of Cinema, University of Southern
[California, 1962).
Preview of Remaining Chapters
Chapter II contains a historical study of the
American Protestant motion picture industry from its
origin to the approximate beginning of World War II, with
particular interest in the various cooperative efforts
between agencies and church denominations. Within that
development is contained the seeds of later organizations,
which made a number of false starts before evolving into
'significant denominational "machines" for the production of
^audio-visuals.
Chapter III relates the religious film activity spe
cifically in the area of religious education. Cooperative
agencies which evolved as a part of this effort served to
educate hundreds in the use of audio-visuals in the church.
A study of the annual conferences is also presented.
Chapter IV carries the study into the post-war
period, which has been, by far, the most prolific in numbers
of titles produced on a cooperative basis. Continuous
development and change typify this period.
Chapter V presents the results of a general
religious film questionnaire sent to producers, dis
tributors and users of film in and for the church market.
The questionnaire serves as a current attitude check,
which is most revealing in light of the foregoing historical
study.
Chapter VI develops a summary and certain
9
.conclusions of the study. It also presents implications
I
land recommendations for further study in the specific area
jof cooperative religious film production and the broader
.areas of distribution and utilization.
10
1 CHAPTER II
i
' ORIGINS OF RELIGIOUS FILM ACTIVITY
I
I
i
i lntroduction
| "The screen is an arena, not a pulpit."''"
)
j Throughout the development of religious cinema, the
i
imethod or approach has been either direct or oblique.
I
i
(Films which use the direct approach are pretty much the
•stock-in-trade for most religious film producers, whether
(the small, independent, "industrial/educational" type, the
I
i
'larger theatrical film studio, or the in-house motion
[picture divisions present in several of the major
i
.denominations.
J The Bible has taken many blows from the major
jstudio scriptwriters, from the early 1914, David and
‘ Goliath to Ten Commandments and Ben Hur. The more church-
i
I
(oriented producers, as well, have done their share of
jpulling from the Scriptures every drop of narrative
(material they could. These latter films, usually produced
junder church patronage, have had the stigma of "bathrobe
I "'"Oliver Huskin, "The Cinema Has No Soul," Film;
' Magazine of the Federation of Film Societies, September-
jOctober 1955, London, p. 16.
and beard" or "toga and sandals" type production—
relatively cheaply made and lacking in slick direction and
i
[creative writing. This stigma? whether well founded or
i
jnot, led this researcher to investigate the "real" world of
{Christian film making and its development in America.
| The former, more expensive major studio productions,
!
.have been under a certain suspicion of church leaders as to
the real motives of the producers. Some were even
{condemned for their use of sacred subjects in exploitation,
: sex and violence for commercial gain.
I
! The opening statement by Huskin may be an axiom to
some aesthetes in the film industry. To those, film is an
I
{art form only and any motion picture that smacks of
i
jpedanticism or dogmatism from a direct approach violates
i
{basic ideals and principles of film making. "Why, then,"
i
I
{they would say, "has the oblique approach not been used
i
{more in Christian film making? Not only would the films be
I
more 'artistic,1 but surely they would be more effective."
This paper does not attempt to justify the use of
the direct method, only to expose 'the workings of those who
{use it. Nor does this paper condemn major studios,
[theatrical film makers or their motives. The study is
[limited to the development of a part of the film industry
Idirected toward the use of film by the church specifically,
i
and not those initially produced for the neighborhood
i
theatre. It may be that major studio films, both Bible
: narrative— Greatest Story Ever Told— -type films, as well as
certain non-period drama, have been used by the church,
j but the original market of these films was the commercial
theatre. Those are not under consideration herein.
Missionaries and Mission Boards
The acceptance of the use of pictures, still or
, motion, by the church, springs from the use of biblical
; illustrations in Christian education and training. Charts,
; paintings, stained glass windows, lithographs, drawings and
!
| other non-projected media have been used for many years in
: Christian education and even today represent a huge part of
the training materials production and budget for the church
The earliest educational use of projected visual
aids was with the stereopticon slide, which took place
1 under the auspices of the church in a Jesuit college in
Rome (circa 1900). Public schools had used these visual
aids for several years before the church realized their
worth as a teaching aid. The church saw visuals help in
explaining the meaning of hymns and to illustrate those
hymns in worship services. The slides, usually hand let
tered and painted, were used to illustrate Bible stories
and Palestinian scenes, and to teach racial understanding
; and the concept of missions.2
^Leah Irene Fanning, "A Study of the Use of Motion
Pictures in the Program of Certain Protestant Churches"
The earliest promotional use of projected pictures
I
in the church began with missionaries and mission boards.
i
The organized collection of sets of slides on mission
i
activities began in 1902 and perhaps earlier, though we
:have no record. At that time, Dr. A. V. Casselman, Field
|Secretary of the Board of Foreign Missions of the Reformed
Church in the United States, traveled to their mission
stations, photographed the activity, then made the photos
into slides upon his return.^ These stereopticon slides
were somewhat larger in size than those used today. They
were usually "crude and of poor quality." Leah Fanning's
j study indicates that the increased popularity of these
materials in time led to higher quality slides for church
use. 4
During the next 10-15 years (1902-1915), larger
1 church bodies and mission boards gradually increased the
collection and use of slide sets. In 1915, a member of
the Methodist Episcopal Board of Foreign Missions, Dr. S.
Earl Taylor, set up a relatively large library of slides
.designed for general use throughout the denomination,
according to Rogers and Vieth.^
i - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
unpublished Master of Arts Thesis, Graduate School, Univer
sity of Southern California, Los Angeles, 1932), p. 37.
; 3wiHiain l . Rogers and Paul H. Vieth, Visual Aids
I in the Church (Philadelphia; The Christian Education
i Press, 1946) , p. 4.
I .
■ ^Fanning, op. cit., p. 37.
: 5Rogers and Vieth, op. cit., p. 5.
. Another Methodist Episcopal leader, Dr. R. E.
!Diffendorfer, prepared a slide presentation about a home
j
mission survey made in behalf of the Inter-Church World
Movement.
His lecture was presented to very attentive
audiences in virtually every major city in the U. S.
This successful tour resulted in the wide exposure of
a relatively new visual method of communication. As a
consequence, in a short time, nearly every U. S.
Methodist church had acquired a stereopticon slide
projector and nineteen libraries or depositories had
been set up to facilitate easier acquisition of slide
set materials.6
Thus, the use of projected images (albeit slides)
was established as a means of communicating a religious
message, at least for education and missions, and among the
'larger denominations.
Theatrical Films
Many motion pictures seen or used by the church prior
i
to World War I seem to have come from commercial film pro
ducers. Director Sidney Olcott produced a one reel first
version of Ben Hur (1907) and later, a greater more success-
I
ful From the Manger to the Cross (1913). Also that year
I '
! . . . . .
'brought the two-hour spectacle Quo Vadis from Italy. The
inext year D. W. Griffith's Judith of Bethulia (1914) made
I
'the church aware of religious themes on film.
In 1915, a religious Italian film, Christus, was
i
I completed, after almost two years of elaborate and
6Ibid.
15
[
' expensive production. The locations ranged over authentic
I
! settings in Egypt and Palestine and featured the
I
| re-creation of many world famous paintings. The film had
i
a record of more than 1,000 showings in Paris, Rome and
I
: Madrid before opening in New York, May, 1917. Unfortu-
■ nately the American public failed to capture the mood of
an old story being retold. The impressive religious film
was forced to close. Christus was "the last important,
frankly religious picture to reach the screen of America,
before the First World War interferred with the peaceful
course of development^
The problem ,of the acceptance of film in the
church has been seemingly unending. Motion pictures
have been the "devil's tool" to many in the church from
| the beginning. In June, 1922, J. E. MacAfee published
! an article, "Movies and the Church" in the Educational
Screen Magazine which strikes at the issue without
apology.
Certain church leaders have believed that they
discover in the movies the very incarnation of the
devil, and perhaps some still entertain that belief.
Having arrived at that conviction, of course they
fight. . . . But nothing is more apparent to
intelligent and conscientious folk today (1922) than
" 7 Arthur E. Knrows, series entitled "Motion
Pictures— Not for Theatres," The Educational Screen
Magazine, September 1941, p. 2 9 2.
16
! that there is no necessary connection between the movie
and the evil one.®
The writer speaks not only to the problem, the
i
!"thorn in the flesh" as it were, but suggests some
alternative ways of looking at the film as it relates to
I
I
;the church and even specific ways of utilizing film for
Igood and spiritual ends.
I The only possible treatment worthy of religion or of
: intelligence is one which seeks to find the way by
which the movie may be utilized for wholesome and holy
1 ends.
! Churches which learn this lesson have the option of
s institutionalizing the motion picture under either
their own immediate auspices or also of cooperating
' with general social agencies or with commercial
, agencies under strict community regulation, who assume
; responsibility for the mechanical features of the art.9
jYMCA Beginnings in Film Distribution-— 1911
»
i The Young Men's Christian Association became active
i
|not in motion picture production but distribution and in a
'round about way. Field workers of the industrial depart
ment of the "Y" had been showing 35mm silent black and
j
• white films from foreign industries to textile workers in
I
|the South in the early days of film making. In 1911, the
YMCA decided to set up a motion picture bureau to
facilitate those field worker presentations. Some of the
[ 0
I J. E. MacAfee, "Movies and the Church," Educational
;Screen Magazine, June 1922, p. 181.
' 9
Ibid.
t
17
jtextile workers in the South began to ask for films on the
work in the United States, showing how other people in the
U.S. earned their living. As a result, in 1916, the YMCA,
junder the direction of George A. Zehring and A. L. Fredrick,
[approached several manufacturers who caught on to the idea
:of film production. These films were basically industrial
land educational, but could be used as illustrative material
in the church. The YMCA provided suggestions as to how
•these films could be adapted and used as part of a
^religious theme. They were, of course, silent, but the
i
1
[novelty of film in those days kept viewer interest high and
Itheir lack of sound track made the footage more versatile.
[The fact that these films were not religious in their
i
I
[orientation was overcome merely by a change in script. As
iRogers and Vieth indicate in their book, Visual Aids in the
i
iChurch, "When they were used with discretion and ingenuity,
l
|they proved popular and effective on Sunday evening
[programs."
According to statistics gathered in 1939, almost 60
;percent of the users of sound films from the YMCA libraries
I
iwere educational groups, colleges, high schools, grade
[schools, and PTAs. However, the remaining 40 percent
I
[consisted of churches, clubs, industries and other YMCAs.^
i
j — —- I - H— I-.... -Ml .11. — .- . . I
■ "^Rogers and Vieth, op. cit., p. 3.
1 11
| "Ne^ASNotes, " The Educational Screen Magazine, N.
L. Greene, ed,, January 1940, p. 29.
I 18
In the early days, the YMCA industrial and educa
tional films were lent without charge to churches, and were
about all they could afford to use. By 1946, many
thousands of feet of film were available through the
I
jvarious YMCA motion picture division libraries, telling
i
■the story of American industry.
<
i As films of religious themes were produced, they
Iwere secured by the "Y" and made available for distribution
I
t
(through their libraries and- film services. According to
'Leah I. Fanning, in her master's thesis, "A Study of the
i
lUse of Motion Pictures in the Programs of Certain
Iprotestant Churches," "The Y first felt the need and demand
I
-for films for church use before there were any religious
12
pictures specifically for church use."
j
The position of motion picture as an accepted
i
^entertainment or educational visual aid was not confirmed
quickly, even though most major cities had film houses by
|1915-20. Cameras, film and other film making tools were
ialso slow to become available to church producers and
j
(educators.
i
[
i
!Inter-Church World Movement
j The Inter-Church World Movement was the first
!organization to establish a joint effort in film production
i
l
12
Fanning, op. cit., p. 62.
between a number of Protestant denominations. In 1918,
they set up a motion picture/stereopticon department, under
ithe direction of Dr. H. H. Casselman. This motion picture
'department of the Inter-Church World Movement sent out a
iteam to tour mission work in Japan, China, Malaya and India
:very soon after it was established. On this trip,
’ approximately 50,000 feet of 35mm, black and white, silent,
jnegative film was shot, along with hundreds of still photos
ifor slides. As luck would have it, the Inter-Church World
I
Movement was disbanded even before Casselman’s groups
I
'returned. The exposed film was necessarily sold to
i
[commercial film agencies and the slide photos were sold to
13
the Methodist Board of Foreign Missions.
I
^ International Church Film Corporation— 1919
■ After his successful experience in making the
i
jpicture, The Finger of Justice, the Reverend Paul Smith a
|
jMethodist minister, took a second film idea to the
Methodist Book Concern. His idea was not that of a film
per se, but of a production unit to tie in with the Inter-
Church World Movement. This organization, in 1919, had
I
^sponsored two film making expeditions to Africa and the
|
iNear East, and another to the Far East, under the direction
i
of H. H. Casselman. Smith apparently got approval of his
! 13
! Rogers and Vieth, op. cit., p. 4.
20
idea, formed the unit and somehow obtained the $50,000 with
which to start. The unit's actual connection with the
! Inter-Church World Movement was only through interlocking
|boards of directors.
The new organization, to be known as the Inter
national Church Film Corporation, was described as an
I
|interdenominational agency hopefully to serve some 5,000
i
'American churches on one great exhibition network.
i
! A new program was to be supplied each week,
| comprising a modern drama, a comedy, a newsreel, and an
I industrial or educational film. There was also to be a
I weekly Biblical film, which might be shown at Sunday
i School and at evening church service. In productions
to be made by the corporation, no players were to be
! starred or featured; all were to be subordinated to the
! message.
(
! Smith's new enterprise, The International Church
Film Corporation, began impressively enough, for he and his
i
(business partner, John E. Edgerton, leased the entire
I second floor of a building known as the Flatiron Building,
i
,at the corner of Broadway and Fifth Avenue, New York, in
i
i
,1921. The new organization believed it necessary to sell
jstock for its development. This was managed under the
'experienced hand of Henry Bollman, who had worked in
|developing a business called the Library Film Service.
I
Bronson Batchelor, who had worked with a successful Red
f
I
jCross campaign in 1917, prepared a prospectus. A man named
14
Krows, op. cit., October 1941, p. 334.
f Paul Marts was engaged to develop the publicity. According
{
I
ito one report, Smith's plan was to use retired ministers as
rental agents. Some of these prospective minister/agents
15
,had also put money into the organization.
I After a few months of campaigning, Paul Smith, it is
i
'Said, gained about 870,000 dollars, $50,000 of which it
also is said, went into salaries, overhead and miscel-
ilaneous in the first three months. It is reported that the
f
i
jremainder of that which was received was spent before the
I
lyear was out.
i
| At the end of the first quarter, the handwriting was
\ therefore on the wall and that was the time when Henry
! Bollman left for his six months interlude with the
j Educational Films Bureau with Lincoln and Parker at
I Boston. About all Smith had left, apparently, to show
| for his attempt when he relinquished it, were five
reels of scenics used to illustrate the Psalms, and an
i animated subject made by F. A. A. Dahme, entitled How
I Brooklyn Bridge is M a d e . - * - 6
l Harwood Huntington— Sacred Films Incorporated— 1921
I
f
A native of New Haven, Connecticut, Harwood Hunting
don made a move to the west coast at sixty years of age,
I
'because he had become interested in the film as an
jeffective means of extending the ministry of the church.
|This was in 1921. Huntington had recently retired from
I serving as Rector of a Protestant Episcopal church in
15
Rogers and Vieth, op. cit., p. 8.
X 6
Krows, op. cit., October 1941, p. 334.
22
r , — -------
jvirginia. He had also worked as a volunteer chaplain in
I
southern Florida army camps during the wartime. He had
been a missionary to both China and Korea. He once had
}
'been trained as a chemist. He had studied law and had even
^practiced as a member of the New York Bar. But at this
time his interest was film and he felt the chief obstacle
l
to the use of films in the church was the fact that there
i
|were not enough suitable films.
i
His venture to the west coast was to make a non-
I
i
jsectarian series of films on the Old Testament. He
i
jcertainly wanted these films to meet church requirements,
I
jbut he also wanted them to have a technical polish compar-
i
[able to those made by the major studios. He established an
organization known as Sacred Films Incorporated and located
ithe studios in Burbank, California, early 1921.
I
Because of his own church background, Huntington
I
made himself the head of the department which maintained
jchurch standards. Huntington called upon the technical
labilities of Edgar J. Banks for the supervision of
i
(production. These technical aspects were primarily in the
i
[
jarea of historical data and not the motion picture
i
'technical elements. Banks was a noted archaeologist
i
jrecognized as an authority of Semitic customs and history.
i
! He had even excavated Babylonian ruins, climbed Mount
^Ararat and had lectured and been published quite widely
i
i
in many journals. Not only that, but Banks had a "real
I
i 23
enthusiasm."
In an article in The Educational Screen Magazine in
1922, Banks vents his enthusiasm by scolding doubters and
!condemners of film.
{
' Many serious students of the Bible will regret that
j the stories of the Old Testament are to be reproduced
i in Motion Pictures and thrown upon the screen. To them
i it seems that the sacred scriptures should be spared
I such a fate. . . . But those very people, who object
; to filming the Bible have upon the shelves of their
i libraries Bibles illustrated with pictures . . . they
attend lectures . . . illustrated with stereopticon
slides. . . . The motion picture is but a development
; of the stereopticon slide. J-7
t
! In the same article, Banks reveals his enthusiasm
I
jfor his new position and his disdain for fly-by-night
jreligious film makers and promoters.
| Several organizations have been founded to film the
: Bible. Some have had as their sole purpose the selling
j of stock. Others have been crushed by the enormous
j expense of such a gigantic undertaking. Still others
have reproduced spectacular films to which have been
attached the name of some Bible character, but with
almost nothing Biblical in it. There is one company
: which has survived, and is far on the way toward
< • success. I refer to Sacred Films Incorporated in
I Burbank, California.
' The purpose of the organization is to bring the
j Bible back to the great masses of the people. It has
i no other purpose. It has no stock for sale. It is in
I no way sectarian; the pictures already produced have
| won enthusiastic endorsement of the leaders of the
1 Protestant, Catholic and Jewish churches in America.
! Because the pictures are in no way sectarian, the men
of the organization prefer to withhold their names from
the public; yet the president is a clergyman of
| national reputation; the vice president is generally
17
! Edgar J. Banks, "Educational Bible Films," The
! Educational Screen Magazine, October 1922, p. 249.
j regarded as the greatest genius of the motion picture
| world.18
i
As a result of this organization and cooperation,
'Sacred Films Incorporated produced fifteen one-reel films:
I
"The Creation, The Migration, Sacrifice of Isaac, Cain and
i Abel, Abraham and Lot, Isaac and Rebecca, Noah and the Ark,
I Jacob and Rachel, The Deluge, Isaac the Boy, Jacob and
[ Esau, Abraham and Sarah, Ishmael and The Return of
19
i Jacob."
I
! Huntington was not very widely known as a producer
because he shunned publicity of any sort as Banks indicates
■ above. Though the/,films were done with great respect and
'dignity, without being too lavish, they were well received
i
iby the public. However, Huntington died in January of
j
.1923, virtually unknown and unsung. His films were still
i
|in demand, but Huntington's widow was quite particular
!about who would handle the distribution of her husband's
i
jfilms. He apparently had a desire that the films be
distributed without "circus" type advertising which tried
to generate a quick return on such an investment.
| The distribution of Sacred Films was subsequently
;and sequentially handled by Walter York, Arthur Krows,
! Wilfred Lucas, the Bell and Howell Library, and the Harmon
jReligious Films Foundation, who took over the Harwood
i
i
i - ■ - ■ ■■ — -
! 18
Ibid.
19
1 Krows, loc. ci.t.
1 25
Huntington collection in the late thirties.20
According to Rogers and Vieth, the Huntington films
went through some reediting, and sound was added to them,
as well. It is apparent that their quality and popularity
21
[warranted the continued updating.
; Paul Smith— American Motion Picture Corporation— 1925
Another venture by the noted religious film
[promoter, Paul Smith, included the efforts of James
Shields, J. E. Holley and Isley Boone. This new corpor-
I
! ation which Smith called the American Motion Picture
i
i
iCorporation (AMPC), had the fundamental idea to provide
I
jnon-theatrical exhibitors with completely organized and
{balanced programs, together with all the necessary equip-
i
iment and apparatus; projector, screens, extra reels,
f
'rewinds, splicing blocks and other paraphernalia.
i
I
The plan included program leaflets, announcements
i
i
jfor newspapers, window showcards, posters, and a variety of
i
local aids for the advertisement of a rented film.
j
; The corporation's headquarters took an entire floor
i
jin the Masonic Temple Building in New York, where the main
!
1 activities originated. There were other branch offices in
Cleveland, Boston, Cincinnati, Kansas City, Missouri,
20t , ■ •,
Ibid.
21
Rogers and Vieth, op. cit., p. 7.
26
[Philadelphia, St.. Louis, Atlanta, Omaha, Chicago,
Minneapolis, Buffalo and Syracuse, New York. The programs,
averaging six reels each, of which there were thirty, were
lOffered for rental and included titles from Triangle
jfeatures, Charlie Chaplin films, Helen Keller's picture,
j Deliverance, and a number of travelogues. There were
iprogram units for the "serious-minded church audiences"
|which were "Bible pictures," and presented mostly in story-
jbook form. J. E. Holley had prepared a series on the Holy
jLand, which was one of the programs offered by the AMPC.
I
| According to American Motion Picture Corporation
|literature, all of the programs were printed on non
flammable acetate stock and were proclaimed to set new
jsafty standards in the non-theatrical film field. Besides
I
|the non-theatrical and religious films and entertainment
;films, there was an educational division which was to begin
t
’ production. It began to gather material and stock footage
for planned productions, as certain of the AMPC literature
Iannounced. Even a number of university professors and
|research assistants were contracted to prepare scripts on
government and physics and civic information, but there is
jno indication that any of these projects were ever com-
I
jpleted. It is possible that AMPC re-edited and re-issued
[educational films they purchased from other producers.
I
John E. Edgerton, a partner in Smith's earlier
venture with the ICWM, was named Chairman of the board of
the American Motion Picture Corporation. William H. Briar
was named President and Treasurer and became quite active
in the Corporation. He was also president of the National
(Founders Association at the same time. Dr. Paul Smith and
t
jFrank F. Porter, were vice presidents, the former, in
icharge of the department of film operations, and Porter was
!
ihead of the finance operations. The corporation listed an
:impressive number of men on the Board of Directors: major
jchurch leaders, editors of Christian publications, and
heads of different companies in the East and Southeast.
i
! The Corporation which Smith began in 1925 was a
1
'stockholder enterprise. Although the initial aim of the
|
iorganization was benevolent, Smith and his board of
i
; directors had not only large investors but small investors
ias well, including, "many church widows and orphans who
i
1
jwere attracted by a crusading minister."
The major amount of the foregoing information came
:from initial announcements prior to any actual distri-
i
bution. Very little production, if any, was intended to
|
itake place. Consequently the new company had to acquire a
.vast amount of film titles in order to set up the libraries
they were announcing.
One agency to whom AMPC went for this was Community
^Pictures, owned and headed by the Foster family. Community
(Pictures listed four to five thousand reels of film as its
I
|property. Henry Bollman, a one-time associate of Paul
jSmith, had suggested the purchase of CP's list of titles.
lupon Smith's approval of the idea, Bollman went to the
i
jFoster family and made a tentative deal to buy all of them
at $1.50 per reel, with the intention of reselling them to
jSmith at a profit.
Smith wanted to sell a million dollars worth of
(Stock, so he decided to give the purchase a higher valu
ation than Bollman was going to charge. Bollman shied at
ithe proposition. Smith, then, went directly to the Fosters
iwith the purchase proposition for a reputed $150,000.
jsmith, obviously did not have the money for the company was
:just beginning to open the doors for investments. The
{Fosters, however, accepted notes and accepted positions on
j
jthe payroll of AMPC, for organization and editorial
I
jservices. Smith also put Warren Foster on the Board of
i
i
‘ Directors. The Community Pictures Library and Corporation
jwas thereby dissolved. The Fosters moved directly from
l
their offices to the offices in the Masonic Temple of AMPC.
! The AMPC Corporation had great difficulty in getting
i
I
I off the ground and, according to Arthur Krows' version of
I
ithe story, a great hush fell upon the Masonic Temple
'tenants one day, accompanied with whispers that the
|American Motion Picture Corporation had gone under.
j For several weeks, the number of unoccupied desks
I had become more noticeable. At last a descending
j elevator paused at the floor and through the briefly
I parted doors I saw a group of strangers, men and women
; with tense, strained expressions, listening to the
1 harangue of a thin, dark man dressed in black. I
| recognized him and understood. He was Pat Powers,
l stormy petrel of the motion picture industry, who was
j usually to be seen, in his capacity as lawyer, com-
! manding the dissolution proceedings of any considerable
; film receivership. Shortly afterward the furniture was
cleared from the floor.^2
That was in 1926. About ten years later, Krows
remembers seeing a notice that the American Motion Pictures
I
Corporation had "surrendered its certificate." He also
remembers seeing an obituary on Paul Smith, who died on the
jwest coast. The notice ond>tt.dd.^.ahyTme^tlpn^:af.--fchef.AMPC.-. or
i
its activity in Smith's life.
What the press remembered him for was that occasion,
so much longer ago, when the fallen women of the
| Barbary Coast (San Francisco nightclub community) had
appeared in a body at his church service to insist
that, if he was going to deprive them of employment by
closing the local dens of iniquity, it was his responsi- >
! bility to provide them with something else to do.23
i
i
| The Bible Film Company— 1916
A religious motion picture production agency called
i
t
the Bible Film Company began its relatively short life in
the unlikely place of Las Vegas, New Mexico, December 1916.
i
The preliminary announcements declared that production
i
'would start "in two or three months" at the company owned
I
jproperty in Montezuma Hots Springs. Dr. A. L. Andrews, a
!noted minister from Ft. Worth, Texas, was to be the
22
Krows, op. cit., May 1942, p. 181.
30
^president and general manager. The financial backer was a
barry C. Grigsby from Los Angeles. A prominent businessman
|
jfrom L.A., Roger Topp was listed as secretary/treasurer and
jthe only citizen of Las Vegas to be listed among manage
ment, Phil H. LeNoir, was given the task of scenario
writer/editor/publicity manager.
In May of the next year, the manager of the Pathe
jExchange in St. Louis, Mo., C. S. Edwards, resigned to take
^he post of general director of the Bible Film Company.
I
jArthur Krows, writer/historian, indicates that "after that
! 24
jthe record stops."
James K. Shields— Plymouth Pictures— 1919
The Reverend James K. Shields, another minister
I
jnursing yet another film project, was an Episcopal minister
jand also was New Jersey's Superintendent of the Anti-Saloon
League. On the door of his small office, in the Masonic
; Temple Building in New York, was an explanation and
declaration about Shield's only film to that time, The
■Stream of Life. It was six reels, silent, of course, and
I
Iwas described as "drama of moral regeneration and faith
restored." Stream had been produced in 1919 by Plimpton
Pictures Corporation for Rev. Shields.
i
i However he learned it, Shields knew the film
j
l
I
t . —
0 4
: Krows, op. cit., September 1941, p. 292.
I
: 3i
^promotion business. At its first large preview, one
J
|morning in October, 1919, Shields had booked the Rialto
Theatre and invited a specially "hand-picked" audience.
iThe film, Stream, is reported to have had some 10,000 paid
jshowings in its first ten years, and most was due to
i
IShields' promotion.
; None but James K. Shields, himself, can have a fair
| conception of the patient scheming, the wheedling, the
! haggling, the counting of pennies, the incessant
j pounding towards a goal but dimly seen, which it
j entailed. But the minister, especially the clergyman
j much engaged in social service, is of necessity a
I trained promoter. He hobnobs with wealthy persons,
| who, in the leisure of their retirement, are disposed
! to bargain with God by yielding a percentage for the
I conduct of His work.^o
i Sometime in 1921, Shields produced his second
|picture, also a six reeler, A Maker of Men. This film,
iplus a third were directed by William Brotherhood for
i
Shields. These films were distributed by Wendell Shields,
'son of James K., who, sitting daily in the Plymouth
i
.Pictures office under the tutorship of his father, "thus
> *
learned to apply the gruelling powers to a kind of record
i
' 2 6
! accomplishment in church distribution."
i
j
j John E. Holley— Holy Land Pictures— 1922
i
j The Masonic Temple in New York housed a number of
j
I fledgling film makers of non-theatrical and religious
25
Krows, op. cit., October 1941, p. 333.
26t, .
Ibid.
32
j
orientation. The Reverend John E. Holley, in 1922, had
arrived in New York after two expeditions to Palestine to
arrange the distribution of pictures he had taken of "every
ispot in the Holy Land." Holley, then working variously
junder the names Ohio Film Company, Geographic Film Corpor-
i
Jation, and later American Releasing Corporation, produced
|the pictures, more than fifty reels, with the backing of
I
jAlbert Krippendorf of Cincinnati and the photographic
I
{assistance of Larry Fowler, a one-time Tannhauser camera-
i
iman. Upon Holley's arrival in New York, he took up office
{quarters with Isley Boone, a fellow clergy-film enthusiast.
t
Fowler, the cameraman, had the duty of assembling the
i
{thousands of feet of film in accordance with Holley's plan.
iWhen his work was nearly done, Holley called in John
I
{Michael Flick to write subtitles and edit the film in
igeneral.
| The distribution of these authentic scenes from the
|Holy Land was also backed by Krippendorf under the
{organization called the Krippendorf-Holley Film Libraries.
iHelp in booking the series came from Julius C. Zeller, also
!a one-time minister and then president of the University of
27
fPuget Sound.
I
! The results of this, rather elaborate set up were
idisappointing for the most part. Only a few short films of
jthe Holy Land were released, using scriptural quotations as
I titles. The various investors of this project who put a
i
Igreat deal of money into it over a period of years are said
jto have recouped only a small part of it. The market to
|
jsupport such activities was apparently not yet sufficient,
l
|so much of the footage was sold to commercial agencies,
jsome was later obtained by the Harmon Foundation for use in
I
28
its productions.
j
I
' Russell H. Conwell— Temple Producing Company— 1922
; A celebrated story, Johnny Ring and the Captain's
' . Sword, and an almost idolized lyceum lecturer, Russell
i
[Conwell, became the property and talent for a picture of
jthe same name. Russell had told the story some six
[thousand times to American audiences for several years and
ithereby earned an estimated four million dollars. It was
Ithe story about "an atheist army officer and his Christian
[orderly who was forbidden to read his Bible, but who had so
t
1
[strong a sense of duty that he gave his life to save his
i
[captain1s "sword." It was an illustration within the
I
i
(lecture entitled "Acres of Diamonds," given by Russell
j
I Conwell.
I
! Conwell was known variously as a newspaper corres-
[pondent abroad, author, lawyer, Baptist minister, lecturer,
2 8
Rogers and Vieth, op. cit., p. 8.
34
and in 1888, founder and president of Temple University in
Philadelphia. When the suggestion to film this story came
to Conwell, he was eighty years old and somewhat reluctant.
[However, the project took on the nature of a tribute to
•Conwell for a noble career of service, and his assistant
pastor, Dr. MacCurdy became president of Temple Production
.Company for the filming. Conwell died in December 1925,
having been awarded the Edward Bok prize as "Philadelphia's
iMost Useful Citizen in 1923." It is said that some of the
29
money was alloted to carry on the work of Temple films.
, J. A. McGill— Historical Film Corporation— 1919
i Krows gives one paragraph to a film company whose
Ipurpose was to film the whole Bible "from cover to cover."
The company, the Historical Film Corporation, was financed
!
■ by J. A. McGill, .;ra,Northwest theatre owner, and directed
I
jby Raymond Wells. It began in 1919 in Los Angeles with the
[ambitious project of starting with Genesis and ending with
f
•the Ascension of Christ making 52 two reel episodes, and in
j
|two years time. Their first release, As We Forgive, was
i
■seen in the autumn of 1920, but Krows, who has maintained a
!pretty good record of these early companies, says "I have
|
ino information concerning subsequent offerings under this
^Krows, op. cit., October 1941, p. 334.
35
! o T j
|corporate name.~,u
i
Rogers and Vieth use the year 1919 as the end of a
period, f o r , in their opinion, movies developed from "mere
31
i'peep show' to an established medium of communication."
)
[This first period extended from 1895-1919. Not only had a
|change in film .taken place, but also in the spirit between
jchurch and economics. Education and missions were expanding
j *
jin the church. The churches were becoming more affluent.
(Greater and greater use of stereopticon slides was being
i
made, especially in missionary education and promotion of
missions. However, up until this time, motion pictures
iwere just occasionally considered valuable educational
l
|tools. By and large, use of film was limited to enticing
f
jaudiences out for an evening program, advancing the novelty
land entertainment aspect to help swell attendence.
The Federal Council of Churches issued a report in
]
jl915 which helped the reputation of film. The report,
I
!"Motion Pictures in Religious Education," was prepared by
Edward M. McGonoughey and was well received but not widely
circulated.3 3
; One of the technical problems which plagued film
jmakers and users alike in the early twenties was the
30Ibid.
31
Rogers and Vieth, op. cit., p. 2,
33Ibid., p. 3.
36
[flammability of film stock, both original and release.
!while some prints were being made available entirely on
non-flammable stock, producers, in order to reduce costs
|and acquire interesting footage, would intercut sections
i
t
jthat may have been flammable. The church market was ready
jfor "safety" film long before producers had it available.
f
| There were some serious fires, with the result that
! most cities passed regulations requiring projection
from a booth or by a licensed operator. The increased
cost was as severe handicap to the church use of
! films.33
j Near the end of the 20s, 16mm projectors and the
jaccompanying 16mm "safety" film were developed and; becoming
(popular among church and educational groups. This quickly
i
I
Jdismissed problems with 35mm flammable film, but introduced
i
.other considerations. Many churches who had acquired 35mm
^equipment discovered that new films were being released in
i
116mm only. Also, by 1928, sound films were being intro
duced and almost overnight every film produced had a sound
I
itrack. This was definitely a period of transition for
ichurch users of film.
j Thus the church-owned 35mm silent projectors were to
I become doubly obsolete. Moreover, churches and schools
! with 16mm silent projectors (introduced by the Victor
j Animatograph Corporation in 1923), which had counted on
j reduction prints of theatrical releases for part of
| their films supply, had to depend for the next few
I years on materials produced prior to 1928 or 1929. It
^Ibid. , p. 6.
was several years before dependable 16mm sound
projectors were available.34
| Regardless of the problems with film format, size,
i
jstock, projection equipment and supply, the popularity of
j
'film was expanding so rapidly that use of stereopticon
1
i
slides became "old fashioned" to many religious educators.
(This wave of popularity, according to Rogers and Vieth,
iextended from 1920-1930 or 19 31, and was characterized by
; "brave dreams, tremendous projects almost lightly under
taken, easy money, rampant optimism, capped by an economic
I
|depression which brought many of the dreams and under-
i
35
itakings to disaster."
j
i
(Graham C. Patterson— Herald Non-Theatrical Pictures, Inc.—
1923
I The church-going public learned in 1922 that the
t
Iprominent editor of the Christian Herald magazine, Graham
jC. Patterson was interested in setting up a distribution
Jagency through the magazine's corporation. In October of
jl922, an article, written by the editor, asked for
audiences to prove the real relationship between motion
j
pictures and the church. In November, he announced that a
(company was to be formed to "meet the abuses of the motion
l
I picture industry." The article explained that a library of
34
Ibid., p. 7.
^Ibid. , p. 6.
38
various films had been acquired and more were to be
added.36
Several months later, April 1923, the organization
jof Herald Non-Theatrical Pictures, Inc., was formally
|announced. The method of operation was through some
; twenty-five branch offices in as many cities. It was
!
jsponsored by the Christian Herald and was non-sectarian, as
iwell. Patterson was careful to make several particular
i
!
idistinctions.
i
I
i . . . Patterson said emphatically that the enter-
| prise had no connection with any other film concern of
i any sort, and had not agreed to supervision by any
i dictator, supervisor or boss— which may or may not have
j been a dig at the lately instituted Will Hays
Committee. . . . Patterson did claim however, that his
| project had received the endorsements of parent-teacher
! organizations, community, church and educational
mov ement s.3 7
j
i It took only a year or two for Patterson's effort to
I
h
|fizzle out. It failed because according to one author,
j"the effort, on the whole, was apparently not appreciated
|by those on whose behalf it was made. . . . Patterson
i[also] made the mistake, it seems, of expecting the
!
churches to pay adequately for the service, just as so many
i
i
:others have taken for granted the united purchasing power
. O O
of the schools."
36Krows, op. cit., May 1943, p. 96.
37
Ibid.
39
j Patterson, himself, in a letter to Krows, reflected
t
:on the reasons he felt the Herald Non-Theatrical Pictures,
line., venture did not succeed, and they were not exactly
ithe same as Krows'.
| I would certainly say that this operation was not
i started in antagonism to the movies, but in cooperation
; with them. My own feeling was that those in the motion
; picture industry were honestly striving to improve the
; character and moral tone of their entertainment. Their
; selection of Mr. Will Hays was a good one, and I had
his active support in the move that I was making to
enlist the interest of church people in the better
; class of movie entertainment. It was recognized that
I many of them were opposed to movies "as such," just as
I they were opposed to cards and dancing, rather than to
i the abuse. It is quite possible, although I do not
| remember the sales material, that we tried to obtain
the cooperation of churches everywhere on the basis of
I competing with the movies, although we did emphasize
the religious films, one of which— Joseph's Coat— was
in full Technicolor. I would like to add that in many
, of the localities where churches were enrolled as
customers, they had the full cooperation of the local
, moving pictures theatre men.
j It was my conviction that if the Christian Herald
I would organize churches and societies to show films, we
I could have: first, religious films, and secondly,
selections from the large group of highest character
films, like The Covered Wagon, etc., and show them to
1 the church people. In the case of religious films we
j had a series of Bible films that were "fair" and would
cost several hundred thousand dollars to produce. We
had also a library of educational films that, techni
cally speaking, were rather mediocre. And lastly, we
I had a group of very fine Paramount classics. Arrange-
| ments were made with the Paramount people for those
■ films that had a permanent character and were through
with their runs, at a very nominal rental. We were
I given the choice of several hundred such subjects. In
J other words, we had the active cooperation of Para-
j mount, who were anxious to have the true value of good
I films demonstrated to people everywhere.
! The main trouble with the whole operation was the
| question of equipment, fire standards and experienced
I operators actually to show the films. My recollection
j is that we had about 300 to 400 churches that were
! cooperating with us, and a large number of these had to
40
| discontinue on account of the poor character of the
| portable machines, local fire rules, and similar
! technical difficulties. The entire matter was so long
ago that I have lost most of the detail, but the net of
it is that we could not make a financial go of it on
account of the lack of technical advances at that time
j in so-called non-theatrical equipment.39
Whatever the real problem, whether lack of economic
response or lack of technical advances, the film distri
bution efforts of Graham Patterson fell by the wayside and
vas dismissed by Patterson without many tears. He was a
(busy man and apparently multi-talented, for no sooner was
he out of film distribution than Patterson moved into other
I
jareas of social service. He eventually became the editor
i
lof the Farm Journal, which in 1942 (when Krows' article was
jwritten) had a circulation of 2.5 million. It was at that
i
time that Patterson wrote the above letter, so it is
i
[possible that a twenty year lapse of time may cause one to
!
[lose the details.
I Up to this point the film promoters, producers and
i
[distributors have been emphatically non-sectarian. Perhaps
;this was stressed to gain as large a market as possible for
{
;their non-subsidized venture. However, the denominational
I
[groups were also interested in the use of film in the
! church, especially the mainline denominations.
; 39
j The Educational Screen Magazine, December 1942,
|p. 96. .
r : --------------------------------------------
| Lutheran Church
i
In early 1923, a group of Lutheran laymen, with some
financial help from Theodore Lamprecht, imported a very
(authentic motion picture biography of Martin Luther. The
'film, Martin Luther, His Life and Times, was produced in
(Germany and when brought to American audiences, was "road-
( showed" in a most organized and careful manner. The tour
■was very successful and, according to Rogers and Vieth, was
I
("without a doubt an important factor in making the Lutheran
i 40
.churches aware of the value of the visual method."
| Reverend Frank E. Jensen, an active user of film in
|his own church in Chicago, was writing reviews and articles
l
jfor the Educational Screen Magazine in 1923. One review
I
• was enthusiastic for Martin Luther, His Life and Times.
i
| A real picture for the church— any church. It is a
; presentation of the great hero of the Reformation that
! is true to history. It is full of action, dramatic and
! gripping, fascinating. It is a message of 400 years
i ago that is needed equally today. . . . This picture
j truly shows how the motion picture is made to serve big
and worthy ends.41
i Jensen, who was an incorporator and vice-president
i
!
I
lof the Federal Motion Picture Council of America, became
I
editor of the "Church and Pictures" Department of the
[ Educational Screen Magazine in 1926. It was through this
t
40
Rogers and Vieth, op. cit., p. 8.
i 41
; Frank E. Jensen, "The Church and Pictures— Church
Film Review, Martin Luther, His Life and Times," The
'Educational Screen Magazine, June 1923, p. 368.
imonthly column that Jensen, like Patterson, solicited
interest from the readers regarding a plan for production
of new films, purchase of existing ones, as well as
42
distribution. His plan was described as "simple as
iconducting church itself," and operates on a revolving fund
I
! generated by donations of $100 each from one thousand
ichurches. This was to build a religious films library.
jRunning expenses would be covered by rental fees on films
j
used by the churches. Member churches were to be able to
jrent films from the library at a discount. The plan,
jthough simple, never got much beyond magazine articles and
i
I
Iparlor discussion.
<
i
i
j Various Denominations— 1924
| Not only did the Lutherans get into the film picture
I
ibut several other denominations, rather than rely on inde
pendent agencies for footage, began motion picture units of
;their own. In 1924, the Methodist Board of Home Missions
i
and the Presbyterian Board of National Missions began film
i
(production specifically on mission subjects. Presbyterian
t
ifilms were first made by Reverend Robert Wightman of
jElizabeth, New Jersey. A professional cameraman was sent
jacross the United States to film the Methodist Home Mission
jwork. A five reel film resulted entitled, The Open Door.
i
]
l . i . . i - .
1 42
! Krows, op. cit., May 1943, p. 119-
Even in the Episcopal Church, several dioceses made
promotional films and educational films on denominational
projects.^
i Chester C. Marshall, D.D., in a column for "Pictures
jand the Church" in the Educational Screen Magazine, wrote
'of the recurring problem of an expanding market without
l
,enough films available to show.
i
| There are literally thousands of reels of film
i already existent which can be used for the three-fold
! purposes for which the Church needs film— for community
J entertainment, for education and for evangelism.
Much of the material which would be exceedingly
| valuable cannot be secured, because many exchanges are
j not permitted by the exhibitors to render services to
j churches.
Thousands of pastors are just waiting till the day
1 they can be assured of proper distribution service and
; ample material of the right sort to install projection
• equipment.^4
I
t
i Ten Commandments
I
1 A film, claimed by one reviewer to be "the world's
Igreatest and best motion picture," was released in 1924.
|The film was C. B. DeMille's Ten Commandments. The
reviewer was Reverend Chester C. Marshall, writing in the
j Educational Screen Magazine.
j God has rarely been more real to us than He was for
■ the space of one afternoon [viewing Ten Commandments].
j Our group of six men were agreed implicitly that here
43
Rogers and Vxeth, loc. cit.
44
; Chester C. Marshall, "Pictures and the Church,"
j The Educational Screen Magazine, June 1923, p. 294.
44
was the finest and most deeply spiritual motion picture
ever filmed. . . . Colossal, stupendous and gigantic
are terms, so overworked that they are colorless as
mediums of description so far as this film is
concerned. . . . Every American owes it to himself to
see the world's greatest and best motion picture.45
This same reviewer, while in 1924 somewhat over
whelmed by DeMille's epic film, a year later offered some
i
jvery insightful predictions regarding the immediate future
!of film use in the church.
t
i
I My prophecy is that in some not far distant day
j every state board of education and every church
j denomination will own their own libraries of film,
, equal in artistic value and merit to the best product
J of the entertainment field, but produced by educators
I and church men for their respective fields.45
<
i
i
|Epworth League
(
i
J We know now that this prophecy was not fulfilled in
s
i
its entirety, but the optimism represented here was shared
by many religious educators and ministers. The mid- and
jlate-twenties gave rise to many experiments by film
Jenthusiasts, as well as promoters and entrepreneurs. One
;such user of film in the church was Carl B. Stoner,
,president of a church-based group interested in showing
I
jfilms called the Epworth League. In his church in Harris-
i
Iburg, Pennsylvania, he instituted the showing of films for
<
entertainment of the congregation. The church, Grace
45
Marshall, op. cit., February 1924, p. 68,
46
Marshall, op. cit., January 1925, p. 26.
45
iMethodist Episcopal, was located downtown near the theatre
district and thereby had more difficulty in starting such a
series than a church located further out of the city.
! We.had our first entertainment on New Year's Eve
! with A Tale of Two Cities as the attraction. We made
j money and then determined to try such entertainment
I more often. Two weeks later, we had another picture
and again came out ahead. Here the theatre owners sat
up and took notice. . . . There came a personal appeal
I from a representative of the theatre men that we were
i hurting their business . . . they worked through the
i distributing companies and tried in every way to have
; the companies refuse to give us pictures. As a result
• there was only one company that listened to their
! p l e a . 4 7
} According to Stoner's report in The Educational
i
i Screen Magazine, the last attempt failed which gave them
I
ivirtually a free hand to schedule any time and title they
1
could book. They chose Monday nights as the best night
i
[
!within their church's schedule— first, every two weeks,
I
l ■
jlater, every week, that was their schedule at his writing
I
of the report. They charged no admission, but took an
i
offering which went to cover the rental costs, upkeep of
1
t
the equipment (which had had very little use and upkeep
!
;prior to this time), and the remainder went to charity.
i
I Stoner's series was coordinated with the local
!
i
schools, and when possible, they scheduled films that were
designed to aid the English and other departmental
47
! Carl B. Stoner, Epworth League President, "Letter
ito the Editor," cited by Chester C. Marshall, Pictures and
the Church," The Educational Screen Magazine, February
1925, p. 91.
46
f -
jprograms.
{
; Often we are asked, "Does it help the church
j any?" . . . We do know . . . that every Monday evening
! we bring into the church many young people to see clean
j pictures who would otherwise be elsewhere viewing
1 something which in all probability would have a sex
I appeal in it. We also know that the attendance at our
! own young people1s meetings has been greatly
! increased.
i
1 The report of the Epworth League1s experiment and
i
|success was one of several that The Educational Screen
j Magazine published. In January 1924, the Reverend C. C.
iFisher, minister of the First Methodist Episcopal Church,
j
, Meyersdale, Pennsylvania, gave his personal confirmation to
I
.the question "Are Motion Pictures in the Church a Success."
jThe March 1924 issue ran an article by E. S. Wiers of the
j
^Unity Church in Monclair, New Jersey which reported the
'"Experiences of One Church." In June 1924, Reverend F. M.
I
jField, reported his program featuring a film preceeding, a
i
l
|sermon, which he gave in his church in Detroit, Michigan.
Iln another issue, September 1924, Reverend R. H. Rolofson
jof Vinton, Iowa, discussed his "Great Sunday Evenings with
I Pictures."
j With the several reports of film programs in the
jchurch published by The Educational Screen Magazine cpmes
I
I the realization that many more experiments went unreported.
More persons were seeing film, both in the church and in
^Ibid. , p. 91.
47
ithe theatre. More writers were reviewing film and
I
ireporting on films used in connection with religious
I
jeducation, evangelism and missions. More independent,
i
t
educational and industrial film makers were considering the
l
jchurch market for their productions. And, the denomi
nations were more active in producing and distributing
|
jfilms for use by their constituents.
j In addition to the beginnings of denominational film
jactivity indicated earlier in this paper, in 1925, the
I
(Northern Baptists began film production, as well. Their
I
’ Home Missionary Society, under the direction of Dr. Coe
i
^Hayne, made a film, showing the work among the American
i
JIndians in California. They also cooperated with the
Presbyterian church on a film project to help raise money
!for their respective colleges.
i
i
'Harmon Foundation and Religious Motion Picture Foundation
I
i (RMPF)
t - - - - - - - - - -
j Perhaps the single most influential project to start
iin the twenties was the establishment of the Harmon
i
I Foundation. While a large number of the early religious
I film producers and promoters were either clergymen or sons
j
jof clergy, others, still, were successful businessmen who,
!being interested in the work of the church, were approached
'by the clergy. One such person was William Elmer Harmon.
1 His personal financial success came from dealings in
suburban real estate in Ohio, where he was born and
educated, and in New York and the east coast. Harmon
entered pre-medical training during his college years, but
saw many opportunities in real estate mortgage handling.
•Thus entering that field at 24 years old, his business
jprospered and its influence expanded to some 26 American
' 49
metropolitan areas.
! Harmon's wealth allowed him to establish a philan
thropic foundation in 1921, named after himself, with the
l
initial purposes "to encourage and assist growing towns and
small cities in the acquisition of sufficient tracts of
t
accessible land to be deeded permanently as recreation
jsites," and, "as a practical experiment, granting loans as
I
ipart of a test of student reliability in financial obli-
I
Igations assumed for college expense." With those
I
^objectives as basic to the Foundation, the Harmon
/
^Foundation established a Division of Playgrounds and a
I . . . 50
Division of Student Loans.
i
i
The foundation began operations with the provision
i
i
.for later expansion and with stipulations which encouraged
‘ funded projects to become self-supporting.
While the work of the Foundation at present is
! centered in these two departments, it is the definite
; 49
J Krows, op. cit., May 1942, p. 182.
50
I Harmon Foundation Handbook {New York: Harmon
jFoundation, 1923), p. 24.
! purpose to take up other problems as available funds
i are released for further service by gradually placing
1 the existing activities upon a more or less self-
supporting basis.51
William Harmon's brother, Clifford, left the real
estate business in 1915 for a career in film production and
jas president of Mirror Films. His new film activity,
|though not in the religious motion picture area, drew the
^attention of a number of clergy. When he was approached
regarding possible projects in church :film, plifford
!referred the churchmen to his brother, William. It was
jBishop William Lawrence of the Protestant Episcopal Church
i
jof Boston, who was the first to approach William Harmon.
jThe Bishop had been raising funds to use to stimulate
!
jchurch attendence. He had definite plans for the use of
i
[the money when obtained, but was open for ideas about any
jother methods to attain the objective. Harmon's wife was
i
: very active in the Episcopal Church at that time— which may
i
have encouraged the Bishop somewhat. Harmon responded
;favorably and suggested the use of film. With his interest
!
'therewith activated, he gathered several experienced
I
clergy, educators, administrators and film production
t
experts about him.
j
| In 1925, William Harmon and his select experts
|decided to set up the Religious Motion Picture Foundation,
51Ibid.
50
Inc..(RMPF), under the auspices of the Harmon Foundation.
The Reverend George Reid Andrews was appointed as Vice
President and General Manager. Andrews had been chairman -
:of the Educational and Religious Drama Department of the
[Federal Council of Churches in America.
j The RMPF governing board of directors included an
i
junusual variety of noted men— -some, clergy and some,
Ipoliticians. The Foundation also had a larger, national
iCommittee of advisors and critics composed of about sixty
iother well-known men and women.
| When the parent Harmon Foundation was founded as a
i
i
jnon-profit organization in 1921, the officers were William
j
|E. Harmon as president, W. Burke Harmon (his brother) as
i
vice president, Mary D. McClusky, treasurer, and Miss Mary
52
, Beattie Brady, secretary. When the Religious Motion
i
Picture Foundation was set up in 1925, Harmon was
(president, but Andrews actually operated rather inde-
jpendently for a number of years. The headquarters was in
[Chatham, New Jersey.
I
j The original purpose of the Religious Motion Picture
i
|Foundation was simply that of "assisting the churches in
53
[adapting the motion picture medium to their use." Its
i 52Ibid., p. 5.
I
1 53
i "The Church and Motion Pictures as a Tool"
!(unpublished pamphlet of the Religious Motion Picture
Foundation, New York, circa 1925), p. 2.
first funded activity, however, was to be mainly a study of
the field, with the limited production of just a few
demonstration pictures. This project was budgeted by
jHarmon's initial gift of $50,000. The pictures to be
!
[produced, it was decided, were to be within six categories:
i
I
jBiblical, biographical, historical, missionary, pedagogical
Jand inspirational. The last named group was also to
jinclude general entertainment, "wholesome" films suitable
|for church presentation. No attempt was made to cater to
i
jany creed or denomination. "In every picture the universal
I
I
laspects of religion will be presented in so far as they are
j 54
Idiscoverable."
i
i The six subdivisions were actually determined by a
special survey, facilitated by the assistance of Will H.
!
^Hays, of the Motion Picture Producers and Distributors of
(America. Hays' interest in the RMPF's early activities was
; spurred by the fact that he himself had served as a church
jdeacon before the Foundation was even thought of. This
j
1 interest was manifested by his offering his staff to round
i
up all available reels of church or church-related films,
some 900 in all. The offer accepted, these various films
iwere shown to Harmon's committee, who had the task of
!
narrowing them down, evaluating them as to content, quality
and timeliness. They concluded that more current and
i
i 54
j Jensen, op. cit., November 1925, p. 552.
52
relevant production was necessary, and that eleven of those
films would serve in test screenings at several control
locations.
i The eleven films were used to test the reactions of
!various congregations in ten outlying churches near New
I
I York City. These showings were to take place without any
I
previous publicity. The underlying purpose of these
(
|"preview" showings, according to Krows, was to confirm, for
;Harmon, his commitment to work in the area of religious
> .
1 film.
!
The resultant increase in congregational attendance
i there was then estimated to average 36% and, with this
assurance of a service to be rendered, the Foundation
i was definitely begun.55
! After the first surveys, screenings, tests and
research, Andrews and the RMPF were to produce four short
I
t
|episodes on the life of Christ under the direction of Major
i
jHerbert M. Dawley, an experienced movie man.
! It was in connection with these productions that
| Miss Mary Beattie Brady [Harmon1s secretary], later to
exert a significant influence as director of both the
; Harmon Foundation and the Religious Motion Picture
j Foundation, gained her first experience with films.^6
i These four short film productions were to be used,
I
iagain, as test items in "picked churches to see if their
i -
| particular new techniques would stimulate attendance
55t ,
Krows , op. cit., May 1942, p. 182,
56
Rogers and Vieth, op. cit., p. 9.
53
!there. " 57
j
The first film, Jesus Confounds His Critics, was
completed about July 1926, and was based on the story of
the sinful woman who was to be stoned. By September, two
i
jmore were released, and by the end of 1926, a fourth film.
iThey were The Unwelcome Guest, an episode of Peter
annointing the feet of Jesus, Forgive us Our Debts, in
;which Jesus explains the principle to His disciples, and
(
The Rich Young Ruler, who sought Jesus regarding eternal
t -------------------
jlife.
i
! About 1927, a Wall Street banker and prominent
!
[Baptist, Jeremiah Milbank, initiated a commercial film
i
.project which was to follow in the tradition of Ten Com-
I
i mandments. It was the Cecil B. DeMille production of King
| of Kings.
I
I
j As a good will gesture, as well as for the benefits
< of competent Biblical supervision, the producers felt
! it advisable to invite church cooperation. They did
it through Will H. Hays, spokesman for the industry.
; Through obvious connection, the Rev. George Reid
: Andrews obtained the post of representing the clergy
j on DeMille's stages.5°
j
| When the production was completed, Andrews task was
|done. He returned to the East, rather disgruntled by the
i
[experience, and began to speak against the Hollywood scene,
jespecially Will Hays and the Motion Picture Producers and
i
\ - ' —
! 57
I Krows, op. cit., June 1942, p. 222.
[Distributors of .America, saying that Hays "was in his place
I
|not to clean up the screen by compelling Hollywood to
Iproduce worthier pictures as most clergymen had been led to
jbelieve, but to prevent others from doing it. So long as
jHays was on a money retainer from the motion picture
;industry . . . his pose as a disinterested community leader
»
i
5 9
!working solely for public good was untenable."
i
j The targets of Andrew's attacks ignored him at
I
jfirst, until the statements were picked up in the press and
1
Ibegan to damage the friendly relations they had with the
i
(Federal Council of Churches of Christ in America (FCCCA)
I
land other church leaders. Andrews was silenced quickly
|
Iwhen a Hays staff officer was quoted as saying that
i
.Andrews, "as a disinterested leader working for the public
[good, had taken money from the motion picture industry for
I
[supervising certain phases of the production of The King of
iK i n g s."60
I
[ As a result of the furor in the press and behind
[committee doors, Andrews retired to a pastorate at the Park
f
i
iStreet Congregational Church of Bridgeport, Connecticut.
The Rev. Charles S. McFarland, for eighteen years general
secretary of the FCCCA, who had also been retained as a
59
Ibid.
[consultant on that film and others, went into retirement.^1
I
j
Mary Beattie Brady
Mary Beattie Brady, a "faithful, intelligent and
t 6 2
jconscientious assistant" to Harmon, was pretty much in
'charge of the Harmon Foundation's activities during the
I
latter years of his life. These interests were spread into
i
i
more areas than just motion pictures. Miss Brady, the
i
; daughter of a missionary who had become governor of Alaska,
I had her formal training at Vassar and the Columbia
;University School of Journalism. She began with Harmon as
!his secretary, and, initially, handled the details of the
[Foundation rather routinely. All of the projects were
[initiated by others and she was given the task of
[monitoring and supporting those projects with financial and
i
'legal guidance in keeping with her position.
Harmon realized that Miss Brady, though capable and
I
"in charge" of Foundation projects, wasn't as knowledgeable
i
I
'in film as he needed for effective control of the project.
. ! Various persons who might be presumed to know were
j consulted on how to proceed with different phases of
| the project. Wellstood White was one who advised on
: distribution and exhibition. . . . F. S. Wythe, who
[ was working on De Vry's Neighborhood Motion Picture
| Service and the De Vry school program . . . advised the
| making of programs more stimulating to audience
I attention than the usual church reels which had so
61Ibid.
62Ibid.
r — ___— .
little imagination about them . . . he urged the
production of films having some human attractiveness
instead of curate cant.63
Harmon was impressed with Wythe's suggestions, and
his work at De Vry's operation, as well. Wythe had been
jproviding motion pictures for De Vry on the principle as
[stated above, not by the production of film, but by editing
|existing material. Harmon hired Wythe to provide about
i
[twenty reels for his Foundation, using the editing
I technique of available footage. Jeremiah Milbank,
i
'financier of The King of Kings, was contacted about left-
| "
lover negative and the scenario from his film, which Wythe
i
jand the Foundation wanted.
t
{ The Hollywood folk did not like this plan at all,
being naturally suspicious; but eventually they shipped
1 the film without identifying marks other than
I production "slate numbers" and camera reports, stating
I that the scenario, which would have given the key, had
j been l o s t .64
! It would have been a labor of months to have
I
I
[arranged the mass of film and catalogue all the scenes.
! Examination prints would be too expensive, as well.
I Nevertheless, using the camera reports and guessing
j at their sequence Wythe made a tenative selection of
| the "cuts" and, ultimately, interpolating shots from
some Holy Land scenics, worked out roughly those
thirteen reels presenting the life of Jesus of Nazareth
j in twelve "chapters" which have since been used
effectively by the Foundation under the general title,
I Am The W a y . 65
6 3 t , . .
Ibid.
^ Ibid.
65Ibid.
57
| The whole series was never completed by Wythe, and
according to Krows, it had even been scheduled to add sound
!
I to them. Wythe had secured the studio and recording equip
ment from R.C.A., as well as a full choir from the Roxy
^Theatre in New York, and a large orchestra from the current
; Broadway production of Blossom Time. It was not due to
t
Harmon's death in 192 8 that the recording was cancelled.
The funds intended for the project were tied up in a real
estate entanglement and Wythe was obliged to cancel it.^
; With Harmon's death, in 192 8, the experimental
organization of the RMPF was taken over and became a
subsidiary of the Division of Visual Experiment of the
parent Harmon Foundation. Its offices were, at that time,
at 140 Nassau St., New York City.^
The foundation was becoming so well known by this
time that independent film makers and denominational pro
ducers were sending them materials. Miss Brady was gaining
experience in film management and, in fact, was gaining
something of a reputation as a religious education film
^utilization expert. By 19 35, she was very involved in the
|operation of the Harmon and Religious Motion Picture
Foundations and was often invited to write articles
I
regarding church film and its use. One such article
i
! ___
! 66Ibid., p. 242
Fanning, op. cit., p. 57.
appeared in the April 1935 issue of The Educational Screen
Magazine. She discussed the general area of film and its
acceptance, saying, "of all the various major groupings of
activity in our gregarious living, the Church seems to have
C . p
been the slowest to react in a vital way to films
Miss Brady noted that one reason for this attitude
I
{was that films had been looked upon, by the majority of
church leaders, as cheap "show" entertainment, not gener
ally suitable for church audiences. But another problem
I
iexisted in the use of pictures in the church, according to
f
f
{Miss Brady. She indicated that the church was looked upon
I
jas a vast market by film producers, to which a finished
jfilm was usually sold or at least promoted. Consequently,
jnot only were the Church fathers and administrations
{reluctant to take on this "evil" and unpredictable form of
|
! entertainment, but-those?which were available and might
{have been useful to them, were'foisted on them without
! thought and cooperative development. "Failure usually has
been the rule because the project was presented but did not
jineet a recognized need and any demand created was largely
an artificial one."^
1 68
! Mary Beattie Brady, "The Motion Picture in
jReligious Publicity," The Educational Screen Magazine,
jApril 1935, p. 106.
69_, .
Ibxd.
59
It has been noted that missionary societies and
individual missionaries brought still photos or lantern
slides, and even occasional motion pictures from the field.
These films and slides were used primarily to inform and
stimulate support from the congregation viewing the
pictures. It is also apparent that many of the clergy who
jused films in general were primarily interested in
[attracting better and larger audiences from their
i
Iparishioners.
I
| These motivations of churchmen were also attacked by
Miss Brady. She was just one of several who questioned the
jvalidity of increased attendance as a reason for using film
{in church gatherings.
i
; In the past, to a very large degree, motion pictures
! have been used as bait to get people to come to church
1 for service for one purpose or another. Sometimes a
i minister or leader with a genius for showmanship and an
! understanding of the value of the motion pictures has
worked wonders with the ill-assorted material at his
; disposal, but by an large the general experience was
distinctly of a make-shift nature.70
{ The influence of Miss Brady was manifested through
jthe Religious Motion Picture Foundation of the Harmon
{Foundation programs. She had two criteria which were basic
to the film projects that she had a part in funding:
jl) that the material prepared would fit in with the
established program of the churches it was intended to
70Ibid.
60
I ■ ' — '
reach, and, 2) that the pictures were not to be expected to
work a "magic" of themselves.
If the picture was to become a part of regular
church procedure, there must be certain aids to use
which will act as suggestions or guides to the persons
j responsible for introducing the picture to the
J program.^1
I
I Rogers and Vieth, in their extensive book on church
i
imedia, Visual Aids in the Church, give much credit to Miss
'Brady for her innovativeness in bringing about an increase
!
!in using visual aids as tools, rather than entire programs.
t
j Year after year, she doggedly insisted that the
; films must not be expected to do the whole job of
i teaching or preaching; that for its most effective use
i it must be carefully integrated with the service of
1 worship, the sermon or the curriculum as the case may
! be, and that the individual film or slide set is not so
! important as the way it is used.72
i
! Miss Brady was visionary, as well as pragmatic in
!
Iher concepts and often her vision was part and parcel of a
|
'practical approach to church film, its production and its
(use.
I
i Because of the high cost of making pictures, we can
! see readily how valuable it would be if denominations
j would affiliate with one another in getting material
| from the foreign and home field.73
I It is not an impossible stretch of the imagination
| to look to the time when the use of pictures in
i churches will be so universal as to make it entirely
I feasible to dispose of pictures on a low print sale
71,.,
Ibid.
72
Rogers and Vieth, op. cit., p. 13.
73
Brady, op. cit., p. 106.
61
basis and thus turn over to local library associations
or individual churches the responsibility of servicing
! their own films.74
Miss Brady did not limit her influence and
: enthusiasm to written articles. She initiated amateur,
jreligious film projects at various colleges in a plan
jdesigned to produce motion pictures suitable for church
!
'use. In 1934, the Harmon Foundation first tried the
I
|cooperative arrangement with Berea College. The school was
to produce a short Biblical film entitled, The Calling of
i
!
■ Matthew. Berea college, was established as a "self-help"
I
type program, and, combined with the academic requirements,
had tough problems in getting enough students together
i
I
jfrequently enough and regularly enough for the intensive-
I 75
,ness of film production.
i
The Religious Motion Picture Foundation began
negotiating with Professor R. C. Hunter of Ohio Wesleyan
Juniversity for a similar film project. The professor was
i
jthe director of the noted Ohio Wesleyan Players. A
jcooperative agreement was made for a project which was to'
jculminate in the production of The Education of Steve Smith
!in May 1935.
I According to Rogers, the purpose of the Wesleyan
j
^ Ibid. , p. 108.
i
75
i William L. Rogers, "A College Dramatic Club Enters
(the Movies," The Educational Screen Magazine, May 1936,
Ip. 144.
I 62
L_____ ______________________________________ __________ ____________
[cooperative film project was multifaceted, and, no doubt,
was influenced by Miss Brady's experience at Berea.
In addition to E^films for church use] , it was hoped
that light would be shed on such problems as prepar-
! ation of suitable scenarios by members of such a group,
j the development of a technical staff, the amount of
! adjustment required for stage actors to become film
actors, and the value of the film to other organi
zations. The plan, as developed, called for the
production of film versions of Biblical stories or
dramatizations of young people's problems, all of the
| work from scenario writing to the filming and editing
of the picture to be done by the young people.^6
i It became apparent to the RMPF that the tight
lacademic schedule of the students, teachers, and advisors,
1
I
iwas a distinct handicap to the project. It also was noted
I that the techniques of acting and directing for film indeed
I
I
Irequired important adjustments on the part of the troups of
I
.Wesleyan Players. The Foundation found it necessary to
isend Mary Brady to "help polish up the scenario and do the
i
77
photography." Regardless of the problems, the results of
jthe project were successful, as Rogers evaluated in The
Educational Screen Magazine.
I
J The results of this experiment may be summed up as
! follows: Production of a film should be carried on over
! a considerable period of time--say a semester, if best
j results are to be obtained under the plan outlined
j above; suitable scenarios can be prepared by an amateur
j group, but until the group has become more experienced,
it will probably need to seek some outside assistance
| especially in regard to technical details; the same
j would apply to technical work on the film— lighting,
76Ibid.
L
63
photography, and editing, if it is expected that the
picture will be used by other groups; the transition
from stage technique to motion picture technique is not
too difficult if the problem is approached intelli
gently. The biggest danger is a tendency to over-act—
but this danger is common to all amateur theatricals.78
i
The Harmon Foundation and the Religious Motion
Picture Foundation continued operation for several years,
Ihaving activities with many denominations and film
j
'agencies. Those specific occurrences of interaction will
{
i
jbe noted later as those denominations and agencies are
mentioned. The Harmon Foundation was active for a total of
45 years until 1967 as indicated by a postcard response to
;a letter of inquiry sent as a part of this research.
1
i Harmon Foundation, Inc., after 45 years of experi-
j mental philanthropic work, closed all its projects on
j November 1, 1967. There is no longer an operational
* office for requests or consultation by telephone,
■ letter or visit.
j In the adjustment small funds must make to the
i rising costs of services, the Officers and Directors of
the Foundation will initiate contacts with institutions
and organizations with which they desire to cooperate
in stimulative projects, motivated by the spirit of the
i founder, the late William E. Harmon who emphasized the
1 importance of self-help in constructive forward looking
philanthropy. Under this changed procedure there are
; no facilities to make a reply pertinent to the subject
matter of your communication.^
; Presbyterian Church
; In 1927, a secretary of the Presbyterian Board of
; Christian Education, H. Paul Janes, began experiments with
! ^ Ibid. , p. 145.
' 79
j Postcard from the Harmon Foundation corporate law
joffices in New York, April 1972.
|projected visual aids. He combined slides, motion
!
(pictures, religious symbols and recorded music into a type
i
jof audio-visual workshop. Out of these experiments and the
‘experience of utilizing the individual sequences of I Am
i
jthe Way series, Janes wrote a very practical handbook for
(ministers and Christian education leaders entitled The
I 1 ' ”
| Screen and Projector in Christian Education. It was
I
! Q A
Ipublished in 1932 by Westminster Press.
!
The Presbyterian Church Board of Foreign Missions
:began its motion picture activities in 1929, when Reginald
Iwheeler, Secretary for Africa and missionaries Dr. Douglas
jCollier and Du Bois Morris, returning from Africa and from
i
JSiam and China, respectively, brought back 16mm films.
!
(These films, which the clergymen had taken themselves,
*
i
(formed the basis for many other productions. This
j
missionary sending agency, according to Rogers and Vieth,
("through the years has maintained the most consistent and
|comprehensive film production program of any of the mission
I board."81
I
Another project initiated through the Presbyterian
jChurch, this time, the Board of Christian Education's
I
jPublication department, headed by Oscar M. Miller, is said
8 0
H. Paul Janes, Screen and Projector in Christian
Education (Philadelphia: The Westminster Press, 1932).
I
I 81
j Rogers and Vieth, op. cit., p. 10.
I ■ — —
|to have climajxed the religious film movement for the
! twenties. The project, as conceived by Miller was to set
up an agency owned and operated jointly by the publishing
houses of the various Protestant denominations. When
I
f
iMiller found the other groups reluctant to participate, he
t
f >
■persuaded his board to finance the agency through the
I
[Westminster Press, taking some $100,000 of his recent
j
profits for the experiment. With this initial plunge, he
i
i
hoped that other denominations would join the venture.
[ International Film Services
i
; About 1929, the International Film Service, Inc.,
{
|was established under the general supervision and
i
jenthusiasm of Oscar Miller and specific operational super-
i
•vision of Rev. H. Paul Janes, who had used film extensively
[and had sponsored film workshops. F. S. Wythe, who had
I
I
jbeen working with the Harmon Foundation, heard through
iBurke Harmon, son of William S., and then employed by Weil
[and Company the Philadelphia distributors of De Vry
projectors, of the "Miller project." The project had
approached the De Vry agency for a supply of projectors,
thus Burke Harmon was well aware of the scope of the
project.
The meeting between Wythe and Miller was apparently
very successful, for when they separated, it wasn't long
[before Wythe contacted Mary Brady in order to introduce her
I
66
to Miller. Wythe was proposing the union between the
Religious Motion Picture Foundation and the International
Film Service, the former to produce religious films which
the latter would distribute. An agreement was made to
!
jprovide such films as the I Am The Way series.
i Another agreement was being made between the IFS and
?
i
ithe Sunday School division of the Board's jurisdiction.
t
iJanes journeyed to Cleveland to obtain a vote of approval
i
(from an important convention of the Sunday School assembly
|
ifor the establishment of a committee to develop visual
I
^material which would work in cooperation with Miller's
I
jproject.
i
! Shortly before beginning actual operation, while
i
these many men and agencies were poised for a very
j
(extensive venture, Oscar Miller became ill. Taken to the
!
i
(hospital for examination, Miller's problem was diagnosed as
i
ivery serious and he shortly succumbed. Almost immediately,
!the enthusiasm for the project died. Perhaps it was
(because the depression was upon those who were responsible
l
for the financing; perhaps the groups had ridden so much on
(the energies of Miller that they lacked the vision and
i
I
|daring needed for the project; or perhaps, it was because
none of the other denominations caught the enthusiasm and
offered support for the IFS venture.
I
I The death of Miller left many people m a very
difficult position, particularly the Harmon Foundation,
who, having agreed to provide film to the agency, were less
than enthusiastic about the situation.
The relationship of the Presbyterian board and the
Harmon Foundation became somewhat delicate, and only
the high character and good faith of those concerned
j evolved a happy ending. No formal contract had been
I drawn. It was understood, however, that there would
; be a generous number of exchanges scattered over
j the country,. and that the board would pay for a
proportional number of prints of the Harmon produc
tions.82
i
i
* The project's administrator, a Mr. Robinson (no
I
ifirst name given), determined that fewer prints would be
i
'needed because fewer exchanges were to be set up. He
requested to see the I Am The Way copies before accepting
I
| them but Wythe was not completed with the editing of them
idue to the producer's delay in getting The King of Kings
iouttake footage to him. All in all the deadlock ended with
I
| the Presbyterian board paying the Harmon Foundation a sum
i
‘ of money to cover their commitments. The Presbyterian
!
Hoard of Christian Education subsequently retired from any
|film production/distribution activity for a while,
j The widely publicized tragedy of the Presbyterian
|church helped to foster an even wider attitude of caution
t
j
;and defeatism throughout the Protestant film circles for
l
I
(the early thirties. The Lutherans, for example, abruptly
I
Iparted with the film Martin Luther for the cost of storage
I
|and other outstanding bills. Other producing churches
1 8 2
l Krows, op. cit., June 1942, p. 242.
i
i 68
L _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
pulled back budgets and projects to bring production to a
8 3
virtual standstill.
Technology Advances
j The early thirties saw the church congregations less
i
jenchanted by the novelty of film in their house of worship.
:The ministers, who had thought they could build up large
■ attendances by merely showing movies on Sunday evening,
! expanded their audiences for a short period but soon the
[crowds diminished. With the disappointing responses, the
jclergy stopped booking films, thus, the distributors
jstopped ordering films to be produced.
!
I As mentioned before, the development of the 16mm
i
[projector created a new problem of film availability.
iAlthough the 16mm projectors were introduced and developed
i
|to fairly high quality very rapidly, the transition of film
[libraries took longer although later many 35mm films were
j
[transferred to 16mm (such as King of Kings). The move from
I --------------
silent to sound also caused much concern among film users,
Ithereby dampening the general religious film market.
I Another development, which, though the technique
l
[wasn't new, created a renewed interest in projected slides.
lit was the introduction of Kodachrome film and the process
!
|of making amateur slides. Where the professional motion
| 8 3
1 Rogers and Vieth, op. cit., p. 11.
69
r .
jpicture lost ground among church film users the amateur
I
j2 x 2 slide gained in favor. The end result was not much
idifferent than the stereopticon slides which developed
r
learlier, but the equipment to photograph and project was
considerably easier to operate as well as less expensive.
Many mission boards began transferring the older, perhaps
t
fading slide libraries, to the new format, thereby
t
regenerating the life and use of the collections which had
[been called "old-fashioned" and sat on the shelf for a
inumber of years.
i
| The decreased professional film production created a
shortage of useable film for those that wanted it in their
church. The increased interest in amateur slide production
created a "do-it-yourself" attitude among many denomi
national educators. The result was a marked increase in
jthe production in amateur film projects. Although not up
Jto the standard of quality of even the average professional
ifilm maker, many mission boards attempted to train amateurs
|
,in filming activities on the field to fill the gap in their
i
|libraries. The Harmon Foundation assisted in this training
i
i
jby sponsoring workshops to which many missionaries and
Jother clergy and church leaders came for film instruction.
t
| There has been a considerable difference of opinion
! ever since as to whether the introduction of these
! amateur productions did the cause of visual aids in the
j church more harm than good. Some took the view that
i unless churches could have films of theatrical quality
: they should do without. Others observed that though
i some of the films were poor, they produced desirable
educational results when carefully and purposefully
used. They also noted that the availability of these
films persuaded many churches to acquire projectors and
gradually built a "market" which could sustain more
expensive production. Thus, present day producers of
religious films, as well as the whole cause of visual
education in the church may well owe a debt to the
amateur photographer.84
An article in The Educational Screen Magazine by
R. F. H. Johnson, further emphasizes the popularity of
jamateur film making among church leaders, by noting that
i
|one clergyman announced that there would be movies shot at
ithe annual Sunday School picnic. That brought out a crowd
jto the festival. Another announcement was made that the
|films would be shown as part of an indoor function some
^weeks later. That also attracted a sizable audience.
!
| The making of 16mm amateur movies has been made so
[ simple and so inexpensive that to an increasing extent
; church workers are availing themselves of this means of
| recording the activities of their congregations. . . .
Several central bodies, such as the Board of Foreign
[ Missions or the Presbyterian Church and similar depart-
! ments of the Methodist Episcopal Church, now make
| excellent films available free of c h a r g e .85
I Another article which commented on the transitional
1
iproblems of the period, appeared in the same publication,
written by Dwight R. Furness. Entitled "Amateur Film
|Making," it remarked that even though 16mm was appropriate
I
for the average church, whose size totaled 100 or less, the
8^Ibid. , p. 13.
I 85R. F. H. Johnson, "The Church Field," The
'Educational Screen Magazine, December, 1930, p. 313.
I
L
71
[problem was in film of that size being available.
Distributors indicated that rentals for the standard 3 5mm
prints far exceeded those for the new, 16mm size.
i The fact that most churches have standard equipment
j is very likely due to the equipment having been bought
before the advent of 16mm projectors and the establish-
I ment of 16mm libraries.8 6
i
j Consequently, those churches having 16mm equipment
were obliged to make their own films or get 16mm films from
jother denominations or churches active in 16mm production.
| Some two years into the thirties, an article in The
I
; Educational Screen Magazine made the first comment on any
advancements in sound for church film screenings. R. F. H.
I
jJohnson, a regular contributor to "The Church Field"
Icolumn, noted that the Sacred Heart Church of Highland
!
^alls, New York, had purchased a "talkie" reproducing
I
projector and that units such as this, "operating with
,theatre-like efficiency," could be bought for less than
j$700. The availability of such units, according to
! Johnson, coupled with an increasing supply of educational
and entertainment sound releases, pointed "definitely to a
8 7
serious consideration of talkies for church use."
The size format of film, whether 16 or 35mm, was not
o c:
J Dwight R. Furness, "Amateur Film Making," The
[ Educational Screen Magazine, December 1930, p. 316.
8 7
! Johnson, op. cit., January 1932, p. 18.
i
i 72
indicated, however, it must be assumed that 16mm had not
reached the volume of sales to warrant such a low-cost unit
for "talkies," and nearly all theatres used the standard
;35mm format. However, part of the article mentioned one
(manufacturer's 16mm "sound reproducer," which used "sound
(discs and, optionally, either a 400-watt or 375-watt
(projection lamp, projects pictures up to 16 feet wide with
I
,a sound accompaniment that will fill any church auditorium
8 8
seating up to 2500 or 3000 people."
In that same year, 1932, a newly organized society
t
i
(called the John Wesley Picture Foundation was founded. Its
i
purpose was the "production of talking pictures of a
religious nature, designed for use in Protestant churches
(throughout the country." The first picture to be produced
by the Foundation, headed by Reverend Chester C. Marshall,
D.D., was The Life of John Wesley. Marshall was then the
j --------------------------------------------------------------------
(assistant director of the Methodist Episcopal Hospital of
i
I Brooklyn, New York, and sometime writer for The Educational
[ screen Magazine. The film's scenario was authored by
(Reverned James K. Shields, D.D., "well known for his
(numerous contributions in the field of religious motion
'pictures." The film also was to have a musical score
i
I featuring songs and hymns written by the brother of John
t
■Wesley, Charles. An additional film featuring the life of
73
Francis Asbury, was planned to follow the production of
Q Q
The Life of John Wesley.
More Missions
While Oscar Miller's ill-fated venture into
Jreligious film distribution in 1929 scared many denomi
nations out of the film production/distribution picture,
!
! the Presbyterian Board of Foreign Mission had the courage
i
,to undertake a motion picture production program. In 1931,
[they commissioned Reverend Henry Ferger to make a series of
t
I
jmission films on his way enroute home for a furlough from
jhis mission post in India. When he arrived at the mission
office in Philadelphia, Ferger had approximately 28,000
feet of 35mm black and white negative on mission work in
r
jlndia, Siam, China, Korea, Japan and the Philippines.
! Stateside oriented, the Presbyterian Board of
i
i
■ National Missions, however, was more typical of other
i
[denominations and church film agencies, by closing the
i
'doors on their visual aids department. The "film" seed was
i
jplanted too deeply in one worker within the organization.
|He was Dr. Frederick Thorne, the director of young people's
! work, and an avid camera enthusiast. Thorne found that the
I
'movies he took within his ministry were effective in
I
i
! communicating to the young people, and, lacking board
j
i
' 8 9
! Johnson, op. cit., February 1932, p. 55.
(support, he was forced to trade his camera for a projector
in order to show the films he had taken during the summer.
In the spring, Thorne reversed the trade for the summer and
'
{continued the cycle for many years, until the board finally
recognized the value of film. In 1935, the Board of
(National Missions purchased seven projectors, which, with
l
i
iThorne's films were circulated throughout the denomination.
■In 1942, a new department of visual aids was set up. The
■ 90
'director?— Dr. Frederick Thorne.
I
I The Northern Baptist Convention's Board of
(Missionary Cooperation in New York, in 1932, issued its 40
t
(page catalogue of mission literature and visual aids which
jit distributes. Motion picture titles ranged from one to
I
'five reels in length and included films from Burma, China,
(Africa, India, Japan and other countries. It was noted
that seven of the 16mm films were taken by missionary,
i
I
(Mrs. H. E. Goodman, with her "amateur movie camera," and
(
(
(that another film, a two-reeler entitled University of
[ Shanghai, was shot by the university's president, Dr.
' . 91
Herman Liu.
By 1932 and soon after, other denominational mission
i societies began to stress the use of films made by their
t
(missionaries. This interest was mentioned by R. F. H.
I
i
f '-n" m ■ '
' 90
I Rogers and Vieth, op. cit., p. 14.
i 9i
j Johnson, op. cit., p. 56.
I 75
I __________________________________________ ___________________________________
r----------------------------------------------------------- ■ ---■ ---------
Johnson in The Educational Screen Magazine.
Interest in missions is beginning to be stimulated
in an important degree by the showing of movies made by
missionaries dn the field. The general mission boards
are realizing the value of such pictures to an
! increasing extent, and they are giving substantial
j encouragement to the making of them.92
j The Evangelical and Reformed Church began in 1933 to
ipromote its summer schools and camps by film. The
Methodist Board of Foreign Missions began a small project
'in film for their constituents in 1933 as well. In 1934,
ithe Northern Baptists discontinued the departmental
i
i
jproduction of the older, stereopticon slides, but in 1935,
ithey sent Dr. Harry S. Meyers, then head of the Visual-
lization Department, to India. He left with camera and
i
'films and returned with 12 reels of 16mm mission film.
I
jAlso, in that same year, the Episcopal Church commissioned
jthe Harmon Foundation to produce a film on the history of
the church, The New World. Williams Rogers coordinated the
1 i
iproduction which they planned to show at the annual General
i 93
Convention of the church body.
I
I
Yale University Project
j The Harmon Foundation became involved with a series
of experimental film workshops which began production in
j1933 at Yale Divinity school. The short, "life situation"
!
i ■ " , - - .....— -----------------------------
I 92
j Johnson, op. cit., October 1932, p. 245.
93
| Rogers and Vieth, op. cit., p. 15.
films and the educational program in visual aids were the
first incidence of a theological school becoming active in
teaching the production and use of religious projected
aids. It was called a "practicum," because of the workshop
i
!
{format, and met once a week; however, students worked on
l
'their projects nearly every day, either in production or
i 94
{utilization.
1 Students had an opportunity to participate in the
; production of films and slides, as well as to
! experiment in their use. A service department provided
| film, slides, and projection equipment at small costs
j to the students for use in their churches, thus, in
i effect, furnishing the course with the facilities of a
; laboratory.^5
i , The director of the course and workshop was Dr. Paul
i
{H. Veith, co-author with William L. Rogers of Visual Aids
• in the Church, which is used as a key historical source in
|this paper. Vieth was the director of field work and
;associate professor of religious education at the Divinity
;School of Yale University. The productions of the Yale
i
! experiment were eventually released to fairly wide usage
jand featured films for children, and young people as well
{ 95
ias adults.
94
Johnson, op. cit., September 1934, p. 189.
95
Rogers and Vieth, loc. cit.
Q f t
Mary Beattie Brady, "The Church Field," The
Educational Screen Magazine, November 1936, p. 277.
77
Film Articles
In a series of articles, running from April 1933
through October 1934, Reverend H. Paul Janes described a
inumber of worship services in which visual aids were used.
!
jjanes was one of the active participants in the Inter
national Film Services, Inc., project which Oscar Miller
jand the Presbyterian Board of Christian Education initiated
(Janes' "How-To" series appeared in The Educational Screen
j Magazine in eight segments entitled, "How to Conduct a
i
Worship Service," "Will Motion Pictures Pay their Own Way,"
"How to Illustrate Hymns with Pictures," "Anticipation— A
{service for Christmas," "Using the Direct Route to the
Feelings," "Three Services for Easter," "Filling the
(Churches in Summer," and "Changing the Emotional Potential."
!
Janes' articles, plus others, as well as many
pamphlets and booklets, were part of the movement toward
Iregarding visual materials as tools to aid the minister or
teacher in presenting his own message. This constructive
development began in the early thirties in the religious
and educational fields, with the help of Mary Beattie
Brady, H. Paul Janes, Paul Vieth, William L. Rogers,
Charles F. Hoban, R. F. H. Johnson, Chester Marshall and
many others. Some church film enthusiasts even listed
specific ways to improve the production, distribution and
iutilization of religious film in their articles.
78
We would like to make the following recommendations:
1. That the various church agencies consider
seriously the question of procuring a series of films
in the interest of their work.
2. That careful attention should be given to the
quality of the films produced. . . .
3. That in producing new professional films, a
j negative should preferably be made standard size
| [35mml and from it the positive prints either in 3 5mm
i or 16mm can be made.
4. . . . we believe that for general church use,
16mm prints should be made up for distribution. . . .
5. That we approve the principle of having certain
general religious films produced which can be used by
j all denominations and that we put ourselves on record
[ as being ready to consider any position for the
: production or circulation of such films.97
i
i The "we" of the above article refers to the Visual
I
'Aid Department of the Methodist Episcopal Church who were
presenting this report to the Publicity Group of that church
body in 1932. The report was published in The Educational
j Screen Magazine.
j While the Presbyterian Board of Foreign Mission may
i
I
lhave been the most consistent in maintaining its film
.production program over the years, according to Rogers and
'Vieth, the Lutheran Church must be considered the most
|
[organized and comprehensive in its planning and support.
In 1937, the United Lutheran Church's Board of American
Missions produced a feature length sound film entitled
i
[Thunder of the Seas. It was the first of a series of
97
H. G. Conger and D. R. Furness, "The Movies
[Situation" (report to the Publicity Group of the World
; Service of the Methodist Episcopal Church), The Educational
j Screen Magazine, April 1932, p. 117.
I
L
79
increasingly ambitious and expensive films to be produced
by various denominations.
The promotional program which accompanied Thunder of
the Seas was intensive. The film was to be shown in some
j 4000 churches within a: short period of time, and free of
i
Jcharge.
i
l
| The showings were handled by a group of from five to
j eight men equipped with 33 projectors. Each man set up
i a projector in each of 3 to 5 churches in a given area
i on the same day and instructed someone in each church
| how to operate it, so that the film could be shown in
S all churches in a minimum amount of time.98
International Council of Religious Education— 1937
: As various church leaders and film promoters were
;striving to establish film and other visual aids as legiti
mate tools in evangelism, missions and denominational
f
jpromotion, the educators in the church were organizing
|
ithemselves for the betterment of religious instruction.
I
I The group, drawing from across the denominational spectrum,
i
[was called the International Council of Religious
I
' Education.
!
j The ICRE, as it became known, appointed a committee
I
I on Visual Education at a meeting in February 1937. The
i
committee was to investigate possibilities in the general
field of visual education for the main body of ICRE and to
recommend a course of action at the next meeting. This
9 8
Rogers and Vieth, loc. cit.
was the beginning of a rather influential and extensive
program of research and training in the production and
utilization of visual aids in religious education.
This committee consistently reviewed methods and
materials, acted as a listening post and clearing
house, published articles and bulletins, conducted a
workshop in the 1938 Quadrennial Convention, demon
strated and promoted the use of-visual aids at the
Council's annual meetings, stimulated projects, advised
with producers and in general brought the modern visual
! methods to the attention of religious educators.^
i
; In 1939, the visual education committee made plans
Ifor securing the production and distribution of films in
icooperation with the ICRE Publisher's Section.'*'^
i
j Certain "sponsored" and governmental agency films
jbegan to be used by the church in the late thirties, as
i
iwell as numerous documentaries. The National Council for
Prevention of War, through their moving picture department,
encouraged the use of film in the church for "peace
education and to analyze the current films as to their war
( or peace attitudes. "
i
i The state offices of the Women's Christian
<
1
(Temperance Union offered films about temperance and thereby
j
jplaced strong emphasis upon the value of visual education
i
I
j 99
I Ibid., p. 17.
j 100W. C. Bower and P. R. Hayward, Protestantism
Taces Its Educational Task Together (Appleton, Wise.:
jC. C. Nelson Publishing Co., 1949), p. 86.
i ^^Fanning, op. cit. , p. 62.
81
in the furtherance of their cause.^^
The educational field in general was producing films
often very suitable for church use. The Erpi Picture
Company, Eastman Teaching Films, and other producers
jrealized the church market and advertised the adaptability
Jof their films to church use. Even the commercially
(sponsored films, such as the Bell Telephone Company and
(auto manufacturers produce, saw use in certain church
[gatherings . -*-03
i
j In a survey taken as part of a master's degree
|thesis by Leah I. Fanning in 1939, the leaders of sixteen
jprotestant churches gave their reasons for using motion
[pictures in their churches. Ten of these leaders listed
I
Ithe educational value of motion pictures as the first
[reason. Following "education” were: "general interest to
i
(people, to increase attendance at church gatherings,
(worship and inspirational value, value of visual approach
in education, wholesome entertainment, reward children for
Attendance, provide worthwhile summer program for children,
i
Ja change from the usual, effective and novel program
jelement, and an effective medium with story appeal."
I Researchers in the educational use of film like
102-.,. .
Ibxd.
103Ibid., p. 55.
104
Ibid., p. 73.
82
Charles F. Hoban, wrote of various studies which confirmed
the effectiveness of visual aids in instruction. One such
study, or series of studies, was conducted under a grant
by the Payne Fund in the mid-thirties. The studies were an
'attempt to measure the effects of commercial, theatrical
{films on the emotions, attitudes, patterns of morality and
!
■retention of information of children, as well as the
i
jincidence of juvenile delinquency and other phases of
jbehavior.
j The conclusions reached as a result of these studies
i
jwere published and widely read by the secular and religious
{educational profession. One such writer was Henry Forman,
I
iwho wrote Our Movie Made Children. Although the studies
| #
|Were limited to the theatrical films, they revealed
(potentials in the use of film which impressed educators
jlike Hoban.
j The first of these conclusions is that the motion
, picture is a powerful medium of education; the second,
that children, even of an early age, learn a
, surprisingly large number of facts from a motion
picture and remember them for a surprisingly long time;
the third, that motion pictures produce a measurable
change in attitudes toward social problems; fourth,
that motion pictures powerfully stir the Emotions; and
fifth, that they provide patterns of conduct in day
dreaming, phantasy and action.105
Since the theatrical motion picture studios were
1 1 AC
• Charles F. Hoban, Charles F. Hoban, Jr. and
jSamuel B. Zisman, Visualizing the Curriculum (New York: The
bryden Press, 1937), p. 94.
jreleasing a number of well made religious films they
ibecame a factor in promoting the introduction of film into
the church program. Leah Fanning investigated which films
i
Jwere being viewed by members of the selected churches.
Of the eight churches in Los Angeles, which the
student contacted relative to their use of pictures in
their program, it was found that the religious films,
such as The King of Kings and The Sign of the Cross,
I were most popular and most extensively used. Even when
these films were seen in the theatre they were so
i effective as to cause the public to ask for more of the
1 tYPe* The three most popular religious motion pictures
; are those produced by Cecil B. DeMille. They are The
! Sign of the Cross, The Ten Commandments, and The King
, of Kings. They have all been conspicuously
I successful.106
Fanning then quotes a letter from Florence Cole of
i
! DeMille's office in Hollywood that The King of Kings had
I ■ ------------------
jbeen shown to more than six hundred million admissions and
I 107
iwas "still being shown throughout the civilized world."
I
I All of the films were reduced to 16mm for distri
bution to churches and other small format markets. It must
;be noted here that Mary Beattie Brady had the rights to
both the U.S. and overseas distribution of The King of
i
j Kings in 16mm, which must have assisted in paying for her
various activities.
j Moral Objections— 1933
f
Not all pictures made in Hollywood were acceptable
X 0 6
Fanning, op. cit., p. 46.
107ibid.
to most church goers and that fact was made known to the
producers in the movie capital by a committee from the
Federal Council of Churches of Christ in America. The
Council made a distinct contribution in forming this
committee and in heading the Protestant Decency Campaign.
It also participated in establishing Better Film Councils,
Iwhich worked locally with churches and other community
i
I
jorganizations.
i
I
Although the interdenominational cooperative was not
initially involved in film production or distribution,
there was interest in some film service of some kind early
108
in its life. It also provided information to interested
1
film users as to where suitable films could be secured and
(encouraged the making of amateur films.
j As early as*1915,.feature films were under attack by
\
!
church leaders, educators, parents and numbers of thinking
i
land influential people who saw standards of conduct being
i
(influenced by "undesirable films." The wave of condem
nation was headed chiefly by Protestant church leaders and
'the Federal Council of Churches of Christ in America. This
[first indication of organized disapproval encouraged the
|film industry to join together and form the Motion Pictures
Producers and Distributors of America with a church-going
I 108
Harold M. Robinson, et al, "Better Film Councils"
(unpublished pamphlet by the Federal Council of Churches of
Christ in America, New York, 1933), p. 60.
t
i
I 85
L ................................................... ........................
businessman and politician. Will Hays, at its head.
By 1931 the "Hays office" had formulated a set of
motion picture standard of morals, called the "Hays Moral
Code." It was adopted by the MPPDA and the motion picture
industry and a Colonel Jason S. Joy was given the task of
109
enforcing the less-than-popular standards.
When the feature films did not conform to the Hays
i
ICode, not much was done to the violating studio, and few
[improvements were noted by church leaders. In 1933, the
!
[Catholic Church formed the Legion of Decency Campaign.
i
[Shortly after the Catholic movement began, the Protestants
t
^joined together through the Federal Council of Churches and
I
[organized a corresponding movement. Consequently, in
I
.thousands of communities throughout every state, millions
i
iof people pledged themselves to see only decent and worth-
jwhile pictures.
i On July 15, 1934, the industry established its more
1
[stringent Production Code Administration in Hollywood, by
[which a straying producer was liable to a fine up to
i
[$25,000, if his picture failed to meet the standards of the
109
William J. Perlman, The Movies on Trial (New
York: The Macmillan Company, 1936), p. 17.
H0"protestant Drive for Decent and Better Motion
Pictures" (unpublished leaflet by the Federal Council of
Churches in America, New York, 1934), p. 1.
86
The Decency campaign undoubtedly introduced the
feature film and theatre to more people than it chased
away.
To encourage the transition to 16mm for those that
already had standard equipment, and to introduce film into
'the programs of new churches, the Bell and Howell Company
I
(Offered projectors under 10 different purchase plans. The
i
religious film users apparently responded to these plans in
I
t
jgeneral, but two are mentioned in an article by Johnson in
iThe Educational Screen Magazine, in 1933 January.
We are indebted to the Bell & Howell Company for a
i number of plans for financing the purchase of motion
picture projectors for church purposes. One or another
of these plans is reasonably sure to provide a method
| for almost any church to secure a projector.
J Plan No. 1. The Work-Day Plan. (Time Payment) 50
i or more Sunday School students each earn $1.00 in some
I unusual way to make the first payment. Successive
I payments are taken care of by weekly entertainments,
i Plan No. 9. The Supper Plan. Give a series of
! weekly suppers, profits to go toward a motion picture
j machine. Missionary societies can use pictures to fine
j advantage bv showing movies of foreign missionary
activities.
The same company, Bell & Howell, apparently on top
i '
I
Jof the church market for their own sales purposes, issued a
survey which listed the uses that 16mm film was put to in
I
Ithe churches in 1933. That resume, again was published by
I
iJohnson.
1. Sermon Illustration— both Biblical and secular
film material.
^^Johnson, op. cit. , January 1933, p. 23.
87
2. Entertainment— Raising funds, enlivening group
meetings, diversion from commercial theatre fare.
3. Promotional— special church projects, relief
work, building, charities.
4. Preservation of historical record of church
activities.
5. Education— Sunday School, parochial classes.
| 6. Mission Work— Informational, illustrative,
J educational, promotional.H2
!
I
| J. A. Rank
I
! The year 1934 saw the beginning of a career in
Ireligious film which influenced the church and other
I
markets for many years in the U.S., but especially in
Great Britain. A staunch Methodist, multi-millionaire
philanthropist, J. Arthur Rank financed the production a
i
jreligious film entitled Mastership in that year. Rank
(backed the film as a means of bringing the message of the
{church to his fellow English citizens. The film wasn't
{entirely perfect, but Rank, pleased with the results, was
\
challenged by the imperfections. Thereby his enthusiasm
I
[spurred him to learn more about the motion picture industry
1
land the various markets to which he could distribute his
F
(productions.
Mr. Rank's films made the trip across the Atlantic
jand into the churches of America, and helped supply the
idemand for film. He became one of the first members of the
[Religious Film Society of Great Britain and supported their
j '
I
; ii2
Johnson/ op, cit,, March 1933, p. 84.
j
I 8 8
i
efforts for many years. By 1938, Mr. Rank's efforts were
noted as being significant in the U.S., so the Harmon
Foundation send William Rogers to England to study Rank's
organization and approach. The result of the trip was the
I
I introduction of religious sound film to this country, which
had been available in Britain through the Religious Film
Society. The Life of St. Paul series was brought over in a
i
[year or two.
i
I
j By the year in which Rogers and Vieth penned their
book on visual aids in the church, 1946, J. Arthur Rank
controlled some 60 percent of the British Film industry and
113
was extending hxs interests into many other countries,
j The area of film technology saw the announcement of
i
{an advancement in 1934 also. The R.C.A. Victor Company
j
demonstrated for the first time the practicability of
making and printing 16mm sound-on-film motion pictures in
{natural color, using Eastman film.
| It is believed that these experiments will open up a
| new and potentially broader field of usefulness of the
I conventional 16mm size (SOF) industrial and educational
j motion picture which have thitherto been restricted to
i black and white sound photography.
I
i
{ Africa Experiment
l
! In March of 1935, an experiment began in Africa
; 113
I Rogers and Vieth, op. cit., p. 18.
I 114
! Josephine Hoffman, "News Notes," The Educational
.'Screen Magazine, May 1934, p. 131.
jwhich influenced mission work throughout the world. The
jBanta Educational Kinema Experiment, as it was called, was
jconducted by the Department of Social and Industrial
jResearch of the International Missionary Council in the
jUnited States. Mary Beattie Brady and William Rogers were
jintrumental in initiating the African project which had the
jpurpose of "discovering the most effective use of the
i
I
potion picture as a means of native education and enter
tainment. Miss Brady described the experiment in the
l
i
1
November issue of The Educational Screen Magazine.
The project will endeavor among other problems, to
find ways of bridging the gap between the outlook of
the industrialized native and those of his rural
I village; to preserve the respect of the younger
! generations for the best traditions of the tribe, to
! reconcile the conflict between the newly acquired
■ Christian ideals of the Mission— trained youth and the
[ conservative standard of his home. . . . The experi-
| ment is essentially a missionary undertaking . . . and
I involved the twofold task, first of making films (using
I natives and natural backgrounds) and second, of showing
I them to selected native audiences over the largest
; possible area of Eastern and Central Africa which time
j and money permit. H 5
The films were black and white and silent and were
photographed by teams which were recruited in the U.S. for
the project. One team, a married couple, Ray and Virginia
Garner, went on to make a number of documentaries in
different parts of the world on the traditions, customs and
I us
I Mary Beattie Brady, "Cinema Experiment in Africa,"
; The Educational Screen Magazine, November 1935, p. 263.
i
i
i
90
L .
religions of different countries.
The very active visual education committee of the
ICRE issued a bulletin on the Visual Method in the Church
Curriculum the next year, 1940, which included descriptions
of various types of equipment and costs and an annotated
list of 100 films. "So well did the committee do its work
|that in 1940 the Council established a Department of Visual
Aids with funds provided for the first three years by the
117
Harmon Fund."
! The new department of Visual Aids was under the
i .
.'leadership of William Rogers of the Harmon Foundation, who
!
ipaid his salary. Rogers set up film evaluation committees
I
|in Boston, Hartford, New York, Philadelphia, Nashville and
I
;Chicago and their reviews were published in the ICRE
i
j Journal. The work of this agency was noted in an historical
i
jbook on the development of religious education by Bower and
f
jHayward.
t
I
Visual Aids were correlated with church school and
j leadership curricula and worship programs. Plans were
! made for educating the constituency in the value of
I visual education, for the creation of new materials by
i joint action of interdenominational agencies and
| commercial firms, and for a nation-wide agency of
i distribution and local film libraries.
i
J The Harmon Foundation (Mary Brady) began to
^^Interview with Ray Garner, Idylwild, Calif., 1971.
117
Rogers and Vieth, op. ext., p. 17.
118
Bower, op. cit., p. 86.
iencourage regional groups of church leaders and educators
to form libraries and distribution houses. One such
activity was in Atlanta, called the Religious Film Co
operative. The regional library was to work through the
jfacilities of Emory University in Atlanta and would include
|
jfilms from both the Harmon Foundation and an independent
I rental agency called the Distributor's Group of Atlanta.
j"The purpose," according to an announcement of the new
regional library in The Educational Screen Magazine in June
1940, "is to establish, in Atlanta, a library of religious
»
land educational films for the use of churches and other
119
groups in this section of the country."
Rev. James K. Frederich— Cathedral Pictures— 1939
What was once a hobby in seminary for James K.
!Frederich, became the first major religious motion picture
| studio to fully develop roots and make an impact on the
!
I church film market. Frederich was in seminary, training
l
for a ministry as an Episcopal clergyman, when his hobby of
16mm film making began to take more and more of his
insterests. His seminary training concentrated for a time
(
on the life of Paul. Says Frederich, "I suddenly realized
what possibilities for a motion picture lay hidden in that
119
"News Notes," The Educational Screen Magazine,
June 1940, p. 261.
92
dramatic character."120
It was this drama in Paul's life that aroused my
desire to use my amateur 16mm experience for the good
of the church. I began in ray second year at the
| Seminary at Alexandria, Virginia, to work toward this
I end with three other students in volunteer collabor
ation. The scenario was used as my graduation thesis.
The fact that the professor under whom I worked had
never seen a scenario probably accounted for its
acceptance. Now that I have had four years of
! experience [article published in 1942], in real motion
t picture production, I realize what a very bad job I did
I on my life of P a u l . 1^1
I Upon being ordained and leaving the seminary,
Frederich was more convinced than ever that the instrument
of film was the "most potent thing that man has yet created
122
jfor getting ideas across." He was also well aware that
i
another, even greater task, was convincing the Church of
the great opportunities he saw in the use of pictures for
teaching the great underlying truths of Christianity.
I Frederich's Bishop consented to let Frederich come
'to California for the purpose of developing his motion
ipicture ideas, at his own expense, to either prove or dis-
I
Jprove his desire. He began as assistant rector of St.
Uark's Episcopal Church in Van Nuys, California but his
heart was in films.
i i o n .
j "A Producer Serves the Church," The Educational
jScreen Magazine, December 1942, p. 389.
122Ibid., p. 401.
93
In her 1938 thesis, Leah Fanning noted the formation
of a new film production company in Hollywood.
. . . headed by Ralph Jester who has worked with
Cecil B. DeMille, Paramount Studios, and in the
production of educational films; by Charles Breasted,
who was born in Egypt, knows the background of the
! Bible, and in securing properties and equipment from
the Holy Land for the Biblical films; and by James K.
Frederich, an Episcopal clergyman and the leading
spirit behind the project [known as the Religious
Motion Picture Company].. The first productions of this
1 company will be the beautiful parables of Jesus, filmed
in fifteen- and twenty-minute short reels. The first
| release is expected in October for The Good
Samaritan. 1-23
The account in The Educational Screen Magazine
noted, "I began working on a 'short' built around the story
of the Good Samaritan. By the grace of God I met two men,
Jack Coyle and Dana Burnett, who worked with me on the
124
idea." No mention of Jester or Breasted xn thxs
iaccount. Apparently the latter were business and pro
duction experts who assisted Frederich in this first
^project. Coyle and Burnett may have been primarily prepro-
Jduction film makers, assisting in the writing and planning.
| The Fanning study mentioned also that the new film
I
jcompany, "headed by Ralph Jester," would not be connected
jwith any other motion picture film existent at that time
jand would be dedicated to the production of religious films
ionly. She also noted that an agreement had been made with
123
Fannxng, op. cit., p. 70.
"A Producer Serves the Church," Ibid., p. 400.
94
the Bell and Howell Company for releasing the films and
125
distributing them as well.
Subsequent to the planning and some production of
jthe film on the Good Samaritan, Frederich saw the project
(developing into a feature rather than the 'shorts' as
i
! planned.
I called it The Great Commandment, because that was
its subject: "Thou shalt love the Lord thy God with
I all thy heart and all thy strength and thy neighbor as
! thyself."126
!
| Frederich had a feature film script which he tried
(
t
to sell to a major film studio for production. The studio
iheads just laughed him out of their offices, saying that
t
i
jthere was no "box office" for religion and that it would
!
jdie there. Needless to say, Frederich was convinced in the
jproject, to the point of investing $135,000 of his personal
i
[inheritance into the production of the film.
I
; . The picture was made; its test showings in Joplin,
j Missouri and at Emporia, Kansas, proved that it was
i good box office; and Darryl Zanuck [Twentieth Century
! Fox] bought it for $170,000,127
j The film, The Great Commandment, was completed just
>as the World War II was imminent and the Fox producers
|
jshelved it, figuring the explicit "peace" and "forgiveness"
[theme would kill the appeal at the theatre box offices. Of
i
| ^^Fanning, loc. cit.
I 126
I "A Producer Serves the Church," loc. cit.
' 127-..,
i Ibid.
course, Frederich was disappointed that his first major
production would not see distribution until the War was
ended, and even then the campaign was small and uninspired
due to its "forgiveness" theme and the fact that many other
films were getting the attention. The film was reduced to
•16mm and was made available through Films, Incorporated, an
jeducational film distribution agency, even before the war
:was over. However, with the proceeds, Frederich began
i
iproduction of a series of short films dealing with
t
*
I incidents in the life of Christ.
!
j By 1942, the religious film studio, then to be
jcalled Cathedral Pictures, had released four productions
!
lsince The Great Commandment. They were A Certain Nobleman,
i
The Child of Bethlehem, The Prodigal Son, and No Greater
i
|Power. These shorts, approximately two reels long, were
jshot completely in Hollywood or the nearby vicinity, the
I
jinteriors, at Grand National Studios and the location
i
|scenes near Chatsworth, where a number of feature film
I
jstudios did their location shooting. The spot selected by
Frederich was chosen for its likeness to many places in the
countryside of Palestine, and was made available to him by
a rancher, Mr. Iverson, who had "devout Christian
interests. " 128
Frederich's vision was initially to reach the
128Ibid., p. 389,
96
junchurched by providing meaningful films, high in quality
|and polish, which, being shown in the commercial theatre,
jcould compete with the movies seen regularly there.
jAccording to Rev. Edward Eagle, president of Cathedral
{pictures at the time of this report, James K. Frederich was
i
misunderstood and maligned by doubters, both in the
129
iindustry and in the church. Eagle took the leadership
,of the company in 1966 after Frederich died, leaving a
jlegacy of excellent and effective films, of many lengths
land subjects, most of which are much sought after. More
j
[will be told of Cathedral Pictures in the Post-War Inde
pendent Producers, Chapter V.
i
j
Charles Anson Bond— Foundation Films— 194 0
The originator of the Bond chain of clothing stores
jbecame interested in the church film market and began a
venture not unlike that of Reverend Paul Smith in the early
jtwenties. The plan was to produce and distribute religious
films, using retired ministers as his sales staff. The
sale was to include projection equipment, paid for on a
time basis, together with a "subscription" to a two year
series of religious films in sound and color.
The initial production, produced by Foundation
Films, was previewed in New York in 1940, to which hundreds
i 129
j Interview with Reverend Edward Eagle, President
jCathedral Films, Burbank, California, Spring 1972.
|of ministers and educators had been invited. The preview
iwas a failure, partially because too many people were
!
invited for the seating room and because the projection
equipment did not operate smoothly. Bond's project never
was able to recover from this disaster. He eventually
shelved the idea.130
In 19 41-42 the Evangelical Lutheran Church, Missouri
Synod produced a comparatively expensive feature film, The
Power of God, for a said $50,000. This is reported to be
!the first time a church denomination had attempted a
iproduction for such a sum of money. The denomination was
'one of the most conservative, which made the production
I
! even more remarkable, since the film promoted personal
'evangelism. Reports indicated that the frequent use of the
film more than paid for the production.131
With the advent of the Second World War came a
number of progressive moves within the religious film
industry. Those new collaborations and subsequent
organizations and agencies will be discussed by genre in
I later chapters.
1
Summing up the pre-war developments this writer can
say that it was a period of experimentation and
entrepreneurism. Numerous promotion experts and
1^< ^Rogers and Vieth, op. cit. , p. 18.
131Ibid., p. 19.
98
enthusiastic clergymen ventured to make a buck or increase
attendance but few lasted more than a couple of years.
Changes in the technology of films; 35mm to 16mm, silent to
I
'sound, black and white to color— each made the public more
i
[aware of film and its potentials, but all frustrated the
I
t
(producers and users. Part of the frustration was standard-
i
jization, equipment and film availability and commercial
jfilm competition, especially in quality and pervasiveness.
jThe thirties brought a greater understanding of the great
I
use of film as a tool by the religious education leaders.
|The behavioral sciences and psychology saw that film would
!get its best use if it had certain elements. The clergymen
felt that the key to effective film use was to promote and
jshow it on Sunday evening. Some religious educators looked
t
at film as a part of the message to be presented.
i
| The debate continued through and beyond the war
i
I
:years. In fact, not all users of film today agree on all
[aspects of church film use. The pre-war years were just
t
\
|more ragged and unpolished, therefore they seemed much
'more frustrating and somewhat comical to us. The sub-
sequent chapters will describe various segments of the
!
[religious film industry from the war years forward through
the late 60s. Not all agencies or persons are included.
jliowever, the major trends and influences are noted which
1
made significant advances or contributions to the pro-
i
duction, distribution and use of film in the church.
99
! CHAPTER III
POST-WAR: RELIGIOUS EDUCATION USES FILM
| International Council of Religious Education
i
Perhaps the most active and thereby the most
influential promoter of church film use was the Inter
national Council of Religious Education, Dr. Roy P. Ross,
<
^General Secretary. Soon after its founding, in the 1930s,
|
jit established a Committee on Visual Education headed by
;Dr. Paul H. Vieth of the Yale Divinity School, which was to
i
I
ilook into the use of visual aids and film in the religious
I
|education area and report back to the general committee,
jlhe committee soon made plans for the production and
i
distribution of church films through the publishing arm of
{the ICRE. In 1939, the committee published their first
jnewsletter or bulletin, Visual Method in the Church
Curriculum, which described various types of film equipment
and costs, as well as a descriptive list of some 100 films
Ifor church use. The bulletin was published with the
assistance of the Harmon Foundation and Mary Beattie
Brady.^
■^"Findings," Report of the First International
Audio-Visual Workshop, Department of Audio Visual and Radio
i . 100
The year 194 0 marks the beginning of the Department
of Visual Education within the ICRE, Wm. L. Rogers was
head/ although his salary was paid by the Harmon Foundation.
iHe formed evaluation committees in six cities across the
i
jnation, which, having reviewed current films for religious
i
ieducation use, were to submit them for publication in the
2
ICRE Journal.
j Rogers and the Council's leaders initiated plans for
[educating the church leaders and their constituency
I
[regarding the value of visual education within the church.
j
They also developed plans (1) for creating new materials
for religious education purposes by the cooperative action
I
jof interdenominational agencies and commercial film making
;firms, (2) for a nation-wide distribution of these
( materials, and (3) for local visual material libraries to
! further encourage the use of visual aids in the church
school curriculum. All the visual aids to be produced were
|to be correlated with religious education and leadership
: 3
[curricula and with worship programs.
!
j In a 1942 project, underwritten by the Harmon
Education of the International Council on Religious
Education, 1944, p. 1.
t
| W. C. Bower acid P. R. Hayward, Protestantism Faces
Its Educational Task Together (Appleton, Wisconsin: C. C.
Nelson Publishing Company, 1949), p. 86.
i 3
Ibid.
101
Foundation, the Department of Visual Education of the
International Council of Religious Education, initiated the
production of experimental worship programs using visual
aids. An experiment was also undertaken in visually-
centered lesson materials for religious education. The
ibulletin, something of a "clearing house" of film material
i
ifor religious educators, continued to be published as did a
!
iregular column entitled, "Films For Church Use,” published
in the ICRE Journal.
As Rogers was getting into full swing with the
visual education department in the ICRE, the Harmon'
Foundation decided to cement plans for a cooperative
distribution agency through all denominations. The
t
Religious Film Association, founded in 1942 with William
Rogers as director, was a collaboration between the various
publishing houses of 22 different denominations. Rogers'
ICRE associate, Mary Leigh Palmer, appointed in 1941,
became more active in her role as assistant director of the
I
[Department of Visual Education. She also was salaried by
the Harmon Foundation.
I
lAudio Visual Workshops (1944)
j
J The first of a series of workshops, later to be
Jconsidered truly significant in the acceptance of film in
i
[the church, began in the Summer 1944. Under the direction
|of Mary Leigh Palmer, the Visual Aids Workshops began in
102
jChicago, where "a total of 191 persons registered, coining
from 26 states, Washington D.C. and Canada, and repre-
4
senting 25 denominations."
It was felt by Miss Palmer and other leaders in the
ICRE that unless religious educators knew of new materials
I
t
[and equipment first hand, they would never feel confident
i
I
I in seeking out or using these items. The annual workshops
i
jwere designed to provide leadership in the use of visual
i
education materials throughout the Protestant churches.
In the summer of the next year (194 5), attendance
;was even larger to the workshop, this time held at Lake
I
Geneva, Wisconsin. As a result of these first two
sessions, a society known as the Visual Education Fellow-
jship (VEF) was organized.
I
| The following are the basic assumptions in the light
I of which the International Council is developing its
! program of visual education.
1. That visual aids to education are a vital means
of communication on a level with the spoken and written
word and should be so considered by those whose task it
| is to transmit ideas and develop attitudes.
] 2. That a proper use of visual aids can greatly
1 augment the effectiveness of the religious education
j work of our Protestant churches.
j 3. That visual education resources are already
I available to a far larger extent than the great
' majority of our churches realize.
I 4. That, if they are to enhance the educational
j program, the visual resources which are used by the
( local church, its church school, and adult "through the
week" programs must be carefully evaluated by competent
4
William L. Rogers and Paul H. Vxeth, Visual Aids in
the Church (Philadelphia: The Christian Education Press,
1946), p. 21.
103
persons in terms of educational philosophy and ideals
and in terms of program function and suitability for
specific age groups.
5. That, in order to attain their maximum effective
ness, visual materials must be used in terms of a plan
for visual education which is carefully constructed as
a part of a total educational strategy, effectively
related to all other aspects and techniques.
6. That, in order to attain a maximum effectiveness,
visual materials must be used locally by persons who
understand the points at which they can have educa
tional effectiveness, the procedures by which they are
made available, and the mechanics of operation of the
necessary equipment.
7. That, to the extent that adequate resources are
not already found to be available, the church, through
its constituent agencies for united action, can and
should stimulate and guide production.
8. That any national guidance program which is
undertaken by our churches should be so devised and so
developed as to become eventually self-liquidating.^
With these basic assumptions in mind, developed by
the General Council and the Committee on Visual Education,
a list of objectives were set up for a sizable program of
visual education within the church.
1. To acquaint denominational and interdenominational
leaders with the visual method of communication and to
assist them in developing the use of visual expression
(in coordination with other methods of communication)
to convey vital messages.
2. To develop a conscienciousness on the part of
local church leaders of the potential educational
possibilities in the use of visual materials as a
medium for religious education.
3. To provide reviews and evaluations of existing
visual resources, with a view to guiding local churches
in the selection of high quality materials with
educational usefulness.
4. To guide denominational boards in the devising of
program plans and curriculum outlines whereby visual
materials will be used as an integral part of the
educational program and the curriculum of the local
5
"Findings," op. cit., p. 2.
104
church and its church school.
5. To project a plan of leadership education for the
training of local church leaders who will be competent
to use visual aids and the necessary equipment both
intelligently and effectively.
6. To lead the denominational publishing houses in
devising a plan of cooperative distribution whereby
visual aids can be made generally accessible to local
churches from the viewpoint of geographical location
and transportation costs.
7. To stimulate needed new production and to assist
through counsel in the guidance of such production.®
When the Department was established, which would
actively pursue the aformentioned objectives, there were
i
jfive areas of concentrated attention: 1) evaluation of
!existing film resources, 2) curriculum and program inte-
I
:gration, 3) promotion of leadership education, 4) materials
i
jdistribution, and 5) new production of materials. By 1944,
'the department could say that substantial progress had been
I
|made in all but the last area of activity.
| The evaluation committees which were set up across
jthe nation were actively reviewing visual aid materials.
|Membership on the committees included "pastors, directors,
I
■ age group leaders and others carrying church responsi
bilities. . . . At first the films were reviewed from the
viewpoint of acceptability for church purposes and useful
ness for religious education, but increasingly, evaluations
7
are being made for specific purposes."
^Ibid., p. 3.
^Ibid.
William S. Hockman
One of the members of the planning committee for the
workshops was also on one of the evaluation teams set up by
the Council. William S. Hockman, long time user of film in
i
I
Jreligious education, developed into a formidable influence
jamong producers and church leaders alike. He began using
I
ifilms in 1924, the silent, theatrical type, in a church in
iTopeka, Kansas, just as he left the Divinity School of the
I
University of Chicago.
j In later years, Hockman was the Minister of Edu-
i
Ication at the Lakewood Presbyterian Church, Lakewood, Ohio,
where he did considerable experimentation with the use of
film in a variety of worship service situations and in his
l
lown church school activities. He was active with the
i
ICouncil from its inception and was asked to assist in the
i
^organization and staffing of the first International Work-
i
shop in Audio Visual Aids held in Chicago in the summer of
1944.
I
Part of the planning of the 1944 workshop included
the decision whether to invite producers or equipment
jmanufacturers, or just limit it to religious educators and
Ichurch leaders.
i
No film producers were invited to attend. The
International Council of Christian Education did not
think they should be. The equipment dealers were
I there, however. They agreed not to sell at the
106
meeting. Most stuck to the a g r e e m e n t . ^
The first workshop scheduled for August 1944 was
announced in February of that year at the annual meeting of
the Council, when some 1,400 people attended. Announce
ments were also sent through denominational channels and to
city and state councils who worked with the International
Icouncil. A report published in the program booklet for the
I
;1945 workshop, indicated how difficult it was to find a
i
suitable location for the first workshop.
| Due to the war situation, it was not easy to locate
! a college which could accomodate the group for room and
board, as well as for the conference and workshop
groups. August is a month for preparing buildings for
the fall or else summer schools are in session. North
Park College, 3225 Foster Avenue, Chicago, opened her
doors to us and entertained us royally. The maximum
number for room and board was set at 128 persons. The
quota was filled by June, though there were some late
shiftings so that a few late registrants were included.
A number had to be turned away. The total in
attendance, including leaders, was 191. About one-
third of these were women. . . .9
There were 25 denominations and 28 states repre
sented. The largest of these two categories were the
Methodist Church and Illinois, respectively.
i
The Workshop seemed like a minature annual meeting
of the International Council of Religious Education.
Practically all of the sections and the committees of
the Council were represented. If visual materials and
methods are to be integrated with the total program of
g
! Personal letter from William S. Hockman, former
jMinister of Education, Lakewood (Ohio) Presbyterian Church,
November 18, 1972.
I
9
i "Findings," op. cit., p. 5.
107
the church they must be used in all phases of the
church's work. Leaders of children's work, youth work,
adult work, leadership education, vacation schools,
weekday schools, lesson committees, church school
administrators, pastors, district superintendents,
directors of Religious Education, national denomi
national staff members, editors, missionary educators,
professors, publishers, shate and regional directors,
and a few laymen— all were represented.10
i
j A total of fourteen persons were to serve on the
istaff, which included; Mr. C. R. Crakes, Educational
i
I
jConsultant, De Vry Corporation, Rev. William S. Hockman,
Director of Religious Education of Lakewood Presbyterian
Church, Ohio, Dr. Mary Leigh Palmer, Associate Director of
Visual Education for the Council, Rev. William L. Rogers,
General Secretary of the Religious Film Association and
Director of Visual Education for the Council, Dr. Roy G.
Ross, General Secretary of the Council, as well as a number
of leading religious educators and equipment dealers and
manufacturer representatives.^
i
There was obvious mention of the film distribution
agency known as the Religious Film Association at this
first workshop. There was also mention of an arm of the
various denominations which would be involved in production
only, referred to as the "Protestant Film Association" in
the Workshop Report, and later known as the Protestant Film
Commission.
i 10T, . , _
[ Ibid., p. 7.
| 11Ibid., p. 8.
i
108
The Council admitted a definite weakness in the
production area of activity, but had reservations about
going into production of itself. The report mentions the
jexistance of first, second and third rate materials and
film, but bemoans the fact that such material wasn't easily -
'available and didn't always fit specific programs.
I
We can never have a satisfactory situation until we
I can study needs, write descriptions of film and slide
! sets to meet those needs and produce material tailored
for the purposes they are to fulfill. This ideal is a
long way off.12
Visual Education Fellowship
i
l
| An outgrowth of the., first International Workshop on
'Visual Aids was a cooperative group called the Visual
Education Fellowship. The purpose of the latter organi-
ization was to keep the members informed of new developments
1
Jin religious education visual aids, which included new
■materials and films, as well as new equipment, and evalu
ations on such new developments. In time, the Council was
I
■absorbed by the National Council of Churches, as was its
i
jvarious committees and agencies, including the Department
i
|of Visual Education and the Visual Education Fellowship.
!The emphasis of the VEF remained the same for the most part,
ieven though the parent organization was named something
[different.
^Ibid. , p. 4.
109
Utilization became a paramount consideration as we
[the ICRE and VEF] reviewed and publicized various
productions. To this end our staff, under the leader
ship of Don Lantz, and subsequently Elmer Million,
Milton Heitzman, Don Kliphardt and others, developed
evaluation criteria for viewing and utilizing materials
i around the major objective for the church for various
| age groups. These evaluations appeared in a publi
cation known as The Audio-Visual Resource Guide.13
Succeeding years saw the International Workshops
increase in size and improve in quality. By the fourth
annual workshop, held in the first week of September of
I
1947, the Religious Film Association was in full operation
supplying church leaders with as much material as was
available. The cooperative production agency, the
jprotestant Film Commission, was six months into its second
jyear of production of a variety of audio-visual materials.
|
(And Cathedral Films, the first major production studio
(dedicated to religious films, was expanding its operation.
!
; The directors of those three agencies were listed as
!guest speakers at the 4th annual workshop. Paul Heard of
I the PFC, Rev. J. K. Fredrich of Cathedral Films, Hollywood,
i
iand Rev. William Rogers of the RFA, each reported of
jcurrent activities and plans within his agency.
I The evening sessions were devoted to the reviewing
I
of "new and outstanding motion pictures, film strips and
13
Personal letter from Pearl Rosser, former
director, Department of Audio Visual and Radio Education,
International Council on Religious Education, to writer,
October 1972.
110
TABLE 1
ATTENDANCE AT FIRST ANNUAL INTERNATIONAL
AV WORKSHOP
Twenty-five denominations were represented. They
are listed in rank order according to those which had
the largest number in attendance:
The Methodist Church
Congregational Christian Church
Northern Baptist Convention
Southern Baptist
Presbyterian Church in the United States of America
Presbyterian Church in the United States
United Presbyterian Church of North America
.Disciples of Christ
United Lutheran Church in America
Augustana Evangelical Lutheran Synod of Northern
America
Evangelical Lutheran
Evangelical and Reformed Church
Evangelical Church
Evangelical Mission Covenant
Reformed Church in America
United Brethren in Christ
United Brethren in Christ (Old Constitution)
Church of God
Church of England in Canada
Society of Friends
Church of Latter Day Saints
Protestant Episcopal Church
Salvation Army
Church of the Brethren
Federated Churches
Twenty-eight states were represented. The following
list is in rank of those with the largest number in
attendance: e
1. Illinois
2. Indiana
3. Ohio
4. Michigan
5. Iowa
6. Missouri
7. Pennsylvania
Minnesota
Tennessee
111
TABLE 1-'-Continued
8. Kansas
Dominion of Canada
9. West Virginia
Georgia
Massachusetts
New York
North Carolina
10. South Dakota
Wisconsin
Oklahoma
11. Virginia
Washington, D.C.
New Jersey
Texas
South Carolina
Arizona
Nebraska
Connecticut
___
Kentuckyl4
! 15
jslides." The review sessions, which included one evening
I
jof a review of a religious radio program, were conducted by
i
|Rev. S. Franklin Mack. Mack, then representing the
iDivision of Education of the Foreign Mission Board,
I
; Presbyterian Church in the United States of America, was
i
I
!later to become very active in the National Council of
I
Churches' Commission of Broadcast and Film.
Mr. and Mrs. Brunson Motley, of Indianapolis, set up
14"Findings," Report of the Fourth International
IAudio Visual Workshop, Department of Audio Visual and Radio
[Education, I.C.R.E., 1947, p. 7.
1
1 15
! Ibid., p. 2.
I 1 1 2
and conducted an extensive library of many types of visual
materials. The 33 0 registrants at the 1947 workshop had
access to these materials, as well as various types of
jprojectors, throughout the week. Many of the projectors
|were equipped with earphones which allowed for the use of
|
several machines in the same room without each disturbing
[the other. Brunson Motley, who later was to become
I
[instrumental in setting up an extensive marketing and
I
distribution system for Cathedral Pictures, reported that
the library recorded some 500 showings, which was evidence
of the value, popularity and efficiency of the library
service at the Workshop.
)
I
j
Beyond Our Own Dedication (1947)
j An event of note took place during the fourth annual
]
[workshop of 1947. On the evening of September 5, 1947 the
i
jfilm, Beyond Our Own, was dedicated by the attendees to the
[conference. The film was special to this gathering since
i
jit was the first motion picture to be produced on a
i
jcooperative basis by the several Protestant denominational
i
members of the Protestant Film Commission.
The printed program of the dedication explains the
background to the film.
j Beyond Our Own is a 40 minute, black and white sound
1 motion picture designed for showing in churches,
I schools, and clubs. It is the first motion picture
i produced by the Protestant Film Commission, the inter-
| denominational agency of 19 Protestant denominations
I set up to produce films for churches and to maintain
TABLE 2
ATTENDANCE REPORT— FOURTH INTERNATIONAL
WORKSHOP IN AV EDUCATION
iRegistration by States Number
[Alabama 3
lArkansas 1
[California 2
jcolorado 1
[Connecticut 1
[Delaware 1
[Washington, D.C. 5
[Florida 4
Georgia 2
llllinois 50
[Indiana 20
llowa 20
Kansas 6
'Kentucky 6
iLousisiana 7
Maryland 2
Massachusetts' 4
Michigan 10
Minnesota 15
,Mississippi 1
Missouri 17
[Nebraska 3
■New Jersey 4
iNorth Carolina 3
Ohio 22
Oklahoma 2
Pennsylvania 31
Rhode Island 1
South Carolina 1
South Dakota 2
Tennessee 10
Texas 7
Virginia 5
Washington 2
West Virginia 4
Wisconsin 15
Canada 12
Puerto Rico 1
330
TABLE 2--Continued
Registration by Denominations Number
African Methodist Episcopal Church 1
American Lutheran Church 10
[Baptist Convention of Ontario and Quebec 3
[Christian Catholic Church 1
Augustana Evangelical Lutheran Synod of N.A. 8
[church of England in Canada 4
[church of God 3
[Church of the Brethren 2
Church of the Nazarene 2
Colored Methodist Episcopal Church 2
[Congregational Christian Churches 14
Disciples of Christ 22
•Evangelical Mission Covenant Church in America 5
Evangelical and Reformed Church 17
Evangelical United Brethren Church 17
[Free Methodist Church of North America 1
•Five Year Meeting of Friends 1
[The Methodist Church 44
Missouri Synod Lutheran 1
National Baptist Convention, U.S.A., Inc. 8
Northern Baptist Convention 28
[Presbyterian Church in the United States 17
Presbyterian Church in the U.S.A. 23
[Protestant Episcopal Church 11
[Reformed Church in America 2
Reorganized Latter Day Saints 2
[Salvation Army 4
Southern Baptist Convention 9
United Brethren in Christ 2
[United Church of Canada 5
[United Lutheran Church in America 12
United Presbyterian Church of North America 6
[Others - Not Designated 43
Delegates 272
Staff 35
Exhibitors 23
Guests {Approx.) 75^6
330
X 6
"Program," of film dedication Beyond Our Own, by
Committee of Visual Education, at International Audio
Visual Workshop, September 1947, p. 34.
115
liaison with the motion picture industry. It was
| produced in professional motion picture studios. The
film is; to be integrated with the Mission Study Theme
of Evangelism for 1947-48 under the Missionary
Education Movement.17
j Leaders of the International Council of Religious
I
Education, as well as Paul Heard, PFC Executive Secretary,
and Rev. S. F. Mack, Vice President of the PFC, presided at
ithe dedicatory service.
I Although the religious film producers were not
invited at first, they got into the act rapidly as the
years passed and interest was shown by church leaders.
!
J " Green Lake" proved to be an ideal time and place for
jgetting new films previewed by the bulk of the church film
market. Film-user and film critic, William Hockman, served
t
I
,the ICRE as a pre-previewer with several others.
I
j The producers wanted their stuff seen by the 300,
! 4 00, even 5 00 people there. How could they see the
! films? It was decided to ask a panel to preview the
1 films of the producers, films that they brought, and
j do it in the presence of the producers. From the batch
I looked at, the film for the evening would be picked.
; Two things came of this: the producers learned alot
i about "church films" and the conference got to see some
of the very best then being produced.
j The Department of Audio-Visual and Radio Education
j(DAVRE) announced in the May 1948 issue of "The VEF News-
I
jletter" the addition of Rev. Donald R. Lantz to the staff.
iFormerly a pastor in Peotone, Illinois with the Evangelical
17, . ,
Ibid.
■^Hockman letter.
United Brethren Church and serving on the Illinois AV
Conference Cornmittee, Lantz was to help coordinate ICRE AV
19
activities in Illinois specifically.
j The next year's workshop (1948), the fifth annual
i
Jgathering, attracted some 276 persons, from 37 states,
(Washington, D.C., Canada Australia and Korea. The workshop
i
i
iwas attended by representatives of 26 different denomi-
I . • 20
[nations.
j A highlight of the 1948 meeting was a report of a
(recent trip to the far east by Rev. S. Franklin Mack and
;Rev. Everett C. Parker. The trip was taken to study
jcurrent trends and needs in audio-visual education. Also
i
jpresented was a series of reports from the different
i
I
jparticipating denominations listing the production plans
jfor the current and coming year. The ten-page report which
!consolidates all the plans from the denominations reveals
t
'an increased interest in "in-house" production, rather than
^depending on independent agencies for audio-visual
jraaterials.
i
! 19
j "Newsletter," Visual Education Fellowship, of the
(International Council of Religious Education (ICRE), May
11948, p. 3.
20
Report of the Fifth International Audio Visual
Workshop, Committee on Visual Education, ICRE, September
11948, p. 88.
I
i
i
i
| 117
Ay Evaluation Program (1948)
The Department of Audio-Visual and Radio Education
(DAVRE) of the International Council of Religious Education
(ICRE) parent of the audio visual service organization
known as the Visual Education Fellowship (VEF), revealed in
March 194 9, the establishment of a long range program of the
l
Revaluation of all audio visual materials which can be used
|in the church. The evaluation program used a number of
I
evaluation committees, located in the key cities Chicago,
jlndianapolis, St. Louis, Nashville, Philadelphia, New York
land Boston.
i
Each committee consisted of a cross-section of the
ireligious leaders and audio-visual workers of that area,
i
i
with a number of members of the Committee on Audio-Visual
l
jand Radio Education ;of the ICRE, serving as leaders. These
[committees, initially begun by W. L. Rogers for evaluations
jOn films within the RFA catalogue, were given the task of
t
up-dating and revising the existing RFA catalogue, as well
as adding evaluations on new materials recently published
|or released.
[ The results of the findings of these committees,
besides being published in the RFA catalogue, were
published regularly, ten months a year in an "Evaluation
Bulletin," published by the Visual Education Fellowship.
Often the "Bulletin" became part of the "VEF Newsletter."
Later, the evaluations were published as a group in an
! 118
annual guide known as the Audio Visual Resources Guide.
The "Bulletin" was given wide circulation throughout
the U.S., the extent of which was determined by a sampling
'through state and city councils of Christian education and
Jfederations of churches. The resultant circulation was
jbegun at 46,000 Evaluation Bulletins per month.
| The contents of the "Bulletin" was to include
Evaluations on all current audio visual materials, which
|
'included 16mm sound motion pictures, slides, filmstrips,
recordings, and even periodic radio and television programs
of interest to Christian education leaders. Each item of
t
I
audio-visual material was evaluated and commented on in the
same format which included four paragraphs:
1. Data— such as title, producer, distributor,
I rental agency, kind of materials, running time, cost,
I etc.
2. Outline of Contents— a brief paragraph complete
enough to give the user adequate information as to the
area in which this particular material may be used.
j 3. Evaluation- — statements concerning anything
i objectionable as well as outstanding point will be
| discussed. The various age-groupings for which the
! particular material would best be used will be pointed
j out, and a final evaluation statement based upon a
; four-point graduation are: Highly Recommended,
I Recommended, Acceptable and Not Recommended.
4. Utilization Suggestions— good utilization sug
gestions will be given in relationship to the major
objectives of Christian education and the different
l experiences in which the material will be u s e d . 21
j
! In the May-June 194 9 issue of VEF Newsletter, the
i 21
j "Newsletter," Visual Education Fellowship, ICRE,
;March 1949, p. 4.
j
J
I 119
I compilation of the audio visual evaluations, to be called
i The Audio-Visual Resource Guide For Use in Religious
Education, was announced to be in production. The
iannouncement included a planned publication date of
I
! 22
iSeptember, 1949, and described the format of the Guxde.
I The 194 9 Workshop, attended by 295 persons from
i
jthirty-five denominations, thirty-two states, the District
i
of Columbia, Canada, England, Sweden, Mexico, India, Japan
and Africa, was divided into thirty study groups. The
i
igroups, led by experienced and qualified persons, covered
>
Isuch subjects as How to Use Audio-Visual Materials, How to
I
^Administer Audio-Visual Education, How to Enrich Curriculum
[through Audio-Visuals, How to Make Audio-Visual Materials
i
!(which was sub-divided into nine more groups), About the
I
[machinery of audio-visuals (which featured the newest AV
(equipment demonstrated by its manufacturer or distributor),
land About Production and Distribution Problems.
}
I
jDistribution and Availability Discussed (1949)
; A report of a sub-committee within the "How to
(Administer Audio-Visual Education" groups subject in 1949,
i
reveals the increasingly complex problem of providing
materials to the many churches wanting to use films and
i
other audio-visuals.
I . . . . _____
!
I "Newsletter," VEF, ICRE, May-June 1949, p. 11.
I
i 1 2 0
The Protestant church and its authorized agencies,
denominational and interdenominational, face a dilemma
in the distribution of audio-visual materials. Since
World War II there has been a rapid increase in the
development and use of such materials in the non
theatrical field. The churches have been a part of
! this trend. They have invested in audio-visual equip-
j ment and are demanding more and more materials to use.
j In response to this demand, materials for church use
1 are being produced in greatly increased numbers. But
j the channels of distribution are not keeping pace with
this trend. There is quite an increase in the number
| of independent distributors, but official church film
I libraries including the denominational, interdenomi-
| national, and FRA libraries have not multiplied so
i rapidly.23
j
j The report offers three options to the dilemha:
i
jl) to depend entirely on independent distributors,
d) depend only on official channels, or 3) to seek cooper
ation with the independent distributors. Because of
sizable investmentsr/in equipment, primarily projection, the
'first option was to be rejected. Because of too few
jofficial outlets or distribution channels, the second
option was unfeasible. Therefore the third alternative was
|to be recommended. Cooperation was suggested that included
(distributors being invited to the annual ICRE Audio-Visual
(Workshops and ICRE representatives attending the annual
meetings of the National Association of Visual Education
[Distributors, each to participate and contribute fully.
Lnother phase of the cooperative effort suggested that the
ICRE make guidance available to all the distributors
23
Report of Fifth Workshop, op. cit., p. 25.
concerning the wey churches and Christian education enter
prises should be served in the audio-visual field. That
guidance was to include copies of the evaluations and ’ .-
'specific criteria as to the method of setting up a film
jlibrary. This information was made available to churches,
'national denominational offices, as well as commercial film
j
|libraries and distributors.24
t
The review of current audio-visual materials was an
important element of the 1949 workshop. Not only were
there films and other materials seen within the groups
i
Iwhich met and during the evening meetings, many took
!
Advantage of the availability of materials for many private
|
^screenings.
| The Audio-Visual Library contained approximately one
! thousand pieces of material. There were on the grounds
| twenty-one sound projectors, nine strip-slide pro-
i jectors, six sound filmstrip projectors, two
I stereopticons, and six record players. A carefully
! arranged and carried out plan of scheduling of both
j equipment and audio-visual materials made it possible
I for anyone to see any piece of material with a minimum
; of delay.
A summary of this efficiently operated part of the
workshop program shows that there were fifty-nine hours
of scheduled groups reviews; thirteen hours of
scheduled mass reviews, plus an undetermined number of
privately arranged p r e v i e w s .25
Film Festival at Green Lake
In addition to all the group sessions and various
^ Ibid. , p. 50.
1 2 2
subject discussion groups, a series of four meetings,
scheduled in th.e evenings, presented the most current and
important religious films. This series, called a "Film
[Festival," were attended by many of the local citizens and
I
short-time visitors to the Northern Baptist Assembly
jGrounds at Green Lake, Wisconsin. The Festival was held on
[Saturday and Sunday evenings and on Monday afternoon and
jevening, to allow for as many guests to attend as possible.
i
i The films shown were releases of various agencies,
boards, and commercial producers. Included among them
were Prejudice by the Protestant Film Commission;
Picture in Your Mind by the International Film
Foundation; Answer for Anne by Caravel Films for the
I United Lutheran Counci1;_ Fuj ita, Orphan in Japan,
| produced under the auspices of the Board of Foreign
Mission of the United Lutheran Church; I Am With You by
Studio Films and released by the Religious Film
Association; The Years of Apprenticeship, The Return to
Jerusalem, and Ambassador for Christ of the St. Paul
series by Cathedral Films; Creation According to
Genesis by Film Chronicles; Into the Good Ground by
j Pathescope for the Presbyterian U.S.A. Board of
I Christian Education; and Barabbas the Robber by
Religious Films, Ltd.26
Producers Meet
j It was reported in the January 1950 issue of "The
I
VEF Newsletter" that the Second Annual Production Confer
ence of the DAVRE had taken place in December 1949 in
Philadelphia. The purposes of that conference was to
enable constituent denominations of the International
Council of Religious Education to review the audio-visual
^Ibid. , p. 52.
123
(materials that were currently in production and to make
plans for the widest possible collaboration of their
production and utilization.
I There were fifteen denominations represented at the
jDecember 1949 conference, of which Reverend Howard E. Tower
i
jserved as general chairman and Miss Pearl Rosser served as
}
secretary. The Protestant Film Commission presented three
new curriculum enrichment films which were sent from the
jwest coast for the conference. Other significant projects
i
jwere reported on which were cooperative efforts in the
i
jfields of leadership education, evangelism, youth work,
Icamping, vacations religious education and Christian family
life.27
I *
I Regional Workshops
i
i
i Audio Visual workshop training was not limited to
1
jjust the annual Green Lake affair. Many area and state
(groups established conferences and training sessions during
I
the year to which the ICRE often sent resource personnel,
!
jeither helping in the planning and/or the actual operation
1
iof the session.
i
Mr. Brunson Motley, an active member of the
Committee on Audio-Visual and Radio Education, and the
i
i
l _________________________
I 27
| "Newsletter," Visual Education Fellowship, ICRE,
jJanuary 1950, p. 5.
i
Reverend Elmer G. Million, who represented DAVRE, announced
their tenative tour schedules for spring 1950 in the April
issue of "The VEF Newsletter." The tour of workshops, as
announced that year, was limited to the southeastern
United States, and included training sessions in McKenzie,
•Tennessee; Mobile, Alabama; Ocala, Florida; Columbia, South
i
Icarolina; Norfolk, Virginia and Charleston, West Virginia.
Other audio-visual resources persons from DAVRE and
CAVRE were to attend AV workshops in New Jersey and New
28
(York throughout March, April and May of 1950.
| The Summer 1950, issue of "The VEF Newsletter"
(listed even more regional audio-visual conferences being
!
held during the summer months throughout the United States.
The'announced workshops, designed to inform local religious
education leaders on the use of audio visuals in the
jchurch, included sessions being held in East Northfield,
|Mass.; Wooster, Ohio; Temple University, Philadelphia, Pa.;
Georgetown, Texas; and Washington, D.C.
Seventh Workshop Stresses Utilization (1950)
By 1950 and the seventh Workshop, the annual
gathering had "become one of the important annual events in
29
American church life." Those who had attended previous
? f t
j "Newsletter," VEF, ICRE, April 1950, p. 4.
| 29
• Report of the Seventh Workshop, 1950, p. 3.
125
sessions, considered the seventh "the best so far." Those
who were attending for the first time were pleased that it
30
"did even more for them than they anticipated."
The first period of the seventh annual workshop, by
I
jthis time experiencing some repetition as well as
^reputation, was divided into two main sections: those who
!
had never been before, and those who were repeaters. The
jfirst section was further divided into two groups: one for
those who chose to study effective utilization of audio
visuals in a local church, and one for those who wished to
learn more about how audio-visuals were made. The
["repeater" section, as well, was divided into two further
(groups: the first to hear of advancements which had been
imade since the last workshop, and the second to learn more
31
about script writing.
A second period of two hours in the morning was
devoted to the concentrated study of utilization methods of
laudio-visual materials, in various fields like children's
j
work, family life, youth interests. Another group studied
l
utilization of audio-visuals in cultivation of leadership,
jwhich included the teaching of a course on audio-visual
j
aids, planning of a program in the local church, as well as
organizing programs for statewide and citywide agencies and
31t, . ,
Ibid.
126
for colleges, and theological seminaries.
The afternoon time was less structured than the
mornings and allowed more time for review of current audio
visual materials, developing of audio-visual projects,
meeting of specific working committees within ICRE and the
i
various denominations attending the workshop. Evenings
were reserved for more formal presentations, examples of
j
(the use of audio-visuals which were designed to inspire the
attendees and generate creative imagination which, in turn,
sparked lively discussions in the group meetings the
32
following day.
Since it began, the ICRE Annual Workshop was used as
a platform for the introduction of new materials and
'innovations. The year 1950 was no different.
! First there was the presentation of the second
j edition of the Audio-Visual Resource Guide, containing
] listing and evaluation of numerous audio-visuals as
! prepared by the evaluation committees of the Inter
national Council of Religious Education. Second there
was the presentation of the new basic bulletin Using
Audio-Visuals in the Church, prepared by the Committee
on Audio-Visual and Radio Education of the Inter
national Council. Third there was the premiere showing
of two films produced by the Protestant Film Commis-
| sion, namely Second Chance and Again— Pioneers.
Finally there was the "unveiling" of the new leadership
| education audio-visuals about which many of the
I delegates had heard and which they now had a first
opportunity to see.33
The last mentioned new element to be introduced,
32
J Ibid.
~^Ibid. , p. 4 .
127
audio-visual leadership education/ was significant in that
to this point no organized effort had been undertaken to
educate audio-visual workers in the local church. This new
material was made available and its use fully explained at
the 1950 Workshop. The sessions which stressed this
training were under the specific guidance of Lloyd A.
Peterson, Director of Public Relations of the ICRE, Brunson
[Motley, Distribution Manager for Cathedral Films, Frank M.
jMcKibben, Professor of Religious Education, Garrett
I
(Biblical Institute, Evanston, Illinois, and Loren Walters,
!
jDirector, Leadership Education, Board of Christian Edu-
I 34
jcation, Philadelphia, Pa.
I
i
i
[Leadership Training
I
| The International Council of Religious Education and
various national denominational personnel were scheduled to
work in teams during the latter part of 1950, to direct the
i
I
leadership training sessions for groups of local churches.
I
This training was designed to seek out and nurture latent
i
[leadership within local congregations. The specific
!
(institutes, which are mentioned in the October 1950 issue
of "The VEF Newsletter," were planned for the purpose of
enlisting and training further key leaders for yet another
group of institutes, clinics and workshops.
^^Ibid., p. 84.
128
! At the heart of the training is an audio-visual kit.
Called Leadership Education Audio Visuals (LEAV) , the
package contained ten audio visual units, each with its own
guide, giving suggestions for conducting sessions, either
j . . .
{in area-wide or local church clinics.
f
i
j The audio visual elements of the LEAV kit were nine
J
jblack and white and one. color 35mm filmstrips, accompanied
I
iby recordings on disc, either 78 rpm or 33 1/3 rpm, or a
i
i
reading script, and eleven utilizing guides. According to
the publicity material the kit "uses modern audio-visual
methods for effective training, provides motivation as well
as instruction, contains material for recruiting teachers,
{divides into easy-to-understand sections, can be used
i
individually or in groups, and is designed to interest both
35
new and experienced teachers."
A listing of the various institutes scheduled for
[the fall and winter of 1950 included sessions in Seattle,
Portland, Sacramento, Los Angeles, Dallas, Kansas City,
iFargo, Philadelphia, Lansing, Boston, Toronto, Nashville,
!
Atlanta, Chicago, Des Moines, Denver, Columbus, Ohio, and
Albany, New York. The schedule divided the institutes into
six groups, each to be led by a different team, thereby
overlapping the schedule within the months of October and
November. Most of the institutes were from one to three
i
I
! 35
I "Newsletter," VEF, ICRE, June 1950, p. 33.
days long.3 6
There were 298 delegates that registered for the
1950 Workshop, who came from 33 states, Washington, D.C.,
Canada, England, Germany, Mexico, Africa, India, the
I
jPhilippines, and Japan. Some 30 denominations were
i
i
[represented. It was noted that more persons with national
ior broad area responsibility for church use of audio-
i
ivisuals were in attendance than in former annual
I . 37
Igatherings.
I
j The Department of Curriculum Development of DAVRE
jpublished an annual guide for audio-visual materials to be
i
[used by Sunday School teachers in conjunction with the
I
(International Sunday School Lessons and the International
i
jBible Lessons for Christian Teaching. The guide for the
I
jl951 series of lessons was published in the October 1950
I
(issue of "The VEF Newsletter," and included the full
i
(calendar year's lessons into which audio visual aids were
integrated. The guide listed the title and subject of the
llesson, the accompanying audio-visual, its producer and
distributor .and costs, as well as the age group to which it
is best directed.38
36Ibid., p. 32.
37
Report of the Seventh Workshop, 1950, p. 5.
3 8
"Newsletter," op. cit., p. 13.
130
National Council of Churches Absorbs ICRE
The operation of the Department of Audio Visual and
Radio Education under the new National Council of Churches
Organization, hegun in December 1950, was clarified in the
January 1951 issue of "The VEF Newsletter."
Our Department will continue as a department of the
Commission on General Christian Education which is a
part of the Division of Christian Education of the
I National Council.3 9
| Along with the change within educational channels
jcame a change in the organization of the Protestant Film
I
jCommission and the Protestant Radio Commission. Those two
I
producing agencies were merged into a Central Department of
Broadcasting and Film, later to be known as Broadcasting
i
I
Jand Film Commission (BFC). While the executive secretary
I
pf the DAVRE had served on both the PFC and the PRC
[
advisory boards, he began to serve on the combined board as
Ian advisor and coordinator for material production and
j
utilization.
|
|
{ production Conferences (1951)
The Third Production Conference under the super
vision of the Deparment of Audio Visual and Radio Education
was held January 8-13, 1951, in Buck Hills Falls, Pennsyl
vania. The purpose of this conference, as with the last
(in 1949), was to coordinate production projects among the
39
*"Newsletter," VEF, ICRE, July 1950, p. 6.
131
jma,jor denominations and audio visual producers to avoid
overlapping efforts and utilize the available talent and
monies more efficiently.
The method of operation was something like this: a
joint committee was formed from three committees— the Board
!of Trustees Committees on Production, the Board of Trustees
l
^Committee on utilization and the Committee on Audio Visual
!
,and Radio Education. That joint committee submitted a
’listing of its combined production projects planned for the
i
jcoming year to the various major denominational boards of
! education for review. Those denominational boards noted
!
the project descriptions to indicate their interest in
collaboration in production at various stages of develop
ment. Denominations interested in specific productions
then sent representatives to the production conference
prepared to participate in cooperative production projects.
The combined Protestant Film and Radio Commissions,
by then called the Department of Broadcasting and Film, was
!invited to the 1951 Production conference, because some of
the productions would be initiated by the DBF, or would act
as a channel in interdenominational production projects.
It was also noted in the January 1951 issue of "The
VEF Newsletter" that the Second Production Conference, held
in December 1949, in Philadelphia, had been the initiating
event for the development and production of the Leadership
i
|Education Audio Visual Kits (LEAV).
At the beginning only eight denominations signified
a desire to produce cooperatively. Before the project
was completed, nineteen denominations had become a part
of the cooperative production and distribution
process.4 0
In connection with the LEAV kits, the same issue
reported on the numerous institutes held for area training
on use of the kits. A total of 19 denominations were
(involved in the program, sending a total of 979 persons to
some eighteen different and various area institutes. From
those key training sessions, another 97 regional institutes
I
jwere planned, an average of 15 per key institute.
j
! The success of the training materials and leadership
workshops was indicated not only by the numbers and rapid
expansion of the program, but by verbal responses as well.
One Midwesterner remarked, "this is the most
significant conference I have ever attended." A
I Southerner observed, "I have seen a lot of meetings set
! up but I have never seen one better planned and better
j conducted than this one." An Easterner remarked, "I
| was a little leery about this particular activity but
i I certainly am happy about it now. I wouldn't have
| missed it for anything in the world." A Westerner
j wrote, "I feel that the Leadership Training Institute
was a grand success and I wish to express my deep
appreciation for the splendid service r e n d e r e d . " ^ !
The above enthusiastic responses must be observed
with caution, considering that those involved with the
iplanning and executionCof the institutes are those
i
(selecting the comments to be printed. However, with due
4 th, . .
Ibid., p. 4.
41
Ibid., p. 5.
133
/
respect to their bras, the program proved very successful
as the numbers clearly indicated. 1
Production and Use Of AVs Discussed
The eighth International Workshop was considered
more "international," and more of a "workshop." Delegates
from eighteen different countries attended the annual
gathering, representing some 29 denominations. A total of
297 persons were registered for the week-long conference,
of which 42 were considered resource leaders and special
service counselors. The Workshop report, "Findings," noted
i
I
ja trend in the registrations from a majority of workers
I
jwhose responsibility was for a given local church in 1944's
jmeeting, to the current Workshop's attendees being a
t
; majority of persons having responsibility for planning
i
(national, regional, provincial, state or county audio-
i 42
Ivisual programs.
i
! The major topic or theme for the 1951 Workshop was
jthe proper utilization of audio-visuals for educational
i
jpurposes. Along with this emphasis was a second major
consideration, production of audio-visuals. The theme
topic, utilization, was presented and discussed each
morning by Dr. Margaret Divizia of the Los Angeles Public
School System, as well as in individual group session
42
Report of the Eighth Workshop, 1951, p. 1.
i 134
I throughout the day. The second emphasis, production, was
presented by Alan Shilin, independent film maker and
regular participant to the annual Workshops. Considering
the international flavor of the delegates, the two sided
theme was well chosen, since techniques of utilization and
{production can be used anywhere around the world.
!
| The evening programs were somewhat reserved for the
! introduction of relatively new ideas, services, and
|innovations. At the first evening meeting, Dr. Ronald
I
jBridges, Executive Director of the newly organized Broad-
I
(cast and Film Commission of the newly organized National
'Council of Churches of Christ in the United States of
I
{America (NCCCUSA) spoke to the group.
i
| The second evening, Monday, September 3, 1951,
j
jprovided time to introduce RAVEMCCO (Radio, Visual
i
I
(Education and Mass Communication Committee, Division of
i
Foreign Missions, NCCCUSA).
From the time we heard the African drums calling all
to worship, until we had heard from representatives
from Lebanon, the Philippines, Japan, Pakistan, Africa,
etc., we were enthralled by what Christians in our so-
i called "mission countries" are doing in the field of
I communications.43
I
Tuesday and Wednesday night brought reports from a
'
{number of regional workshops, further educating church
leaders and teachers about audio-visuals on a more local
L
135
level, and from the recently established Broadcasting and
Film Commission, with an introduction of the people
connected with it.
The time on Thursday night was spent reviewing a new
i
jseries called "Family Life Audio-Visuals." It was being
j
(produced co-operatively through the National Council's
[Department of Audio-Visual and Radio Education and included
i
•four filmstrips on family relationships.
t
i
j Several members of the ICRE and participants of the
j
jannual Workshops had begun research projects dealing with
t
how various churches are using audio-visual materials and
the effects these presentations were having on the viewers.
I
pwo of the projects, one actually begun in 1949, were
! 44
(presented on the last two nights of the conference.
!
j At all of the evening meetings, some type of audio-
j
visual presentation was previewed, whether it was a film,
recording, filmstrip or whatever. The previews presented
|at the 1951 Workshop were different from those of other
I
iyears in only one aspect.
t
j No attempt was made to demonstrate either evaluation
j or utilization. The audience was not asked to express
- opinions pro or con, nor to suggest uses. . . . The
I films and other audio-visuals were briefly introduced
J by the chairman. He pointed up the distinctive
1 characteristics of each new piece of material, called
attention to one or two interesting aspects of the
production and sometimes introduced a producer to give
further information. Thus a major portion of the time
i 136
[_____________________________________________________________________________
j available was given to the actual viewing of
significant new material.4 5
The staff of the annual Workshops were pretty
consistent in publishing a daily news sheet called the "VEF
|Daily." VEF is the Visual Education Fellowship, which
!
•continued to send material to its members throughout the
jyear, as well as informing the delegates at the Workshops.
1
jThe Daily publication usually contained an updated schedule
of the day, notice of special committee meetings, housing,
registration, and transportation information, and announce
ments which supplemented posters, bulletins and verbal
j announcements.
t
j A "Who's Who" section of the annual report of the
jworkshop was usually included, which provided each delegate
I
jwith the credentials and business and/or denomination
I
I
affiliation of at least the staff and discussion leaders,
and often the entire list of delegates. The "Who's Who"
list in the 1951 report included all the persons present at
I
I
that gathering, plus their addresses, denomination and
46
church responsxbxlxty and occupatxon or business.
Another section of the report was a listing of all
the audio-visual materials available for previewing through
the library set-up at the workshop. Instructions regarding
45
Ibxd., p. 5.
i 46Ibid.
137
projection equipment and library hours was presented, as
well as an explanation or disclaimer.
This listing is not a recommended one, but repre
sented materials furnished the Workshop for screening
and evaluation. Some of the new productions have been
scheduled for group reviews and evening sessions.
Watch, the VEF Daily for such announcements. The Work
shop is deeply grateful to the concerns which loaned
these materials. The producers are indicated after the
titles. Sources for these materials are given at the
end of this listing. The Religious Film Association as
| the official international distribution agency has
; supplied many films for the Audio-Visual library. For
! further information concerning sources or other data,
consult the Audio-Visual Resource Guide for Use in
Religious Education.47
The library for the eighth annual workshop (1951)
;held 669 titles for use by the delegates, which totaled
j
11500 showings. Mrs. Brunson Motley, who with her husband
i
|began the library operation in 1944 for the Workshop, again
!
jmanaged the library. Mr. Motley, by now the distribution
jmanager for Cathedral Films, lectured on and led discus
sions on religious film library management and distribution
at occasional workshops during the late 40s and throughout
ithe 50s.
Rev. Donald Lantz
Another staff member of the annual gatherings,
Reverend Donald Lantz, had been on the permanent staff of
the ICRE and helped to coordinate the VEF activities, as
well as organize many of the special previews and
47Ibid.
139
discussion schedules at the workshop. The April 1951 issue
of "The VEF Newsletter" noted Lantz * s departure from the
Department of Audio Visual and Radio Education.
Lantz joined DAVRE in February 1948 to help in
coordinating meetings, but was soon put to work at leading
meetings and training sessions, as well as developing new
'programs for the department. Some of his accomplishments
i
jwere noted in a full page article in that issue.
i
One of the major tasks Mr. Lantz undertook was the
improvement of services to the Visual Education Fellow
ship. Through the "Newsletters," special bulletins and
particularly through the evaluation process, we believe
he has given superb leadership. The Audio Visual
Resource Guide for Use in Religious Education is
largely the fruits of his supervision. . . . He has
been of real service in counseling with producers of
j materials.48
i *
j Lantz left DAVRE in the summer of 1951 and joined
i
jthe staff of Family Films as Director of Religious Edu
cation, where he assisted in coordinating films and film-
jstrips with most of the major denominations and church
(leadership. Lantz, although located in California with
I
'Family Films, participated actively in the annual workshops
i
jand conferences sponsored by the National Council and its
|subsidiaries, such as the Department of Audio Visual and
Radio Education. From the year 1951, on, Lantz was listed
48
"Newsletter," VEF, ICRE, April 1951, p. 20.
140
[in the DAVRE annual "Who's Who" as a "Religious
*
Consultant."
Teach the Bible Theme (1952)
"Using Audio-Visuals to Teach the Bible" was the
theme of the Ninth International Workshop, again held at
the Northern Baptist Assembly Grounds in Greenlake, Wiscon
sin. The first, and theme-setting period, held from 8:30-
jl0:00 a.m., was lead by Dr. Paul H. Vieth, the 1952
I
.Chairman of the Special Committee on Bible Visualization at
jGreenlake.
i
i
The former International Council on Religious
Education was by 1952, well integrated into the National
i
i
{Council of Church and was known as the Commission on
I
jGeneral Christian Education, Division of Christian
Education. The Workshops on audio-visuals continued to be
organized along the same format as in earlier years, with
Jfew variations, and were still lead by Pearl Rosser,
Executive Director of Audio-Visual and Radio Education
within the Commission.
The second arid third periods, scheduled for late
morning and early afternoon, were reserved for "work
Editors footnote: Reverend Don Lantz was extremely
helpful to this writer in gathering most of the historical
{information regarding the Annual International Audio Visual
{Workshops. At this writing, he serves as a parish minister
{with the United Methodist Church in Southern California.
groups." These groups were attended by: delegates who had
expressed a desire to know more about a particular area of
audio-visuals. There were four sections: Utilization,
'Leadership Cultivation, Production and Distribution, and
! 49
■Special Conferences.
I
l
! The Utilization category was further divided into
i
i
jsections which discussed utilization methodology with
I
[children, with youth, with adults, in reaching the
I
junreached, and in inter-group activities. Leadership
i
Cultivation, also, was broken down into discussion groups
i
jdealing with "How To's": How to Teach Standard Leadership
jEducation Course 141.4b, How to Conduct A-V Institutes and
Workshops, How to Organize A-V services in a Council of
i
Churches, and, How Film Librarians Can Help Local Church
.Workers. Production and Distribution section was sub-
i
'divided into three different areas: Professional Production
I
and Distribution of A-Vs, Planning and Producing Radio and
!
jTV Programs, and Advanced Script Writing and Production of
j
A-V Materials, again led by Alan Shilin.
i
| The Library and projection service, in 1952, was
!
managed by Rev. Edmund Shaw, Director, Department of Audio
visual Aids, Council on Missionary Cooperation, American
I
Baptist Convention. He was assisted by C. A. Weesner,
Executive Secretary, Audio-Visual Department, The United
! 49
! Program for the Ninth Workshop, 1952, p. 7.
(
I 142
Christian Missionary Society, Disciples of Christ.50
One special participant in the 1952 Workshop, was
Mr. Julien Bryan, founder of the international Film
Foundation, New York City. Bryan presented a talk during
one of the evening sessions on "Using Films for World
Understanding." The listing of his presentation in the
International Workshop program for 1952 is the first such
mention of him as a part of the activities, however, his
films had been used by the Workshop library for a number of
years.
I The evening general session, again, became the plat-
i
jform upon which a number of new and interesting innovations
l
iwere presented, as well as the newest of the religious
!
Ifilms and audio-visuals. Innovations in graphics, develop-
I
Iments in tape recording, reports from various units in the
i
National Council, and other new developments were part of
the evening presentations.
During the Ninth International Workshop, the first
effort was initiated to gather together the findings of the
various groups and assemblies in order to use them for the
development of important policies recommendations to the
Division of Christian Education. These findings were to be
reviewed daily and thereby become useful in planning the
next day's activities even at the Greenlake Workshop.
50Ibid., p. 11.
143
There was also a committee scheduled to meet for the
purpose of planning the Tenth international Workshop to be
held in 1953.
i it is ironic, however, that, contrary to years past,
a copy of the published "Findings" was unavailable for this
!
|Study for the Workshop of 1952. Therefore, little can be
•reported as to what actually took place. The above
information came from various programs and bulletins, as
well as hand-outs at the Workshop.
Theme;: Audio-Visuals- in Church Curriculum (1952)
T
The Reverend Howard E. Tower, Director of Program
ming and Production and Associate Secretary of the Radio
and Film Commission of the Methodist Church, was the leader
of the first period lecture at the Tenth Annual Inter
national Workshop on Audio-Visual Education at Green Lake
Wisconsin, held in 1953’ . The topic of Tower's talks and
the theme of the conference was "Using Audio-Visuals in the
51
Curriculum of the Church."
J The work groups, which met during the second and
i
jthird periods, were, as in the last year's program, divided
jinto sections: Utilization, Leadership Cultivation,
i
jProduction and Distribution, and Special Conferences.
These sections were further divided into more specific
51
Program for the Tenth Workshop, 1953, p. 7.
; 144
I ------------------------------------------------------------- ■ ---
discussion groups, in similar fashion as the previous year.
There were two elements of the tenth annual
gathering of audio-visual leaders and workers which were
of significance. First, the theme stressed the curriculum
of religious education as a vital link in proper
I
i
utilization and integration of audio-visuals. Early in the
week, it was determined that many of the terms being used
by the Workshop leaders and other, more academically
i
oriented delegates, needed clarification and definition so
ithat all could be on a common understanding. Words such as
i
|audio-visual, curriculum, integration, correlation, and the
interrelationships of these words, were defined and
jexplained on a one page sheet and distributed to the
I
i 52
| delegates.
i
Integration at the local level takes place when the
leader utilizes an A-V as a vital element in the
development of a lesson or unit, whether this was
suggested in the lesson materials or not. Correlation
at the local level takes place when advantage is taken
of some A-V which is used in the church or the
community for whatever bearing it may have on a unit,
but without its being essential to the teaching of the
unit.53
Such is a sample of the type of explaining needed
for the general understanding of terms. Many of the
delegates, it may be recalled, were from foreign countries,
either nationals or missionaries, and current educational
52
From a handout given at the Tenth Workshop, 1953.
53
Ibid.
145
jqtgqn at terms may have been difficult to understand.
The second significant element at the 1953 Workshop
was the increased practice of taking advantage of the
annual meeting for the gathering of special interest
groups. Indeed, many of these groups even scheduled
t
conferences to coincide with the International Workshop and
|Were listed in the program as such. Often, the various
denominational mission boards and certain departments of
i
jthe National Council would call together delegates with
(interests in common to give them the lastest policies and
|
programs for the year. Special groups were titled, for
|
example: "Missionaries and Nationals served through
jRAVEMCCO," "Professors and Instructors in Seminaries and
polleges related to the Professors Advisory Section,"
I
l"Chaplains Serving in Military Centers," "Weekday Religious
Education," and "Joint Committee on Audio-Visual
; ^4
Materials."
l
t
I A highlight of the week's activities in the 1953
I
I
Workshop was the screening of the Louis de Rochemont
production of Martin Luther. Produced in Germany for the
combined Lutheran churches in the USA, the film was being
shown only in commercial theatres in selected cities at
jthat time. The film was claimed to be "the most
54
i Program, 1953, op. ext., p. 17.
i
!
I
146
Significant religious film ever made under Protestant
,,55
auspices."
Theme; Functional Audio Visuals (1953)
The year 1954, brought the Eleventh International
Workshop, with the emphasis being the "Functional Use of
I 5 6
{Audio-Visuals m the Church." The leadership sensed an
(emerging need in the church audio-visual field to know what
Ireally happens in the lives of viewers when audio-visuals
are used in the church program.
The 315 delegates gathered each morning in general
assembly to view demonstrations of selected audio-visual
{materials for the major functions of the work of the
church. Existing audio-visuals were used, for the most
jpart, but the emphasis was on comparing and evaluating
jvarious media for performing these basic functions in the
[church. The morning sessions were under the leadership of
i
iseveral staff members of the 1954 Workshop,
j The work groups were sub-divided again, and within
jthe "Utilization" group there were discussions on "Using
jAudio-Visuals in Serving Emergency Areas (Chaplains),"
!"Using Audio-Visuals for Study Experiences," "Using
I
55
From a daily news sheet, Visual Education Fellow
ship at the Tenth Workshop, September 5, 1953, p. 2.
56
Program for the Eleventh Workshop, 1954, p. 4.
147
Audio-Viauals in Worship," and "Audio-Visuals and Mental
Health.1,57
The "Leadership Cultivation" work group, this year
added "Administration," since special problems in program
planning and administration had demanded a hearing.
"Production and Distribution" was separated into only two
jsections: Advanced Script Writing," and "Preparing and
jMaking Inexpensive Audio-Visual Materials."
i
There were a total of seven different conferences
scheduled for special interest groups, other than
denominational, three of which were designed to bring
[together (1) Professional Producers, (2) Audio-Visual
!
[Equipment and Materials Suppliers, and (3) Persons
I R R
jlnterested In or Having Responsibility in Educational TV.
I
j Of particular interest during the Eleventh Inter-
i
jnational Workshop, were a number of worship services which
[had audio-visual material integrated into the order, and at
which the general delegation were in attendance to
experience and evaluate. Rev. Donald R. Lantz, Religion
Consultant with Family Films, brought several examples of
worship services which he had planned and coordinated
which used hymnslides, films and recordings as integral
^7Ibid., p. 9.
58Ibid., p. 11.
elements.. 59
Theme; Training Church Workers (1954)
The Twelfth International Workshop on Audio-Visuals
in Education Religious, had as its theme: "Using Audio-
Visuals for Enlisting and Training Church Workers." This
general topic was broken down into smaller, more detailed
i
Jpresentations and discussions on such subjects as, "The
{Philosophy of Christian Leadership," "How Workers are
i
t
{Motivated and Recruited for the Various Church Tasks,"
I
j "Pre-Service Training," "In-Service Training," and "Growing
■on the Job."
j All of the work groups were devoted to discussing
How to" type subjects.
In each of the following work groups (numbers 2-12),
these questions will be considered:
2. Using A-V for Enlisting and Training Church
Workers with Children.
3. Using A-V for Enlisting and Training Church
Workers with Youth
4. Using A-V for Enlisting and Training Church
Workers with Adults
5. Using A-V for Enlisting and Training Church
Workers for a Program of Christian Family Life
Education
6. Using A-V for Enlisting and Training in .Christian
Vocations
7. Using A-V for Enlisting and Training in Personal
Counselling
8. Using A-V for Enlisting and Training in Steward
ship and Financial Cultivation
9. Using A-V for Enlisting and Training in Church
School Administration
59
Interview with Donald R. Lantz, October 1971.
149
IQ. Using A-V for Enlisting and Training in
Evangelism and Outreach.
11. Using' A-V for the World Mission of the church
12. Using A-V for Training Leaders in Social
Action.60
For the four years from 1951 to 1955, the Annual
Workshop had had some mention about architecture and audio-
visuals. The 1955 conference was the first time such a
i
|subject was ostensibly scheduled in the program. The
i
! announcement of the Church Architecture Conference explains
ihow this topic came about.
From the Suppliers Conference held at the last
Workshop, came the request for a conference to deal
I specifically with what local churches should include in
; building specifications to provide adequately for the
I audio-visual utilization. This conference ought also
j to study how audio-visuals may be used to guide Church
j Committees in remodeling and planning new b u i l d i n g s . 61
The next year's Workshop was held at the University
of Southern California, Los Angeles, California, with
iheadquarters at the Cinema Department. The dates of the
conference was August 18-24, 1956. There were some 200 -
registrants from eight foreign countries and 25 denomi
nations attending. An increased number of the delegates
i
were from California than in years past.
The person who had directed the Department of Audio-
Visual and Broadcast Education, and who directed the
^From a daily news bulletin, Visual Education
'Fellowship at the Twelfth Workshop, June 1, 1955, p. 6.
I 61
j Daily news bulletin, op. cit., p. 8.
150
planning and organization of the Annual A-V Workshop, Pearl
Rosser, left her position within the Division of Christian
Education, NCCCUSA, during the year (1956) to become the
Director of Radio-TV for the Church Federation of Greater
jChicago. She was not in attendance at the conference held
Jat the University of Southern California (U.S.C.), but sent
c 2
a telegram of greetings to the delegates.
f
I Eas tman Kodak Report
The Eastman Kodak Company made public at the 1956
Workshop, a Religious Audio-Visual Study, which statis
tically evaluated the amount of audio-visuals produced and
released within a given year. Although it was noted that
the survey, as presented at U.S.C., was a draft of the
[final, the figures are interesting and significant. The
Jdelegates received a "preview" of the survey, thereby
[providing important data for their discussions.
I The first Table (#3) shows the estimated annual
i
>figures for religious motion picture production over the
I
i
Iperiod 1915-1955, a period of forty years. The statistics
reveal a marked increase in production beginning with 1950,
with 1953 topping them all. The chart explained how films
were classified as "religious."
I -------------------------
| From a daily news bulletin, VEF, at the Thirteenth
jWorkshop, August 21, 1956, p. 1.
I
TABLE 3
ESTIMATED ANNUAL FIGURES FOR RELIGIOUS MOTION
PICTURE PRODUCTION OVER TEE PERIOD
OF 1915 TO 1955^3
Year Productions Annually Percent of Total Titles
1915 1 . 001
1922 1 .001
1925 2 . 002
1928 1* .001
1929 1* . 001
1930 4 . 002
1931 2 . 001
1932 6 .004
1933 1* . 001
1934 3 . 002
1935 9 . 005
1936 3 . 002
1937 7 .004
1938 14 .008
1939 28 . 016
1940 18 . 012
1941 25 .016
1942 14 . 009
1943 9 . 006
1944 20 .013
1945 24 .015
1946 31 . 02
1947 80 . 05
1948 129 . 08
1949 113 . 073
1950 135 . 08
1951 151 . 09
1952 187 .116
1953 200 .129
1954 178 .11
1955 170
Total 1573
.11
*Note: It is estimated there was one film
of these years.
produced in each
6 * 3
From.a study presented by Eastman Kodak Company at
the Thirteenth Workshop, August 18, 1956, p. 1.
152
A film y?hich has had 50% or more of its sales and
eventual usage in churches and synagogues is classified
as religious. For example, many films listed in the
Audio-Visua1 Resources Guide are classified as
educational and, therefore, not included here.
Kinescope recordings of television programs are not
j listed either.64
J The second Table (#4) , answers the question, "how
jmany films have been produced and sponsored by denomi
nations as distinguished from independent producers?"
TABLE 4
FIGURES REVEAL HOW MANY FILMS WERE PRODUCED
AND/OR SPONSORED BY DENOMINATIONS COMPARED
TO THOSE RELEASED BY INDEPENDENT STUDIOS65
|Year Denomination Independent Total
| (Based on known production dates for 784 films produced
ibetween 1947 and 1955.)
1947 10 38 48
1948 19 54 73
1949 24 42 66
1950 30 50 80
1951 37 50 87
1952 54 50 104
1953 59 59 118
1954 56 43 99
1955 33 65 98
For proper interpretation, see text.
64
Ibid., p. 1.
^5Ibid., p. 2.
153
For purposes of calculation, the Broadcasting and
Film Commission of the National Council has been called
a "denomination." Likewise, Moody Bible institute,
American Bible Association, National Bible Press, and
all foreign produced religious films have been classed
in with the independent productions. Government films
and a Boys Town film have been kept out of the
summaries.
Table 5 is the last presented by Eastman Kodak at
the 1956 Workshop and analyzes the running time of a
'religious film. Included are both the median and the
j
|
iarithemetic averages of those figures. The study mentions
that statisticians tend to favor the median figures since
the film lengths varied from a low of six minutes to a high
jof 100 minutes. Those hymn films which were only one and
I
jone half minutes long were not included. The item to note
|on this table is the significant drop in the running time
■of religious films in 1955, in both the median and
I
(averages. This indicates the response of film makers to
j
the need for shorter, more flexible films, which fit more
i
neatly into the religious education curriculum and available
|time.
The Workshop leadership took advantage of the
southern California location of the 1956 gathering by
(scheduling excursions to nearby studio facilities and
production agencies. One such trip took place on Sunday
evening, August 19, 19 56, when buses carried a large group
154
TABLE 5
FIGURES' REVEAL THE MEDIAN AND ARITHMETIC
AVERAGES OF THE RUNNING TIMES1 OF
RELIGIOUS FILMS ANNUALLY
1947-195567 /
...........' • ■ ' i .............
Year
.
Median Average
1947 24 min. 24.5 min.
1948 20 min. 22.3 min.
1949 20 min. 24.7 rain.
1950 28 min. 29.0 min.
1951 26 min. 24.8 min.
1952 22 min. 24.0 min.
1953 26 min. 25.5 min.
1954 28 min. 24.0 min.
1955 14 min. 18.5 min.
For proper interpretation, see text.
I
jto the Disney Studios- The tour was hosted by Carl Nater,
I
Jdirector of 16mm production for the Disney organization,
j"who spoke of the firm's real desire to educate as well as
! entertain."® ®
The morning schedule stressed Utilization methods
using current and up-to-date materials and contemporary
problems. Work Groups, as in past years, met during the
second period, and were divided into sections which matched
the delegates responsibility or interests: National, Area,
67 , . . _
Ibid., p. 3.
^Daily news bulletin, VEF, August 20, 1956.
155
and Local, Church-Audio-Visual Coordinators or Counselors,
Workers with Children, Adults, United Church Women,
Curriculum Integration, Christian Radio/TV and RAVEMCCO.
The afternoon gave time for field trips, special
conferences and skill groups, or projects, and included:
Motion Picture Production, Filmstrip, Radio, and
Television-Production, Making Inexpensive A-V's, Equipment
Operation Training, A-V Librarian Tasks, and, of course,
denominational meetings and conferences.
The evening was devoted to discussion of production
and demonstrations of the latest presentations, followed
by critiques and evaluations. The iast two evenings were
spent discussing "What Has Happened in the Last Ten
Years," and "The Strategy of Church Audio-Visual Produc
tion for the Next Ten Years," respectively. Some of the
men involved in the panel discussing the past were Howard
Tower, director, Methodist Radio and Film Commission?
Paul F. Heard, president, Paul Heard Productions; Donald
Lantz, director, Religious Education, Family Films, Inc.;
Tom Hope, Eastman Kodak Company; and Kenneth Holst,
independent audio-visual service operator. The men on the
panel discussing the "Next Ten Years" were Alexander
Ferguson, director, Film Production, Broadcasting and Film
Commission, Methodist Church; George Ammon, secretary,
Audio-Visuals, Board of Parish Education, United Lutheran
Church in America and chairman of the 1956 Workshop? Miss
156
Mary Latham, audio-visuals advisor, Department of Church
Schools, Church of the Nazarene; Porter Bower, director,
audio-visual aids, Missions Council, Congregational
Christian Church; and William Fore, director, Department
of Audio-Visual Education, Methodist Board of Missions.^9
The U.S.C. location made it possible to give college
level credit for delegates attending the post-summer ses
sion, August 6-17, just prior to the workshop. The
University's cinema department was able also to act as
host to the 200 plus delegates and provide teachers,
staff and facilities. Mr. Glenn McMurray of the Cinema
Department U.S.C., acted as co-chairman of the Workshop.
Professor Robert Hall was the Department head at that
time. Meetings were held in several different locations
on the campus for two reasons: (1) the radio/TV facili
ties were located in Hancock Hall, and (2) most of the
meetings were too large and needed stage areas, which were
not available within the Cinema Department complex. Con
sequently, Founder's Hall, Bridge Hall, Doheny Library and
the Student Commons were used, in addition to classrooms
and screening rooms and the sound stage in cinema.
Theme: Basic Issue Rethought (1957)
The Fourteeneth International Audio-Visual
Education Workshop, now called a Conference, returned to
69Daily news bulletin, VEF, August 22, 1956.
157
its familiar location of the American Baptist Assembly
Grounds, Green Lake, Wisconsin. More than 250 attended,
from 12 different countries and 25 different denomina
tions. Again, the Methodist denomination had the greatest
number represented.
The meeting was held Wednesday through Tuesday,
September 4-10, 1957, and was designed more as a sharing
and discussing conference than a workshop. The basic
emphasis of .the meeting was "Rethinking Basic Issues in
Audio-Visuals." There were five daily assemblies, with
panels set to discuss specific issues, and several
smaller conference sections.
The results of the 195 7 conference were published
in a special pamphlet entitled "Reflections from Green
Lake." The purpose of the publication was to collect into
one volume a majority of the presentations and discus
sions. There were five main assembly meetings at which
some 4-5 noted men and women brought together their ideas
on a certain topic. The topics were entitled, "Rethinking
Biblical Visualization," "Choosing the Best Medium for
the Jobs and Purpose of the Church," "Integrating Audio
visuals into Curriculum Production," "Strategy in the
Employment of the Mass Media in the Total Work of the
Church," and "Critical Analysis of Film Production and
Distribution."70
70"Reflections from Green Lake," Report of the
158
There were other sessions at the 19 57 A-V
Conference in addition to the panel discussions. A
number of special seminars, work groups and interest
groups met to discuss problems and progress pertinent to
each group. Groups such as professional producers,
curriculum developers, youth program workers, United
Church Women, pastors and local A-V coordinators,
directors of Christian education, persons utilizing radio
and television and a number of other special interest
groups, met to air grievances and resolve problems common
to all within the group. Each group made recommendations
which are included in the "Reflections" publication. The
published findings were then forwarded to committees and
boards not present at the conference who had great
influence on the resolution of some of the problems
discussed.
First Executive Consultation (1958)
The Fifteenth International Conference on Audio-
Visual Christian Education (19 58), was held at Penn State
University, August 15-23, 1958. This return to a college
campus also brought the beginning of a more academically
Fourteenth International Audio Visual Workshop (Confer
ence) , September 4-10, 1957, Division of Christian
Education, National Council of Churches of Christ in the
U.S.A., p. 2.
71ibid. , p
■ ■■ i ■ v T
159
oriented session, known as the First National Executive
Consultation on Audio-Visual Christian Education. This
"Consultation" took place during the first three days and,
apparently, only executives, or persons with planning and
programming responsibilities were to attend.
The core of the Consultation was to consider the
"design" for the content, structure, and use of
audio-visuals in general Christian education as
related to intended audiences and learning purposes,
in the light of current research and related
development.72
Education Theory Emphasized
The Conference, held the last three days, had
invited a more general interest group, users of media and
local and area A-V counselors and planners.
The consideration for the Conference was how
knowledge of the learning process may strengthen the
nature and methods of using audio-visuals in area,
state, and local programs, in the light of current
research and related developments.73
The mood of the Consultation may be inferred by a
review of the topic titles which were presented or dis
cussed: "Christian Education Curriculum Thinking Today,"
"Learning Theories," "Research Findings and Their
Application Related to Attitudes," "New Design in
Production," "Learning Theories, Research Findings, and
their Application to Related Concepts," "New Designs in
72Report of the fifteenth Workshop, 19 58, p. 1.
73Tbid.
160
Audio-Visual Utilization," "Learning Theories," "Research
Findings, and Their Application Related to Skills,"
"Designs for Research," and "Where Can We Go from Here?"
Although Reverend George B. Ammon, secretary for
audio-visual aids, United Lutheran Church in America, was
again the chairman for the Consultation/Conference, Dr. D.
Campbell Wyckoff, professor of Christian Education,
Princeton Theological Seminary, led a good many of the
forums and general assembly meetings. In fact, Dr.
Wyckoff presented a summation of the Consultation to the
first session of the Conference.
In the consultation preceding this conference we
dealt with learning theory and research as they
relate to audio-visuals. We tried to dig deep to
examine the foundations that underlie the things that
we are doing.
So little of either the Consultation or the
Conference dealt specifically with audio-visuals that this
researcher had to read the transcribed material carefully
to find mention of audio-visuals. The topics selected for
the Conference were somewhat generalized and seemed to
relate to the broader aspects of Christian Education, or
education per se: "The Little Known World and Wealth of
Non-Projected Materials," "Problems in Using Instructional
Materials on the Bible," "The Evaluation of Instructional
7^D. Campbell Wyckoff, "An Orientation to the First
National Executive Consultations, and Its Implications for
the Fifteenth International Conference," presented to that
conference, September 1958, p. 141.
161
Materials," "Problems in Using Instructional Materials on
Christian Living," and "Expediting Use of Instructional
Materials in Local Churches."
There was one definite stress on the media during
the 15th A-V conference which was in the presentation of
the First Annual International Religious Film Festival.
Held on one night only, the film festival was "hailed as
an exciting evening of creative overseas productions."
The films presented represented Great Britain, Italy and
Japan, with three presentations from the first named
country.
The conference was fortunate to have as host and
coordinator of the First Annual International Film
Festival, Mr. Arthur Lomas, Associate Secretary,
World Council of Christian Education, London,
England. His associate was the Rev. Edwin Luidens,
Executive Secretary, RAVEMCCO (Radio, Visual Education
and Mass Communications Committee), Division of
Foreign Missions, National Council of Churches.75
The program of the festival included black and
white and color sound films, filmstrips and sound record
ings from these various countries. Both independent and
institutionally associated producers were represented.
The latter included the Church Missionary Society Film
Unit (GB) and the Audio-Visual Aids Committee of the
7 6
National Christian Council (AVACO) of Japan.
^Report, 1958, op. cit., "First Annual Inter
national Religious Film Festival," p. 170.
76Ibid.
162
None of the material indicated neither the number,
nor the makeup, of those delegates who attended in 1958.
The staff and council of experts as listed in the "Who's
Who" is impressive enough, however, since many of them
were executive personnel in the National Council of
Churches, major denominations, noted writers, directors
and professors.
Theme: Christian Communications (1959)
The next year, the Sixteenth International Confer
ence on A-V's in the Church returned to a more concrete
discussion of audio-visuals. However, now it included the
word "Communications." The five-day meeting, Sunday,
September 6, through Saturday, September 11, 1959,
concentrated on Christian communications, theory, produc
tion and utilization. William F. Fore, director of visual
education, Board of Missions, Methodist Church, and Dr. D.
Campbell Wyckoff, professor of Christian Education,
Princeton Theological Seminary, were the main topic
speakers each day, and presented concepts which set the
tone of discussions for the day.
A bit of the findings which would have been
published in the "Reflections" was omitted due to loss of
the original by a messenger.^
77"Reflections," Report of the Sixteenth Audio
Visual Conference, 19 59, inside cover.
163
The keynote address was presented by A. Dale
Fiers, president United Christian Missionary Society,
Disciples of Christ, and was on the subject of the
communication potential available to the current minister
and media specialist. Entitled "Greater Works Than These
Will He Do," Fiers sought to inspire his listeners to
develop that potential.
I seriously doubt if any among us, even the pro
fessionals, have fully realized the tremendous power
for greater works in the kingdom which is now at our
disposal in this dynamic field. It is the under
standing and use of this power which claims the
attention of this conference. How, in our time, can
we use it to do "greater works" for Christ and the
church which so desperately needs to be done?
The theme, "Christian Communications," seemed to
take the attention away from how-to skills and fundamental
mechanical techniques, to an understanding of the why's
and wherefores of effective communications. In this
format, the delegates examined elements of educational
psychology, sociology, pedagogy, behavioral conditioning,
and all the areas of communication— content, form,
non-verbal, and so on. Most of the concepts were
presented from the platform by the participants. Some
had examples to demonstrate. Others merely opened the
meeting for discussion and invited comments from the
delegates.
78a . Dale Fiers, "Greater Works Than These Will He
Do," from the Report of the Sixteenth Conference,
Department of Audio Visual and Broadcast Education,
164
At a session led by John G. Harrell, executive
secretary for A-V's, National Council of the Protestant
Episcopal Church, the idea of using "off-beat" materials
in a religious education setting was introduced. This
unusual material was not limited to just the film-
filmstrip-slips and recordings type of media. Harrell
was suggesting the use of both sacred and secular
materials, being selective as to content. He suggested
the use of classic poetry, documentary film clips, rather
than whole films, use of jazz and contemporary music, if
the message is pertinent to your instructional intent and
content. He suggested the use of film sound tracks
without the picture, recorded radio programs, intercut
with spiritual music, accompanied by various visuals, some
in direct contrast to the apparent intent of the sound
track. Films of Flaherty, Eisenstein, Seastrom, and other
creative film makers were recommended with good judgment.
The combination of media produced by creative people, must
also show imagination as well!
We have tried to say also that these materials do
not need to be expensive. If a parish owns a tape
recorder, the cost of taping a television or radio
program is nil. But to use the off-beat does require
ingenuity and imagination. I know of no substitute
for those qualities in a teacher. Having them in
some measure, and using them to their fullest extent,
a teacher will be rewarded if he watches for the
off-beat, because the chances are great that he can
Division of Christian Education, NCCCUSA, September 1959,
p. 6.
165
use it.79
The 1959 Conference hosted another International
Religious Film Festival, this year led by S. K. Shemsher,
area director of audio-visuals, Church of North India.
Fourteen different presentations, ranging from films,
filmstrips, slides, and recordings, were seen. The
countries represented were Poland, Holland, Africa, India,
Korea, Philippines, Japan, France, Brazil, Australia and
Denmark. Although not all of the films were ostensibly
religious or directed to a church market, the second of
two criteria allowed for more secular material to be
included. The critera or categories were: (1) Artist's
attempts to portray Christ's relevancy to their contempor
ary culture, and (2) The need of man for some satisfactory
relationship with G o d .80
A number of seminars met during this annual
conference to discuss current thought with regards to
audio-visuals in areas such as production, curriculum
correlation, national and local, evangelism, leadership
training, missionary education, local church A-V libraries
and the overseas use of audio-visuals, which took in the
work of RAVEMCCO.
79j0hn G. Harrell, "Watch for the Off-Beat, Use it!"
from the Report of the Sixteenth Conference, op. cit.,
p. 39.
80s. K. Shemsher, "International Religious Film
Festival," Report, op. cit., p. 40.
166
A-V Training Survey Featured (i9 60)
The Seventeenth International Conference on Audio-
Visuals in the Church, held in Boulder, Colorado, August
17-23, 1960, was coupled with the annual National
Executives' Consultation. After the keynote address by
James Finn, professor of education, University of Southern
California, the day-long conference schedule was divided
into Communication and Production, held during the
mornings, and Utilization gathered in the afternoon.
These seminars, again, concentrated on a certain amount of
theory, but the ideas shared seemed cogent to the
delegates attending.
The morning, "Communication and Production,"
seminar began with a statement of objective by the
director of the Department of Audio-Visual and Broadcast
Education, Division of Christian Education National
Council of Churches, Alva I. Cox, Jr., who presented a
list of questions which the seminar was to face during
the several days of meetings.
The Church has at its disposal all of the vast
wealth of technical development, research, learning
theory, and production technique that has been
developed in recent years. It has, too, the benefit
of a great resurgence in theological study, biblical
interpretation, and investigation into the nature of
human personality. The task of this production
seminar is to seek in a comprehensive and critical
way to bring these insights together in order that
the materials we produce can serve the best possible
purpose in communicating the essential truths of the
167
Christian faith to persons both within and outside
the Church.81
Also presenting general introductory remarks were
two university professors, Professor Donald P. Ely,
director, Audio-Visual Center, Syracuse University, and
Dr. Robert de Kieffer, director, Bureau of A-V Instruction
University of Colorado, Boulder.
At the morning session the next day, a problem
project was discussed which involved the development of a
film project and related materials, and its presentation
to be used in a major denomination. The subject was
stewardship. The denomination was the United Church of
Christ. The film production agency was the Jam Handy
Organization. The presentation, entitled "How 'Industry'
Approached a Church-Related A-V Communication Problem,"
was delivered by Scott Mitchell, church field liaison of
the Jam Handy Organization, who discussed the theory and
conditions for the project. The final results and
utilization was presented by Reverend Porter Bower,
director, audio-visuals of the United Church of Christ.
On the last morning, Ely and de Kieffer presented
a similar problem, but the subject was related to secular
education (Safety and Chemistry) and was from the
viewpoint of educational psychologists and instructional
®1Alva I. Cox, Jr., "A Statement of Objectives,"
Report of Seventeenth Conference, August 17-23, 1960,
Section C., p. 1
. 168
technologists. The purpose of the presentations was to
compare and contrast the two approaches and learn how and
why they worked or did not work within their respective
settings.
The afternoons were devoted to seminars on
developing programs on training for utilization.
Reverend Donald J. Kliphardt, director of research and
utilization, DAVBE, presented the statement of objectives
for the afternoon meetings, which hoped to inspire the 150
delegates into setting up an effective training program at
their levels.
No longer need we apologize for or go on the
defensive over the role of these instruments [,A-V
materials] in the work of the church. Underlying
motivations to use them are developing rapidly; the
problem today primarily is one of "mobilizing" these
motivations, of harnessing the workers to their task,
of training our colleagues in the effective use of
A-V1s.82
Also on the first afternoon, Reverend Anson C.
Moorehouse, director of audio-visuals for the United Church
of Canada, presented a talk on the "Current Philosophy of
Audio-Visual Use," which reflected on the audio-visual
seminar held at Embry University, Georgia, in 19 46, some
fourteen years earlier. He expressed the thought that in
many ways religious education was very naive in those
days, but in many ways not much progress had been made.
82Donald J. Kliphardt, "A Statement of Objectives,"
Report, op. cit., Section d, p. 1.
169
One of those areas in which concrete research seemed to
be lacking, was utilization, and proper follow through,
according to Moorehouse.
The bulk of Moorehouse's talk was a report of the
results of a special questionnaire set to fifteen
denominations, which asked six basic questions: (1) To
what extent is A-V personnel involved in the curriculum
process? (2) How are A-V materials used in the program
areas of the church? (3) What should be the philosophy of
your denomination in regard to A-V use? (4) What
organizational problems limit the development of best
use in your denomination? (5) What prevents best use of
A-V's by local church teachers and leaders? and (6) What
are some of the philosophies of use common to local church
users in your denomination?83
The survey results presented‘by Robert Hinz,
director of utilization, Concordia Films, Lutheran Church,
Missouri Synod, dealt preimarily with the training of
persons to use audio-visuals. Hinz, followed Moorehouse,
in the presentation of five questions: (1) What boards or
agencies are primarily responsible for audio-visual
training in your denomination? (2) How does this board or
agency work with other boards or agencies to get this job
done? (3) How does this agency work with interdenomina-
S^Anson C. Moorehouse, "Current Philosophy of
Audio Visual Use," Report, op. cit., Section D, p. 1.
170
tional boards or agencies to get this job done? (4) What
is the relationship of audio-visual training to other
leadership training opportunities in your denomination?
Evaluate. (5) What are the chief problems limiting an
effective audio-visual training program in your
denomination?84
The answers to the two groups of questions,
generally indicated that churches, and the denominational
agencies who serviced them, had not fully grasped the
potential of audio-visual material in the curriculum.
Nor had they grasped the need for sufficient training
which would have made the use of A-V materials more
effective and meaningful. Although most denominations
recognized the need for audio-visuals in Christian educa
tion and for a correlated training program, few had
provided the personnel or money to integrate the A-V
package into their education program.
There is recognition that audio-visual materials
constitute a part of the Christian Education program
within the church. There is recognition both in
program and in structure that audio-visuals and use
of audio-visuals are related to other activities of
the work of the church. Reflected in the reports is
a division of production and of utilization between
the Christian Education departments on one hand and
general and promotional departments on the other hand.
Several reports indicate very little relationship
between these two within the denominational structure
S^Robert Hinz, "Philosophies of Audio Visual
Training in the Denominations," Report, op. cit., Section
D, p. 7.
171
and implied even competitive activities.85
Another questionnaire was presented the last
afternoon. This survey examined other agencies and their
A-V training program. The presenters were Miss Iva Wonn,
director, Department of Christian Education, Denver Area
Council of Churches; Harvey Marks, A-V Chairman, Colorado
Council of Churches and current president of the National
I
|Audio Visual Association; and Eldred Wolzien, assistant
!
jchief, Radio-Standards Division, National Bureau of
jStandards and representing the Boulder Colorado Council of
I
Churches.
There were actually three sets of questions
presented by these three speakers. One was a survey
'covering various local councils of churches. The ques-
t
i
|tions were tied to A-V training as well. (1) What kinds
l
|
!of training have been offered during the past three
years? (2) Were these training events for the entire city
lor several neighborhood events? (3) What percentage of
leaders in leadership training schools,,laboratory
schools, institutes, etc., used audio-visuals of one kind
or another in conducting their classes? (4) What were
the objectives in these training programs? (5) What was
85Wendell Eller and Thomas Inabinett, "What Have We
Done Right? Where Are the Deficiencies? What Are the
Signs of Progress?" Report, op. cit., Section D., p. 9.
172
the evaluation of the effectiveness of these events? (6)
What would you like to do by way of offering training in
the use of AV*s in the future? (7) What kind of help
would you need to carry out your proposed program, or
what kind of help would you like to have from the National
Council of Churches?
The second set of questions was directed to various
state councils and included six queries: (1) What kinds
of training events have you sponsored in the last three
years in your area to train in the use of audio-visuals?
(2) What were your objectives in these training events?
(3) Give frank evaluation of what transpired. (4) What
are your plans for future audio-visual training events?
(5) What percentage of leaders use audio-visuals? and (6)
What kind of help do you need in AV training programs?
What can the National Council of Churches do to help?
The last set of questions was directed to AV
utilization and training in 18 civilian agencies, of whom
13 replied. Those agencies were questioned on four
different areas: (1) your current philosophy of audio
visuals use, (2) your current philosophy of training for
AV use, (3) a description of your past and current AV
training activities, and (4) an evaluation of these
activities in light of current philosophies. In general,
the survey revealed a lacking of actual statements of
j philosophy for either the use or training for use of AV's.
I 173
Also, activities varied widely and related to the
specific tasks of each agency. A general conclusion was
reached for all three surveys.
There is a growing appreciation and better use of
A-Vs in government, some recognition of the need for
training, and some grouping for procedures and
practices. This also seems to be true in the
churches. Why cannot the churches take the lead in
providing more leadership within their own ranks and
decrease their groping in communication efforts?86
Audip^yisnali?: Approached from Learner Standpoint (1961)
The year 1961 brought the Eighteenth International
Conference on Audio-Visuals in the Church and the National
Executives Consultation back to Green Lake, Wisconsin, and
the American Baptist Assembly Grounds. The theme of the
Conference held September 3-8, 1961, centered on approach
ing both production and utilization from the learner's
standpoint at both the Consultation and Conference.
The keynote and topic speaker for the Consultation
was Dr. David K. Berio, head of the Department of General
Communication Arts, Michigan State University, East
Lansing. Although the emphasis of each talk changed, the
general subject stressed a change of viewpoint and
approach to Christian media in religious education.
Berio said, that first session, to remember that "it is
86iva Wonn, Harvey Marks and Eldred Wolzien, "What
Are Other Agencies Doing in AV Training?" Report, op.
cit., Section D., p. 18.
i
174
the people and not the message which are important in
AVs."87
Berio urged his listeners to "take the pulse of
! your audience" and get a feel of what they want during his
■
second talk at the 1961 Consultation.
j We analyze the product and not the market and then
) we wonder why the product doesn't sell. . . .
! Unless the attitudes, skills and interests of the
j audiences are analyzed, audio-visual specialists will
never realize their ultimate goal in effective
communication— reaching the people they want to
reach. . . . Because people will always do what is
in their own best interests, communicator will have
no persuasive appeal unless they project their
material in such a way as to convince their audiences
that what they want them to do is to their benefit.88
The third talk advised the delegate to "loosen
your visuals and tighten your audiences."
Communicators often think that parroting catchy
slogans can get their messages across. . . . This is
bad because if you can make a slogan easy to remember,
that is all that people will get out of your product.
They will never take the time to probe beyond. . . .
The event of Christ on the cross, for example, is
meaningless unless he who is perceiving perceives
significance from that event.89
The emphasis of the fourth talk by Dr. David K.
Berio at the National Executives' Consultation in 1961
stressed the need to concentrate on quality and not
quantity of audiences. Berio said that fractionalization
87or. David K. Berio, a series of talks given at
the Eighteenth International Audio Visual Conference,
"Reflections," Report of that conference, September 3-8,
1961, pp. 4-6.
8 8 r b i d . 8 9 I b i d .
175
! is actually better for most listeners because it makes
them less overwhelmed by the presentation than by the
message.
To a large degree . . . church attendance on Sunday
morning has become an automatic thing to do. It is as
j comfortable and familiar as reading the daily news-
! paper— both of which can be termed "ritualistic
functions. ..."
How do you get people out of routine, comfortable
ruts? . . . By training them through persuasive
measures. . . . It's easy to upset people. . . .
j The crux is to get them reset where they have
meaning.90
Berio emphasized in a summary session that
communicators need to recognize that they don't always
get the message through, so they should take that fact
into consideration when making a presentation. "Research
and feedback," said Berio, "are essential to viewing your
message from the audience's point of view and gearing it
J to their learning and understanding processes." He also
j
mentioned that many A.V. specialists are afraid of
research and evaluation because it may reveal that they
are poor communicators and that their messages are not
getting through.
The Conference opened with an introductory talk by
Dr. Donald P. Ely, chairman of the conference and
director of the A-V Center, Syracuse University, who
spoke of remembering that faith and beliefs in God are
the basis for approaching A-V materials and techniques
90ibid.
176
in the first place.
Several examples of A-V programs were given as
major parts of the 19 61 conference. The first presenta
tion was limited to the design and evaluation of a
particular A-V program integration. The presentation was
made by Rev. Garrett Short, a local minister of education
of the Reformed Church in America in Grand Rapids,
Michigan, and explained how audio—visuals were integrated
into the religious education program of his church.
Another report, this by Reverend G. Earl Leard,
assistant to the director, Berkeley Studios, United Church
of Canada, Toronto, discussed the training element of
denominational A-V communications. The approach was that
of learning how to more effectively communicate and
program materials, rather than of learning how to operate
a projector or tape recorder, although that was definitely
a part of the training regimen. The emphasis was on
people and not machines, therefore the program grew
rapidly and spread across Canada.
The next report/presentation combined the audio
visual experience of four churches. This program
explained how different denominations developed religious
education curricula with a conscious use of audio-visual
materials. The presenters were George Ammon, secretary
for audio-visual aids, Board of Parish Education, United
Lutheran Church in America; Tom Inabinett, national
177
director, audio-visual education, Christian Churches, the
Disciples; Walter Vernon, editor, General Publications,
Board of Education, Methodist Church; and Mary Phillis
Young, audio-visual editor, Office of Editorial Services
Board of Christian Education, United Presbyterian Church.
Self-Instruction in Religious Education
What seems to be the most unusual and thought-
I
provoking session for the 130 delegates of the 1961
Conference, was the presentation regarding self-
instruction in religious education. This topic was
discussed by Hugh Barbour, associate professor of religion
j Earlham College, Richmond, Indiana. In this presentation,
| Barbour recites some of the studies done by noted
I
| educational psychologists and theoreticians and proposes
!
! that the religious education developer investigate the
I
use of self-instruction techniques for biblical and
religious topics. Why it was included in this particular
Conference year was that self-instruction is student
oriented by design.
Self-instruction seems to be at the heart a
clarification of how to learn, rather than of how
to teach. It can be used so ruthlessly by the
teacher to stereotype and enforce the response he
expects from the student, that the learner becomes
virtually an experimental animal.91
9lHugh Barbour, "Self-Instruction of New Ways to
Read the Bible and Reiigipus Classics," "Reflections,"
I 1961, op. cit., p. 27.
178
What seems to be the basic challenge to Barbour is
not the process of teaching factual knowledge, but that of
attitudes and personal character.
This is the ultimate challenge, which only the
revivalist and the marxists meet without hesitation,
j how to change by education the basic character of
men. My own teaching has been ofrreligious litera
ture, knowing that the Bible and even the writings
of Luther and Buddha can speak their own direct word
to the responsive student which can transform his
j life. In the classics at Earlham we have tried to
j keep self-instruction methods from coming between
the student and the actual text of Bible, or of
classic books of other religions. Yet the meaning
of these books is seldom self-evident to unprepared
j people. Our aim has been positively to teach outlooks
i and methods in reading these books themselves, so that
the student will be able to grasp and appreciate
biblical and other religious writings whenever he
meets or turns to t h e m .*2
The last Conference session was led by Robert W.
i
I
|Wagner, director, Department of Photography, Ohio State
I University, Columbus. His emphasis was on theuuse of
j
|creative educational films and film clips within the
j
religious education curricula.
I
;Theme; Establishing Goals (1962)
The Nineteenth International Communications Seminar
was held Monday through Friday, August 27-31, 1962, in
Rochester, New York. The five-day meeting contained
lectures, presentations, demonstrations and workshop
sessions. The subject was primarily the discussion of
establishing meaningful and feasible communication goals,
92ibid., p. 29.
179
and was divided into seven units which were designed as
an instructional whole— the first unit being introduc-
tional, fundamental, or preliminary to the rest.
The aimpoint (of the first unit) is to provide a
background . . . to a communication task and an
initial experience in applying these principles to a
real situation. On the basis of this, we assume that
the group is now ready to move on to the strategy
development phase.93
Unit two was designed to give the groups experience
in developing communication strategy by using the "plan
ning board" and provide them with an understanding that
j communications is a process rather than content. The
l
unit allows them to collect data, also.
The third unit brings the group to the point of
: arranging the elements and conditions of the communica-
I
j tions event into a workable plan. According to the lesson
j objectives, "they should have developed basic skill in an
i
| analytical approach to a communication t a s k . "94
The next unit of this 1962 Communications Seminar
allows the members to identify an idea that is central to
the task, select a medium and style to be used in its
development, and then create a treatment for the idea,
specifying the idea flow or continuity.
93"Notes," Report of the Nineteenth International
Communications Seminar, August 27-31, 1962, Unit I,
p . 2 .
94Ibid., p. 8.
Unit V directed the group to create a production
storyboard of the idea which was selected in the previous
unit. The intent of this unit is to instill the "audience
centered" thinking pattern as a natural way of approaching
| a communication design problem.
i
t
Styling of content as a design operation separate
from production should be understood as an essential
operational procedure.9 5
j The Sixth instructional unit took the form of a
critique of the storyboard with relation to the feasibil
ity of production, integration, cost, deadlines, distribu
tion, and various staff and agency relationships.
The last unit was a review of the whole procedure
I
and an analysis of how the total communication task of
the church within the concept of "audience centered"
principles. It also stressed professional and local
training for the implementation of the communication
approach.
Unfortunately, the only record available of the
conference in 1962 was some mimeographed notes with
related pamphlets. No record was available of the
personnel present, who made the presentations or designed
the program, or what agencies and denominations were
f
represented.
95Ibid., p. 12.
1 8 1
Theme: Putting Christian Content Into
Media Forms (196 3)
In 1963, the International Conference on Audio-
Visuals in the Church was held in Banff, Alberta, Canada,
l
jJune 9-15, a bit earlier in the summer than in years
past. The keynote speaker, Robert Dodds, general director
of the National Council of Churches, set the tone of the
■conference with his talk on putting solid, Christian
content into the consciences of our church members and
doing so through all the means being used by the church,
media and otherwise.
I propose to deal with the educator's question in
terms of conscience. . . . It's an inquiry into
your responsibility for giving Christian content to
the conscience of the Church, which, in turn, can
guide the conscience of the world. This I would dare
to suggest is the true center of your work— not the
development of glib and glossy entertainment, not the
promotion of a sinfully separatist denominational
label, not the hard or soft or subliminal sell of
loyalty to ecclesiastical apparatus, certainly not the
status achievement of advancing your own personal
reputation and not even the notion, which seems so
winsome currently, of developing among Christian
people a deeper creedal and rhetorical c o m m i t m e n t .96
Dodd's opening remarks to the 85 delegates was to
set them thinking about the content as well as the media
jof communications. Jules L. Moreau, professor of church
!
history, Seabury-Western Theological Seminary, Evanston,
Illinois, was the morning topic speaker for the '64
^^Robert Dodds, "Conscience," from a Report of the
Twentieth International Conference on Audio Visuals,
June 9-15, 1963, p. 1.
182
conference in Banff, Alberta. His series theme was "Issues
in Christian Communication" and was divided into five
separate lecture/discussions: "The Media, The Religious
Audience, The Scandal of the Gospel, The Apologetic Task,
and Towards a Program for Christian C o m m u n i c a t i o n ."97
In Moreau's first talk he asked specific questions
for consideration by the delegates: "What is the function
of mass media of communication? How are we, in the
capacity of Christian communicators, to react to these
media and their avowed function? Can we afford to accept
the world?"98
The questions Moreau asked in the talk on "The
Religious Audience" centered on the term: religious. "Is
the religiousness of America a 'good thing'? What is the
point of acknowledging that religion and Christianity are
not the same thing? What is the central focus of reli
gion? Is jthis focus a healthy o n e ?"^9
I
j In "The Scandal of the Gospel," Moreau asked the
delegates: "What do we mean by the mythic stance of the
Gospel? What is the central point of the Christian
i evangel?"100
97jules L. Moreau, "Issues in Christian Communica
tion," Report, op. cit., p. 3.
98Ibid. 99ibid.
100ibid.
183
When Moreau discussed the apologetic task, he
asked the questions which cut into the relationship
between the Church and the world: "Is there a point of
contact between Church and World? How have the insights
of Barth, Brunner, Bultmann, Tillich, et al., differed on
this vital point? What has this to say to our effective-
jness as apologists?"!®!
I The last talk of the general planner of the NCCCUSA,
"Towards a Program for Christian Communication,"
returned to the questions of media selection and utiliza
tion: "Can we afford to abandon the religious approach,
taking seriously the content and thrust of the Gospel, and
run the risk of people saying 'no'? Is there a clue in
the field of d r a m a ? " ! ® 2
Mr. Guy Glover, executive producer, National Film
Board of Canada in Montreal, presented a talk on the
nature of film, giving a short history and analysis of its
I
jacceptance as an art and educational form. Glover did have
some specific recommendations for the assembly to consider,
one of which dealt with viewer education.
Finally - if film making needs a revolution, or
redefinition of means and ends, so does film-viewing
and you who presumably represent the most perceptive
kind of audience, are in a position to strike a blow
for that revolution, that redefinition. You can do
this, in part, by your mere insistance on high
standards; by your refusal to accept pious
lOlrbid. 1 0 2 i b i d .
184
protestations of good intentions for the realization in
| film terms of those intentions; by your recognition of
the idiom which is going somewhere as distinct from one
i which is just treading water; by your rejection of
taxidermy (no matter how life-like the glass eye) in
favor of the subject which is brought back alive; and,
above all, by honoring those few films which miracu
lously will succeed in making a unique statement in
film's unique w a y .10 3
Other mediums of communications (other than film)
were discussed by other speakers. Max Bildersee, East
Coast area manager, Teaching Materials Corporation, New
York, spoke on audio communication. Reverend John
Harrell, a minister from Berkeley, California, discussed
1 the use of non-projected or flat pictures in Christian
education. Louise Jones, audio-visuals editor, United
Presbyterian Church, U.S.A., presented her insight on
creative activities which she found useful in religious
education. Even the Fine Arts were discussed with rela
tion to presentation of the Christian Gospel, this by
.Mrs. Lynda McNeur, a consultant of the Fine Arts
Committee, Board of Christian Education, United
Presbyterian Church, U.S.A. Mr. Gordon Parker, national
: director, Christian Drama Council of Canada in Toronto,
related drama and Christian Education, and even provided a
list of recommended plays which he felt were useful in
communicating the Christian message in a creative and
i dynamic manner.
lO^Guy Glover, "The Nature of Film," Report, op.
cit., p. 16.
1 185
The wrap-up speaker was Mr. Charles Ritchie,
supervisor of the Visual Instruction Division, Department
of Extension, University of Alberta in Edmonton. Ritchie
presented the topic, "Choosing the Media," bringing out
several factors which to pre-production media evaluation.
Media differences mean that it's not a question of
just communicating a single idea in different ways but
that a given idea or insight belongs primarily, though
not exclusively, to one medium and can be gained or
communicated best through that medium. Each medium
selects its ideas - television is a tiny box into which
people are crowded and must live, film gives us the
whole world with its huge screen, etc. The stage may
present only one corner, but that corner is always
totally visible all through the scene. . . . And just
as radio helped bring back inflection in speech, so
film and television are aiding in the recovery of
gesture and facial awareness. . . .104
Ritchie mentions that the indecision as to what
media to select stems from a confusion of the respective
roles of the new media, which in turn comes from a mis
conception of their function. The function of media, in
general, is to serve as an art form, according to Ritchie,
and should not be considered substitutes for human
interaction- and conduct.
I don't think it's our purpose to debate communi
cations media versus art forms but rather to learn
how to choose the best media for a given communication
task.105
With the lectures, presentations and various work
shop sessions, the 1964 conference seemed to be a good
104charles Ritchie, "Choosing the Media," Report,
op. cit., p. 28.
105xbid., p. 30.
186
setting for a broad exposure to media and content
adaptation and integration into religious education.
New Term Discussed: "Instructidnal
Technology" (1964)
The 196 4 gathering was called The Consultation on
Educational Media, and was held at the American Baptist
Assembly grounds at Green Lake, Wisconsin, September 6-11,
1964. During this year's conference, the 116 delegates in
attendance were exposed to the terms "instructional
technology." Dr. Robert 0. Hall, Dean, Division of
Education, California State College, Hayward, California,
in fact, presented a keynote address which discussed the
significance of the Instructional Technology immergence
in the teaching/learning process for Christian educa
tional curriculum developers.
The 1964 conference, or rather, consultation,
stressed the development and production of religious
education materials and the various educational theories
related to the integration of media. Dr. Thomas R.
Bennett II, Director of Graduate Studies, George Williams
College in Chicago, discussed "human dynamics" and what
its understanding should mean to production and utiliza
tion of educational media.
Introduced at the annual gathering in 1964 was the
use of multimedia and multiscreen for educational
purposes. Dr. Howard Ham of Syracuse University presented
187
! a multimedia demonstration which used as its content the
i
i three most prominent learning theories: that theory
I attributed to B. F. Skinner and its use of teaching
machines; the theory developed by Edward Tolman, known as
the cognitive field theory; and the theory of inter-
: personal dynamics, developed by Lippitt and used primarily
by the American business community.
Dr. Robert Hall of Hayward, California, returned to
give a second talk, this time he discussed the media and
i
j what they do in education and what education's reaction to
: them has been.
Next came a demonstration of a portion of a cur
riculum developed with audio visuals integrated. The
program, presented by Paul Haldeman, audio-visual
consultant for the United Church of Christ, included
filmstrip and clips, as well as workbooks and recordings,
developed especially for this instructional program.
The Reverend William F. Fore, executive director,
Broadcasting and Film Commission of the National Council
• of Churches presented his reflections on the impact of
; various communications studies and research surveys on
i
; media and curriculum as developed and used by the church.
■ In the first part of Fore's talk, he played a recording
! of Stan Freeburg's radio spots, prepared for the United
i Presbyterian Church, using the recording as an illustra-
; tion of the medium or form communicating as much as the
j _ _ _ _ _ _ _ _ _ .._ _ _ _ • 1 8 8
|message.
i
| The purpose of playing this is not to evaluate the
j spots in depth. I’m simply trying to point out that
, the form of the message is as important as the verbal
: content itself. What did this form say? One, highly
professional. Two, that it was a part of the cultural
tools that are highly developed to operate on radio.
The form was sane, it seems to me. At least the church
is capable of speaking in these terms if it wishes to.
This was said through the form alone and not through
the verbal, and to my way of thinking, it is more
important, perhaps, than any of the words. . . . The
purpose of this was not to get people to go to church,
you know; it was simply to say that the Church is not
hopelessly irrelevant, square, dull, meaningless.106
The Commission on General Christian Education within
the National Council of Churches had developed a "Coopera
tive Curriculum Plan" during the previous year, which was
'outlined at this conference (which was sponsored by the
Commission) Miss Bettie Curries, director of Educational
Research, Board of Christian Education of the Presbyterian
Church in the U.S., and Miss Rowena Ferguson, editor of
Youth Publications, Methodist Board of Education, were
!chosen to present and explain the new curriculum plan to
the delegates. The plan was published in November 1965
by Bethany Press, under the title The Church's Educational
Ministry; A Curriculum Plan.
i
| Dr. James Sellers of the Divinity School, Vanderbilt
|University in Nashville, Tennessee, presented a very
' ^-O^William p. Fore, "The Impact of Communication
|Studies on Media and Curriculum," Report of the Twenty-
First Consultation on Educational Media, September 6-11,
1964, p. 25.
189
incisive analysis of media in terms of the nature of
Christian faith. His view is that) technology is an -
iextension of human activity and, therefore, necessary to
the fulfilment of God's creation in us as humans and must
not substitute real life. Sellers refers to the opinion
of a German sociologist named Anders with relation to a
"hopelessly lost television addict."
One, the world comes to him; he does not go to it.
He is a passive consumer. You're right back in the
Greek world of man the vegetable, if this is what media
are used for. The world is an image, even a phantom.
That means the recipient of it is also because you must
be in the world to be real and if you are separated by
an artificial mode of communicating it, you are out of
it and hence unreal yourself. The world speaks to him
but he does not speak back. He is speechless and that
means he is unfree. The world is merely to be looked
at; man becomes a peeping Tom rather than a person of
initiative. Reality becomes a commodity, freely
transportable in space and time.7
Sellers also suggested that users of Christian media
need to develop some type of code of ethics. This would
not be just a code of etiquette or book of prudence (don't
do this because you'll offend some minority group), but a
code which deals with critical standards of excellence and
the pursuit of specific goals, similar to other groups of
media users like the press, advertisers, and others.
Sellers also stresses the use of face to face
communications as primary in spreading the gospel and
107James Sellers, "What Does the Nature of the Faith
Require of Materials?" Report, 1964, op. cit., p. 36.
190
I teaching God's Word, and the use of impersonal media or
; communication tools to be used to support that other
i
; primary medium, the face.
Designed in the presentation was a response by
Reverend Robert E. Koenig, editor in chief, Board of
Homeland Mission, United Church of Christ. Koenig's
reaction was one of agreement, primarily, with the only
major exceptions being in how the media, or impersonal
communications actually fit into the nature of Christian
faith.
!
The last presentation was led by Mr. Robert
i Rambusch, secretary, National Catholic Liturgical Confer-
I
ence in New York, who outlined the reasons for art being
present in Christian curriculum and some examples of
: methods for its integration, especially among the primary
' ages when art and creativity come more naturally.
When the 1964 "Consultation" closed, the regular
assembling of religious audio-visual producers, developers
and users ceased on such a nation-wide basis. There
continue to be annual conferences sponsored by technical
and economic groups, such as the Society of Motion
! Picture and Television Engineers, National Audio Visual
: Association, University Film Association, and the like.
; But, no national, religious education organization has
i sponsored any regular conference or workshop. Regional
workshops, specially planned conferences and meetings do
i continue however. ^91
CHAPTER IV
POST-WAR INTERDENOMINATIONAL COOPERATIVE ;
ACTIVITIES AND ORGANIZATIONS
Religious Film Association
During World War II and the post-war years, more and
more denominations have become interested in some use of
media. They also have been confronted with the costs of
production and distribution. Most denominations who parti
cipated in the International Council of Religious Education
looked to the Committee on Visual Education to provide guid
ance and assistance in these two areas. Even the Committee
on Visual Education of the Publishers Section of the Council
felt pressure from the denominational publishing houses.
i *
The most important need to church film users has been
i
getting materials already available. Although many church
leaders had certain misgivings due to the misfortunes of
the Presbyterian Board of Christian Education in 1931, a
religious film distribution agency was badly needed.
The excellent example of film distribution set by
the Ryerson Press Film Service, official distribution
agency of the United Church of Canada, was known by many
American church leaders. A visit from Dr. Benjamin
192
Gregory, friend and advisor of J. Arthur Rank and an
executive of the Religious Film Society of Great Britain,
also spurred added interest in an interdenominational film
distribution agency.
In the spring of 1942, representatives of boards
and official agencies, primarily from the publishing
houses, of 16 major protestant denominations met in
Cleveland, Ohio, to form the Religious Film Association.
The RFA was designed to work through the established
denominational publishing houses. Its intention was to
provide both effective film distribution to churches of
the respective denominations and to generate interest in
the production of religious films by commercial producers
who saw their films being distributed and used. William
Rogers, the Association's first (and only) executive
secretary, noted in a Film News article that the seemingly
simple procedures worked somewhat less than perfectly from
the beginning.
The Association was confronted by a vicious circle
which has long delayed progress in the field of
religious films. Most churches did not feel that
there were enough usable films to warrant securing
projection equipment. Producers, on the other hand,
did not believe that there were enough churches with
projectors to warrant new production. The Association
went a long way toward breaking this stalemate by
publishing an 80-page catalogue listing approximately
200 films suitable for church use. Each film descrip
tion was made as objective as possible and included a
careful evaluation of both content and technical
quality. As a result, many churches immediately
expressed a desire to purchase projectors— only to
find that they were unavailable due to [war
193
restrictions]. In spite of this problem there has
been a tremendous increase in the use of religious
films, Kodachrome slides and film strips.^
As the new organization was getting on its feet, it
began almost immediately to make inroads into areas that
had long been neglected as far as media and visual aids
were concerned. Later in 1942, the military chaplain's
corps and the RFA announced a plan whereby religious films
would be shown to men in the service. Since films were
normally rented on a per-showing basis, RFA gained permis
sion from the various producers to lease films to a
military post for a certain duration of time.
Because of the limitation of chaplain's funds for
film rental fees and the constant shifting of
chaplains in the camps, a special distribution method
has been devised to meet these problems. The films
will be made available to a camp as a whole for a
period of time, through the office of post chaplain,
during which time the chaplains in the camp can make
use of the films.2
Soon after the initial distribution hurdles were
*
overcome, the RFA became the sole distributor of the
Harmon Foundation Films, as well as the collection held by
the YMCA Motion Picture Bureau.
By 19 45, six of the sixteen member denominations of
the Religious Film Association had either set up or
^William L. Rogers, "Religious Films," Film News
Magazine, October, 1944, p. 6.
^"News Notes,'1 Educational Screen Magazine, Nelson
L. Greene, ed., December, iy42, p. 39b.
194
planned to set up departments of visual education. This
action was a result of the stimulation which the RFA pro
vided to the churches in using visual aids.
[RFA] enabled members to keep in close touch with
the film interests of their constituencies and also
with developments in the production and equipment
fields, thus providing a basis for planning future
activities to meet the needs of the local churches.3
According to Pearl Rosser, leader in the Committee
on Visual Education within the ICRE, the RFA was one of
the initiators of the International Workshops in Visual
Aids in Religious Education, which began in 1944.
They provided leadership and encouragement. Thus
they made a great contribution to awakening the
church to the potential of audio-visual media in
Christian Education.^
By the year 1946, the membership of the Religious
Film Association had grown from 16 to 19, with a total of
four depositories across the United States.
In December of 194 8, the RFA announced plans
to expand their services by establishing several new
libraries. Existing depositories were located in New
York; Dallas, Texas; Chicago; and San Francisco. Branch
libraries were located in St. Louis; Philadelphia; and
^William L. Rogers and Paul H. Veith, Visual Aids
in the Church (Philadelphia: The Christian Education
Press, 1946), p. 19.
4pearl Rosser, former director of the DAVRE of the
International Council of Religious Education and writer
and producer of Christian Education programs, Personal
letter to writer, October 31, 19 72.
195
Pittsburgh. As a result of action by the board of
directors in October 1948, six new branch libraries and a
new major depository were authorized. The depository was
to be in Atlanta. The new branches were planned for
Boston; Richmond, Virginia; Dayton, Ohio; Minneapolis;
and Los Angeles. The announcement was made by William L.
Rogers, Executive Secretary (through the monthly publica
tion of the Visual Education Fellowship, an arm of the
ICRE.5
The Religious Film Association continued to operate
throughout the forties and early fifties with a more or
less successful record. Some of the film people within
larger denominations saw weaknesses in the basic organi
zational concept of the RFA. Edmund C. Shaw, head of
American Baptist Films, Valley Forge, Pennsylvania,
commented that many of the denominations maintained their
own film libraries, as his own did.
The RFA was actually managed by the publishing
houses of the denominations. As such, the board of
the RFA was print oriented and the thought was that a
film could be merchandised in the same way as a book.
. . . Some of us, including myself, feel it is
important to handle our own distribution— for the
personal contact with our own churches. Many of our
letters require a personal answer or recommendation
and this is impossible or difficult when films are
handled by a purely commercial agency.6
5Newsletter, Visual Education Fellowship,
December, 1948, p. 14.
^Edmund C. Shaw, Personal letter to writer,
October 25, 19 72.
196
In the May/June 1950 issue of Film News Magazine,
the RFA advertised their newest productions which
featured subjects ranging from missions to evangelism
and Christian education.
We believe that the "RFA" has the most compre
hensive library of carefully selected religious films
now available. New films are constantly being added.
Our latest releases: Answer for Anne; I Am with You;
Creation; Prejudice; Into the Good Ground; Fujita,
Orphan in Japan; Kenji Comes Home; Toru*s People;
Your Neighbor Celebrates"; Out of the Dust; The Good
Samaritan [.which is a puppet play produced by the
Protestant Radio Commission, Curriculum Enrichment
Films]; A Job for Bob; What Happened to JoJo;
Birthday Party.7
The advertisement listed nine different branch
libraries where these and other RFA releases could be
obtained: New York, Chicago, San Francisco, Dallas,
Pittsburgh, Philadelphia, St. Louis, Richmond, and
Seattle.
In the next issue of Film News Magazine, the latest
catalogue produced by the RFA was announced. It was noted
in this July/August, 1950 announcement that the evalua
tions contained within the new 100-page catalogue were
prepared by the various committees of the Department of
Audio Visual and Radio Education (DAVRE) of the ICRE, and
were supplemented by notes of Reverend William S. Hockman,
departmental editor of Educational Screen Magazine.
William Rogers, RFA executive secretary, estimated
that film rentals to churches totalled more than one
^Film News Magazine, May/June, 1950, p. 10.
197
million dollars annually in an article published in the
July/August 1950 issue of Film News Magazine.
Approximately 300 libraries now rent films to
churches. . . . Of these libraries, 70 are operated
directly under church auspices. . . . He estimated
25,000 to 50,000 churches are now using motion pictures
regularly, and many thousands of others use motion
pictures from time to time.8
Not all participating denominations were pleased
with the operations of the Religious Film Association.
Harry C. Spencer, Associate General Secretary of the
United Methodist Church Television Radio and Film Commis
sion (TRAFCO) was one who voiced his dissatisfaction.
The principle of the Religious Film Association was
rather complicated in that the orders for the films
went to the respective publishing houses, they for
warded the requests to central libraries and the
libraries in turn shipped the films and payment went
to the publishing houses which, in turn, reimbursed
the Religious Film Association for its services. The
process was so cumbersome that a great deal of
difficulty in providing adequate services resulted.^
PFC Forerunners
With the establishment of the Religious Film
Association, the crying need for some type of film
distribution system had been met. But there was also the
need for some interdenominational agency to engage in
cooperative ventures of film production. The type of
production that seemed to be needed was not entertainment-
8"News Notes," Film News Magazine, July/August
1950, p. 10.
^Harry C. Spencer, Personal letter to writer,
May 26, 1972.
* 19i&
religious film. Hollywood, with the advice and guidance
of the RFA, continued to produce commercial films which
supplied that market. What was needed by various agencies
of the main denominations was an agency which could
respond to religious film production projects relating to
missions, religious education, stewardship and youth work;
projects which were shared by large groups of denomi
national agencies.
Various sources claim different movements, meetings
or projects as the precursor of the Protestant Film
Commission. This research has even found its year of
genesis set positively in 1943, 1945, 1947 and 1949.
Rogers and Veith, co-authors of Visual Aids in the
Church, mention a movement in missionary education, taking
place in 194 3, which sets the stage for some interdenomi
national film production and training agency. The
Visualization Committee of the Missionary Education
Movement established an annual Missions Photography
Institute, which, for the period of one week, gave
intensive training in the basic skills of still and
motion picture photography to selected missionaries from
various mission boards. These missionaries were either
home on furlough or were about to be sent to the mission
field.
The project envisions a time when a trained corps
of missionary photographers will be able to send
back from the mission fields high quality visual
199
materials for use in missionary education programs at
home. The Institute was so favorably received that it
has now become an annual event. - * - 0
The continuance of the Missions Photography
Institute beyond 19 46 cannot be confirmed by this writer
since no other mention of the program was found. However,
the activated interest in higher quality visual material
from the mission field may have resulted in the realiza
tion that a sufficient amount of quality pictures could
not be obtained from the missionaries themselves, most of
whom were too busy in their own work to do much picture
taking.
There were other film activities within foreign
missions which seemed to precede the establishment of the
Protestant Film Commission. It has been noted earlier
that much of the enthusiasm for motion picture film was
generated by missionaries bringing home 16mm black and
white footage of the native life in Africa or China. In
1931, it was noted that Henry R.^Ferger, a missionary
photographer of India, so impressed the Presbyterian
Foreign Mission Board with his photography that they
commissioned him to make pictures not only of India, but
in China, Japan, Korea, the Philippines, Thailand (then
Siam), and in several countries in Latin America. Three
of his films, Babes of Chinaland, China Today, and Heart
l^Rogers and Vieth, op. cit., p. 22.
200
of India, were well respected and widely used.
There were a number of photographic expeditions
commissioned by individual denominations as well as
groups of churches. One significant example noted earlier
Was the Banta Educational Kinema Experiment, or the "Africa
Project" in 1935. This project was sponsored jointly by
the Harmon Foundation, the Africa Committee of the
interdenominational Foreign Missions Conference of North
America and a number of Foreign Missions Boards. From
this group a series of films were outlined, scripts were
prepared and a young couple, Mr. and Mrs. Ray Garner,
were sent to film in Africa.
The Reverend S. Franklin Mack, one-time director of
Young People's Work for the Presbyterian Board of Foreign
Missions, was Director of Education and Information in
1948, when he prepared an article on "Missions Films" for
Film News Magazine. Mack noted the significance of the
"Africa Project" as being a change in the approach to
mission film.
If this was not the first it was very nearly the
first mission film project to reverse the time-
honored method of film making and shot to a script
instead of taking the available footage and somehow
making a picture out of it. Ngono and Her People,
How an African Tribe Is Ruled and others of the
African series have been widely used in schools and
churches and are still in circulation.H
US. Franklin Mack, "Missions Films," Film News
Magazine, December 1948, p. 6.
201
Reverend Mack considered the "Africa Project"
something of a forerunner of the PFC because many members
of the joint committee who initiated the Africa venture,
and others like it, were prime movers in the development
of the Protestant Film Commission. They apparently felt
the need for a representative, inter-church agency formed
exclusively to make pictures of professional quality, in
an increasing number and with more regularity than they
could be generated by missionaries individually or in
periodic film projects, and to represent Protestantism
with the Hollywood film producers.
Protestant Film Commission Develops
In 1943, about a year after the Religious * Film
Association had been established, the first meeting to
organize the Protestant Film Commission took place.
A group of persons in New York, concerned with the
visualization needs of the churches met at the
request of Rome Betts, of the American Bible Society,
to consider what needed to be done. There resulted a
proposal for the formation of the Protestant Film
Commission whose function would be to serve as the
recognized agency of Protestant churches in dealing
with the motion picture industry, to see that
Protestantism received fair representation in films
emanating from Hollywood, and to raise a revolving
fund of $1 million to produce religious teaching
films.12
The Protestant. Film Commission was not formally
established for another two years. But in 1945, the
12Rogers and Vieth, loc. cit.
202
national boards of nineteen denominations and thirteen
leading interdenominational agencies, including the
American Bible Society, founded the PFC, with Rev. Mack as
its voluntary executive and Rome Beets of the ABS as
president.
Later, Paul F. Heard, who was producing Navy
training films in the service during the war, was elected
as executive director. Offices were established in New
York and later in Hollywood.
William S. Hockman, writer and religious film
critic and film user, explained the initial purpose of the
commission as outlined upon its founding:
The purpose of the commission is twofold: first,
to produce and stimulate the production of high
quality dramatic and documentary films with a
spiritual theme for distribution in 16mm to churches,
clubs, schools and community groups; second, to
encourage the entertainment motion picture industry in
the production of films of moral and artistic values
and encourage greater depth and freedom of expression
on the screen.13
It took another two years for the PFC to produce
and release their first picture, Beyond Our Own, made at a
cost of $40,000, and sponsored by the variously involved
mission boards. This film was premiered and dedicated on
the evening of September 5, 1947, at a special screening
at the Annual International Workshop of Visual Aids in
13william S. Hockman, "Film in Religious Educa
tion," in Film in Education, ed. by Godfrey M. Elliot (New
York: Philosophical Library, 1948), p. 339.
203
Religious Education, sponsored by the ICRE at Green Lake,
Wisconsin. It was later released for general distribution,
through the Religious Film Association in November 1947.
The film Beyond Our Own, a 40-minute, black and
white sound dramatic film, was designed to be integrated
with the Mission Study Theme of Evangelism on China for
1947-48 under the Missionary Education Movement. Samuel
M. Cavert, writer and historian, noted that most of the
PFC productions were produced in conjunction with an
interdenominational study program, usually in the general
area of missions.
It did not take long to discover that the making of
films for the churches had to be closely tied to a
planned program of use. Otherwise money for produc
tion would not be forthcoming and the films, if
produced, would not be widely utilized. It was
therefore natural that the first PFC films, and a
major proportion of those made thereafter, were
designed to supplement the mission study themes
adopted by the cooperating churches.14
Cavert notes that the most expensive production
venture for the Protestant Film Commission was Again
Pioneers (1951), which cost an estimated $110,000. He
figures that some $8 million was invested in projects of
the commission from its beginning in 1945 through 1952,
when it ceased to exist as a distinct organization.
One denominational media director, Rev. Edmund Shaw,
14samuel McCrea Cavert, Church Cooperation and Unity
in America from 1900 to 19 70 (New York: Association Press,
1970) , pi 2ll. (copyright held by the Young Men's
Christian Association, YMCA).
204
of the American Baptist Convention, probably spoke for
most participating denominations in saying that PFC's
success was warranted.
The Protestant Film Commission prospered,
chiefly because quality films were in demand and
most of us did not have the funds for individual
production, but pooled production funds made such
productions possible.15
The national executive director of PFC, Paul F.
Heard, announced in December of 1948, that the commission
had established a permanent organization for a west
coast office. The Hollywood based operation would have
its own advisory committee and board of directors, under
the direction of Oren E. Evans, then an industrial public
relations man.
A permanent Hollywood committee of the PFC is
being established. To be composed of religious
leaders and laymen, its purpose will be to stimulate
the production of pictures on "constructive religious
subjects" and serve the studios by providing a sample
cross-section reaction of Protestant audiences to
scripts of proposed subjects. It will also, upon
request, supply experts to give technical advice.15
Missions - RAVEMCCO
A more concentrated effort to integrate media on
the mission field developed about this time. The Foreign
Missions Conference of North America, a group of
representatives of the major denominational mission
15shaw, loc. cit.
15"News Notes," Film News Magazine, December 1948,
p. 4.
205
boards, initiated a project to evaluate the communica
tions status of mission stations and other audio-visual
efforts overseas. The project, begun in early 1948, sent
a three-man audio-visual survey team on a 37,000 mile
trip around the world. The task force, called the
Committee on Radio, Visual Education and Mass Communica
tion (RAVEMCCO), was also active in the training of
missionary personnel in the utilization of media as well
as in the production thereof, and has remained active in
one form or another throughout the years.
Although all of the participating denominations
actively promoted the films they co-produced with other
denominations through the PFC, and, in fact pre-sold them
to the churches as part of a national study theme, not
all went well.
Many of the films produced by the Protestant Film
Commission deserved a far wider use than they
received. The churches were not ready to invest
sufficiently in advertising, promotion and demon
stration to correct this condition. Too-small
screens, temperamental equipment, unskilled operatorsy
and reluctance of churchgoers to gather for film
showings at other than stated times on Sundays were
obstacles difficult to overcome. Nor was there
often any regular provision in the local church
budgets to pay the rentals through which the _
producers hoped to get some of their money back.-*-
Anson C. Moorehouse, director of Berkely Studios,
Toronto, Canada, the film production agency for the
United Church of Canada, had attended another formative
l^Cavert, °P* cit., p. 212.
206
meeting at Emory University in 1946, when the Methodists
brought together leaders of different denominations
intensely interested in developing films for church use.
In the opinion of Moorehouse, the Emory University meeting
also stimulated the organization of the Film Commission
and the Religious Film Association.
In 1972 in a letter to this researcher, Moorhouse
shared his perspective on the inherent problems of the
Protestant Film Commission.
There was a fatal and false assumption made by the
organizers of the commission that there was money in
the church that could be made available for the
production of films if you had the right film.
Production was to continue by means of a revolving
fund. Unfortunately, the revolving fund soon quit
revolving for there wasn't the money available in the
churches that had been anticipated. In order to
provide the sums of money necessary for the production
of films, it was necessary for as many denominations
as possible to participate. When a few began to fall
away, that put a strain on the fund.18
It was designed so that the fund was replenished
from the sale of prints. Unfortunately, the sale of
prints did not meet the expectations and so the production
costs were not always recovered. But there were other
problems.
The commission itself became weakened through loss
of leadership. Some became disenchanted, some of the
older members either retired or died, and some of the
staff simply went to better jobs.19
l^Anson C. Moorehouse, Personal letter to writer,
December 12, 19 72.
19Ibid.
207
Cavert mentions in his history of religious
education that the film commission did not have" a very good
record of returns regardless of its occasional successes.
Although the Film Commission was [now] a going
concern, it had so little assured income that its
service was limited to the production of films for
which special financing could be secured in each case
from an interested group.20
Protestant Film Commission/Protestant Radio Commission
It was about this time (19 50) that a national
council of churches was being seriously .discussed. The
concerned denominations invited the various interdenomi
national film and broadcast production agencies, such as
the Protestant Film Commission, into the one parent
organization. The merger of the Protestant Film Commission
and the Protestant Radio Commission was attempted in the
spring of 1950, in anticipation of the formal establish
ment of the National Council of Churches, later, in
December.
Paul Heard, of the PFC, and Everett Parker, of the
PRC, were appointed as co-executives of the newly formed
group in the spring of 19 50. The arrangement did not
work too well, according to most accounts. The problem
was partially solved by bringing in Reverend Ronald
Bridges, then president of the Pacific School of Religion,
to head the organization.
20cavert, loc. cit.
208
He found some unease on the part of the
Protestant Radio Commission over the possibility
that the Film Commission might become a financial
liability in an over-all setup. He also found the
nascent Broadcasting and Film Commission hesitant to
give up an independent status until there was clear r
assurance that the whole National Council of Churches
enterprise might not prove short-lived.^
The solution to the Heard/Parker confrontation was
to move Heard to Hollywood and Parker to New Haven,
Parker concentrating on research in radio and also
teaching at Yale University. Parker later moved into the
United Church of Christ communications office.
All the parties were given sufficient confidence in
the stability of the NCC which resolved the fears so that
Dr. Gerald E. Knoff, a member of the Protestant Film
Commission, and Rev. Philip C. Landers, a member of the
Protestant Radio Commission, and both Associate General
Secretaries on the International Council of Religious
Education, could announce the action of merger in April.
National Council of Churches
Finally after some ten years of preparation and
counsel, 25 of the largest Protestant denominations and
five orthodox churches finally met for the purpose of
joining together. It happened on December 6, 1950, in
Cleveland, Ohio, where the National Council of Churches of
Christ in the United States was founded. By 1956, the
21Ibid., p. 213.
209
National Council represented over half of the protestant
churches in the United States— 144,000 out of 250,000 -
with a total of 35 million communicants.22
Within the new National Council, a Division of
Audio Visual and Broadcast Education was established,
which maintained responsibility for the annual Inter
national Workshops in Audio Visual Christian Education
meetings which gathered often at Green Lake, Wisconsin.
Responsibility for the Visual Education Fellowship rested
with DAVBE as well. The VEF continued to publish a
Newsletter, quarterly, and a monthly Evaluation Bulletin.
These items were sent to members to keep them up to date
on current happenings within Christian audio-visuals and
education media. Members also received the annual Audio
Visual Resource Guide and its supplements. That publica
tion was a compilation of the monthly evaluations. The
DAVBE was responsible for setting up numerous workshops
and seminars throughout the U. S. for the purpose of
training church workers in the use of audio visual
material within the established religious education
curricula. The Division took the leadership in developing
religious education filmstrips for member denominations
22"The Use of Audio Visual Aids in the Work of the
Broadcasting and Film Commission," (hereafter referred to
as "Work of BFC"), Film New Magazine, Winter, 1955-1956,
pp. 6-8.
210
and local churches.
The Broadcasting and Film Commission
The new Central Department of Broadcasting and
Film later to be called the Broadcasting and Film
Commission, the combined PFC and PRC, was headed by
Ronald Bridges, executive director. Director of Research
was Everett Parker. Albert Crews was director of radio/
television, and Paul F. Heard, director of film.
Rev. S. Franklin Mack defined the purpose for the
existence of the Broadcasting and Film Commission as to
. . . enable the churches to do some things coopera
tively that they could not do as well separately;
and to face the complex media of radio, the TV
networks and the film industry in a united approach.
. . . Specifically, to win listeners and viewers to
the Christian faith . . . to build a strong Christian
family by helping the local church become stronger
and by creating a better understanding of its local
and world service . . . to make known the Christian
gospel to every person everywhere, presenting the
church as the family of believers around the world
. . . to help religious groups understand one
another . . . to work with the radio, TV and film
industries toward presenting the best in religious
programming.2 3
The Religious Film Association was invited by the
BFC to operate as the official distribution agency for the
National Council, and to share space with the BFC in its
new headquarters in New York. The move took place in
January 1952, and, according to W. L. Rogers, executive
23ibid.
211
1
secretary of the RFA, was "to provide closer liaison
between the distribution functions of the RFA and the film
production functions of the [ B F C ] . "24
The RFA never really merged within the BFA but
operated for about a year as the distribution agency. By
1953, the Religious Film Association member affiliates
considered the operation too cumbersome and unfeasible and
therefore liquidated the operation. Rev. William Rogers
remained the first and only executive director throughout
the 11-year life of the RFA organization, 1942-1953.
There were also other changes within those first
few years of re-organization. By 19 52, Paul Heard had
produced a number of films for the National Council as a
member of the BFC staff, but decided he could work better
as an independent producer and left the interdenomina
tional media agency. He continued to produce film work
for the BFC on a contract basis. S. Franklin Mack then
took the position of director of film operations for the
BFC (1952).
With S. Franklin Mack heading up a re-organized
film and audio visual department, a new philosophy
of film production and use is being promulgated.
. . . Paul F. Heard, director of the Protestant Film
Commission since its inception, closed his connection
with that organization and Broadcasting and Film
Commission after the involved procedure of trans
ferring the assets of the Protestant Film Commission
News Magazine, January 1952, p. 23.
212
to the National Council as a part of the merging
process. He continues his interest in the religious
film field as an independent p r o d u c e r .25
Ronald Bridges, also left the Broadcasting and Film
Commission, to become visiting professor of Religion at
Bowdoin College in January 19 54. S. Franklin Mack then
moved from director of film operations to executive
director upon his election by the Board. The change was
effective February 1, 1954, as was the appointment of
Alexander B. Ferguson to the directorship of film
operations department. Ferguson had been the visual
education director for the Congregational Church prior to
the BFC appointment.
Upon Mack's election to the executive directorship
of the Commission, its chairman, Dr. Clayton T. Griswold
presented his objectives for the BFC.
1. To encourage the National Council departments
and constituent agencies to make use of audio-visual
techniques wherever this will make their work more
effective.
2. To encourage these National Council units to
use audio-visual techniques to interpret their work to
the public.
3. To give counsel and advice as to immediate
possibilities, costs, etc.
4. To be ready to serve as co-ordinator of
production on audio-visual projects requested by units
of the Council and to handle both production and
distribution.^
25giennial Report, National Council of Churches in
the United States of America, 1952 (hereafter referred to
as "Biennial-1952"), p. 106.
26Biennial Report, National Council of Churches in
213
There were other significant items included in the
1954 Biennial Report other than personnel changes.
1) The films completed and released .during 1952-54
covered Stewardship: The Hidden Heart, The Beginning;
Missions: City Story, A People Without Fear? Christian
Education: For Every Child, Moses and His People/ Moses in
Egypt, Moses and the Ten Commandments, Joseph and His
Brethren, and Joseph in Egypt. The last five films were
produced with the aid of puppet animation.
2) There were several films in various stages of
production and not yet released by 1954. Those included a
Christianity-and-Communism film, to be filmed in Berlin,
Germany; a new foreign mission study film In the Face of
Jeopardy, photographed in Malaya; a film for RAVEMCCO (the
Radio, Visual Education and Mass Communication Committee
of the Department of Foreign Missions), photographed in
Africa, Japan, Korea, and the Philippines; and a film on
the American Indian for use in connection with the home
missions study theme for 19 55. Another film in production
was the sixth in a series on stewardship.
3) The different agencies for which the BFC was
commissioned to produce films or filmstrips, or within
which the BFC cooperated in a project, included the Joint
Commission on Missionary Education, the Division of
the United States of America, 1954 (hereafter referred to
as "Biennial-1954"), p. 115.
214
Christian Life and Work, the Division of Christian
Education, the Department of the Church and Economic Life,
the Church World Service, the General Department of United
Church Women, the Department of Stewardship and
Benevolence, and the Department of Social Welfare, as well
as other coordinating agencies.
4) The Report noted that the BFC acquired the
wholesale operation of the Religious Film Association on
July 1, 1954. That acquisition involved the films
distributed through commercial channels of BFC origina
tion, as well as others belonging to member denominations.
The Biennial Report regarding the RFA changes is further
explained by an article in Film News, April 1953, which
noted that the action "will transfer RFA's film
o
libraries to denominational agencies and the San
Francisco library [was] offered for s a l e ."27
Communications Research Project
A significant research project was completed on
June 30, 19 54, which was noted in the Biennial Report.
The Communications Research Project lasted two and one-half
years and was conducted by the BFC under the advisement of
Everett Parker and in cooperation with Yale University.
Dean Liston Pope of Yale University, chaired the
administrative committee for the project, which conducted
27Fiim News Magazine, April, 1953, p. 25.
215
studies in the use of radio-television and motion
pictures within the New Haven community in general and in
the local churches in particular.
The problem which initiated the study involved
certain factors:
1. Children in the church school and young
people's groups are primary audiences for religious film.
2. Few religious films are made specifically for
use by young people by producers of church school
curriculum.
3. Many commercially produced religious films are
aimed at church school and youth but are seldom if ever
planned in relation to the project curriculum.
The question which arose out of the three factors,
"What is the effect of such films upon the children who
see them" was one topic of the s t u d y . ^8
The study was not just a survey. It was a
structured experiment involving the use of the commercially
produced films in a planned curriculum. The study used
the Cathedral films integrated into specific course
materials to determine whether the addition of such
films measurably changed the learning and retention of
the students.
28Everett C. Parker, J. J. Stein, Paul H. Veith
and Edith F. Welker, Film Use in the Church (New York:
National Council of Churches Broadcasting and Film
Commission, 1955), p. 2.
216
The study took careful precautions to design the
tests, instruct the instructors how to use the film and
to control the film and non-film student groups. One of
the conclusions was that the use of the film did not
increase the content learned, but did affect the attitudes
of the students.
The Biblical, films integrated into a study unit
proved to be a successful method of teaching in
church school. While net average differences
between the experimental and the control groups were
non-significant, the substantial gains in knowledge
registered by the girls in the film group showed
the future possibilities of teaching with films under
optimum conditions of curriculum integration and
classroom procedure. Members of the study staff
believed the results of the experiment justified
general distribution of the Story of Jesus, Part I,
with the five Cathedral films integrated in the
course material for church schools who wished to use
films in junior teaching.
Another part of the study was a survey of the use
of film generally in the churches of New Haven. The
questionnaire investigated such problems as where are the
films obtained? who owns the projector? under what
situations are film shown? how often are films shown?
what percentage of your budget goes to film rental?
how are religious film titles selected? previewed and
financed? what are your evaluations about specific
films? how would you improve such films? w'hat factors
limit the use of film in your church? what effects or
responses do you have with films within given situations?
29Ibid., p. 20.
217
The survey revealed facts which were unexpected.
Nearly three-quarters of the 102 Protestant and
Orthodox churches in New Haven used motion pictures
in 1951 and 1952, yet more than half of those shown
were non-religious films. A few churches— sixteen—
showed more than half of all the movies used. A
majority of the films were shown to youth groups or
church school, but little attempt was made to
integrate films used in church school into curriculum;
they were "just shown." Every film-using church
revealed a lack of adequate information about the
availability of appropriate movies, and a lack of
facilities and techniques for making the most of
religious motion p i c t u r e s .30
Other studies concluded at the same time (June 30,
1954) and later published studied parental attitudes
toward children's television listening habits, the
listening habits of a typical audience and its likes and
dislikes in radio and television religious p r o g r a m s . 3 1
The research project was expensive, even by
today's standards. But regardless of the cost, it did
not gain much popularity, as Cavert recalls.
It represented an investment of $87,500 over a
period of 2-1/2 years, part of which came from
foundations [Carnegie Corporation and Hazen Founda
tion] , most from the BFC. The study was well
received in research circles and was required reading
in workshops and institutes for the training of
broadcasters. Events, however, were moving too fast
for it to receive attention commensurate with the
investment and the Commission's subsequent involvement
in research was to be sharply limited by lack of
funds.32
30ibid., p . 71.
31"Biennial-1954," op. cit., p. 115.
32cavert, op. cit., p. 214.
218
BFC West Coast Office
Another item in the Biennial Report of the
National Council of Churches which involved the Broad
casting and Film Commission was the report of the
operation of the west coast office, located in Hollywood,
which maintained a liaison with the motion picture
industry.
Script reviewing operations, handled by a
volunteer committee of prominent ministers and area
denominational leaders, are slowly resulting in
improved working relationships with top personnel of
the major studios . . . and a growing respect for
sensibilities of the Protestant and Orthodox
constituencies.
The office also directs the radio and television
programs the National Council where origination from
the coast is necessary or desirable. It serves, too,
as a base of operations for work on such films as the
BFC produces in Hollywood.33
BFC - Budget
Year by year, the Broadcasting and Film Commission
increased its responsibility and response within the
Protestant community. Its first year budget (1951) was
$400,000. In 1953, its annual budget had grown to
$602,400. And by 1955, it was $1,400,000 a year. These
figures do not include the value of air time made
available by radio and TV networks, but do include costs
reimbursed by communions who contracted for productions
through the BFC.
33"Biennial-1954," op. cit., p. 117.
219
In terms of both extent of expenditure and of
cooperative activities, the BFC ranks as the largest
educational and promotional undertaking in the area
of organized religion.
Because none of the constituent communions of the
National Council were obliged to limit their radio, TV,
film or other audio-visual activities to production
through the Broadcasting and Film Commission, there was
some concern that there would be enough production to
warrant a complete department. In fact, if they so
desired, the various denominations could operate entirely
independently.
More and more, however, as the advantages inherent
in the BFC become increasingly apparent, the member
churches and agencies of the National Council are
turning to the BFC for the production and/or
distribution of all types of broadcasting and film
material. In fact, other and non-affiliated bodies
are beginning also, to seek the benefits of the BFC's
experience and assistance.35
BFC - Production
Actual production of film and other audio-visuals
was usually let out on contract to one of several
commercial production companies which had become
proficient in making religious films at that time: Alan
Shilin Productions, International Film Foundation, and
Trident Films— all in New York City— and Paul F. Heard
34"work of BFC," loc. cit.
35ibid.
220
Productions, Inc., Films International, and Family Films,
Inc., of Los Angeles.
A recurring production project which was needed
each year was a film to illustrate the annual mission
study theme. In 1955, the home mission theme was
centered on the plight of the American Indian. A film
entitled Song of the Shining Mountain was produced and
distributed by BFC to all churches cooperating in the
theme. The foreign mission theme, "Christianity in a
Revolutionary Age," was stressed by the film In the Face
of Jeopardy. It pointed up the conflict between
Christianity and Communism in South East Asia.
The annual production of a film on some aspect of
stewardship was also a recurring project. Several films
were produced annually on stewardship for several groups
of denominations within the Council.
A Wonderful Life (the values of a Christian home),
Second Chance (thesignificance of parental example),
and More for Peace (the role of the Christian church
in world peace) are joint productions of the
Presbyterian Church U.S.A., the congregational
Christian Churches, and the Evangelical and Reformed
church. These three were joined by the Disciples of
Christ to produce The Beginning, a film about a
family and its relations to tithing. The Secret of
the Gift was made possible by the Disciples of Christ,
the Evangelical and Reformed, the Congregational
Christian and the Methodist Churches.36
Other examples of the type of productions under
taken during that period include a recruitment film for
36ibid., p. 23.
221
church school teachers, filmstrips for the Church World
Service on the refugee problems, puppet films on Bible
stories (designed for children's television programs and
other non-theatrical exhibition), a film for recruitment
of ministers, and one on geriatrics and the church's
responsibility with problems connected with old age. All
of the foregoing projects were initiated outside the BFC
operation and brought to them. The "Film News" articles
noted that although "BFC is presently a service center it
is progressively increasing its scope of operation and of
self-initiated activity. " ^
BFC - Distribution
The distribution of BFC films, whether from the
collection taken over from the Religious Film Association,
or produced since the NFC was established, was accom
plished through several hundred commercial religious film
libraries. Films have been handled on a wholesale basis
only, in accordance with a policy established in 1954.
This meant that churches could not request a particular
title from the BFC. There were, however, commercial
libraries who rented the films. Films were also handled
through a national chain of Baptist bookstores and other
denominational outlets, including various agencies of the
Methodist Publishing House.
3 7ibid.
The Broadcasting and Film Commission did not
physically handle the films but contracted an agency in
New York to check, repair and mail the film materials for
them. Distribution in England, Australia and South Africa
was handled by Religious Film Ltd., of London, part of the
J. Arthur Rank organization. Canada was serviced by
United Church of Canada and Ryerson Press.
The reverend Alexander B. Ferguson, the BFC's
director of films in 1955, projected several factors for
the future of film production by this, the nation's
largest cooperative effort.
[He] envisages the possibility of shorter,
cheaper pictures that will make film libraries as
possible for churches as book libraries are now. The
pattern of distribution would thus be altered, prob
ably from rental to sale. Consideration needs
furthermore to be given to what the attitude of the
viewer will be who, even now, can see all the pictures
he wants at practically any hour of the day or
night. 3*3
Another research study was initiated by the
Broadcasting and Film Commission in 1957. This study was
to determine the role of radio, television and films in
religion, as was published in its entirety in 1960 under
the title, The Church and the Mass Media. It was also
read and digested by Professor John W. Bachman of Union
Theological Seminary, New York, who published the
38"work of BFC, Part II," Film News Magazine,
Spring, 1956, p. 38.
223
essential values of the commission's work in another
publication, The Church in the World of Radio-Television
(New York: Association Press, 1960). The reported
purpose of the study was an "attempt to accelerate the
growing use of mass media in the churches' total
program."39
In the 1957 Triennial Report by the National
Council of Churches, the Broadcasting and Film Commission
had a number of significant items. Although they suffered
from inadequate staff in both the New York and the
Hollywood offices, and were thereby able to maintain
little more than a "holding operation," they received
recognition for their part in a number of commercial
productions, A Man Called Peter being a notable example.
Its script review service in particular received
wide industry recognition. In a speech before the
National Council's General Board meeting in Los
Angeles, Mr. Geoffrey Shurlock, executive director
of the Production Code Administration, commended the
work of this office in glowing terms. The compli
mentary function of evaluating completed films
continues to be handled with great competence by the
Protestant Motion Picture Council which functions as
the Broadcasting and Film Commission's reviewing
arm.40
Most, if not all, of the films and filmstrips
39cavert, °P* cit., p. 216.
40Triennial Report, National Council of Churches of
Christ in the United States of America, 1957, p. 182.
224
produced by the BFC during the triennium 1954-57, were in
the areas of missions, stewardship and relief. This was
due to a fact that they were limited to producing in
areas where they had specific commissions by member
communions. There were no free funds available for other
works. Regardless of those limitations, they reported
having produced thirteen films and 22 filmstrips,
designed to be integrated into mission themes, stewardship
and relief.
Two films during the period were recognized for
their cinematic excellence. Broken Mask won the annual
Golden Reel Award of the Film Council of America, and
City Story the Silver Reel from the same group. Their
records revealed a wide use of these and other produc
tions among the churches.
Part of the 1960 Triennial report is spent
admonishing churches and church leaders for not taking
the inroads of media seriously enough, not just in using
it more within the church program, but also in educating
the congregations in how to adequately evaluate that
which comes into their homes via radio and television.
The churches are still a long way from grasping
the full possibilities of effective use of filmed
material in relationship to curriculum. A closer
relationship between producers and curriculum
builders is imperative if the situation is to
improve.
These examples will serve to indicate the stirring
that is going on among the constituent communions
with regard to the place of radio, television and
225
film in the life and work of the church. . . . The
truth is that the church has yet to take these media
seriously. It has yet to develop a program realistic
enough in its confrontation of the undone task to
require the vigorous and disciplined use of films, TV
and radio and to make this use an integral part of
parish programs.41
Changes - Experience, Funds,
Personnel
At the ten-year mark of its life (1960) the
Broadcasting and Film Commission members realized that few
of those in denominational positions of media leadership
had been part of the creation of the BFC. It was also
realized that many of the departments of media within the
member communions had been established since 1950.
The recognition is dawning [on member communion
leaders] that the media have a role to play in the
life of the churches and this is resulting in larger
appropriations. It has also given rise to the
problem of unilateral vs. cooperatively planned
undertakings in film and broadcasting.^2
The Broadcasting and Film Commission set up a
committee to re-examine the bases of the cooperation
between denominations. The study by this Committee on
Interdenominational Cooperation was also to appraise the
program and structure of the BFC "in the light of the
current needs and opportunities."
41Ibid.
^ Triennial Report, National Council of Churches of
Christ in the United states of America, 1960, p. 196.
43ibid.
226
The problems that seemed to be occurring at this
time were not new ones, but because costs were rising and
there was more competition for church budget monies, they
became more acute. As it was set up, the Broadcasting and
Film Commission had not been allowed "free" funds from the
denominations. Those funds would have permitted
experimental programs or developmental projects for
needed production on radio, TV or in film. Another
factor made the problem more potentially abrasive. The
member communions did not pay the whole cost of the BFC
operation, since income from the radio audience was
required and certain fund-raising activities were needed
to help balance the budget. As some denominations began
to set up their own media units, with staffs and budgets
for films, etc., many found it necessary to invest the
same monies in their own ventures which would have
assisted in cooperative ventures through the BFC proir.
An example of this imbalance of funding is recorded
in the 1960 Triennium Report of the National Council of
Churches.
The one Broadcasting and Film Commission television
program financed by a substantial pooling of funds on
the part of half a dozen member communions, Frontiers
of Faith, has had a maximum total underwriting of
$75,000.00 (in 1959 and 1960). The highest communion
contribution was $20,000.00 of this Some of the
member communions are putting considerably more than
this into new TV series to be contributed to and
distributed by the Broadcasting and Film Commission.44
44Ibid.
227
So the Committee on Cooperation Policy were asking
two root questions: "(1) whether and to what extent
member communions will share their thinking about the
public use of broadcasting and films in advance of
program and production decisions; and (2) whether all
monies should be pooled and all programs planned and
produced within BFC; and if not, how denominational
contribution of programs or program series should be
made."45
It was noted that two sides to one issue was
causing the most conflict. Whereas the BFC had a staff
whose total, cumulative experience was potentially a
sizeable asset to its participating denominations, the
media staffs of those same denominations were aware that
their commitment to the use of film, as well as broad
casting, was likely to be exactly proportionate to its
ability to recognize its own contribution to it in the
resulting presentation. Such pressures, however subtle,
tended toward making denominational "signatures" a
controlling factor.
A summary of the committee's report was contained
in the 1960 Triennial Report, although it was recognized
that not all recommendations had been accepted or enacted
by the publication date.
45ibid.
228
The Policy Committee clearly recognizes the value
of a member communion making part of its contribution
to and through the Broadcasting and Film Commission in
the form of programming; such programming to be agreed
upon in advance and to be cooperatively developed. It
recognized in BFC a facility which is so indispensable
it would have to be replaced if done away with. And
it laid down the principle that the payment of a
communion's total support allocation and the sharing
of its program plans are to be regarded as prerequi-
site to full membership. It strongly endorses the
"Master Plan" concept of integrated programming. 6
The 1960 Report noted a special project which took
a BFC film unit to Africa, India and the Far East during
the previous three years. The "in-house" film unit
activity was intended to be "supplementary to and not a
substitute for the use of established film production
agencies such as Family Films, Film International, Jam
Handy and Charter Oak."
It is apparent that the money saved in producing
the films themselves allowed the sponsoring denominations
to make more prints, thereby promoting the wider use of
those film during the period. Although the film unit made
film primarily for missions study themes, the philosophy
of wider distribution and even free use seemed to override
the desire to have the films pay for themselves.
A significant development is the recognition by
the sponsors of films to parallel the missions studies
that their primary objective should be to get a
maximum use of these films rather than to insure a
return of the money invested. Those commissioning
stewardship films have long accepted this philosophy,
46Ibid., p. 197.
229
with the result that the largest number of prints
distributed have been for such stewardship films as
The Hidden Heart, ' Split Level Family, and Secret of
the Gift. Another example is the film made for Church
World Service, The Long Stride. These films have been
given free distribution by their denominational
users.47
The expanded distribution of certain titles was
facilitated by a closer working relationship with the
Armed Forces. Volume sales to the U. S. Army and Air
Force of selected films and filmstrips was noted during
the period 1957-1960.
With the exception of the mission study theme
films, the BFC seemed to be pulling away from much actual
production and more to coordination of projects. The
Report clearly indicates that it was not the function of
BFC to do everything that needed to be done, but to see to
it that everything was done. They saw that the develop
ment of effective liaison with like agencies and with the
film and broadcasting industries, to be particularly
important.
Some of the agencies with which the BFC sought this
relationship were: the Protestant Consultation on
Christian Broadcasting, a periodic meeting of non-Council,
leading broadcasters; The Council Broadcasters' Fellowship
the voluntary association of persons with certain
responsibilities in the broadcasting area as members of
47Ibid., p. 194.
230
local or regional councils of churches; and the
Protestant Motion Pictures Council, a group of interested
and involved laymen and church administrators, formed
since 1945, who published reviews of entertainment films.
Liaison with top level persons of the film
industry was advanced during the 1959-60 period by two
east coast conferences. Those luncheon meetings gathered
representatives from the National Council, as well as
members of the staff of the Motion Picture Producers
Association, of which Eric Johnson was head.
Along with the desire to function as catalyst and
coordinator, the BFC sought useful products from outside
sources to supplement their own productions and those they
contracted. This effort resulted in the successful
distribution of films such as Face of the South, produced
by tl^e Department of Social Action of the United
Presbyterian Church; the public relations training film
Making It Work, produced by the Seventh Day Adventists;
and From Generation to Generation, sponsored by the .
Maturity Center in New York City.
The west coast office of the Broadcasting and Film
Commission initiated or coordinated plans for two feature
length films for the motion picture theatre, in 1959. The
films, both with specific church backing, were being
considered by major studios for release through their
channels. One, Toward the Golden Shore, is the story of
231
Adoniram Judson, the noted missionary. Its story is told
by Courtney Anderson and was backed by the American
Baptist Conference. The other, The Valley of the Shadow,
is the story of Bishop Hanns Lilje and was backed by the
Augustana Lutheran Church.
The research functions of the BFC were somewhat
provided for when the St. Louis Triennial Assembly
authorized a Study Commission on the Role of Radio,
Television and Films in Religion. The study, actually
recommended by the BFC, was presented to the General Board
of the National Council in June 1960. It xvas the only
study of its kind since the BFC’s New Haven survey,
published in 1954.
Emphasis on Laity
By the 196 3 Triennium, the encouragement to laymen
in the use and evaluation of media, both broadcast and
selected uses, was increased. The 1963 Report
specifically noted that it was the responsibility of the
laity to draw to the attention of non-church members the
potentially significant broadcasts and productions, which
they had been informed about. It also emphasized the
need for him to be both interpreter and guide where such a
ministry is indated or seen.
Along with the laity responsibility, the Report
listed the various materials available to the laymen
232
for his'use in this task.
There are, of course, the familiar "use guides,"
which usually accompany films and filmstrips designed
for in-church use, and the family-oriented evaluations
of theatre films. But utilization materials are now
being prepared for network and syndicated church-
sponsored television programs also. Experimental
manuals have also been developed for use in group
discussion of any selected motion picture or televi
sion program. Leading church magazines are offering
"reviews in depth" of provocative films and television
programs, designed to open up to the layman the
potential of these media for meaningful communica
tion. 48
It was noted above that in 1957, the St. Louis
Triennial Assembly conducted a study regarding the role of
Radio, Television and film in religion, which was
presented to the National Council and published in 1960.
The study, as presented, was entitled The Church and the
Mass Media. Paralleling that report was a book, The
Church in the World of Radio-Television, by John Bachman
of Union Theological Seminary in New York. Bachman was a
member of the commission which conducted the original
study.
The 1963 Report notes that there was great
disappointment that the study and its two end-products,
along with the various related studies and documents, did
not generate as great a response as expected. Conse
quently, the National Council drafted a "pronouncement,"
48Triennial Report, National Council of Churches of
Christ in the United States of America, 1963, p. 161.
233
designed to focus the purpose and findings of the study
in a more concise and forceful manner.
By the time it [the pronouncement] came before the
General Board on June 7-8, 196 3, for final adoption
it had enlisted the participation of communion
leaders and of representatives of the National
Council’s departments of Life and Work, Home Missions,
Christian Education, and United Church Women. Press
releases in advance of its adoption aroused the
broadcasting industry. ^
The pronouncement, as finally adopted, was titled
"The Church and Television and Radio Broadcasting," and
was limited to just the broadcasting media in its thrust.
Copies were sent to the networks, the Federal Communica
tions Commission, National Association of Broadcasters,
the trade press and, of course the churches.
Reports from the constituency indicate that the
sections of the pronouncement that deal with the
churches' responsibility with regard to broadcasting
have been found to be particularly helpful and that
the document as a whole is expected to prove highly
useful. This is a significant milestone in the
churches' cooperative effort to grasp the signifi
cance of television and radion broadcasting for
Christian Communication.50
Broadcasting Emphasis
A great deal of the 19 63 Triennial Report relates
to the efforts that were made in the area of broadcasting
during the previous three years by the Broadcasting and
Film Commission. The Report admits that the emphasis on
broadcasting, and particularly television, reveals the
49ibid., p. 162. 5 °Tfoid.
234
significant demands that this medium put on the BFC.
During the triennium,. the director of the Commis
sion submitted a draft of a master plan to clarify the
respective functions of the Broadcasting and Film
Commission and of the denominational offices of mass
communications. This plan, submitted in 1962, was more
concerned with relationships and operation than with
future expansion and projections. Working relationships
were a problem.
The churches face a dilemma. If they do not make a
specific assignment of this responsibility [deciding
whether or not to set up an agency to deal with
cooperative concerns] they face the likelihood that
nothing effective will be done. If they do, they
must reckon with the possibility that it will become
the specialized interest of a small task force who
will be thought of as "the experts" and who may find
it exceedingly difficult to engage the attention of
the body which '(appointed them in the first p l a c e . 51
According to Cavert, "it was sometime before a
general agreement was reached concerning the role of the
Commission and its committees, the authority of its staff
and its place in the National Council’s structure." That
agreement was reached to some extent by the mid-sixties,
when the National Council’s reorganization placed the BFC
as a co-member with the Office of Information within the
Office of Interpretation and Communication.52
51ibid., p. 161.
52cavert, op. cit., p. 216.
235
t
Reverend S. Franklin Mack, executive director of
the Commission, submitted his resignation effective
December 31, 196 3. This, along with other personnel
changes in the Commission staff and within the media
staffs of the member communions, created the need to
rethink the organization of BFC. There was also the
general budget cutting among the supporting agencies, a
rise in the popularity and cost of television along with
a decrease in the listenership and income of radio
programs upon which much of the BFC budget depended, which
caused much concern for many programs and projects. This
tended to encourage those production people and other
interested agencies to band more closely together to get
things done in spite of the hardships.
Loss of budget and staff has forced a greater
dependence upon the field work and production person
nel generously made available as needed by member
communions. This has been a valuable experience.
For in essence the Broadcasting and Film Commission is
the member communions working together to do those
things which, in their judgment, can best be done
cooperatively. Increasingly the member communions are
coming to think of all that they do in the mass
communication field in ecumenical terms.53
In the area of actual film production during the
period 1960-6 3, the Commission was able to produce a
number of significant pictures which contributed to the
educational and informational needs of the church. With
53Triennial Report—1963, p. 163.
236
foundational help and the cooperation of the Council's
Department of Home and Family Life, BFC produced two
pre-marital counseling films, Before They Say "I Do" and
"I Do.” Along the same theme, the distribution rights
were acquired to From Generation to Generation, a film on
child-birth.
According to the Report, the most provocative film
made by the Commission during the period was The Gift, a
stewardship film which depicted God's gift to man in
Christ in symbolic and graphic terms. Although it was
prepared as a stewardship film, it had a much wider
application.
Two documentary films were made during the
triennium which were intended for television and church
viewing. Both on the problem of the Cuban refugee, one
dealt with the decision by the refugee to resettle, the
other dealt with the actual resettlement. The plight of
the unemployed coal miner was explored in one documentary
entitled The Captives. And as the period ended covered
by the 1963 Report, another film was in production on
the subject of the emerging nations of the world.
Films designed for theatrical release were the
concern of the West Coast Office of the BFC. A non
profit organization, Imperator Productions, was created
by the BFC in Los Angeles to assist in the development of
church-sponsored films for theatrical use. At the time
237
of the Report, scripts had been prepared and the produc
tions were planned for two subjects through this agency.
The films, Toward the Golden Shore and Valley of the
Shadow, were character studies on Adoniram Judson and
Bishop Hans Lilje, respectively.
Member communions of the Broadcasting and Film
Commission were increasingly represented,in the Hollywood
area by members of their mass communications staff. Such
denominations included the American Baptist, the United
Presbyterian Church in the U.S.A., and the Methodist
Church. These agencies' staff members, together with the
National Council's broadcasting executive, BFC's West
Coast executive (George. Heimrich) and Donald Hall,
representing the Southern California Methodist Conference
operated as a group of co-workers to continually interpret
church concerns to film producers.
Historically, the church has given guidance to its
members regarding pictures in release by condemning cer
tain films. The Catholic League of Decency developed an
effective ministry for this purpose when Hollywood
scandals began to spill into many films.
The League's action, begun in 19 33, caught the
attention of Protestant church leaders and a similar
effort was established to some extent among those circles.
The effect was not so much a decrease in attendance in
238
those condemned films as an increased curiosity by
Catholics and Protestants alike as to what made them
warrant such castigation and ridicule. Consequently, the
"free" publicity through League and Protestant publica
tions did little to discourage racy and scandalous films.
Annual Film Awards - Controversy
and Effect
In 1961, the Broadcasting and Film Commission
turned their influence to a more positive approach by
formally requesting the General National Council Board to
endorse a motion picture rather than condemn one. The
film under consideration, Question 7, was a theatrical
release by de Rochemont, made for the Lutheran Film
Associates. The reasoning was that an endorsement would
result in the churches' supporting it at the box office.
This procedure was in line with the conviction
that one way to "get more good films" is to alert the
churches to films of special merit. There is abundant
evidence that the National Council endorsement con
tributed substantially to the box office success of
Question 7.54
Because this action of endorsement of good films
was so well received it was decided that more should be
considered. The procedure was so new, however, that
before any other selections could be made, the
endorsement/award question was handed to a committee
54ibid., p. 164.
239
within the Commission.
It is anticipated that the ensuing delay will be
justified by the adoption of a carefully devised
policy and program for the recognition of especially
deserving film, television and radio programs, a
policy which will merit the respect of-both the
film and the broadcasting industries.
Along with the awards proposed for outstanding
films and broadcasted programs, the Commission actually
recognized certain individuals and several television
programs as recipients of its Outstanding Achievement
Award. One of the persons thus recognized was Dr.
Fredrick Thorne. Dr. Thorne, a long-time contributor to
many film productions of the BFC, was honored for "his
pioneering contribution to the art of the motion picture
56
on the production of films for use in the churches."
The committee, or "panel" as it came to be known,
experienced some internal tensions regarding the type of
picture to be nominated for the Council endorsement and
later this would result in an award.
Some members felt the nomination should be
limited to films of an obviously "religious"
character. Others, who in the end won the day, were
concerned to draw attention to films of outstanding
merit, which, though not ordinarily described as
religious, "portray with honesty and compassion the
human condition" and depict man "in the tension
between his attempt to realize the full potential of
his humanity and his tendency to distort that
humanity.^7
55Ibid. 56Ibid.f p . 166.
57cavert, op* cit., p. 217.
240
In a booklet entitled "The Church Moves Toward
Film Discrimination," by F. Thomas Trotter (in actuality, a
reprint from Religion in Life magazine, Summer 1969), the
development of the National Council Awards is shown as
being fraught with "creative tensions."
A high level of hostility normally ruled in the
West Coast Committee [who first proposed the awards
process to BFC] because of misunderstandings between it
and the New York office of the BFC. The basic
economic fact was that the decision-making center of
the film industry was New York, although the West
Coast people contended that Hollywood was the produc
tion center. To add frustration to the situation,
fewer films were being made in Hollywood. A certain
pietism dominated the West Coast group so that its
members tended to conceive of their role as
"ministering" to the people who worked in the
industry. It was tragically naive to assume that
pastoral care to a "grip" or even an actor would
possibly seriously affect the direction of the
industry, controlled as it is from the financial
centers of the East.58
Perhaps much of the tension was due to a paternal
ism that exists within committees appointed by
denominations. There is a temptation to insert
institutional questions such as "what will our constitu
ency think?" in place of more meaningful questions
dealing with artistic merit and the ultimate effect of a
selected film. Criticism of past committees centered
around this very distinction.
Attacks on the panel have usually charged that the
58p. Thomas Trotter, "The Church Moves Toward Film
Discrimination," reprinted from Religion in Life
Magazine, Summer, 19 69, p. 2.
241
panel is nonrepresentative. This assumes that its
task is sensing the majority views of churchmen and
becoming a popularity poll. The panel's makeup was
wisely designed to include theologians, pastors,
critics, and denominational officers. Its work was
to be prophetic, critical and educative.59
Whereas the criteria for awards in 1964 were
actually categories and designed to recognize "Christian"
films and American films only, the refined categories of
1965 eliminated the adjectival use of "Christian" and
turned to a more situational approach, which read,
"within the perspective of the Christian faith."50
A look at the award-winning films may bring these
distinctions into sharper perspective. In 1964, the three
films nominated included Fail Safe, Fate Is the Hunter,
and Bechet.
Cinematically, Fail Safe has been forgotten,
whereas Dr. Stranglove, rejected by the panel that
year and also dealing with atomic annihilation, has
survived as a classic. Fate Is the Hunter, a modest
story of courage in airline pilots, has long since
been forgotten. Becket, an artistically superior
film, was as close as the committee could come to
"religious subject matter" although it begged a great
number of historical questions.61
The awards for 1965 further clarified the intent
of the Council's categories (though by no means was this
the end of debate). The Greatest Story Ever Told was
released in 1965, with the hope that the church audiences
59Ibid., p. 4. 60Ibid.
frl'I'bid. , p. 5.
242
would flock to the box offices due to its basic subject
matter. It was an elaborate and expensive film of the
"conventional religious type," a likely candidate for a
Council award.
In spite of [the film's] advocacy by some members
of the panel, the majority voted not to nominate it.
. . . Through bypassing The Greatest Story Ever Told
the Commission served notice that it was not
interested in religious spectacular or oversimplified
solutions to complex p r o b l e m s .
Debate followed the announcement not to nominate
this film, which was severely panned by secular and
religious critics alike. There was much disappointment,
obviously, among many film industry people, since an
*
extraordinary amount of energy had been expended upon
church officers and communications people by the producers
of the film. George Stevens, the producer-director, was a
good friend of several high placed churchmen in Southern
California and his staff developed their own relationships
with church leaders as the production proceeded. Trips to
location filming sites were arranged. Elaborate
publicity releases regarding the sincerity and piety of
the project flooded the religious press.
One member of the panel itself, who fought
tenaciously for the film, was subsequently revealed
to have been retained professionally by the Stevens
organization. Bishop Kennedy, George Heimrich and
others were outspoken in their suppqrt of the film
62cavert, loc. cit.
243
and vigorously advocated nomination. . . . The
panel voted not to nominate the film, and the
silence was like a rifle shot across the industry.63
Not only did the omission of a much publicized
religious film cause furor, the actual list of those films
selected made waves among church people. The Pawnbroker,
Nothing But a Man, A Patch of Blue, The Sound of Music and
The Eleanor Roosevelt Story were given the 19 65 awards.
The first three were more sophisticated by far than any
which had been commonly regarded as recommended in church
circles.
The National Catholic Office on the Motion Picture
(NCOMP), making similar awards in 1965, also bypassed the
Stevens film without any reference whatsoever. In fact,
the two films chosen, Darling and Juliet of the Spirits,
being foreign made, created much c o n c e r n .64
BFC/NCC Relationship Changes -
Office of Communication
Develops
One of the influences on the views of the film
awards panel may have been a change in the general
philosophy of the Broadcasting and Film Commission, which
took place when S. Franklin Mack resigned and his new
replacement, William F. Fore succeeded him. Fore,
63Trotter, op. cit., p. 6.
64ibid., p. 7.
244
formerly with the Methodist Board of Mission, brought with
him a policy which encouraged the maximum creativity on
the part of member communions.
He envisioned the BFC as a catalyst, providing
continuous consultative services, offering an
efficient promotion and utilization service, main
taining a cooperative liaison with denominations and
councils of churches, stations, networks, and the
Federal Communications Commission. He also foresaw
an expansion of the internship training program and
the development in theological seminary curricula of
a long-range program in the field of communication.65
An organizational change took place during the
period 1963-66, which placed the Broadcasting and Film
Commission under a general Department of Communications
and Information within the National Council. The head of
that new department was Burton W. Martin, formerly with
the mass communications effort of the United Presbyterian
Church. The combination of Martin's Presbyterian
experience with Fore's Methodist background apparently
resulted in many creative organizational changes and
policy revisions.
One of the more significant changes within the BFC
was a doubling of their film production staff, reflecting
an increased awareness of the importance of A-V
materials in religious instruction and the general
communications within the church body.
The BFC manpower listing looked something like
65cavert, op. cit., p. 216.
245
this in 1966:
Rev. William F. Fore, Executive Director
Rev. D. Williams McClurken, Associate Executive
Director and Director of Broadcasting
William J. Ratcliff, Associate Director of
Broadcasting
Rev. John Clayton, Director of Film
Bruce E. Harding, Associate Director of Film
[plus duplications in distribution, promotion and
utilization].
The Report indicates that the two-man executive
staff setup made it possible for one man to be in the
field while the other worked closely with the program
units of the Council and member communions, resulting in a
much smoother continuity of effort.
More than $250,000 worth of new audio-visual
productions are under way with the new plan in
operation. Motion picture productions currently in
planning or production include the following subject
areas: Overseas Ministries, World Services, Ministry
of the Laity, Stewardship, Missionary Education,
Leadership Education, and Special Ministry to Young
Adults.
It was noted that filmstrip production had
increased more rapidly than motion picture production.
This was due to the fact that very little had been done in
the past in that format by the Broadcasting and Film
Commission.
The Commission noted the strong influence of the
so-called "information revolution" which was evidenced in
^ Triennial Report, National Council of Churches of
Christ in the United States of America, 1966, p. 117.
67Ibid., p. 115.
246
public schools and undoubtedly pushed by curriculum
producers.
Teaching machines, 8mm films, filmstrips and other
audio-visual devices are in operation. When these
are coupled with new concepts of church school format,
including released time, shared time, and teaching the
Christian heritage in the public schools, they
challenge our best thinking in the planning of
audio-visual productions in the BFC.68
The film distribution tasks of the Commission were
reported to be somewhat changed in the fact that they
were accepting more films from other sources - member
denominations and other agencies - and distributing (by
sale only) to more than just the various denominational
outlets: local public libraries, state school systems
and the Armed Forces. They report a total of 5,815
motion pictures and 1,010 filmstrips were sold during the
period 1964-66, a volume of approximately $380,000.00.68
Utilization became a topic of concern for the
Commission during the triennium. Reverend David O.
Poindexter, director of utilization, along with others on
the executive staff developed a strategy for utilization
which included the following points:
1) Giving advance notification to church members
of important broadcasts (both church produced and non
church produced),
2) Providing supplementary materials such as
68Ibid., p. 116. 69Ibid.
247
study guides to accompany a televised series on the Bible.
3) Encouraging audience mail and answering
requests and questions,
4) Providing study guides for films for use in
local churches,
5) Training persons in the evaluation and use of
the broadcast and film media,
6) Developing a discrimination in the use of TV,
radio and film among church members and young people, and
7) Helping persons understand what these media
are saying to both churchmen and nonchurchmen today.
In this same direction, the Commission reported
that they were exploring ways to encourage more film
criticism in Protestant journals.
Instead of being seen as only an occasional - and
weak - source of free publicity for certain kinds of
pictures, we are being taken seriously as a group
interested in the role of the motion picture in
contemporary life.?0
The philosophy of the Commission is more clearly
spelled out at the end of their report in the National
Council's Trienniel Report.
Instead of producing programs which we hand to
broadcasters, we are trying to communicate to broad
casters what the church has to say, and to let them
use their professional and creative know-how to use
the media to say it. Instead of trying to produce
all Protestant programs through a central agency -
the BFC - we are trying to act as the catalyst and
70ibid., p. 117.
center or coordination for the production of all kinds
of programs from many sources - denominational and
interdenominational. Instead of seeing our task almost
exclusively as to "get out" programs, we are trying to
place broadcast and film production in perspective with
the equally important tasks of developing proper use,
conducting training, meeting local broadcasting and
film needs, and relating to the broadcast, film and
governmental power centers.71
The experiences of both the West Coast BFC Office
and the executives in the New York Office with respect to
the annual theatrical film awards , resulted in a rather
close relationship with certain executives in the commer
cial film industry. One such relationship was with the
Motion Picture Association of America. Although mentioned
as having been "consulted informally on the proposed
changes in the Motion Picture Code," in the Triennial
Report, Trotter relates a more telling version of the
consultation.
It is no secret that the Rev. William Fore of the
BFC, Dr. James Wall of the panel, and Fr. Patrick
Sullivan and Mr. Henry Herx of the National Catholic
Office of the Motion Picture were consultants with
Valenti during the development of the new motion pic
ture code and the new voluntary rating system. In
fact, the idea of film classification was first
proposed to Jack Valenti [president of the MPAA] by
Mr. Fore two years before the film makers accepted the
idea as an alternative to censorship. 72
The awards for 1966 included films Who's Afraid of
Virginia Woolf, Sand Pebbles, And Now Miguel, Born
Free, The Russians Are Coming, The Gospel According to
St. Matthew. A special award was presented to William
71Ibid.
72Trotter, op. cit., p. 10.
249
Jersey for the incisive cinema verite treatment
called A Time for Burning. A Man for ATI Seasons,
the film based on the life of Sir Thomas More
received the first joint award with the National
Catholic Office of Motion Pictures.
Of all the films recognized during the 1966 season,
Woolf attracted the most attention from the many churches
represented by the National Council. The award resulted
in a number of congregations withholding support for the
National Council, but the majority of Christian and
secular critics supported the decision of the panel.
Woolf was seen by the majority of the panel as a
deeply moral film because of its complete honesty in
depicting life apart from God. It is God's absence
that is the motif of the film, and the possibility of
grace that is Nichol's particular touch to Albee's
frightening story.73
From Production to Consultation
During the period 1967-1969, the Office of
Communication, direct superior to the Broadcasting and
Film Commission, underwent the pain and frustration of
three different leaders. Dr. Burton Martin resigned after
two years as Associate General Secretary for Communication
in the National Council. The following nine months,
September 1968 through June 1969, saw those responsibili
ties carried by Dr. Lawrence W. McMaster, Jr., called from
the United Presbyterian Church in the U.S.A. By the time
the report was prepared, another leader, Rev. Canon W.
73xbld., p. 8.
250
Ebert Hobbs, was tapped for the job, at least as an
Acting Associate General Secretary.
This lack of consistent leadership was symptomatic
of other problems which the National Council faced during
that period. Finances played a part in the situation
which caused the Office of Communication to stagger.
Almost two-thirds of the total budget is devoted to
broadcasting and film operation, of which more than
half is contributed by constituent denominations who
use the services of the Department and by individuals
in sympathy with its efforts "to communicate the
Gospel." These funds are designated to specific
programs.
By contrast, the Department of Information is
financed by allocated costs levied on other NCC units
and so has a responsibility to interpret their pro
grams. There are therefore two distinct groups of
people paying to use the channels of communication
open to the Office of Communication, and their
special interests do not always coincide.™
The 19 69 Report indicates considerable activity in
consultive areas, but somehow the total program lacked
cohesiveness. One such endeavor was a follow-up to the
Motion Picture Association's new Motion Picture Code and
Rating Program. Both the BFC and the Catholic counterpart
were invited to help the film industry evaluate the
effectiveness of the self-imposed code. There were no
conclusions reached which were part of the Report.
Another project in cooperation with the National
Catholic Office of Motion Pictures was in the continued
74Triennial Report, National Council of Churches of
Christ in the United States of America, 1969, p. 90.
251
effort in connection with the annual film awards. The
joint awards in 1969 went to Rachael, Rachel and The
Heart Is a Lonely Hunter. Later that year the Commission
began another joint Catholic-Protestant-Orthodox enter
prise with a Film Evaluation Service periodical. The
service was established in an effort to move away from
film censorship toward film education by helping the
public make better use of and understand secular films.
Other than routine operations of the film produc
tion, film distribution and film utilization departments,
little appears innovative within the 1969 Report save a
few specific programs.
One project which Film Operations undertook was
the encouragement for member communions and other
Commission departments to become more visible by way of
participation in annual film festivals and noted
screenings. The Council of Non-theatrical Events (CINE)
is an organization to which American film producers sub
mit their 16mm productions for screening to determine
whether they are suitable to represent the US.A. at
overseas film festivals. The Commission's Film
Operations hosted the screening committee for previewing
the Catholic and Protestant films in the religious
category.
Most of the production and distribution by the BFC
was initiated through contract services with member
252
denominations. There was, however, an attempt to get
funding for additional film projects. Several non-
traditional sources, such as a foundation and an inter
national agency, as well as a tri-faith consortium were
approached without positive results.
Much of the Commission's part of the National
Council's Triennial 1969 Report concentrates on the work
in broadcast media, specifically television. It is
apparent that much of the funding that once had been
designated for cooperative film projects was then either
kept within the denominations' own mass media departments
or channeled into cooperative television projects.
Goals for 1969-75 for the Office of Communication
were published in the 19 69 Report. The few which related
to the BFC film efforts indicate the decline in actual
cooperative production and an increase of consultive
tasks.
4. Continuous interchange of broadcast and, film
information and ideas among member denominations and
NCC units.
5. Joint programs with the Roman Catholics in
broadcast and film production, marketing, government
and industry relations, media education, and field
service.
, 6. Broadcast and film production relating to the
programs of the Council, its units and, upon request,
of member denominations.
8. Distribution and promotion of the broadcast
and film products of the broadcast and film media.
9. Understanding and utilization by Christians of
the products of the broadcast and film m e d i a .75
75Ibid., p. 95.
253
The cooperative efforts of the Protestant churches
in film production, distribution and utilization seems to
have come full circle, from the sporadic projects by a few
and the lack of notice by the many, through the enthusiasm
and frenetic productiveness of the many, back to a lame
ness of cooperation by the few and the inattention and/or
distraction of the many.
254
CHAPTER V
RELIGIOUS FILM QUESTIONNAIRE RESULTS
(For a complete copy as sent to selected persons
see attachment # G.)
There were a total of twelve questions plus one
page for listing significant films. This summary will
list each question, its findings and any comments which
might provide more insight.
There were 110 forms sent out to persons who might
have some historical perspective: directors, producers,
denominational media persons, critics, distributors,
managers of rental libraries of some magnitude, and
actual users of film at the local church level. This was
not a fully controlled group by any stretch of the
imagination, but it does have credibility in that those
who knew very little about the persons who made religious
film history did not respond to those questions.
A total of 37 questionnaires were returned filled
out fairly completely, some with volumes written or typed
on both sides of the paper as an additional input to the
study. Four were returned by the post office undelivered
255
for some reason. The percentage of responses was 3 3.6%.
Those who did not respond were commercial film librarians
and other persons who had been contacted for film circula
tion statistics primarily. This does not necessarily dis
avow the credibility of the study in respect to those
persons who had that historical viewpoint and did respond.
A complete list of all those who received the questionnaire
and those who responded is found in attachment # B.
jl. What is your legal organization? (27 entries)
I a. Corporation: 77% b. Limited Partnership:
| 3.7% c. Sole Ownership: 7.4% Other: 11.1%
j Of those who indicated "Other," all were actually
some form of corporation. However, since they considered
their organization in - particular as either a production
center for a denomination, a non-profit, philanthropic
organization or part of a larger, university umbrella,
they are listed as "Other."
2. Where did your organization's original funding come
from? (30 entries)
a. Personal Funds: 26.6% b/ Savings: ^0.0
to. Grant: 0.0 d. Denominational Funding: 53.3%
e. Corporate Investment: 3.3% f. Other: 16.6%
Those under "Other" included agencies whose funding
came from a parent organization (Moody Institute of
256
Science), Multiple and simultaneous contracts (Johnson-
Nyquist), contributions (American Bible Society), parent
school (Visual Education Service, Yale Divinity School),
and individual gifts (Pearl Rosser).
3. When was your organization founded? (34 entries)
Three agencies noted their beginning to be prior to
1900: 1789 - Methodist Publishing House, 1816 - American
Bible Society, and 1845 - Southern Baptist Church. These
were, of course, the parent organizations and did not
indicate the beginning of any film work. Of the other
agencies, the following percentages were interpolated:
1900-10: 3.3% 1911-20: 10.0% 1921-30.: 0.0
1931-40: 13.3% 1941-50: 46.6% 1951-60: 16.6%
1961-70: 26.6%.
4. Is your organization legally non-profit and tax
exempt? (25 entries)
a. Yes: 72% b. No: 28%
4a. If no, are any of your individual productions
non-profit?
All 28% indicated "No."
4b. If yes, when was your organization so established?
Only ten of the 18 to whom it applied answered.
Most, 1940-60.
257
5. What is now the best method of distribution which will
most likely earn back your production costs? (29
entries)
a. Outright sale: 27.5% b. Lease to Commercial
Library: 13.8% c. Lease/Purchase to Commercial
Libraries: 3.4% d. Co-producer with Denomination
from start: 10.3% e. Handle rental ourselves:
24.1% f. Other: 20.6%
Several of the denominational film departments
indicated they never initiate a film project which is
based upon earning its way financially. Most "Other"
categories were of this nature, that being, the production
was subsidized from the start and/or there was no earn-
back plan.
Several respondents made more detailed comments on
#5. Harvey Marks of the National Audio Visual Association
responded from a distributor's perspective:
Outright sale, of course, brings in the best
returns for us, providing it is a good moving film.
But it takes a lot of capital which we do not have.
Therefore the lease plan is best. Or better still,
the deposit plan, whereby we do not have any invest
ment in the film, but at the same time do not get to
keep as much of the rental.
C. A. Weesner, Executive Secretary of the Audio
Visual Center for the United Christian Missionary Society
of the Disciples of Christ denomination commented from a
denominational producer's standpoint.
^Harvey Marks, Religious Film Questionnaire Response
1973, p. 1.
258
Our church invests in film production and distribu
tion as an institutional and valid contribution to
education, interpretation, promotion— as an in-church
tool— and almost always in concert with other church
bodies as a contribution to ecumenical growth and
service.^
A comment by William S. Hockman, long-time user and
promoter of audio-visual materials in the church, as well
as a writer and film critic, is pertinent at this point.
In the church field, it has been a hodge-podge of
all kinds of methods [earn-back of costs], by and
large the lease plan dominated. Here the producer
got a chunk of the rental of every film, often too
much. Outright sale was rough for the rental
libraries could not raise the necessary capital and
the return came in too slowly. No good plan was ever
evolved in this field and that is why use diminished
over the past 20 years. It used to be that a $200.00
print would rent for $8.00 or $10.00 per showing. You
can see how long the library waited to get its money
back.3
In looking over the majority of those independent
producer/distributor agencies who responded, most worked
on the lease/split rental arrangement, whereby the dis
tributor leased a film at minimal cost to a rental
library with the understanding that any rental income on
that film would be split at a negotiated percentage rate.
Some libraries would apply their part of the rental toward
the purchase and eventually own the print, thereby being
able to retain the total rental fee. The lease agreement
2c. A. Weesner, Religious Film Questionnaire
Response 19 73, p. 1.
3william S. Hockman, Religious Film Questionnaire
Response 19 73, p. 1.
259
was convenient for the library since the distributor was
obligated to replace the film if damaged or lost, and the
library could have a great many titles on hand without too
much investment. It also worked well for the producers,
since they were able to get something back on a film
right away, and, although the immediate return was small,
the word-of-mouth publicity tended to increase the demand
for rentals.
Some distribution agencies have a policy of out
right sale only, such as the Broadcasting and Film
Commission. Some retain the rental arrangements in-house,
such as World-Wide Pictures, and, to some extent, Moody
Institute of Science. World-Wide Pictures and Gateway
Films operate primarily with theatrical release arrange
ments, making their pictures available to the specific
church market only after the theatre runs have given the
film plenty of exposure, and perhaps, saturation.
6. Has this "best" distribution method developed
recently, since 1965? (17 entries)
a. Yes: 23.5% b. No: 76.4%
6a. When: (insignificant data)
6b. If yes, what method did you formerly operate
under?
Only one agency made a comment here. The Moody
Institute of Science had worked under the policy that only
a MIS representative would accompany every Moody Science
260
film that was shown. They had changed that policy and
were renting through commercial rental libraries and
Christian Bookstores.
7. What type of film has had the best sale or circulation
for you? (49 entries)
a. Missions: 30.6% b. Stewardship: 8.2%
c. Religious Ed.: 18.4% d. Evangelistic: 10.2%
e. Youth Oriented: 16.3% f. Seasonal Emphasis:
8.2% g. Other: 8.2%
Those who indicated "Other" made the distinction
more in the area of format than subject. One indicated
that short, ten-minute, discussion films were best.
Another mentioned psychological formats as being best.
Not knowing where to put the Moody Science films, one
respondent listed that separately as his best seller. And
yet another indicated that any films they produced under
contract to a denomination was their best type, since the
production was pre-sold!
8. What periodicals, past and present, have been most
helpful to you in producing religious films and/or
staying abreast of religious media?
Percentages are not helpful with this question but
it is interesting to note that all thirty periodicals on
the form had at least one "vote." There were several
added: World Outlook, Mass Media Newsletter, Film Info,
Your Church, Response, Media' Metho'ds, Curriculum
Materials, Journal of the World Association of Christian
Communicators, World Call/ The Christian, and The
Interpreter.
The periodicals which were the most helpful tended
to be less technically oriented than idea and method
oriented. One producer, Burton Martin, saw the list
divided in that same way and commented that his response
reflected his own needs, by saying, "I can hire a cine
matographer but not ideas."4
The "top" dozen periodicals chosen by this very
mixed but representative group are listed in descending
order in only six rankings.
1. Audio-Visual Resource Guide
2. Educational Screen, Filin News
3. Spectrum
4. Church Management, American Cinematographer,
Religious Education"^ Audio-Visual; Communication
fee v i ew'
5. Christianity Today
6. Christian Century, Christian Herald, SMPTE
Journal
9. Name the five (5) most influential men in religious
film who, in your opinion, had the most impact in the
growth, acceptance and quality of religious film from
1947 through the present. Some may have been active
prior to that early time. Some have been active in a
specific capacity - writer, camera, director, producer,
critic liaison, user - but still may qualify. Please
note his, or her occupation or association, if known.
^Burton Martin, Religious Film Questionnaire
Response 1973, p. 2.
262
There were fifty-seven (57) different names sub
mitted. Considering that a total of 157 "votes" were
cast, it is significant that an independent, fairly
recently established film producer, Sam Hersch, of Family
Films, would accumulate 9.5% of them, the largest single
percentage. Reverend James Friedrich, founder of
Cathedral Films received 8.9% and Rev. S. Franklin Mack,
formerly with the Broadcasting and Film Commission got
5.1%.
All of the names placed under question nine (9)
are included in the following, listed in descending order
of frequency and under eight rankings:
1. Sam Hersch - Family Films founder
2. Rev. James Friedrich - Cathedral Films founder
3. Rev. S. Franklin Mack - associated with BFC.
4. Rev. Irwin Moon - Moody Institute of Science;
Ken Anderson - Ken Anderson Films founder and
president; William S. Hockman - film critic.
5. Alan Shi1in - early film director;
William Fore - BFC director
6. Rev. Harry Spencer - TRAFCO executive;
Rev. Donald Lantz - Methodist minister and formerly
with Family Films; Jim Campbell - director with
TRAFCO; Robert A. E. Lee - director Martin Luther
and associated with Lutheran Film Associates;
Howard Tower - Methodist Board of Education
executive; Everett Parker - Protestant Radio
Commission and BFC executive.
7. Rev. Anson Moorhouse - former director Berkeley
Studios, Toronto, Canada for United Church of
Canada; Dick Ross - director with World-Wide
Pictures^ now independent; Rev. Don Ely - Syracuse
University media producer; Rev. Herb' Lowe - BFC film
executive; Rolf Forsberg - director of Parable and
other innovative films; Paul Keller - founder and
president Kairos Films, Minneapolis; Mel White -
independent film maker and professor at Fuller
Theological Seminary; Rev. Herman Gockel - producer
of This Is the Life series for LutheranMissouri
Synod; Rev. B. F. Jackson - professor and Methodist
Church executive; Dr. Alex Ferguson - former BFC
film executive; Charles Peterman - distribution
coordinator with Gospel Films, Inc.; Bill Jersey -
independent film maker who directed A Time for
Burning.
8. Jamison Handy - educational film producer/
distributor; Dr. F. Alton Everest - associate
director of Moody Institute of Science; Tagi
Fujihara - cameraman with Methodist Church; Paul
Kiehl - Church Craft Productions president; Mary
Beattie Brady - early film supporter and foundation
executive; John T. Coyle - director with Cathedral
Films; Miss Pearl Rosser - formerly associated with
ICRE and its Department of Audio-Visual Education;
Edward Defay - cameraman at Berkeley Studios in
Toronto; Billy Zeoli - president of Gospel Films,
Inc.; Mr. Crawford Hall - production executive with
Broadman Fi1ms; Munro Scott - writer from Manolick,
Ontario; Jan Sadlo -film writer/director; William
A. Dalglish - film critic and writer; Dave Adams -
Pyramid Films; H. S. Van Denen - Cokebury audio-
visual executive; William Rogers - formerly with
Religious Film Association; Bob Pierce - World
Vision; Billy Graham - evangelist and film
advocate; C. 0. Baptista - producer/director with
Ken Anderson Films; George Stoney - professor and
independent film producer; Allan 'Sloane - film
writer/director.; Alva Cox, Jr. - formerly BFC
executive; Mary Leigh Palmer - early media educator
with ICRE and DAVRE; Rev. Albert Nevins, M. M. -
Catholic film producer/director; Fr. Emery Tang -
Franciscan Communications Center executive;
J. Arthur Rank - British film company president;
C. A. Weesner - Disciples of Christ film producer;
Irwin Yeaworth (Shorty) - independent film
writer/director; John Clayton - formerly with BFC
Films, now independent; Edward Kaiser - Paulist
Productions; Dr. Harry Bristow - film distributor
with Cinema Inc.; Pierre Paolo Pasolini - Italian
film maker known for The Gospel According to St.
264
Matthew; Louis de Rochemont - film producer/
director and worked with Lutheran Church U.S.A.
10. How much did you or someone in your organization par
ticipate in the Green Lake Audio-Visual Conferences?
(25 entries)
a. All, or most years: 44% b. A few years: 32%
c. Never: 36% d. I don't recall: 4% e. Didn't
bother: 4% f. We could use a regular national
confab like that again. [Really a separate question,
not figured in above percentages.] 48% of those
marking this section were in favor of this.
Brunson Motley, who was very active in the Green
Lake Workshops responded to the last suggestion with a
strong "Definitely."
There is very little activity by the National
Council of Churches or by City Councils of Churches.
Only promotion by independent producers and some
denominations— and this does not make enough impact.5
11. Which denominational organizations have you worked
with in producing/renting films? (166 agencies
indicated)
In addition to the seventeen given on the ques
tionnaire, another nineteen were indicated by respondents.
And, like the listings above, the most named agencies will
be noted first in the following fourteen ranks.
1. United Methodist Church
2. Presbyterian Church, U.S.A.; United Presbyterian
Church
3. American Baptist; American Lutheran Church
4. Lutheran Church - Missouri Synod
^Brunson Motley, Religious Film Questionnaire
Response 1973, p. 2.
265
5. Lutheran Church of America
6. Disciples of Christ
7. American Lutheran; Southern Baptist
8. Assemblies of God; Churches of Christ
9. Mennonite Churches
10. Conservative Baptist; Latter Day Saints; Roman
Catholic
11. Seventh Day Adventist
12. Greek Orthodox; National Baptist; Four-Square
Gospel; United Church of Canada
13. Church of the Brethren; Evangelical Free; General
Conference Baptist; Wesleyan Methodist; Friends
Church
14. (These were mentioned only once among all
responses) Church of God; United Church of
Christ; Free Will Baptist; Covenant Church; Over
seas Crusades; TEAM; Missionary Aviation Fellowship
World Literature Crusades; anduthe Hebrew
fellowships.
The above listing cannot really be considered a
ranking as to their activity in film or media. It
merely represents how often they were noted as having
worked with the respondents.
The last page of the questionnaire asked the
respondent to list twenty titles which he or she consid
ered outstanding for one reason or another (i.e., widest
acceptance, trend setter, longest in circulation,
especially creative photography, directing, acting, script
or whatever). There were a total of 50 different titles
listed, with release dates spanning some fifty-six years,
266
from 1918 through 1972. They are listed in descending
order of the frequency of inclusions within the
responses and divide into twelve rankings.
1. Parable (1964)
2. Martin Luther (1951)
3. A .Time for Burning (1967)
4. Moody Science Films (19 48-72)
5. The Gift (1962)
6- Beyond Our Own (1947); King of Kings (1927, 1950)
7. Life of St. Paul Series, Cathedral (1948-51); The
Supper (19 68)
8. Child of Bethlehem (1947); Four Cozy Walls (19 );
I Beheld His Glory (1953); Living Christ Series,
Cathedral (1951-57); Question Seven (1963)
9. Almost Neighbors (1965); Beggar at the Gates (19 );
Bible on the Table (19 51); The Eye of the Beholder
(1958); Fire Upon the Earth (1950)
10. The Guiding Star (1949); Power of the Resurrection
(1950); The Toymaker (1951)
11. Albert Schweitzer (1955); Answer for Anne (1949);
Ant of the Dust (19 ); Church in the World
(1967); For Every Child (1953); Hokkaido Challenge
(19 ); It's About This Carpenter (1964); John
Wesley (1954); Missionary Walker's Garage (1954);
My Land (19 ); My Name is Hans (19 ); Taiwan
Dairy T1962); The Unfinished Task (19 57)
12. Barabas the Robber (1948); Behold All Things New
(19 ); The Captive (1964); The Chairy Tale (1957);
The Guest (1951) ; Heart of India (1~9~4 ) ; Holy
Night (1951); How Do I Love Thee? (1966); Journey
into Faith (1943); Moment to Act (19 62); TKe
Newcomers (19 ); One God (194§T; Sixteen in
Webster Groves Cl9 ); Star in the Night (19 ).
Descriptions of the top films are' included in
.Appendix # E.
267
I
CHAPTER VI
SUMMARY, CONCLUSIONS AND IMPLICATIONS
FOR FURTHER STUDY
j
Summary
We have presented in this historical study an
I
t
analysis of the early developments of religious motion
I
pictures in the United States. The development was traced
! through a number of dynamic and visionary persons, both
clergy and businessmen alike.
The pre-World War II religious film activity was
centered around gifted and aggressive businessmen, minis
ters, photographers, missionaries or philanthropists. The
production and distribution of films for the church was seer
to proceed normally with enthusiasm within a particular
agency as long as the finances held out, or the founder/
director remained fired-up.
It has been seen that the cooperative film projects
.among the various Protestant denominations, both pre-World
War II and post-World War II, were a gradual evolution and
;not a sudden arrangement. The cooperative effort was most
i
Visible in the annual Audio-Visual Workshops, sponsored by
jthe international Council of Religious Education. Other
! 268
cooperative projects involved films about missions, stew
ardship and evangelism, as well as educational topics. All
of the projects, whether initiated by energetic ministers
!or entrepreneurs looking for automatic film markets, seem
to have been individual stepping stones to the larger, more
i
1 stable - and yet somewhat less flexible and expensive -
i
I Broadcasting and Film Commission of the National Council of
Churches of Christ in the United States of America
:(NCCCUSA).
The forerunners of the Broadcasting and Film Com-
i
mission, the Protestant Film Commission and Religious Film
Association, provided a virtual testing ground for many
types of cooperative production and distribution projects.
Not only did specific denominations benefit by those
efforts, but a good number of independent agencies, mission
boards and film companies grew or were initiated by them.
Many local churches and Christian workers became
'involved in film and some continue to be productive as a
result of much of the cooperative activity.
Some of the agencies which were active in some form
iof cooperative film effort for the churches included the
t
|American Bible Society, the Lutheran Churches, Yale
I Divinity School, the Young Men’s Christian Association,
i
;Foundation Films, Family Films, Harmon Foundation, Inter-
inational Council of Religious Education (later the
Division of Christian Education, NCCCUSA), National
i
! 269
! Council of Churches, Protestant Film Commission, Religious
i
Film Association, and the International Film Foundation.
i
|
i Conclusions
| The cooperative agencies who produced Protestant
films vary as much as the individual spearheading the
1
: programs, or as much as specific film projects varied. In
Chapter II we looked at many shortlived agencies, some
t cooperative, some, purely the product of a strong, forceful
; firebrand sold on the effectiveness of fiim in the church.
Many of the individuals who established a film production
' agency were convinced that the church market would quickly
support such ventures. It did not happen as they expected
it to. Many acquired funding by rather unscrupulous means
only to find the market harder to supply due to lack of a
good distribution system, lack of wide availability of
projectors, changing film formats, or ineffectively trained
projectionists who discouraged churches from ordering.
The several constituent questions which began this
, study related to information on production and distribu-
i
tion agencies which provided film to the churches on a
cooperative basis, whether independent or related to a
denominational office. Those questions will be handled
I
i at this point, since they provide basic facts upon which
!
; conclusions shall be drawn.
(1) Perhaps the first substantial and sustained
cooperative effort was that of the Harmon Foundation and
I 270
!its spin offs, the Religious Film Association (distribu-
i
;tion) and the Religious Motion Picture Foundation (produc-
]
|tion). The persons of Mary Beattie Brady and William
Rogers influenced a good number of subsequent projects and
i
agencies, as well as countless hundreds of church leaders
and audio-visual experts.
The International Council of Religious Education
was perhaps the best cooperative effort in the utilization
of film and other audio-visual media in the church. Not
i
only did that agency foster work in production and dis
tribution, it made more and more people aware of film and
its great potential in church training.
The annual International Council of Religious Edu
cation (ICRE) workshops were important for effective
i
propagation of new techniques and methods of producing,
distributing and using film. Each year new knowledge about
film production and utilization would be gathered and
regularly presented at the ICRE audio-visual affairs,
usually held at Green Lake, Wisconsin. When World War II
! was over, nearly all of the cooperative work moved to the
; National Council of Churches' Broadcasting and Film
! Commission (BFC). Individual denominations would
| coordinate with BFC whenever the film project might have
I
■ application with other member groups of the National
, Council. This integrated production would then be some-
I
; what less expensive for all of those participating.
The conclusions which can be deduced from this are
I
»
'that active communication between denominations is an
i
important factor in staying abreast of each other's film
needs. One method once successful, which might be success
ful again, would be some form of national or regional
audio-visual conference, dealing with content and form and
not just equipment and methods.
Another application here would be to realize that
more denominations have gifted and well-trained film pro
duction people on their staffs who want more control of
'and input into the films in which they participate. The
questionnaire revealed that some denominations felt
cooperative projects tended to "water down" messages or
subjects, thereby compromising its intended use and
effectiveness. A restructuring of cooperative projects
j
would seem in order, taking these dynamics into account.
(2) According to the "outstanding" film listing
included in the questionnaire circulated as a part of this
study, it would appear that commercially produced "think"
^pictures had been the main line film fare for churches
| throughout this period. However, portions of the study
indicate that missions was a very important message con
tained in a large number of productions. Question seven of
the questionnaire relates to that fact ("Missions, 30.6% -
best circulation"). Yet the areas of Stewardship, Chris
tian education, evangelism, youth outreach, and seasonal
1 272
! topics have had considerable film activity.
Open-ended, "think" pictures seem to have been
successful among church leaders who know how to use film
. as a tool rather than as a substitute teacher or filler.
i
The lessons learned from the more sophisticated film - be
it religious or secular, independent, denominational or
t
* cooperative - could very well be longer lasting than those
which tend to be more simplistic and trite. Obviously, an
education job is needed in evaluation and selection, as
i
well as actual utilization within the church setting.
■ (3) Distribution methods for the cooperative film
agencies have varied somewhat, according to the type of
picture or the particular financing arrangements of the
picture. Some projects were merely production contracts,
I fulfilled and paid, without any distribution obligations
• except by the various sponsoring denominations.
On the other hand, the films made cooperatively by
; the Protestant Film Commission and, early in its career,
the Broadcasting and Film Commission, were distributed via
; the Religious Film Association, which worked directly
; through the denominational publishing houses.
As indicated by question five of the questionnaire,
: outright sale to a user or renter seemed to be preferred
I but not always possible. Some agencies producing films
for church use handled the rental distribution themselves.
The method which seems to have remained most
■ popular as a means of geeting cooperatively produced
films to users, and therefore the one which is more
consistently promoted, is via denominational film
libraries. Most often these libraries work in connection
with the denominational publishing houses and bookstores.
This may not have been the most logical and effective
arrangement, but it has been the simplist, since book
stores have been in the business of distribution and
sales to churches and church groups.
A very effective program for church film distri
bution has been to tie in other media, notebooks, non
fiction books, overhead transparencies, filmstrips, charts,
graphs, and related materials, thereby being included in a
total promotion package. Such a campaign requires much
planning, financing and engineering which cannot be waged
for every picture. The total immersion "system" approach
has proven to be good distribution, as well as effective
and thorough utilization. I
(3a) There was no limitation as to whom
might sponsor a film other than who could pay for it.
Generally the cooperative agencies such as PFC and BFC
produced for member communions exclusively only because
of manpower.
(3b) Generally, the films made by the
cooperative producing agencies were not "speculation"
projects, in the sense that the agency was initiating
the production on its own, without denominational
;guarantees, with the intent of recouping expenses
|through subsequent sales or rentals. Even the commercial
|independent producers were in contact with rental
i
t
;libraries, denominational leaders and publishing houses
I
!as they initiated film projects.' The only exception to
that was Reverend James Friedrich of Cathedral Films.
I His films may very well be considered successful "specu
lation" projects.
i
It is apparent from the tone of responses to the
!questionnaire and from correspondence received that film
i
|production has gotten increasingly expensive. The
budgets of most film production arms of mainline denomi
nations also have been proportionately cut. Any involve
ment in a film project now requires extreme caution and
premeditation. Although film rental and use is up as far
as total dates per film per year, so are the number of
churches.
Television has also made an impact, not only in
the increased demand for technical excellence in church
;films (resulting in higher costs), but in a greater
!competition for audiences. So many churches have ceased
:Sunday evening services, because of television and other
!distractions, that film use is being limited to special
j interest groups within the church or to the Christian
i
I education programs.
Speculation production by cooperative agencies has
;been virtually non-existent and projections indicate
,that the possibilities for cooperative projects will be
:limited to a pre-sold, pro-moted and thoroughly coordi
nated campaign.
i (4) The over-riding reason that denominations
:cooperated in producing films was cost. If one film
could be carefully made to meet the needs of several
sponsors, it brought down the costs per sponsor.
Often the cooperating sponsors would produce other,
related programs to match the film subject being developed
cooperatively. This was especially true in the missions
area where one theme or emphasis per year was agreed upon
in advance by all sponsors. Consequently, all related
materials and programs conformed to that theme in each
denomination.
Financially, most sponsors participated in the
production expense in varying percentages, depending on
many factors. They would then request a specific number
of prints, which they bought outright, and proceeded to
distribute or rent through their own channels. Another
avenue was the cooperative distribution agency, the
; Religious Film Association (RFA), which serviced all
! denominations and the publishing houses,
j The conclusion reached here is that lower cost
| per sponsor will continue to be the prime reason for
1 cooperative film projects.
! 276
; (5) The changes in distribution occurred as much
I
|because of a particular project emphasis as because of
i
!the beginning and ending of film agency activity.
,Although distribution by the RFA was cumbersome and not
I
considered adequate to some denominations, it served as
the channel for many years. This was perhaps due to the
fact that the ultimate film holdings costs were prohibi
tive for most libraries. Unless there was a very
aggressive film promotion arm of a denominational audio
visual department, most preferred to let the RFA hold the
films, promote them and be responsible for getting them
to users when a request was made at a denominational
publishing house.
The conditions which changed and thereby
affected distribution methods were the activities of pro-
! duction and distribution within denominational film
departments. As was indicated in the latter part of
! Chapter IV, the disparate and individualized projects of
member communions were the single, most threatening
| factor to the life of the Broadcasting and Film Commission,
| the cooperative agency set up to do those very projects.
: The Broadcasting and Film Commission has gone and will
i continue to go through periods of self-examination as to
i its viability and need in light of those changes.
t
; The question which seems to be the issue is "is
it more advantageous, economically, to maintain a
277
'cooperative mass media agency, with all of its overhead
i
expenses, for the sake of those periodic cooperative
projects which justify its establishment?"
Obviously, the convenience of having a film unit
and administrative system which can quickly and easily
handle those cooperative projects, as well as advise and
respond to other individual denominational needs, is a
great argument in its behalf. But it remains a continuous
expense.
It is also obvious that more and more denomina
tional personnel have gained training and experience in
production and distribution, or the contracting thereof.
^Television production and individualized film needs seem
to supersede much of the demand for cooperative ventures
in religious film production.
These conclusions are based upon information
gathered in this study. Each year introduces new changes
in policies and funding. The history can teach us many
lessons if new facets are observed with this perspective.
Implications for Further Study
i
! The areas of historical development which warrant
further investigation are in the independent film pro
duction and individual denominational film production.
The commercial agencies producing and distributing
films for Christian audiences have multiplied recently,
especially in the more conservative, evangelical churches.
l . . . 2J7.a
!This may be due to the fact that cooperative film efforts
i
have not been too successful because of minor doctrinal
differences which distinguish those denominations from
each other. In reality, many different fundamental
churches will use a given film from a commercial producer,
which could have been cooperatively developed. But the
financial burden and obligations keep many denominations
from much "in-house" production. The option is to con
tract or rent existing films. That is why these independ-
ients have flourished.
I
The other area demanding adequate research in its
j
historical development is the individual denominational
I
audio-visual efforts. Some of those very denominations
I
who participated heavily in cooperative projects developed
!expansion departments within their own structure which
*
obviously drained budget monies away from the cooperative
agency. However, the productions which emerged from these
in-house units have been award-winning and creative. They
have been very useful, not only among member churches but,
in other denominations. This development warrants further
'investigation.
i
This study has merely scratched the surface of this
!overlooked segment of the motion picture industry. It is
;hoped that more research from the academic community be
■ directed toward religious film production - by
279
independents, by denominational agencies, by non-
denominational schools, missions and agencies, by
i
as well as by Roman Catholic producers.
Jewish
2 8 0
I
APPENDIX A
LETTER OF INQUIRY TO SELECTED PERSONS KNOWLEDGEABLE
AND EXPERIENCED IN RELIGIOUS FILM HISTORY
Dear Sir,
You are one of a relatively few individuals who have found
reward as well as challenges in the area of religious film.
I am, also, one who has a keen interest in this field, but
,my present concern is in its historical development.
I am a graduate student at USC and am pursuing the history
of religious film as a dissertation research topic.
Though I have researched books, periodicals, journals and
other materials, I shall rely on persons who lived that
history for their own comments and evaluations. Your
contribution will increase the credibility of the study,
immeasurably.
The basic areas of the study include:
1. The rapid establishment and "demise" of so many
producers and distributors of church films and possible
reasons why.
2. The early, expanded use of film in some church
bodies vs. the hesitancy on behalf of other denominations.
3. The film title.:,which, by record and evaluation .
:have been the most popular and the possible reasons why
!they circulated well.
4. The apparent change in the tastes and visual intel-
:ligence of the church audience and its effects on film
;production and distribution. This area will look at the
'increased interest in films of social concern and
|documentaries, rather than the strictly scriptural,
'representational films - the why, where and when this may
I have taken place.
You may have already addressed yourself to these areas.
If that is so, and you care to comment on these above, you
would be doing a great service. Again, the credibility of
281
! the study depends on your important contribution.
Thank you in advance for the time you spend on this
I response. You may someday have the satisfaction of seeing
part of it in print.
Sincerely,
Joseph L. Bridges
282
APPENDIX B
LISTING OF NAMES AND ADDRESSES OF PERSONS
RECEIVING LETTER IN APPENDIX A
Miss Mary Beattie Brady, Harmon Foundation, 140 Nassau
Street, New York NY 10027.
Mr. David W. Briddell, Board of Education, United
Methodist Church, 475 Riverside Drive, New York NY
10027.
Mr. Julien Bryan, International Film Foundation, 475 Fifth
Avenue, New York NY 10054.
Rev. Alexander B. Ferguson, 90 East Broadway, Roslyn, NY
11576.
Mr. William Fore, Broadcasting and Film Commission,
National Council of Churches, U.S.A., 475 Riverside
Drive, New York NY 10027.
Mr. William S. Hockman, 326 Robin Road, Waverly OH 45690.
Mr. Herbert F. Lowe, Broadcasting and Film Commission,
National Council of Churches, U.S.A., 475 Riverside
Drive, New York NY 10027.
Dr. S. Franklin Mack, 212 Fairview Avenue, Middlesex NJ
08846.
Dr. Anson Moorehouse, Berkeley Studio, United Church of
Canada, 315 Queen Street East, Toronto, 2 Ontario,
Canada.
Mr. Brunson Motley, Richard Manufacturing Company, 5914
Noble Avenue, Van Nuys CA 91404.
Dr. Robert Ried, Berkeley Studios, United Church of Canada,
315 Queen Street East, Toronto 2, Ontario, Canada.
Miss Pearl Rosser, Sanwich Downs, East Sanwich MA 02537.
283
Mr. Edmund C. Shaw, American Baptist Films, Valley Forge
PA 19481.
Dr. Harry C. Spencer, TRAFCO, United Methodist Church,
1525 McGavock Street, Nashville TN 37203.
Dr. Howard C. Tower, Route 3, Box 272, North Scituate
RI 02857.
284
APPENDIX C
CONFIDENTIAL RELIGIOUS FILM QUESTIONNAIRE
What is your legal organization? (circle response)
a. Corporation b. Limited Partnership
c. Sole Ownership-under what name?
d. Other - please note:
Where did your organization's original funding come
from?
a. Personal Funds b. Savings c. Grant
d. Denominational funding e. Corporate investment
f. Other - please note:
When was your organization founded? 19____.
Is your organization legally non-profit and tax exempt?
a. Yes b. No
4a. If no, are any of your productions so established?
a. Yes b. No
4b. If yes, (to #4) when was your organization so
established? 19____ .
What is now the best method of distribution which will
most likely earn back your production costs?
a. Outright sale to user.
b. Lease to commercial libraries
c. Lease/Purchase to commercial libraries
d. Co-produce with denomination from the start
e. Handle rental ourselves
f. Other - please note:
Has this best method of distribution developed recently,
say, since 1965? a. Yes b. No
6a. When? 19
6b. If yes, what method did you formerly operate under?
a., b., c., d«, e., f.:
285
; COMMENTS:
, 7. What type of film has had the best sale or circulation
! for your agency?
a. Missions b. Stewardship
: c. Religious Education d. Evangelistic
, e. Youth Oriented f. Seasonal Emphasis
I f. Different types, different years, for instance:
8. What periodicals, past and current, have been most
| helpful to you in producing religious films and/or
! staying abreast of religious media? (Please respond
in the order of greatest help.)
a. Christian Advocate
q*
A-V Resource Guide
b. Christian Bookseller r. A-V Comm Review
c. Christian Century s. Sight and Sound
d. Christian Herald t. SMPTE Journal
e. Christianity Today u. Film Comment
f. World Christian Education V. Educational Screen
g.
Religious Broadcasting w. Action
h. Church Management X. Motive
i. American Cinematographer
y-
Tempo
j •
Motion Picture Herald z. Churchman
k. Religious Education aa. Ramparts
1. Christian Life bb. Variety
m. Faith at Work cc. Film News
n. Business Screen dd. Spectrum
o. Hollywood Reporter ee. Other, please note:
P*
Moody Monthly
Name the five (5) most influential men in religious
film who, in your opinion, had the most impact in the
growth, acceptance and quality of religious film from
1925 through the present. Some may have been alive
prior to your time. Some have been active in a
specific capacity - writer, camera, director, producer,
critic, liaison, user - but still qualify. Please note
his or her occupation and association, if known.
a.
b.
c.
d.
e .
' 10. How much did you or someone in your organization parti-
! cipate in the International Workshops at Green Lake and
elsewhere?
1 . 286
a. All, or most years b. A few years c. Never
d. I don't recall e. Didn't feel they were worth
the trouble.
f. We could use a regular, national confab like that
again.
11. Which denominational organizations have you worked
with in producing/renting films? (Circle all that
apply)
a. United Methodist b. Presbyterian, U.S.
c. Southern Baptist d. American Baptist
e. Conservative Baptist f. Episcopal
g-
American Lutheran h. Assemblies of God
i. Latter Day Saints j. Disciples of Christ
k. Churches of Christ 1. Greek Orthodox
m. Lutheran/MissSynd n. Lutheran Ch of America
o. National Baptist p. United Presbytrn
q-
7th Day Adventist r. Others, please list:
12. Which of the above denominations, in your opinion, has
made the greatest change in their attitudes toward
film in the church? What was the change? When did it
occur? How did it affect your agency? This is a
confidential questionnaire, but if pertinent to the
study, do you mind being quoted? a. Yes b. No
(Use the space below and separate page, if necessary)
287
According to your experience, memory and judgment,
;please list the "top" 20 films produced for religious or
!church use from 1925 to 1972. That span may be greater
jthan your experience. However, comment freely, even though
!your experience may be second hand or through certain
!available records in your organization. Your criteria
might include films with the widest denominational
!acceptance, the largest viewership, the longest in circu
lation, the most creative, artistic, the best craftsmanship
,and/or best use of film medium, to mention only a few.
You may know of other standards which would apply. Please
note the title, year (if known) and your particular
standard for that film, so that I may know in the
tabulation.
,TITLE YEAR STANDARD
1.
2.
: 4.
, 5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
I 15.
' 16.
! 17.
: 19*
^ 20.
288
APPENDIX D
LISTING OF NAMES AND ADDRESSES OF PERSONS
RECEIVING QUESTIONNAIRE IN APPENDIX C
Mr. James E. Alexander, Board of Education, The United
Methodist Church, P. 0. Box 871, Nashville TN 37202
President David Anderson, Johnson-Nyquist Productions,
18414 Eddy Street, Northridge CA 91324.
Mr. Ken Anderson, President, Ken Anderson Films, Inc.,
1520 E. Winona Avenue, Winona Lake IN 46590.
Director of Film Production, Association-Sterling Films,
866 Third Avenue, New York NY 10022.
»
Director of Film Production, Augsburg Films, American
Lutheran Church, 4 26 South Fifth Street, Minneapolis
MN 55415.
Mr. Wilford Bane, Director, Dept, of Utilization (TRAFCO),
The United Methodist Church, 1525 McGavock Street,
Nashville TN 37203.
Ray Bingham, 152 Ames Avenue, Leonia NJ 07605.
IsMary Beattie Brady, Birch Hill (Putnam County) , Patterson
NY 12563.
i
Mr. David W. Briddell, Education and Cultivation (BOM),
United Methodist Church, 475 Riverside Drive, New
! York NY 10027.
I
Director of Film Activities, University Productions,
Brigham Young University, Provo UT 84601.
Mr. Julien Bryan, International Film Foundation, 475 Fifth
Avenue, New York NY 10017.
Director, Material Resources Team, Church of the Brethren,
1451 Dundee Avenue, Eglin IL 60120.
289
Director of Film Activities, Church Women United, Room 812
: 475 Riverside Drive, New York NY 10027.
j Mr. Robert Churchill, President, Churchill Films, 662
I North Robertson Blvd., Los Angeles CA 90069.
Mr. John J. Clayton, Rte. 2, Box 165, Orchard Hill Road,
Katonah NY 10036.
Mr. Jim Collier, World Wide Pictures, 2520 West Olive
Avenue, Burbank CA 91505.
Reverend Edward Eagle, President, Cathedral Films, Inc.,
2921 West Alameda Ave., Burbank CA 91505.
Director of Film Production, Ecumenical Productions,
1324 South Normandie Ave., Los Angeles CA 90006.
Dr. Donald P. Ely, 704 Hamilton Parkway, DeWitt NY 13214.
! Chairman of Media Services, Executive Council, The
J Episcopal Church, 815 Second Avenue, New York NY
ld017.
Director of Film Production, Faith at Work, Inc., 279
Fifth Avenue, New York NY 10016.
Reverend Alexander B. Ferguson, Congregational Church of
Manhasset, 1845 Northern Boulevard, Manhasset NY
11030.
Rev. William F. Fore, Exec. Sec., Broadcasting and Film
Commission, National Council of Churches, 475
Riverside Drive, New York NY 10027.
Dr. Herman Gockel, 5420 Jamieson Avenue, St. Louis MO
63109.
' Rev. O. L. Griffith, Home Mission Board, Southern Baptist
Convention, 161 North Spring Street N.W., Atlanta GA
; 30303.
' Reverend Victor Growcock, Dir., Concordia Films, 3558
South Jefferson Ave., St. Louis MO 63118.
Mr. Bluford B. He'sfir, Jr. Exec. Sec. , Television, Radio
and Audio Visuals, Presbyterian Church in the U. S.,
, 341 Ponce de Leon Ave. N.E., Atlanta GA 30308.
Mr. William S. Hockman, 326 Robin Road, Waverly OH 45690.
290
Mr. Thomas Hope, President, Hope Reports, Inc., 58
Carverdale Drive, Rochester NY 14618.
' Director of Film Activities, Intef-Church Audio Visuals,
832 Silas Deane Highway, We the r s f i e13 CT 06109.
Dr. B. F. Jackson, Jr., Board of Education, The United
i Methodist Church, P. O. Box 871, Nashville TN 37203.
Mr. Frank Jacobson, President, World Wide Pictures,
2520 West Olive Avenue, Burbank CA 91505.
Director of Film Production, Jam Handy School Service,
Inc., 2821 East Grand Blvd., Detroit MI 48211.
I Pat Jenkins, Westminster Press, Witherspoon Building,
^ Philadelphia PA 19104.
1 Mr. Walter Johnson, President, Society for Visual
, Education, 1345 West Diversy Parkway, Chicago,
Illinois.
1 Rev. G. William Jones, Professor, Southern Methodist
University, Department of Broadcast Film Art, Dallas
! TX 75222.
! Paul F. Keller, President, Kairos Films, Inc., 6412
Indian Hills Road, Minneapolis MN 55424.
1 Rev. Orville Kuhn, United Presbyterian Church USA,
Witherspoon Building, Philadelphia PA 19107.
Rev. Donald Lantz, Bella Vista Methodist Church, 22 33
Findley Avenue, Monterey Park CA 91754.
Chaplain Guy Leonard, CHC, USN, Sea Pines Plantation,
Hilton Head Island, South Carolina.
Mr. Herbert F. Lowe, Film Ops., Broadcasting and Film
Commission, National Council of Churches, 475
Riverside Drive, New York NY 10027.
j Director, Lutheran Film Services, Lutheran Church in
; America, 315 Park Avenue, New York NY 10010.
Mr. S. Franklin Mack, Editor, Cable Information Services,
i Room 852, National Council of Churches (BFC), 475
Riverside Drive, New York NY 10027.
1 Mr. Harvey Marks, Director, Religious Film Council,
• National Audio Visual Association, 1457 South
Broadway, Denver, Colorado.
291
Rev. Burton Martin, President, Burt Martin Associates,
Inc., 3607 W. Magnolia Blvd., Burbank CA 91505.
Ronald F. Maxwell, Staff Producer, Film Activities, Audio
Visual Services, American Bible Society, 1865
Broadway, New York NY 10023.
Rev. Lawerence W. McMaster, Associate General Secretary,
Board of National Missions, United Presbyterian
Church USA, 475 Riverside Drive, New York NY 10027.
Executive Secretary, Board of Missions and Charities,
Mennonite Church, P. O. Box 370, Elkhart IN 46514.
Rev. Irwin Moon, President, Moody Institute of Science,
Inc., 12000 East Washington Blvd., Whittier CA 90606.
Dr. Anson C. Moorhouse, Berkeley Studio, 315 Queen St. E.,
Toronto 2, Ontario, Canada.
Mr. Brunson Motley, President, Richard Manufacturing
Company, 5914 Noble Avenue, Van Nuys CA 9140 4.
Mr. Thomas Nankervis, AV Editor, Board of Education, The
United Methodist Church, 201 Eighth Avenue So.,
Nashville TN 37203.
Rev. Everett Parker, Director, Office of Communication,
United Church of Christ, 289 Park Avenue So., New
York NY 10010.
Director of Film Activities, George A. Pflaum Publishers,
Inc., 38 West Fifth Street, Dayton OH 45402.
Rev. Bob Pierce, President, World Vision International,
International Headquarters, 919 West Huntington
Drive, Monrovia CA 91006.
Dr. Lojick Pierce, Abington Press, 201 Eighth Avenue
South, Nashville TN 37202.
Rev. Robert O. Reid, Ph.D., Supervisor of Communication
Ed., Berkeley Studio, 315 Queen St. E., Toronto 2,
Ontario, Canada.
Director of Film Activities, Religion in American Life,
475 Fifth Avenue, Room 911, New York NY 10017.
Mr. Arthur Rhinow, 105 White Rock Road, Darmouth Port
MA 026751
Dr. Arthur 0. Rinder, 19 Robin Road, West Hartford CT
06119. 292
Mr. Dick Ross, President, Production Associates, Ste.
I 2 805, 3000 West Alameda Avenue, Burbank CA 91505.
| Miss Pearl Rosser) Sandwich Downs, East Sandwich MA
02537.
Rev. Fon Scofield, Jr., Director, Foreign Mission Board,
1 Southern Baptist Convention, 3806 Monument Avenue,
i Richmond VA 2 3230.
Mr. Edmund C. Shaw, Director, American Baptist Films,
Valley Forge PA 19 4 81.
Dr. Harry C. Spencer, Gen. Secty., Television, Radio and
Film Comm., The United Methodist Church, 1525 McGavock
Street, Nashville TN 37203.
i Dr. Paul Stevens, Director, Radio and TV Commission,
Southern Baptist Convention, 6350 West Freeway, Fort
Worth TX 76116.
Mr. James Thompson, Gen. Mgr., Religious Film Section,
National Audio Visual Association, 120 2 Spring Street,
Fairfax VA 22030.
Rev. Howard E. Tower, Rte. 3, Box 272, North Scituate RI
02857. ”
Director of Film Production, Twyman Films, Inc., 329 Salem
Avenue, Dayton OH 45401.
Mr. H. S. Van Denen, Jr., 1407 Hemlock Ave., Nashville,
Tennessee.
Rev. Paul Veith, Visual Education Service, Yale University
Divinity School, 409 Prospect Street, New Haven CT
05611.
Mr. James Wall, Editor, Christian Advocate, Box 423,
Parkridge IL 60068.
i Mr. Frank Ward, Exec. Secty., Commission of Education,
! General Conference Mennonite Church, P. O. Box 347,
724 Main Street, Newton KS 67114.
i
j Rev. C. A. Weesner, Exec. Secty., Audio Visual Center,
United Christian Missionary Soc., Disciples of
I Christ, 222 South Downey Avenue, Indianapolis IN
46219.
; Mr. Jeff Whatley, Producer, Director, Audiovisual Division,
i Design Center, 1611 Connecticut Ave., Washington DC
[ ____ 20009. . ___________________ 293
|Mr. Melvin White, c/o Fuller Theological Seminary, 135
I North Oakland, Pasadena CA 91101.
|Director of Film Activities, Word Records, Inc., P. O. Box
1 1790, Waco TX 76703.
Director of Film Production, World Horizon Films,
Pinesbridge Road, Maryknoll NY 10 545.
Billy Zeoli, President, Gospel Films, Inc., 2735 Apple
Ave., P. O. Box 455, Muskegon MI 49443.
Manager, A-V Specialists, 3753 Northrop St., Fort Wayne IN
46805.
Manager, Augsburg Publishing House, 3224 Beverly Blvd.,
Los Angeles CA 90057.
Manager Mrs. Mabel Sihler, Augsburg Publishing House,
426 So. Fifth Street, Minneapolis MN 55415.
Manager, Augsburg Publishing House, 57 E. Main Street,
Columbus OH 43215.
Manager, Baptist Film Center, 2020 Eighth Ave. So.,
Birmingham AL 35233.
Manager, Baptist Film Center, 680 East Shaw Ave., Fresno
CA 93716.
!Manager, Baptist Film Center, 28 3 Peachtree St. N.E.,
Atlanta GA 3030 3.
Manager, Baptist Film Center, 317 Guthrie St., Louisville
KY 40202.
Manager, Baptist Film Center, 125 North President St.,
Jackson MS 39201.
Manager, Baptist Film Center, 1017 Grand Ave., Kansas
City MO 64106.
Manager, Baptist Film Center, 315 North College St.,
Charlotte NC 2 8202.
Manager, Baptist Film Center, 208 N.W. 11th St., Oklahoma
City OK 73103.
Manager, Baptist Film Center, 2115 North Akard, Dallas TX
75201.
294
| Manager, Baptist Film Center, 115 East Grace St.,
i Richmond VA 23219.
j
I Manager, Bethany Press, P. 0. Box 179, St. Louis MO
63166.
Manager, Century Gospel Film Library, P. 0. Box 101,
Southerton PA 18964.
, Dr. Harry Briston, Manager, Christian Cinema, 277 Keswick
Ave., Glenside PA 19038.
i
Manager, Church Book Shop, 725 12th St. N.W., Washington
DC 20005.
, Manager Mrs. Esther Wagner, Church Film Service, 2923
North Monroe, Spokane WA 99205.
1 Manager, James E. Duncan, Inc., Box 1211, Rochester NY
14621.
Manager, Evangelical Publishers, 214 Yonge Street,
Toronto, Ontario, Canada.
Manager, Film Presentation Co., 971 Bergen St., Newark NJ
071121
Manager, Lutheran Church Supply Store, 22 West Madison
St., Chicago IL 60602.
Manager, Lutheran Church Supply Store, 122 West Franklin
Ave., Minneapolis MN 55404.
Manager, Lutheran Church Supply Store, 2900 Queen Lane,
Philadelphia PA 19129.
Director of Film Production, Mass Media Ministries, 2116
North Charles Street, Baltimore MD 21218.
Manager, Newman Film Library, 400 32nd St. S.E., Grand
Rapids MI 49508.
Manager, Newman Visual Education, Inc., 14533 Second
Street, Detroit MI 48203.
Manager, Roa"s Films, 1696 North Astor St., Milwaukee WI
53202.
Manager, T.E.A.Film Library, 4006 Live Oak St., Dallas TX
75204.
Manager Mr. Harvey Marks, Visual Aid Center, 1457 South
Broadway, Denver CO 80210.
295
APPENDIX E
LISTING OF FILM TITLES AND DESCRIPTIVE MATERIAL OF
TOP TWENTY FILMS NOTED IN QUESTIONNAIRE
1. Parable. 22-minute film, color. Produced by Fred
Niles, Inc., for Protestant Council of the City of New
York, 19 64. Written and directed by Rolf Forsberg for the
New York World's Fair.
An allegory, this film depicts a mime or clown as he
takes the place of circus members in difficult or danger
ous tasks, taking upon himself their toil, degradation,
and suffering, finally dying for his actions. In his life
and death he brings about redemption and change.
Although the film has no dialogue, it has great mean
ing and the theology implicit in the action of the
characters is strong and relevant. Comments by question
naire respondents included, "most thought-provoking,"
"most controversial," "most creative, artistic and
innovative," and "most widely circulated."
2. Martin Luther. 105-minutes motion picture feature, B
& W. Produced by Lutheran Church Productions, 1951.
Three part film series, black and white. Part I - The
Ninety-Five Theses, 40 minutes; Part II - Champions of
Faith, 30 minutes; and Part III - By Faith Alone, 30
minutes.
The feature film is the original production which
documents the reformer’s life from decision for monastic
life through the immediate months of his formal break with
the Roman Church.
The latter film is a special three-part teaching
version of the feature length film. Each part includes an
introduction by Professor Roland H. Bainton, biographer
and authority on Reformation history. Basic content of
the film is unchanged. The interpretive and explanatory
statements, in some settings unnecessary, would be useful
in educational instances.
296
Comments on the questionnaires ranged from "most
:significant denominational production" and "noted for
craftsmanship and high circulation" to "most unique
distribution" (road show). It was apparent that most
|respondents referred to the feature film in the evaluation.
i
3. A Time for Burning. 58-minute film, B & W, 1966.
Produced by Bill Jersey, Quest Productions, for
Lutheran Film Associates.
A Lutheran pastor attempts to change the racial
patterns of his parish and his neighborhood in Omaha,
'Nebraska. Distressed by the lack of interracial under
standing in his area, the pastor suggests ten couples from
his parish visit ten black families from a nearby black
;Lutheran church. Many conflicting attitudes emerge,
eventually resulting in the pastor’s resignation.
^ It is a starkly realistic, "cinema verite," documen-
!tary, presenting many sides of the issue. Although long
■ for many church audiences, it would be suitable for high
jschool age through adult, especially where there is a
i conservative traditional congregation, just taking the
j first steps toward racial integration.
; Comments included, "boldest story," "contemporary
; subject," and "most innovative photography - cinema
verite."
I 4. Moody Science Films. Known as the "sermons from
' Science" series of fifteen color films, 1946-1969.
Produced by the Moody Institute of Science, the Moody
Bible Institute.
All the films are 28-minutes and include: City of
Bees, Dust or Destiny, Experience with an Eel, Facts of
Faith, God of the Atom, God of Creation, Hidden Treasures,
The Mystery of Three Clocks, Of Books and' Sloths, The
' Prior Claim, Red River of Life, Signposts Aloft, Time and
Eternity, Voice of the Deep, and Windows of the Soul.
Most of the films use effective stop motion, fast
; motion, macro- and micro-photography to achieve a
perspective on one area of science which is usually
! unobservable to the naked eye. Rev. Irwin Moon, director
: of the Institute of Science, closes each film with a
theological application of the truths found in science.
Comments on the questionnaire included "best science
and religion discussion films" and "best quality."
297
i5. The Gift. 23-minute color film with viewer guide,
1962. Produced by the National Council of Churches,
Department of Stewardship and Benevolence.
i
, The film traces God’s prime act of giving in His Son
;through the technique of "animated paintings." There is a
sequence on the post-resurrection history of the church,
'plus a treatment of the tensions in contemporary society.
:Finally, the film approaches our response to "The Gift" as
the reconciliation of the whole man.
I Relatively short, this is a unique, church-sponsored
film which presents an effective survey of our Christian
heritage. Its length would facilitate a second screening
within a meeting period, which may be necessary for some
;groups.
I 6. Beyond Our Own. 40-minute, B & W, 1947. Produced by
| the Protestant Film Commission.
I This film depicts the life-transforming story of a
pair of brothers, one of whom is a missionary to China, the
other, bent on a successful career as a lawyer. The lat-
iter, although a church member, lacks the spiritual
strength to carry on after the death of his son. He is
persuaded to visit his brother in China where the sights
i he sees and the warm persons he meets help him to find the
real meaning of Christian faith.
It is one of the first cooperative film projects by
the PFC, and perhaps the longest running of all the inter
denominational productions. One questionnaire respondent
commented, "best and most widely circulated cooperative
production."
7. King of Kings. Silent version, 1927, runs 157-
minutes. Sound version, 1950, runs 105-minutes. Both
were B & W and produced by Cecil B. DeMille.
The classic film on the life of Christ was first shown
in theaters and later transferred to 16mm for use in the
' church.
8. The Life of Paul series. Twelve 30-minute films
(except the first, which is 24-minutes), all B & W,
available with guides, 1948-51. Produced by Cathedral
; Films, the series includes Stephen, the First Christian
Martyr; The Conversion; Years’ of Apprenticeship; Return to
I Jerusalem; Ambassador for Christ; First Missionary Journey;
Stoning at Lystra; Second Missionary Journey;; Visit to
298
Corinth; Third Missionary Journey? Trial at Jerusalem; and
Voyage to Rome.
i The series was designed to be viewed in a series for
I continuity. The improvement in quality from the first to
;the last is apparent. The story line is rounded out with
just enough drama for interest without distortion of text
ior intent.
;9. The Supper. 20-minute, B & W film, 1967. Produced by
Paul F. Keller and Associates for Kairos Films and
|Augsburg Films.
It is a highly symbolic film about a fisherman who
! comes upon a closed tent with the sound of typing inside.
Upon talking to the occupant through the tent walls, he
leaves some fresh fish and then is invited to supper.
When he returns, the fisherman brings some bread and wine.
While the tent occupant sits quietly, a gun in his hand,
;his guest opens the pan of fish - only to find a can of
| tuna sans can opener. Angrily, he grabs his bread and
wine and departs. Later, calmed and in more control, he
returns and leaves the bread and wine in front of the
locked tent door - something of an offering or reminder.
Although it has an involving plot, the film is simply
and carefully executed and would be an excellent discussion
starter with senior high ages and above. The topic would
center around human relations in modern society and the
need for giving, forgiving, and Christian love.
10. Child of Bethlehem. 22-minute B & W film, 1940.
Produced by Cathedral Films.
A classic Christmas story film, depicting the scenes
described in Matthew and Luke's Gospels: Mary and Joseph's
journey to Bethlehem, adoration of the shepherds, visit of
the wise men, Herod's order, flight into Egypt, return to
! Nazareth, and Jesus' first trip to the temple.
Because it was one of the first seasonal films made, it
| was in great demand, consequently, one respondent indi-
! cated that more than 3,.000 prints were ordered over the
■ years. Because of the period costumes and the sparse
| dramatic filler, the film remains in circulation.
! Four Cozy Walls.
[No data located.]
12. I Beheld His Glory. 55-minute color or B & W film,
1953. Produced by Cathedral Films.
299
This is the story of the Roman centurion, Cornelius,
'who witnessed the crucifixion and the aftermath. It is
|told by him and effectively relates how he first heard of
!Jesus, his fame, and the fear of rioting among the Jews
jbecause of him. He pieces together a number of reports
1 about Jesus with his own experience.
Photography and acting are exceptional for a film of
this vintage. The format or style is "first-person" and
easily carries the viewer into the atmosphere of the
Passion event.
13. The Living Christ series. Twelve films in color or B &
W, 1951-57. Produced by Cathedral Films. Titles are:
Holy Night, Escape to Egypt, Boyhood and Baptism, Men of
the Wxlderness, Challenge of Faith, Discipleship, Return to
Nazareth, Conflict, Fate of John the Baptist, Retreat and
Decision, TriumpK~and Defeat, and Crucifixion and
Resurrection.
Each film considers one time period or event in the
life of Christ. The whole series is usually rented as a
series, as with the Life of St. Paul, Jesus and his
disciples are effectively portrayed as flesh-and-blood
persons as are the peripheral characters of John the
Baptist and Pontius Pilate.
14. Question 7. 107-minute, B & W film. Produced by
Concordia Films, Lutheran Church of America (Lutheran
Film Associates).
The film sets an example for youth who must decide
between what is easy and expedient and what is right and
honorable. It also has a message for parents wishing to
instill faith in God, respect for freedom and dignity of
man. Discusses communist ideologies and other philosophies
Story centers on a political survey which a youth is
attempting to respond to.
15. Almost-Neighbors. 34-minute, B & W film. Produced by
Broadcasting and Film Commission, National Council of
Churches, 1965.
The credible and honest characters of a white, middle-
class, church-going, suburban family come through in this
story of a community about to annex a :seamy and deprived
area of town. The members of the family, a microcosm of
the church and community, react with fear, contempt,
unwillingness for involvement, and later, a realization
that their words of belief must be transformed into action.
; The film wisely depicts a problem situation and speaks
I of issues but avoids giving pat answers. It does present
| Christian options without being preachy and opens the door
! for discussion about the growing needs for effective
j ministry in an urban environment.
i
: 16. Beggar at the Gates. 56-minute, color film, 1969.
, Produced by WBZ TV, Boston, by Ken Curtis.
This television news documentary film discusses the
spiritual hunger of a wide range of people in an urban
; community who are seeking a meaningful way to worship.
Produced for public television, the film looks into the
many forms of worship in Roman Catholic, Protestant and
sectarian churches. It is a lively and interesting pre
sentation and sure to stimulate controversy in more
traditional groups, since the film does not emphasize the
more common form of worship in a church.
17. Bible on the Table. 28-minute, B & W film. Produced
by the Southern Baptist Convention (Broadman Films),
1951.
A grocery delivery boy discovers the secret of a
family's harmony when he delivers a bundle to their home.
Through discussion he learns how family devotions around
the breakfast table have helped. As his own family life
becomes increasingly discordant, he suggests the idea of
family devotions, to his reluctant but eventually
; acquiescent parents.
Although "pat" and somewhat simplistic in its solu-
! tions, the models presented have value and are clear.
References are made to denominational resources for
devotions, but should not hinder the films interdenomina
tional utilization.
18. Eye of the Beholder. 26-minute, B & W film. Produced
by Stuart Reynolds Productions, 1958.
Styled after a television detective thriller, this
j film depicts twelve hours in the life of a cartoon artist.
' It includes such evidences as spilled paints, a "bloody"
; knife, an apparently lifeless young woman in his studio
! and a number of "eye witnesses." Its interesting climax
; is more a revelation of the false conclusions in the mind
i of the viewer.
One questionnaire response noted this especially for
its "educational value."
301
i
| 19. Fire Upon the Earth. 26-minute, color film with
guide. Produced by the United Presbyterian Church in
the U.S.A. (Board of Christian Education), 1950.
: This relatively short film packs a lot of information
: into its 26 minutes, about the history of the church.
Taken from still pictures, the film covers significant
events from the time of Christ and His disciples through
the 1948 World Council of Churches assembly in Amsterdam.
The intended message: a panorama of the church as a con
tinuing fellowship. Good artwork, music and general
development.
20. The Guiding Star. 30-minute, B & W film, 1949.
Produced by Family Films.
This is another seasonal film, widely circulated and
: effective in its intent to portray the Christian love so
; prevalent around Christmas. The story centers around an
old gentlemen, Uncle Henry, who, with his family and
inlaws, share the spirit of Christmas. During the holidays
Uncle Henry goes about doing good deeds by taking in a
; mother and infant child who have nowhere else to stay and
by reuniting another family.
The charm of Uncle Henry and the overall story line
overcome a number of credibility problems which a film of
this type has.
; 21. Power of the Resurrection. 59-minute, color or B & W
film, 1959. Produced by Broadcasting and Film Commis
sion, National Council of Churches and Family Films.
! Using the talents of veteran actor, Richard Kiley, this
; semi-scriptural drama details the events during the days
, prior to the crucifixion through the beginnings of the
church at Pentecost - all through the eyes of Simon Peter.
This potentially problematic film (with relation to the
: various miracles) comes across very well and effectively
reveals Peter's weaknesses and strengths.
22. The Toymaker. 12-minute, color or B & W film, 1951.
Produced by Stevens Productions for the Anti-
Defamation League and Contemporary Films.
This simple and charming film about human relations
uses hand puppets to visualize ways in which people can
live happily together. At first playing together, the
puppet characters discover differences in appearances,
causing mistrust and fear of each other. Soon walls are
built, but they find ways to get around the walls to fight,
302
until they finally discover that they were all created
by the same Creator. The film's limitation might be only
in its simplistic concept of God.
[Ed. note: Some of the descriptive material above was
taken from several different issues of Audio-
; Visual Resource Guide, published by Friendship Press, New
York, or National Council of Churches.]
C 30 3
SOURCES CONSULTED
BOOKS AND PUBLISHED MATERIALS
Alter, Forrest, ed. A Guide to Film Services of National
Associations. Evanston, 111.: Film Council of
America, Inc., 1954.
This guide lists the major philanthropic and other
organizations in the United States at that time, who
provided some kind of film service, including the
National Council of Churches and various denominational
agencies.
Betts, George A., and Hawthorne, Marion 0. Method in
Teaching Religion. New York: Abingdon Press, 192 5.
An application of the principles and methods of
general education to religious education.
Blumer, Herbert. Movies and Conduct. New York: The
Macmillan Company, 1933.
A Payne Fund study of the extent to which motion
pictures influence the conduct of adolescents.
t
, and Hauser, Phillip. Movies, Delinquency and
Crime. New York: The Macmillan Company, HTTT.
A Payne Fund study on the moral and religious
aspects of films, sex psychology and crime anthropology.
Bower, W. C., and Hayward, P. R. Protestantism Faces Its
Educational Task Together. Appleton, Wisconsin: C^ C.
Nelson Publishing Company, 1949.
Written by two educator/historians, the book traces
the development of religious education in the U. S.
, from the community efforts nearly 200 years ago,
i through the separate denominational activities, to the
i more interdenominational movement at the time of its
I publication. They discuss the various personalities
who were influential throughout the development as well
as the projects, committees, conferences, successes and
failures, that have been a part of the history of
"Sunday School."
I
Butler, Ivan. Religion in the Cinema. International Film
' Guide Series. New York: A. S. Barnes and Company,
1969.
304
A survey of the treatment of biblical history and
Christian practice in the commercial film. There are
! chapters also on the antireligious film and on the
I obverse side such as witchcraft and Satanic rites.
! Campbell, James. An Audio Visual Manual. Nashville:
Television and Radio and Film Commission of the
1 Methodist Church (TRAFCO), 1962.
Jim Campbell was director of the department of
audio-visual resources within TRAFCO when this booklet
(48 pp.) was published. It is directed at committees
whose responsibilities are to develop and sustain an
audio visual program. Campbell cleverly wrote the
material as though it were the story of one church's
experience, with various committee members reporting
the story from each different facet of A-V use:
church school, missions, evangelism, stewardship,
social concerns, etc. Suggestions on committee
organization, selecting and purchasing equipment,
meeting schedules, resource materials and bibliography
are also included in this easily read piece.
Carpenter, Edmund, and McLuhan, Marshall, eds. Exploration
in Communications. Boston: Beacon Press, I960.
An anthology of 24 articles taken from
Explorations, a periodic journal on communications,
published between 1953 and 1959, edited by Carpenter,
former professor of anthropology at San Fernando State
College, and McLuhan, former director of the Center
for Culture and Technology at the University of
Toronto, and both members of the faculty of Fordham
University at the time of compilation. Selected
authors include Ray Birdwhistle, Northrup Frye, David
Riesman, Gilbert Seldes, and others.
Cavert, Samuel McCrea. Church Cooperation and Unity in
America, 1900-1970. New York: Association Press,
1970. (Copyright held by the National Board of Young
Men's Christian Association.)
Charters, C. C. Motion Pictures and Youth. The Macmillan
Company, 1933.
A summary of the Payne Fund studies and findings.
Church, Paul V. The Church Uses Visual Aids. Buffalo,
New York: American Optical Company, 1949.
This is a 45-page booklet, and, although addressed
to religious education leaders and curriculum
developers, would also be useful to secular educators.
The bulk of the opus deals with how to use an opaque
projector and what types of materials can be
305
I projected. There is slight mention of slide and
1 filmstrip projectors, but nothing on motion pictures.
It seems to promote the American Optical machines.
i . . . . . . . . . .
; Cooper, John C., and Skrade, Carl, eds. Celluloid and
Symbols. Philadelphia: Fortress Press, 19 70.
Anthology of nine essays by various theologians of
Catholic, Protestant and Jewish faiths, as well as
teachers and technicians. They discuss the possible
interpretations of symbols within modern film.
Dale, Edgar. The Content of Motion Pictures. New York:
The Macmillan Company, 1935.
Results from analyzing current films after a
method of measuring had been devised. A Payne Fund
Study.
Dalglish, William A. Media for Christian Formation.
Dayton, Ohio: George A. Pflaum, 19691 (Copyright by
Home Missioners of America, Inc.)
I
' . Media Two for Christian Formation. Dayton,
Ohio: GeorgeA. Pflaum, 1970. (Copyright by Home
Missioners of America, Inc.)
These two volumes are a reference set which pre
sent many types of media material with evaluations of
each item as to its particular suitability to the
process of the formation or maturation of Christians.
More volumes are to be added, since most of the
materials evaluated are very contemporary.
{
Dance, Frank E. X., ed. Human Communication Theory:
Original Essays. New York: Holt, Rinehart and
Winston, Inc., 19 67.
Elliot, George E., ed. Film and Education: A Symposium
on the Role of the Film in the Field of Education.
New York: Philosophical Library, 1948.
An anthology, presenting viewpoints from many
education specialists, media producers, teachers and
critics regarding use in school of film. Divided into
"The Nature of Educational Film, The Educational Film
in the Classroom, Educational Film Outside the Class
room, The Educational Film Abroad, and Administrative
Problems and Practices." A chapter by William S.
Hockman on "The Film in Religious Education," is
particularly helpful to this study.
Forman, Henry J. Our Movie Made Children. New York:
Macmillan Company, 1933.
A popular summary of the Payne Fund Studies.
306
! Handel, Leo. Hollywood Looks at Its Audiences. Urbana:
1 The University of Illinois Press, 1950.
i
Harley, John Eugene. World-Wide Influences of the Cinema.
| Los Angeles: The University of Southern California
Press, 1940.
Haseldon, Kyle. Morality and the Mass Media. Nashville:
Broadman Press, 1968.
An interesting and informative analysis of the
effects of mass media on the morality of man, with
special emphasis on censorship, obscenity, advertising,
and legislation. A Christian perspective on radio, TV
and film, and their relation to the moral conflicts
facing modern man.
Hoban, Charles F., Hoban, Charles F., Jr., and Zisman,
i Samuel B. Visualizing the Curriculum. New York: The
| Dryden Press'^ 1937.
Movies That Teach. New York: The Dryden Press,
1946.
, Hockman, William S. "The Film in Religious Education,"
Film and Education. Edited by George M. Elliot. New
York: Philosophical Library, 1948.
________ . Projected Visual Aids in the Church.
Philadelphia: Christian Education Press, 1947.
A fairly comprehensive guide to religious education
visual aid materials and equipment and its utilization
and operation in terms that the religious educator can
understand. Directed to readers in later forties.
’ _____, ed. The Religious Screen. Chicago: The
Education Screen, Inc., 1947.
Written when Hockman was director of religious
education, Lakewood Presbyterian Church, Lakewood,
j Ohio, he draws from his columns in the "Church
Department" of The Educational Screen Magazine.
Includes articles by leading religious educators, audio
visual producers, and utilization experts.
Hovland, Carl I., Janis, Irving L., and Kelley, Harold H.
: Communication and Persuasion. New Haven: Yale
University Press, 1953.
Hurley, Neil P. Theology through Film. New York: Harper
and Row, Inc., 1970.
A Jesuit priest looks at elements of theological
principles and theory within film and discusses current
307
; and past international and domestic films.
'Jackson, B. P., Jr., ed. Communication for Churchmen,
Volume I: Communication/Learning for Churchmen.
Nashville: Abingdon Press, 1968.
. Communication for Churchmen, Volume II:
Television-Radio-Film for Churchmen. Nashville:
Abingdon Press, 1969.
These two volumes of a four-volume set, are
designed to acquaint church leaders and laymen to the
possibilities of a variety of audio-visual tools, as
well as the understanding of communication and learning
so that these tools and processes may be employed to
greater advantage. The other two volumes are Audio-
Visual Facilities and Equipment for Churchmen and
Creative Communication Skills for Churchmen"
i
James, Paul H. Screen and Projector in Christian Education
; Philadelphia! The Westminster Press, 1932.
One of the earliest publications to help the
! church school leader in selecting, evaluating and
utilizing visual aids. Its 160 pages cover a full
I listing of mechanically reproduced visual aids, the
sources, selection and adaptation of materials, the
technique of teaching with visual aids, use in worship
; and recreation, projection problems, promotion and
advertising and a few new developments. Considering
the year of its publication, it is well informed and
: suggests principles used by modern educators.
Jones, G. William. Sunday Night at the Movies. Richmond,
Virginia: John Knox Press, 19'67'.
The writer was assistant professor of broadcast-
film art at Southern Methodist University, Dallas,
Texas, at time of publication. It was written to
assist church members and leaders to respond "criti
cally, discriminatingly and discerningly" not only to
the church's own screen productions, but to theatrical
films as well. Includes sources and lists of
suggested films for discussion.
Knight, Arthur. The Liveliest Art: A Panoramic History of
the Movies. New York: The Macmillan Company, 1957!
Knower, Franklin H. "An Index to Graduate Work in the
Field of Speech," Speech Monographs. (Annually 1958 -
1971).
Kuhns, William. Short Films in Religious Education.
! Dayton, Ohio: George A. Pflaum, 1965.
j 1___ 308
Lotz, P. Henry, and Crawford, L. W. , eds. Studies in
Religious Education. Nashville: Cokesbury Press, 19 31.
‘ McLaughlin, Raymond. Communication for the Church.
i Contemporary Evangelical i’erspectives Series. Grand
Rapids, Michigan: Zondervan Publishing House, 1968.
i • ..............
;Nafziger, Ralph 0., and White, David M., eds. Introduction
to Mass Communications Research. Baton Rouge:
Louisiana State University Press, 1958.
’Parker, Everett C. ; Stein, J. J.; Vieth, Paul H.; and
Walker, Edith F. Film Use in the_Church. New York:
National Council of Churches in the U.S.A., Broadcast
ing and Film Commission, 1955.
Perlman, William J., ed. The Movies on Trial. New York:
The Macmillan Company, 1936. “ “ T " ' "
1 Compilation of opinions of outstanding persons of
1 stage, screen, pulpit, press, bench, and classroom,
! discussing the potential of motion pictures.
i
;Perrow, Maxwell. Effective Christian Communication.
Richmond, Virginia: John Knox Press, 1963.
Published as a companion workbook to the Cathedral
filmstrip series Effective Christian Communication,
Perrow attempts to present theory as' it relates to the
unique Christian message. He recites research done by
a number of noted Christian writers, discussing the
symbols of Christianity and tools available to the
communicator.
Peters, C. C. Motion Pictures and Standards of Morality.
New York: The Macmillan Company, 1933.
A comparative study by the Payne Fund of the
standards of American life and those presented in !
commercial theatrical film.
Peterson, Ruth C., and Thurstone, L. I. Motion Pictures
and the Social Attitudes of Children. New York: The
Macmillan Company, 1933.
Looks at the social concepts, attitudes, standards
and ideals of high school students and the effects of
film upon those.
Raysaye, Terry. A Million and One Nights: A History of
the Motion Pictures. 2 volumes.- New York: Simon and
Schuster, 1926.
Report of the Emory Visual Seminar. Conducted by the
General Board of Education of the Methodist Church and
309
! the Candler School of Theology. Nashville: Methodist
Publishing House, 1946.
; The day-to-day record of the seminar at Emory
I University, Atlanta, Georgia, July 22-August 8, 1946.
‘ The meeting was a cooperative effort of several
| departments and boards in the Methodist Church with
the objective to survey the possible contributions of
audio-visuals in the program of the church. Includes
papers presented by noted speakers like Charles F.
Hoban, Jr., Paul F. Heard, William L. Rogers, Reverend
Harry Spencer, Anson Moorehouse, and many others.
;Rinden, Arthur 0. "Visual Aids for Christian Learning in
the Younger Churches," Bulletin of the World Fellowship
in Christian Education. New York: World Sunday School
Association, April, 15*46.
A booklet prepared for young churches which
presented visual aids in a readable form and covered
topics from the "why" of visual aids, to the "what,"
and "how to" integrate, produce and utilize.
Bibliography.
Robinson, Harold M., ed. Better Film Councils. New York:
Federal Council of Churches of Christ in America, 1933.
Rogers, William'L., and Vieth, Paul H. Visual Aids in the
Church. Philadelphia: The Christian Education Press,
1946.
Sets forth several techniques by which visual aids
may be used and delineates various aspects of church
program explaining how visuals contribute to various
aspects of church programs. Provides a brief history
of visual education in the church. Written when
Rogers was executive secretary of the Religious Film
Association and Vieth was the Horace Bushnell Professor
of Christian Nurture, Yale University.
Rumph, Oscar J. The Use of Audio Visuals in the Church.
Philadelphia: The Christian Education Press, 1958.
An introduction of various media and theories to
church leadership for possible incorporation into the
curriculum and program for the purpose of better
communication of the church's specific message. Lists
32 different "ways" to tell a story and explains the
| best use of each. Rumpf was chairman of the film
committee of the Broadcasting and Film Commission at
that time.
________ From Words , Words, Words to Objects.
Philadelphia: board of Christian Education and
Publication, The Presbyterian Church in the U.S.A.,
1946.
310
! This 24-page booklet strives to impress upon its
: readers the need for up to date methods of relating
S the message of the church and provides examples of
[ ways to visualize the message rather than limit it to
I just words. Options to words are excursions, visitors,
' models, photographs, demonstrations, dramas, marion
ettes, tableau, flannelgraphs, motion pictures,
| slides, cartoons, and many others. Rumpf explains each
one but emphasizes the audio-visual types and examines
sources and equipment.
;Schillaci, Anthony 0. P. Movies and Morals. Norte Dame:
| Fides Publishers, Inc., 1970.
A well-written statement that the film is more a
vital source of emotional maturity and sensitivity
than an object to be feared by the church. Included
are ideas for conducting film workshops and festivals,
a bibliography and a list of suppliers.
1 Schiller, Herbert K. Mass Communications and American
Empire. Boston: Beacon Press, 1969.
Strauss, L. Harry. Motion Pictures in the Church.
Davenport, Iowa: Victor Animatograph, a Division of
Curtiss-Wright Corporation, 1948.
This is a 15-page booklet reprint which originally
appeared in The Christian Herald Magazine. The intent
seemed to be to provide a basic introduction to the use
of film in the church, with emphasis on examples of the
variety of services and uses to which film can be put.
Sources for films are listed, as well as a strong
recommendation to use Victor projection equipment.
Summers, Stanford. Secular Films and the Church's
Ministry. New York': The Seabury Press, 1969.
Teaching Eternal Truths. Chicago: The Bell and Howell
Company, 7100 McCormick Road, 1947.
This 31-page promotional pamphlet for the use of
B & H equipment had a lot of helpful suggestions
regarding the organization of a visual aid program in
a church as well as tips on how to insure the full
benefit from such a program. There were references to
other publications and information of where to look
for material. Instructions on how to make your own
films were also included.
Tower, Howard E. Church Use of Audio Visuals. New York:
The Abingdon Press, 1950.
Written by a "cornerstone" leader in Methodist
religious education, this 151-page book provides some
1 very practical applications of the use of visual media
| for the average Sunday school teacher and administra
tor. Although published in 1950, its principles and
i techniques do not seem dated. Topics range from basic
philosophy of educational media to functional designs
for churches and organization charts for religious
education departments. Material sources and biblio
graphy appended.
: ____. Effective Use of Audio-Visual Resources in the
Church. Nashville: The Methodist Church Board of
Education Department of Audio Visual Education, 1948.
This was written as a basic manual for church
school leaders and teachers. The 20-page booklet
covers initial concepts of why and how, but also goes
into where materials can be obtained and how a church
could organize its people and budgets to stimulate an
effective audio-visual program. It lists various
responsibilities of committee members and proposed
budget items.
Veh, Raymond M., D. D. Recommendations for Evangelical
Churches in the Use of Visual Educational Materials.
Cleveland, Ohio: Committee on Evangelical Church
Board of Christian Education Committee on Visual
Education, Reverend Raymond M. Veh, Chairman, ca. 19 44.
[Although there was no copyright date, the notice in
the text regarding the First International Workshop on
Visual Education, held at North Park College, Chicago,
1944, and various mentions of materials dated 1943 and
1944, but none 1945 and after, places the publication
j about late 1944, early 1945i]
The 20-page booklet seems to have been used for
reference as a handbook, since it discusses general
areas briefly, and lists further reading material in
the various areas (i.e., "Guidance Material" lists
eleven other courses, from books in general publica
tion to bulletins published by the Evangelical Church).
i A listing of films and their suggested uses is
included.
Vieth, Paul H. Objectives in Religious Education. New
York: Harper and Brothers, 1940.
Visual Method in the Church. Chicago: International
: Council on ReligiousEducation Committee on Visual
Education, 1940. (Revised 1944, 1947)
This pamphlet, taken from "Educational Bulletin
No. 901," deals specifically with visual aids pro
jected. It describes in fair detail the basic
concepts of using projected visual aids, how they
312
relate to religious education and how they can be
integrated into the church school program. It refers
the reader to a number of other ICRE bulletins and
lists addresses of local publishing houses which
worked with the Religious Film Association distributing
films. Tips on amateur production of films, slides and
photos is included as well.
Waldrup, Earl. Getting the Most from Audio Visual Aids.
Nashville: Southern Baptist Convention Sunday School
Board Division of Education and Promotion Visual
Education Service, 1947. 16 pp. (3-47)
The Purpose of Visual Aids in the Church.
Nashville: Southern Baptist Convention Sunday School
Board Division of Education and Promotion Visual
Education Service, 1947. 16 pp. (1-47)
These two booklets were part of a series published
by the Southern Baptist Convention to meet an immediate
need for guidance in the church's use of visual aids.
The first, Purpose, outlines both the negative and
positive approaches to justifying audio visuals:
"They are not merely for entertainment" vs. "They make
learning faster and more enjoyable." The second,
Getting, discusses the mechanics of organizing the use
of A-V materials, from setting up the A-V organization,
training workers and financing the service, to advice
on planning in general.
' Using Visual Aids in the Church. Nashville,
TheBroadman Press, 1949.
Discusses the nature and value of various visual
aids available to the church, analyzes problems to be
overcome within the church and suggests a plan to
insure utilization of visual aids.
Wall, James M. Church and Cinema: A Way of Viewing Film.
Grand Rapids, Michigan: William B. Eerdmans Publishing
Company, 1971.
Written while Wall was editor of The Christian
Advocate, this treatise analyzes commercial, theatrical
film from a Christian perspective to stimulate insight
into the religious implications of those films. Could
be helpful in making some sense of the complexity of
cinema to the "non-scholar." Some history of the
church's response to theatrical film in the first
chapter, but the bulk of the text relates to Wall's
method of criticism and his responses to various
genres and their representative films. Some of Wall's
reviews, previously printed in The Christian Advocate,
are included.
313
Youdell, Edgar G., M. A. A Report of an Investigation
into the Use and Effectiveness of Filins in Evangelism.
New York: World Council of Christian Education and
Sunday School Association, 1956.
PERIODICALS
Banks, Edgar J. "Educational Bible Filins," The Educational
Screen Magazine, October, 1922, p. 249.
Brady, Mary Beattie. "The Church Field," The Educational
Screen Magazine, November, 19 36, p. 27TT
' _____. "Cinema Experiment in Africa," The Educational
Screen Magazine, November, 1935, p. 26T l
. "The Motion Picture in Religious Publicity,"
| The Educational Screen Magazine, April, 1935, p. 106.
|_________. "A New Era for the Church," The Educationa1
; Screen Magazine, December, 1935, p. 244.
!
'Conger, H. G., and Furness, D. R. "The Movie Situation,"
The Educational Screen Magazine, April, 19 32, p. 117.
»
!The Educational Screen Magazine. N. L. Greene, ed.,
December, 1942, p. 96; January, 1940, p. 29; June,
1940, p. 261.
Film News Magazine. Rohama Lee, ed., December, 1948,
p. 4; May-June, 1950, p. 10; July-August, 1950, p. 10; |
January, 1952, p. 23; April, 1953, p. 25. |
Furness, Dwight R. "Amateur Film Making," The Educational
Screen Magazine, December, 1930, p. 316.
! Hoffman, Josephine, "News Notes," The Educational Screen
Magazine, May, 1934, p. 112.
Huskin, Oliver, "The Cinema Has No Soul," Film: Magazine
of the Federation of Film Societies, London, September-
October, 1955, p. 16.
Jensen, Frank E. "The Church and Pictures," Church Film
Review - Martin Luther, His Life and Times. The
Educational Screen Magazine, June, 1923, p. 368.
Johnson, R. F. H. "The Church Field," Column series.
The Educational Screen Magazine, December, 1930,
3X4J
p. 313; January, 1932, p. 18; February, 1932, p. 55;
: October, 1932, p. 245; January, 1933, p. 23;
! September, 1934, p. 189.
"New Motion Picture Material for Religious
Programs," The Educational Screen Magazine, September,
1933, p. 154.
■ ■ . "A Survey of Motion Picture Use in the Church
Field," The Educational Screen Magazine, March, 1933,
p. 137.
Krows, Arthur E. "Motion Pictures - Not for Theatres,"
Historical Series. The Educational Screen Magazine,
September, 1941, p. 242, 292; October, 1941, pi 334;
May, 1942, p. 181; June, 1942, p. 222, 242; May, 1943,
p. 96, 119.
’MacAfee, J. E. "Movies and the Church," The Educational
| Screen Magazine, June, 1922, p. 181.
Mack, S. Franklin, "Missions Films," The Educational
! Screen Magazine, December1948, p.. 6.
Marshall, Chester C. "Pictures and the Church," The
Educational Screen Magazine, June, 1923, p. 294;
February, 1924, p. 68; January, 1925, p. 26.
'"A Producer Serves the Church," The Educational Screen
Magazine, December, 1942, pp. 389-400.
Rogers, William L. "A College Dramatic Club Enters the
Movies," The Educational Screen Magazine, May, 19 36,
p. 144.
"Religious Films," The Educational Screen
Magazine, October, 1944, pi 51
Stoner, Carl B. Letter to C. C. Marshall published in
"Pictures and the Church," The Educational Screen
Magazine, February, 1925, p. 91.
;Trotter, F. Thomas. "The Church Moves Toward Film Dis
crimination," reprint from Religion in Life Magazine,
Summer, 1969, p. 2.
!"The Use of Audio Visual Aids in the Work of the Broad
casting and Film Commission," Film News Magazine
Winter, 1955-56, pp. 6-8; Spring, 1956, pp. 38-40.
1 Visual Education Fellowship Newsletter, May, 1948, p. 3;
315
December, 19 48, p. 14; March, 1949, p. 4; May-June,
1949, p. 11; January, 1950, p. 5; April, 1950, p. 4,
20; June, 1950, p. 13, 33; July, 1950, p. 6.
UNPUBLISHED MATERIALS
Barbour, Hugh. "Self Instruction of New Ways to Read the
Bible and Religious Classics." Paper presented at 18th
International Audio Visual Conference, Green Lake,
Wisconsin., September, 1961.
Berio, David K. Series of talks presented at 18th
International Audio Visual Conference, Green Lake,
Wisconsin, September, 1961.
Bjerke, Gene. "The Special Dramatic Problem of the
Lutheran Television Series 'This Is the Life.'"
> Unpublished Master's thesis, Department of Cinema,
University of Southern California, 1960.
|
Cox, Alva I., Jr. "A Statement of Objectives," Paper
presented at the 17th International Ajadio Visual
Conference, Boulder, Colorado, August 17-23, 1960.
Dodds, Robert. "Conscience." Paper presented at the 20th
International Conference on Audio Visuals, Banff,
Alberta, Canada, June 9-15, 1963.
Eller, Wendell, and Inabinett, Thomas. "What Have We Done
Right? What Are the Deficiencies? What Are the Signs
of Progress?" Paper presented at the 17th Interna
tional Audio Visual Conference, Boulder, Colorado,
August 17-23, 1960.
Fanning, Leah Irene. "A Study of the Use of Motion
Pictures in the Program of Certain Protestant
Churches." Unpublished Master's thesis. Department of
Cinema, University of Southern California, 1932.
This study describes how film was first used in
the education effort of selected churches, after
which the churches' use was expanded to other areas of
worship, recreation, stewardship and evangelism. A
very brief history is given on the religious educa
tional use of film to 1932.
j
1 Fiers, A. Dale. "Greater Works Than These Will He Do."
i Paper presented at the 16th International Audio Visual
Conference, Green Lake, Wisconsin, September, 1959.
316
Fore, William F. "The Impact of Communication Studies on
Media and Curriculum," Paper presented at the 21st
International Consultation on Educational Media, Green
j Lake, Wisconsin, September 6-11, 1964.
i
l
[Garner, Ray. Private interview held at summer film work
shop, Idylwild School of Music and the Arts (ISOMATA),
i Idylwild, California, August, 19 71.
plover, Guy. "The Nature of Film." Paper presented at the
l 20th International Audio Visual Conference, Banff,
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________ . Report on the Fifth International Audio Visual
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317
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!
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i
Martin, Burton. Religious Film Questionnaire Response,
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________ . Personal Letter, December 12, 19 72.
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318
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t
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t
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320
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Asset Metadata
Creator
Bridges, Joseph Lewis
(author)
Core Title
A historical study of cooperative Protestant religious film in America from 1914 to 1972
Degree
Doctor of Philosophy
Degree Program
Communications
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Cinema,OAI-PMH Harvest,Religion, History of
Language
English
Contributor
Digitized by ProQuest
(provenance)
Advisor
Knight, Arthur (
committee chair
), [illegible] (
committee member
), Hanwehr, W. (
committee member
)
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689437
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Bridges, Joseph Lewis
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Religion, History of