The Influence of the Cinema on Children and Adolescents: An Annotated International Bibliography

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6. EDUCATIONAL ASPECTS AND PRACTICAL MEASURES

(a) THE USE OF FILMS IN THE
DEVELOPMENT OF PERSONALITY

285. Albright, Roger. Education from the Theatrical Screen. In: Elliott, Godfrey M.: Film and Education, New York, Philosophical Library, 1948, p. 407-424.

Many feature films have acquainted the general public with literary works they might otherwise never have known. Examples are given of films which have stimulated interest in literary and musical works. The contribution of the short cultural and historical film to general education is also discussed. In the schools, the feature film is beginning to be recognized as an educational medium, and instruction in film appreciation is being introduced. The film industry is taking a growing interest in the possibilities of the feature film as an educational aid, and a considerable number of films have been made available for educational purposes.

286. Calò, Giovanni. Le cinéma et l'éducation intellectuelle. The cinema and intellectual education.] In: Actes du Congrès international sur la presse périodique, cinématographie, et radio pour enfants, Milan, 19-23 March 1952. Milan, A. Giuffre, 1953, p. 158-168.

A discussion of the rôle of the cinema in the moral and intellectual development of children. Films shown to children should be suited to the emotional maturity and intellectual capacity of the age-group for which they are intended. The rhythm of the film, its action and plot must be adapted to the child audience's capacity for comprehension. The child should be able to see the film with a certain degree of objectivity. Failing this, disturbances in the child's development are to be feared. A categorical distinction should not be made between children's films and films for adults, particularly when considering children of 12 years and over. From this age the normal child begins to attain a degree of comprehension comparable to that of any adult. The establishment of film clubs where children can see suitable films is advocated.

287. Cottone, Carmelo. Cinema educativo o no. [ The pros and cons of educational cinema.] Rome, A. Signorelli, 1953, 96 p. ("Biblioteca del Maestro" series).

The first three chapters of this work on the cinema and youth deal with the following problems: (1) the pros and cons of educational cinema; (2) children in the cinema; (3) banning of minors. The book also contains some comments on the educational function of the cinema, together with the texts of relevant Italian laws.

288. Cottone, Carmelo. Didattica e cinema. [Didactics and the cinema.] In: Cinedidattica, Rome, (1), April 1950, p.7-10.

The author makes a distinction between educational and instructional films, and accords greater importance to the former. When they end with the triumph of good over evil, even adventure films may have positive value. On the other hand, from an educational point of view, historical films distort history through the fictionalized portrayal of events.

289. Crisanti, Pina. Arte e cinema nella loro funzione sociale.[ The social functions of art and cinema.] Rome, Ed. Auia, 1954, 156 p.

A study of the relationship between art and cinema and an analysis of the cinema's social function. The last chapter of work deals with the educational influence of the cinema on children, and contains extracts from articles by eminent jurists on juvenile crime and the cinema.

290. Diaz-Plaja, Guillermo. Cine y adolescencia en "el arte de quedarse solo y otros ensayos". Cinema and adolescence, in "The art of remaining alone, and other essays".] In: Juventud, Barcelona, 1936.

Pages 155-168 contain "a Pedagogical Essay: Cinema and Adolescence" in which the author examines the specific conditions for educational cinema in secondary schools. Six main points are distinguished, the third of which deals with censorship problems in relation to juvenile mentality. This essay was included in the publications of the League of Nations International Institute of Educational Cinematography, Rome, in 1934.

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