the other arts of expression, both in the rapidity of its development and the universality of its adoption. Speaking a language common to all humanity, the photoplay is enjoyed alike by aristocrat and Hottentot. Some people enjoy music, and some do not; some enjoy art, and some do not; but the appeal of the flickering screen reaches all, regardless of age or nationality. While the plot, the scenery, the moral, may be received and interpreted differently, acording to the mental background of the spectators, there are so many separate elements combined to make the picture that all persons of whatever station in life may find some keen source of interest.

The cinema, in spite of its defects and abuses, has transformed the world in many ways for millions. The horizon of the remotest community has been lifted, so that its citizens now witness scenes of interest transpiring across the world. The cowman of Abilene, Texas, for instance, may be as familiar with the skyline of Manhattan as the most hardened commuter of Hoboken; and the individual who never went beyond the confines of his own county, even, may sit and watch the mighty potentates of earth go about their daily affairs.

The educational effects of the moving picture are almost unlimited. The increase in the knowledge of geography, history, natural science, and countless other things, would alone justify its existence.

The ends for which the moving picture is used are too numerous to be recounted. Besides its commercial use as a means of entertainment and recreation, it has been adopted as a means of advertising, political propaganda, religious uplift, and as an active agent in schools and other educational institutions. Among the million or more things that helped to "win the war," the movie deserves special mention for its valuable service in welding together the patriotic impulses of the nation and for floating the liberty loans and in other movements. Even such institutions as hospitals, asylums, sanitariums, etc., now afford pastime and therapeutic aid for the inmates by means of the screen.

While this discussion of the advantages and benefits of the

moving picture has been presented in order to show that there is a good side as well as another, the chief purpose of this article is to consider some of the defects, limitations, and misuses of the moving picture as it is today, and to point out some of the social and moral dangers that confront the young people of the nation from that source.

Will the moving pictures become a worth-while agency in education? A decade ago a wave of interest rolled high in the minds of educators and sociologists as to the wonderful possibilities of the screen in the education of the young. A magazine of nationwide circulation published an article in which were expressed the views of a famous inventor, who portrayed the school of the future as a place in which the time of the children would be taken up largely in pursuing many of their studies by watching the exhibition of certain specially prepared films, and taking notes for lat discussions and compositions. It was predicted that geograph history, science, and even literature, would be rendered more intelligible and interesting by that means. And to a great extent that prediction has come true. Projectors of special design and low price are now on the market for the use of schools; and one or more large companies have entered almost entirely into the work of producing educational films. One or two publications are now familiar to educators, which have for their special purpose the promotion of the visual arts in the schools and colleges. The government has a great number of films, prepared during the war, \ ready to release for general display free of cost to schools.

There are many disadvantages connected with the use of the moving picture as a medium of education in the schools. From a physical standpoint it is detrimental to the wellbeing of the child. The flickering light is highly injurious to immature eyes. This effect is increased in theatres because the children usually sit near the screen, where the flickering is worst. Furthermore, the reaction of the eyes from the bright light of the outside to the darkened interior, and then the return to bright light again is injurious. within itself. In addition, the tension of the eyestrain, together with the mental effort necessary to maintain a focus of attention.

unnatural to a child, results in nervousness often bordering upon hysteria in the course of time. The ventilation of the exhibit room cannot be equal to that of even the average classroom. Continued confinement in a semi-darkened room must produce an undesirable effect. These are facts proven by medical authorities and not mere theories.

The screen as an educative force has not fulfilled the expectations of its supporters. The reason for this is that the use of moving pictures, beyond a very narrow limit, is contrary to the modern ideas of education. The tendency today in pedagogy is to regard education as self-activity. Hence, a child engaged in merely observing the film is not active in the right way. While no thoughtful person today would favor excluding the screen from the schools, it must be realized that the use of it must be much more limited than certain enthusiasts have imagined. In fact, it is doubtful whether small children should be kept in the exhibit room for more than a few minutes once or twice a week; whereas some persons have advocated an hour each day. Such a length of time would undoubtedly produce harmful effects. Experience has shown that even better results are secured by making the occasion one of infrequent recreation than otherwise.

From the standpoint of instruction, the field is not so large as one would be inclined to think at first sight. Obviously there is little use for it in teaching the mechanics of reading, arithmetic, or writing. That leaves, for the primary grades, only story-telling and nature study. And the objection to the film in story-telling is that it interferes with the formation of the child's own mental imagery by substituting the elaborately finished image. In nature study, while there is some good to be derived by showing animals in their native haunts, it is a question whether little children would be interested in such for long at a time. In the intermediate grades, where geography, history, literature, etc., are taught, the moving picture is probably at its best. But the boy at that age is seldom reached by seeing such tame pictures, when all he has to do is to go to the theatre and see as many blood-curdling dramas as he wants to. In the higher grades there are numerous

ways in which the moving picture can be used, such as to show the various industrial processes, geographical and historical scenes and events, and the operation of certain kinds of machinery which the school does not happen to have access to. But just at this point again the theatre comes in competition; the boy of high school age is thinking chiefly of sex questions. Why sit and watch such stupid reels displayed, when he can find free rein for his erotic tendencies in watching the sensual experiences of some popular female star?

So it is still an open question as to whether it is worth while for school boards to install expensive apparatus and prepare specially equipped exhibit halls for the limited amount of use that there would be for them. Still, there is a possibility that the defects in the mechanism will be so corrected as to remove the eyestrain and the consequent nervous injuries; and the problem of ventilation may be solved so as to make the halls perfectly hygienic. The preparation of films suitable for the different stages of childhood can be done with little trouble.

However, the main problem has not been touched upon yet. So far as the adoption of the moving picture in the schools is concerned, that can be worked out at leisure. One by one the objections and disadvantages can be recognized and, in so far as may be possible, overcome or eliminated. Films that fulfill all the pedagogical requirements can be made. The main problem exists in the movies as they are now produced and displayed, and in the harmful effects that are everywhere evident.

Ever since moving pictures began to be shown and patronized, judges, sociologists, and others have been noticing and calling public attention to these evil effects, and have, through various organizations and movements, sought to curb some of these disastrous tendencies, without much avail.

The church, since its earliest days, except for a brief interval during which the religious play predominated, has had to cut loose from all connection with the theatre, and has maintained an attitude of opposition to the stage and its activities. For that reason the world has lost what might have become one of the greatest

instruments of good to humanity. Will the same thing happen to the moving picture? If it does, the fault will lie entirely with the producers and exhibitors; for the public received the cinema with gladness, and public patronage has made the moving picture industry the giant that it is today. Let it be hoped that nothing will cause the moral forces of the nation to sever connections with it.

It is conceded by most of the people who are thinking in terms of morality that there are some conditions existing today in regard to the movies that will either corrupt the morals of the nation or wreck the picture business, or both, unless they are corrected. The paragraphs that follow will be devoted to discussing some of the principal features to which attention and criticism have been directed.

As to children attending picture shows, the opinion has been expressed that they should not be allowed to attend except at rare intervals, and then only on occasions upon which special films for children are to be exhibited. Some have advocated the establishment of theatres for children, and prohibiting them from attending those for older people. Some exhibitors have made this move in part by having special programs for children, at which films would be displayed that had been selected by the educators or others whose opinions were held in regard. Unfortunately, such ventures have not been successful from a financial standpoint, for the reason that the children will not attend. They do not care to see fairy stories, literary productions, Mother Goose, and such others, when there is an opportunity to go elsewhere and see exciting and comical pictures.

Other objections to the attending of children have been that the movie develops a craze and an abnormal appetite for the sensational, the grotesque and the bizarre, and that the mind is kept keyed up to a condition of trying to realize such conditions in everyday life; that such interests interfere with the child's wholesome love for outdoor sports and recreations, and destroy his love for good reading.

The tendency of children to imitate the daring deeds seen upon