The film — Background and Themes
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ain, for the most part in the actual surroundings associated with Columbus. There could be no better way of demonstrating to the scholar the trials and difficulties encountered by Columbus before and after he realized his life’s ambition.
It was contended that it would be better to arrange a series of lectures beforehand, explaining at some length the persecution endured by Columbus. By this means an oral and visional teaching would be enacted, leaving a more lasting impression than would be attainable otherwise.
SOME EDUCATIONAL FILMS.
To-day Shakespeare is reeled off a spool, and human life taught at the end of a crank. You may travel over land and sea without leaving your seat and see great personages of the world perform their mighty deeds, and unconsciously knowledge of life and the world is derived which makes a difference in the conception of things surrounding us.
The average member of a community fails to comprehend the significance of the new and powerful agency in education. All this means a revolution in pedagogy, the scrapping of text-books in favour of the film. It means a vividness where before had been vagueness. It means a true visualization and realization of life, where hitherto an indefinite printed description of it was acquired. In this country gatherings of teachers have been vividly impressed by animated photography. By means of the silent teacher, young and old have learned more about the physical, industrial and social geography of the world during the past few years than during any previous quarter of a century. It brings vividly before our eyes the idea of intense cold, atmospheric conditions, blizzards, and life peculiar to the regions around the Poles; and, again, the sweltering heat, vegetation, methods of living and transport in the tropics. One is brought face to face with the primitive life, habits, and customs of the aborigines of the least known corners of the world; while even life immediately around us is revealed in a manner which hitherto has been impossible.
Take a film about the volcano, of which most children have heard but never seen. It would explain that a volcano throws up smoke, calcined dust, red-hot stones, and melted matter called lava. The summit is hollowed out in a great excavation having the shape of a funnel, sometimes miles in circumference. The principal volcanoes could be shown, as Vesuvius, near Naples; Etna, in Sicily; Hecla, in Iceland.
A curtain of smoke filling the orifice of the crater denotes the forthcoming eruption. When the air is calm the smoke rises vertically to nearly a mile in height, finally spreading out like a huge blanket, cutting off the rays of the sun, and sinking down on the volcano, covering it with a dense smoke-cloud. A huge sheaf of fire bursts from the crater to a height of 6,000 ft., and the heavy cloud is illuminated by the fiery red of the sky. Millions of sparks dart out like vivid lightning to the summit of the blazing sheaf. These sparks, so small from a distance, are, in reality, incandescent masses of stone, and of a sufficient momentum to crush the most solid structure in their fall.
From the bowels of the mountain through the volcanic chimney ascends a flux of melted mineral substance, or lava, pouring out into the crater, forming a lake of dazzling fire in the sun. Through the crevasses as well as over the edges of the crater the lava flows in streams. The fiery current, formed of dazzling and paste-like matter, similar to melted metal, advances slowly; the front of the lava stream represents a rampart on fire. Animals and human beings flee before it, but all objects stationary are lost. Trees are seen to blaze a moment on contact with the lava and sink down reduced to charcoal; the thickest walls impeding its progress are calcined and collapse; the hardest rocks are vitrified, melted. The flow of lava eventually subsides; the subterranean vapours, forced by the enormous pressure of the solid mass, escape with greater violence than ever, carrying with them whirlwinds of fine dust floating in sinister clouds and sinking down upon the neighbouring plain. Finally the mountain ceases its activity and peace reigns again for an indefinite time.
Visualize the terrible eruption of Mt. Etna in Sicily of two hundred years ago. A dark night preceded the storm. Trees swayed like reeds buffeted by the wind; people fled to avoid being crushed under the ruins of their dwellings. They lost their footing on the quaking ground and fell. Mt. Etna burst into a fissure ten miles long, and along this fissure broke forth a number of volcanic mouths, vomiting clouds of black smoke and calcined sand. Soon seven of these mouths were united in one abyss emitting cinders and lava.
The author, a Liverpool librarian, opens by framing the film as an 'indispensable ally' of education and library authorities. Rather than a theoretical treatise, the book emerges from papers and lectures, giving it a practical, advocacy-driven tone. The foreword by Sir Gilbert Parker—who had recently spent a year in California writing films—lends firsthand industry insight, noting that 6,000 American schools already had cinema rooms. Parker’s endorsement sets up the central tension: between cinema as entertainment and as a serious pedagogical tool.
From Lectures to Book: The Author’s Approach
Jackson-Wrigley states that the book’s content 'has been included in papers and lectures,' suggesting a cumulative, experience-based argument rather than a single sustained study. This origin explains the structure: each chapter tackles a distinct facet—moral influence, censorship, practical applications—without a rigid linear thesis. Readers should expect standalone sections that can be consulted independently. The author’s professional background as Chief Librarian of the Liverpool Library shapes his perspective; he is concerned with how film can complement existing educational institutions, not replace them.
The Cinema Commission as a Turning Point
A key section details the work of the Cinema Commission, established by the National Council of Public Morals in 1916. The commission examined 'the physical, social, moral, and educational influence of the cinema, with special reference to young people.' It heard forty-three witnesses, inspected films privately, and visited cinema halls. Jackson-Wrigley presents this inquiry as a model of constructive engagement—'frank discussion' rather than 'outspoken raillery.' The commission’s terms of reference, quoted at length, reveal the period’s anxieties about darkness, censorship, and juvenile audiences. This historical document grounds the book’s arguments in contemporary institutional debate.
Visual Learning and the Example of a Novel
To illustrate how film aids comprehension, Jackson-Wrigley uses Ethel M. Dell’s novel The Keeper of the Door. He describes how the visual portrayal of the doctor as 'keeper of the door'—preventing the spirit's departure—creates 'something really beautiful' that lingers in the viewer’s mind. The argument is that film’s repetition of visual ideas makes meaning clearer than text alone. Notably, he claims that after watching a film adaptation, readers 'cannot imagine a person losing his place of reading' or failing to recall characters. This example, drawn from popular fiction rather than a classroom text, shows the author’s pragmatic bent: he values engagement over highbrow content.
American Precedents and Municipal Movies
Throughout the excerpts, American examples serve as proof of concept. Parker’s foreword mentions Wellesley, Massachusetts, which offered 'Municipal Movies' two days a week. Jackson-Wrigley’s own text references 6,000 American schools with cinema rooms—a figure that recurs as a benchmark. The implication is that Britain lags behind, and that municipal authorities should follow suit. The book does not provide detailed statistics or case studies from these American programs; instead, they function as rhetorical shorthand for progress. Readers should note that the author’s evidence is often anecdotal or secondhand, reflecting the early, advocacy stage of the educational-film movement.
Jackson-Wrigley’s book is best read as a primary source on early twentieth-century debates about media and education. Its value lies not in technical detail but in capturing the optimism and institutional maneuvering of a moment when cinema was still a novelty. The author’s librarian’s eye for practical utility—and his willingness to cite popular novels and American experiments—gives the work a concrete, non-academic flavor. For modern readers, it offers a snapshot of how educators first grappled with visual mass media.
I kept thinking about how that old film book saw possibility in something most people dismissed as mere entertainment. It made me wonder about the quiet faith behind such arguments. There’s another book, NREN for All: Insurmountable Opportunity — Text and Context, that carries that same hopeful patience, like a letter written to a future that might finally listen.
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