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An extemporaneous classroom demonstration of the cooperative planning of an assignment for the unit, '"The Historical Development of Certain Basic Institutions of Freedom in America." Mr. Roland Crary is the demonstration teacher of pupils selected from an eleventh-grade class in American History of the University High School of Iowa City, Iowa. The film was constructed for the purpose of enriching the usual procedures, not of superseding them, in an effort to conserve the time of teachers in assembling materials.
Shows many of the kitchen appliances of tomorrow. Takes the viewer inside the experimental laboratories of General Motors to see such advanced aids to cooking as an automatic recipe viewer, heatless oven, automatic servers, and new designs in cabinets. Through animation, gives a short glimpse of some seemingly improbably but beneficial inventions not yet perfected.
Presents two- and three-year-old children in their daily activities at a nursery school. Shows them imitating adults in their play, expressing hostility, responding to rhythm, learning to wash and dress themselves, eating, and taking an afternoon nap. Reveals how they learn about nature and life in the spring by discovering and examining living things. Points out that by the time they are four they become more social and begin to play in groups.
Follows the activities of two- and three-year-old children through the nursery-school day and through the seasons of the year. Shows ways in which teachers offer help, by setting limits and by giving support and encouragement; and indicates in playroom and playground scenes the variety and suitability of play equipment for natural and constructive activity.
Presents the spontaneous activities of four- and five-year-old children and what they find interesting in their world. Shows the four-year-olds mastering their familiar world through vigorous group play, sensory pleasure, make-believe, and use of materials and words. Presents five-year-olds as entering the more formalized, enlarging world of older children--playing games with simple rules, seeking facts, wondering, and using letters and numbers. Points out that teachers should follow the lead of the child's curiosity and should provide the child with activities that will prepare him for later instruction.
Observes six-, seven-, and eight-year old children at play and in school and emphasizes that children's play activities with their adherence to the rules, rituals, and regulations which have been established have changed little over the years. Points out the desire of this age group to have close identification with a peer group and its activities as they become less dependent on parents.
Describes the vast telephone network, equipment and personnel involved in the completion of a long distance call. Shows how telephone lines and cables run all over the United States, through deserts and underneath mountains. Telephone employees can be found in similarly diverse places, laying cable, restoring service, conducting experiments and delivering supplies. The plan to make service available to everyone splits the country into eight regions with regional centers in Chicago, New York, Atlanta, St. Louis, Dallas, Denver, San Francisco and Los Angeles. An animated map demonstrates how each regional center is linked to each of the others with a direct line and then to scores of other cities. Coordination and efficiency are required to get each call through. Dramatizes the longest call possible in the continental United States, from Eastport, Maine to Bay, California, and the connections the call goes through.
Describes the many safety rules applicable to the industrial arts shop. Shows such measures as the use of proper clothing, goggles, and shields; the spacing of work areas; the use of tools; the disposal of waste; and the storage of lumber and inflammable liquids. refers to the safe use of power tools, the care of electrical equipment, and proper conduct in the shop. Concludes with a review of the principal safety precautions.
In this film the cinematographic space becomes itself an active element of the dance rather than being an area in which the dance takes place. The dancer shares with the camera and the cutting a collaborative responsibility for the movements themselves. Recommended for use only by groups interested in the cinematographical element of the dance.
