Film in Higher Education and Research. Proceedings of a by Peter D. Groves

By Peter D. Groves

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By Peter D. Groves

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This new language incorporates verbal language, but can operate entirely independently of it and in ways not open to verbal communication. T o speak of the cinema as an art is equally valid. For, while films are often applied to trivial, sensational or otherwise meretricious ends, there exists a growing body of works of genuine film art, with a n enduring capacity to stimulate the mind, move the emotions a n d deepen h u m a n experience. Finally, there are the conditions in which the public see the completed films.

Some of the filmed material used, from whole films to momentary snippets, has been m a d e originally for cinema projection. But much is shot expressly for the smaller (and optically cruder) television screen. For this reason, major broadcasting organizations run their own large-scale production enterprises. I n the industrially advanced countries, these turn out more footage than do the cinema industries. Film-making for television observes the editing techniques we have been discussing, and these also underlie most narrative a n d expositional programmes broadcast live.

The showing of cultural films (films as an end in themselves in the pursuit of knowledge) : arising especially from the initiative of student film societies. 6. Organization of a visual training course: this is common in 50 Jacques Durand the United States. g. ). Interest is often shown in this form of teaching, particularly in Africa. T h e questionnaire dealt with the screening of cultural films and omitted that of educational films. This distinction between " c u l t u r e " and " t e a c h i n g " is clearly m a d e in Europe, but is less readily understood in the United States.

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