A DESCRIPTION OF ELEMENTARY LEVEL CLASSROOM
ACTIVITIES IN CREATING TELEVISION PROGRAMS

FOR IN-STUDIO PRODUCTION

By

Edith E. Larson

A THESIS

Submitted to the College of Communication Arts
Michigan State University of Agriculture and
Applied Science in partial fulfillment of

the requirements for the degree of

MASTER OF ARTS
Department of Speech

1958

\1~ )

ACKNOWLEDGMENT

To Dr. Gordon Gray, Dr. Gordon Thomas, and Dr.
William Farquhar, who advised and guided the development
of this thesis, I wish to express my thanks. I would
also like to express my appreciation to those who made
possible the television project on which the study is
based: WOodward c. Smith, Olive Potrude, and my daughter,

Mary Margaret.

ii

A DESCRIPTION OF ELEMENTARY LEVEL CLASSROOM
ACTIVITIES IN CREATING TELEVISION PROGRAMS

FOR IN-STUDIO PRODUCTION

By

Edith E. Larson

AN ABSTRACT

Submitted to the College of Communication Arts
Michigan State University of Agriculture and
Applied Science in partial fulfillment of

the requirements for the degree of

MASTER OF ARTS
Department of Speech

1958

/

Approved by MN/LC

 

Edith E. Larson
ABSTRACT 1

Problem

From 1956 until 1958, television viewers in the north-
central section of Michigan had the opportunity to watch an
experiment in educational television. This experiment consisted
of the creation of television programs for in-studio production
as class activity on the elementary school level. The programs
were televised over stations WWTV, Cadillac, and WPBN, Traverse
City.

The problem of this thesis involved (1) an examination
of the objectives for the use of elementary level participation
in television production, (2) an analysis of the methods used in
creating and producing the television programs, (3) an evaluation
of the objectives and of the effectiveness of the methods, and

(4) suggestions for the future use of this type of teaching tool.

Procedure

To secure the necessary information, a questionnaire was
set up for teachers whose students had participated in the creation
and production of television programs. The questionnaire served as
the basis for personal interviews with twenty-five elementary
school teachers. Twenty administrators and six television people
who had direct contact with the program were also interviewed. A
parents' poll was taken by sending short questionnaires home with

students.

Edith E. Larson
2

In addition, a mail survey was made covering eighteen
representative educators in the educational television field
in order to discover other areas where similar experiments were

being conducted.

Conclusions

The mail survey disclosed extensive child participation
in television performance, but relatively little in planning the
programs. Most of the production participation reported was on
the secondary level; nOne of it was on the scale being studied.

It was found that the promotion of more reading was the
original objective of the child created television programs en—
titled "Let's Turn the Page." Gradually the objectives shifted
to motivation for intensive unit study, enriching child and
teacher experience and, in some cases, better public relations
for the school.

For analysis the methods used in the classroom were broken
down into nine steps: (1) choice of subject area, (2) reading and
research,_(3) planning the television program, (4) writing the
script, (5) making scenery and/or visual aids, (6) choosing the
cast, (7) costuming, (8) securing properties, (9) rehearsing with
special emphasis on speech improvement. The extent of child par-
ticipation in each step varied according to the difficulty of the

process and the age and ability of the children; but the survey

Edith E. Larson
3

indicated that a major share of all steps was assumed by the
children. The methods reported were the normal classroom methods
used in unit teaching with as many television techniques super-
imposed as the children could absorb.

All attempts at evaluation received such enthusiastic
responses that they give the impression of being weighted. Almost
all teachers, administrators, television personnel and parents of
participants were agreed (1) that the television project was a
learning experience for the children well worth the time spent on
it, (2) that the experience resulted in desirable child growth,
and (3) that, incidentally, the school benefited from the favorable
public reaction to the programs. It was found that in spite of
the professional polish lacking in a child created program, the
series has deveIOped an audience of its own, consisting of both

'adults and children.

TABLE OF CONTENTS
Page
LIST OF TABLES

LIST OF ILLUSTRATIONS

Chapter
IOmDUCTION eeeeeeooeoeeoeeeoe 1

Statement of Purpose

Brief Description of "Let's Turn the Page"

The Psychological Basis for Using Television
as a Teaching Tool

Limitations

Justification

Procedure

Plan of Organization

II. BACKGROUND OF ”LET'S TURN THE PAGE" . . . . . . . . 19

Origin

The First Series

The Second Series
The Third Series

The Pburth Series
Teacher Response

III. CLASSROOM METHODS USED FOR "LET'S TURN IRE PAGE" . 43

The First Step

Choice of Subject Area
Reading and Research
Program Planning

The Script

casting

Making Scenery and/or Visual Aids
Costuming

Properties

Rehearsing

In the Studio

iii

TABLE OF CONTENTS—-Continued

Chapter Page
IVOEVALUATIONeeeeeeeeooeoooeoeeooo124

By Teachers

By Administrators

By Television Personnel
By Parents of Participants
By Viewers

v. CONCI‘USION O O O 0 O O O O O 0 O O O O 0 O O O O O O 167
Suggestions from Respondents
Summary
Recommendations

msmY O O O O O O O O O O O O O O O O O O O O O O O O 1 91

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . 195

APPENDICES
A. Report on Results of Mail Inquiry . . . . . . 203
B. m..tionnair.8 o o o o o e e e e o o o o e o 209
coachedul.‘ooseoeooeeeeooeoeo 22].
0036311311. eooeoeoeooooeoeeeo 228
E. Letter Writing . . . . . . . . . . . . . . . 252

iv

C O Q Q
m m m m
I I O O O
m 0 Q 0 Q
.
o 0 CI 0
O O O O
Q m s 0

TABLE

2.1

2.2

2.3

3.1

3.2

3.3

3.4

3.5

3.6

3.?

LIST OF TABLES

Summary of Sources of Preliminary Contacts with
"Let's Turn the Page" for 25 Elementary School
Teachers Ibo Used the Program as a Teaching Tool
between Jan. 8 and Apr. 26, 1958 . . . . . . . . .

Summary of the Reasons Given by 25 Elementary School
Teachers for Using the Creation of "Let's Turn the
Page” Programs in Their Classrooms . . . . . . . .

Summary of Responses of 25 Elementary Teachers to
Questions Designed to Indicate Their Attitude
toward Television after a "Let's Turn the Page"
ExperienC. O O O O O O 0 O O O O O O 0 O O O O 0

Summary of Choice of Subject Matter for "Let's Turn
the Page" Programs in 25 Elementary Schools . . .

Summary of Responsibility for Choice of Subject Area
for 25 Elementary Level "Let's Turn the Page"
TelevisionProgralls oeeoeeeeososeeo

Summary of the Bases for the Choice of Subject Area
for 25 Elementary Level "Let's Turn the Page”
TelevisionPrograms sooeeeeooeeeoeo

Summary of Secondary Involvement of Subject Matter
in Developing 25 "Let's Turn the Page" Programs
in Elementary Level Classrooms . . . . . . . . . .

Summary Of the Number of Subject Areas Involved
per Class in Developing 25 "Let's Turn the Page"
Prov“. oooooeoeeeeoeseoeeoo

Summary of Sources for Research Used by Students in
25 Elementary Schools for Preparing "Let's Turn
the Page" Television Programs . . . . . . . . . .

Summary of the Universality of Participation in
Research by Students in 25 Elementary Classes while
Preparing "Let's Turn the Page" Television Programs

Page

37

39

41

50

50

52

53

57

58

6O

TABLE

3.8

3.10

3.11

3.12

3.13

3.14

3.15

3.16

3.17

3.18

LIST OF TABLES-Continued

Summary of the Extent to Which Subject Area Research
Iould Have Been Done in 24 Elementary Classes
without the Motivation of a "Let's Turn the Page"
TelevisionProgral seeeoe‘eeeoooeoeo

Summary of the Effect on Other School WOrk of
Participation in a "let's Turn the Page" Program
by the Children in 25 Elementary Classes . . . . .

Summary of Organization of Student Groups for
Planning 25 Elementary Level "Let's Turn the Page"
”0"“. oeooeeeeeoeeeeeooeee

Summary of Teachers' Estimates of Amount of
Assistance Given Students in Planning 21 "Let's
Turn the Page" Television Programs . . . . . . . .

Summary of the Number of Changes Made in Plans for
25 Elementary Level "Let's Turn the Page"
Television Programs as a Result of Consultant Advice

Summary of Types of Changes Resulting from Consultant
Suggestions in the Planning Phase of 25 Elementary
Level "Let's Turn the Page" Television Programs . .

Summary of the Extent to which Television Techniques
Used in the Planning of 25 Elementary Level "Let's
Turn the Page" Programs Became Meaningful to the
Childr.n ooeeoeosoeeoeoeeoooos

summary of Types of Scripts Used for 25 Elementary
Level "Let's Turn the Page” Programs . . . . . . .

Summary of Answers to the Question "If You Were
Doing It Again, Ibuld You Use the Same Kind of
Script?” Asked of 25 Elementary Level Teachers . . .

Summary of Methods Used to Allow Child Participation
in Scripting 25 Elementary Level "Let's Turn the
Page" Television Programs . . . . . . . . . . . .

Summary of the Extent of Teacher Assistance Given

Children in Scripting 25 "Let's Turn the Page"
TeleV1310nProgramB o o e e e o e o e e e e e e e o

vi

Page

. 62
. 63
. 67
. 68
. 69
. 71
. 71
. 74
. 75
. 76
. 77

TABLE

3.19

3.20

3.21

3.22

3.23

LIST OF TABLES--Continued

Summary of the Extent to Which Script Writing and/or
Report writing Preliminary to Script Writing Were
Used to Teach Fundamentals of English Composition
during Preparation of 25 Elementary "Let's Turn
th. Page" Programs s o o e e e o e e o e e o e o e

Summary of Extent to Which Professional Script Form
we. Used and Understood in Scripting 25 "Let's
Turn th. Page" TClQViSiOD Programs s o e e e e e e

Summary of the Responses in an Evaluation of Script
Writing for Children in Scripting 25 Elementary
Level "Let's Turn the Page" Television Programs . .

Summary of Extent to Which Student Participation
on the Air Included the Entire Class in 25
Elementary "Let's Turn the Page" Programs . . . . .

Summary of the Reasons Given for Slightly Less than
100% Participation on the Air in 14 Classrooms
Producing Elementary Level "Let's Turn the Page”
Programs e o e o o e e o e o e e o o o e e o o o s

Summary Showing Division of Responsibility for Casting
25 Elementary Level "Let's Turn the Page” Programs .

Summary of the Hethods Used as the Basis for Casting
25 Elementary Level "Let's Turn the Page" Telecasts

Summary of Types of Parts Available for Casting 25
Elementary "Let‘s Turn the Page" Programs . . . . .

Summary of Art WOrk Made for 25 Elementary Level
"Let's Turn the Page" Television Programs . . . . .

summary Showing the Division of Participation in
Production of Art Werk for 25 Elementary Level
”Let's Turn the Page" Television Programs . . . . .

Summary of the Use of Color and Contrast in Making

Art Ibrk for 25 Elementary Level "Let‘s Turn the
Page” Television Programs e o o e e o o e o e e o

vii

Page

79

82

83

85

86

88

92

94

96

98

TABLE

3.30

3.31

3.32

3.33

3.34

3.35

3.30

3.37

3.38

3.30

LIST OF TABLES-~Continued

Page

Summary of Effectiveness of the Utilization of
Television Art Techniques in the Production of
25 Elementary Level "Let's TUrn the Page"
Television Programs . . . . . . . . . . . . . . .

Summary of Teachers' Evaluation of Art werk as a
Learning Experience in the Production of 25
Elementary Level "Let's Turn the Page" Television

PrGErmoooeoooeoeoeeooesesoe

Summary of the Extent to Which Costuming Ias
Utilized ih the Production of 25 Elementary Level
"Let's Turn the Page” Television Programs . . . .

Summary of Responsibility for Costuming 25
Elementary Level "Let's Turn the Page" Television
Progrmoooeoeoeooeeeosoooeee

Summary of the Extent to Which Children Participating
on 25 Elementary Level "Let's Turn the Page"
Programs Understood Good Choice of Clothing for
T’1.'1.1°‘- eoeeeeeooeeeeeooeeo

Summary of Spread of Responsibility for Procuring
Properties Used on 25 Elementary "Let's Turn the
Pth"Progralll.o................

Summary of Participation in Handling Properties and
Scenery in the Production of "Let's Turn the Page"
mgr.-oo‘ooeeeeeoooesoeoeooo

Summary of Evaluations by 25 Teachers of Utilisation
of Properties and Set Dressing on Elementary Level
"Let's Turn the Page" Television Programs . . . . .

Summary of the Utilization and Evaluation of
Rehearsal Techniques in the Production of 25
Elementary Level "Let's Turn the Page" Television
”‘8’“ O O O 0 O 0 O O O O O O O 0 O O O O O O 0

Summary of the Time Span Spent in Rehearsal of 25
Elementary Level "Let's Turn the Page" Programs . .

viii

99

101

102

104

105

108

110

111

115

117

TABLE

3.40

3.41

3.42

3.43

4.1

4.2

4.3

4.4

4.5

4.6

LIST OF TABLES-~Continued

Summary of the Extent to Which 25 Elementary Level
"Let's Turn the Page" Television Programs
Resulted in Improvement in Speech . . . . . . . . .

Summary of the Methods Utilized to Secure Speech
Improvement for 25 Elementary Level ”Let's Turn
th. Page" TCIOVision Programs e e o o o e e e e e

Summary of 25 Teachers' Evaluations of Child
Understanding of Microphones as Shown in "Let's
TurnthePage"Projccts ooseeooeeeeose

Summary of Children's Interest in Television Station
Equipment as Shown in 20 Tours in Connection with
Elementary Level "Let's Turn the Page" Television
Programs oeeoeoeooooooeeeooeeo

Summary of 25 Elementary School Teachers' Evaluations
of Student Growth during the Creation and Production
of a "Let's Turn the Page" Television Program . . .

Summary of 25 Elementary School Teachers' Evaluations
of a ”Let's Turn the Page" Television Program
Creation and Production Project as a Learning
ActivVi-ty O O O O O O O O O O O O O O O O O O O 0 0

Summary of 25 Teachers' Selection of the Learning
Area in Which Participation in an Elementary Level
"Let's Turn the Page" Television Project Had the
Greatast hpaCt on Students e e e o e o o e o e 0

Summary of Responses from 25 Elementary School
Teachers to Questions Evaluating the Difficulty of
”Let's Turn the Page" Program Production . . . . .

Summary of Public Response to 25 Elementary School
Level "Let's Turn the Page" Television Programs
as Indicated by the Number of Letters Received by
PutICipants soooeeoeesooeeeeeoo

Summary of 25 Teachers' Estimates of Public Reaction

to Their "Let's Turn the Page" Television Programs
as Indicated by Oral Comments . . . . . . . . . .

ix

Page

118

119

120

122

126

133

133

137

139

141

LIST OF TABLES--Continued

TABLE Page

4.7 Summary of Responses from 20 Administrators
Representing 22 Classrooms to Evaluation
Questions on the Creation and Production of
"Let's Turn the Page" Programs . . . . . . . . . 145

4.8 Summary of Responses from 224 Parents to the
Question "Do You Feel that Your Child Benefited
from Participating in a 'Let's Turn the Page'
”ogre-7" O O O O O O O O O O O O O O O O O O O 155

4.9 Summary of Free Answer Responses from 152 Parents
Listing Benefits Received by Their Children in
Creating and Producing "Let's Turn the Page"
Program. 0 O 0 O O O O O O O O O O 0 O O O O O 157

4.10 Summary of Responses from 25 Elementary School
Teachers Concerning Student Viewing of "Let's
Turn the Page" Television Programs before and
after Participating e o o e o s.s o o o e o o s 160

4.11 Summary of the Extent to Which 25 Elementary School
Teachers Viewed "Let's Turn the Page" Television
Programs before and after the Program in Which
Their Students Participated . . . . . . . . . . . 162

4.12 Summary of the Extent to Which 224 Parents Viewed
"Lot's Turn the Page" Television Programs other
than the Program in Which Their Children
Participated o s s e e o e o e e e o e e o o o o 164

LIST OF FIGURES

FIGURE Page
1. “.01. plan and fomat Gl‘a'n SCh001 o e o e o e o o 46
2. Floor plan and format Kinney School . . . . . . . . 229
3. Floor plan and format Fife Lake School . . . . . . 245

xi

CHAPTER I
INTRODUCTION

Statement of Purpose

From Mhy 11, 1956 until April 24, 1958, television viewers
in the north~central section of Michigan had the opportunity to
watch an experiment in educational television. This experiment
used the classroom for the creation and production of live tele-
vision programs as a.teaching tool. Most of this experimentation
centered in elementary schools.

The purpose of this thesis is (1)_to examine the objectives
for the use of television in elementary grades, (2) to analyze the
methods used in creating and producing the television programs,

(3) to evaluate the objectives and the effectiveness of the methods,
and (4) to offer suggestions for future utilization of this type

of teaching tool.

Brief Description of 'Let's Turn the Fags:

The experiment in educational television consisted of
weekly production during the school year of a children's television
program series entitled "Let's Turn the Page,” The programs were
aired through the facilities of Channel 13, WWTV, Cadillac, and,
since January 11, 1958, through the facilities of Channel 7, WPBN,

Traverse City. Since October, 1956, Central Michigan College has

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sponsored the programs. Such sponsorship consists primarily of

publicizing the series and providing a television consultant to

advise participating groups on the technical problems that arise
in the course of television production and to act as coordinator
between the group and the station.

As a rule the words "children's television program" may
be defined as any television show intended for child viewers.
"Let's Turn the Page” adds its own by-line to that definition:
"The television program £2; children and by children."

The basic educational purpose in this experiment in tele-
vision is the learning experience for the participant. The purpose
is implemented by the following procedures:

(1) The participants choose the subjects for their own
programs. ”Let's Turn the Page" is a series title
only. There are no subject restrictions but most
of the subjects are chosen from everyday school work.

(2) The programs are written and the production details
worked out in the classroom by the children under the
guidance of their own teacher.

(3) The planning, writing, and rehearsing of such a pro-
gram covers a time span of from four to eight weeks,
during which time the children learn about each phase
of television production as they work with it.

(4) The teacher decides whether the major learning emphasis

is on school work or on television or is evenly dis-

tributed between the two.

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(5) All programs are reviewed by the consultant
before they go on the air, but any conformity is
due to teacher and children having watched other
programs and not to a fixed format. Creativity
is encouraged both in format and content.

(6) "Let's Turn the Page" participants come to the
television studio with a fifteen-minute program
ready to go on the air with a minimum of help from
adults, whether teachers or studio personnel.

(7) All participants on the air show are children,
ranging in age from kindergarten groups through
senior high school.

(8) Numbers are not restricted. Usually an entire
class participates.

Over 1,800 children have shared this learning experience
while producing seventy-two programs. They represented fifty schools
in fourteen counties.

The Psychologi_al Basis for rUsing___1evision
Participation as a Teaching Tool

The major premise.-"Let‘s Turn the Page” is presented to
teachers as a teaching tool; its recommended procedures are those
of unit teaching involving extensive student activity. Television

was chosen as the tool because of the interest children have shown

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in this medium.1 Television as a teaching tool is based on the
premise that children will learn more because of the high degree
of motivation and because of the variety of the direct experience
learning situations involved.

Interest as a factor in learning.--Harold A. Larrabee, in
discussing how the human brain functions, says:

Learning new associations requires a factor of incentive
or interest, an emotional stress which will change to
satisfaction when the lesson is learned or the problem
solved.2

Modern educational psychologists seem to be agreed that
interest or incentive is basic in learning.3 James B. Stroud goes
as far as to say, "It is a serious question as to whether any un-

motivated learning takes place."4 But motive can be anything from

1Lee Bogart claims that no other mass medium has equalled
television in the ”power to generate fads and to create popular
heroes among children." It has "fascinated children since the
first ancient Krazy Kat cartoon cavorted over the air waves.”
See his chapter on "Television and the Juvenile Audience” in The
Age of Television (New York: Frederick Ungar Publishing Co., 1956),
F. 231.

zHareld A. Larrabee, Reliable Knowled e(Cambridge:
Houghton Mifflin Co., 1945), p. 35.

3Compare such works as Psychol_gy Applied to Education
by James 'ard (ed. G. D. Hicks {Cambridge: University Press,
1926]), pp. 14-15; Philosqphy of Education by William Heard
Iilpatrick (New York: The Macmillan Co., 1951), pp. 274-282;
or the article on "Guidance" by M. R. Trabue (ed. Charles E.
Skinner, Educational Psychology [3rd. ed. rev., New York: Prentice-
Ball, Inc., 1950]), pp. 572-3.

4James B. Stroud, Psychology in Education (New York:
Long-ans, Green and Co., 1952), p. 601.

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the desire to take home a good report card to the fear of taking
home a poor one.

J. M. Stephens in his 1956 study of educational growth
emphasizes the importance of using the child's natural interests
instead of looking outside of them for motivation. He suggests
that academic learning can and should be tied to such interests,
using care, however, not to overload the activity with learning
beyond the child's grasp for fear of draining the large project
of its inherent interest. He adds, "When strong interests are al-
ready developed, it is foolish not to use them."1

Leo Bogart's compilation of the results of all major re-
search projects in television emphasizes the strength of the child's
natural interest in television. Surveys of time spent in watching
television indicate the extent of that interest. A recall study
made by Florence Brumbaugh indicated that children retained spelling
of television advertised brand names even though many of them were
harder than words on school spelling lists.2 Thus it seems evident

that the use of television as a teaching tool is psychologically

sound from the standpoint of motivation for learning.

 

1J. M. Stephens, Educational Psychology: The Study of
Educational Growth (New York: Henry Holt and Co., 1956), p. 306.

2Bogart, 22. cit., p. 244. The chapter, ”Television and
the Juvenile Audience," cites survey after survey supporting these
facts concerning the influence of television on children, pp. 231-
274.

Learning through direct experience.-Thus far our dis-
cussion could be applied to the use of television viewing for in-
structional purposes without active participation in creating
and producing a "Let's Turn the Page" type of program. The "Cone
of Experience," as presented by Edgar Dale, classifies the effect-
iveness of learning situations according to their directness. He
places television viewing seventh from the base of the cone, ac-
cording it only slightly more power to motivate direct learning
than movies, radio or recordings. However, according to the fol-
lowing description, class activity based on the creation and pro-
duction of television programs would belong at the base of the cone.

The base of the cone represents direct reality itself

as we experience it at first hand. It is the rich, full-
bodied experience that is the bed-rock of all education. . . .
It i. the unabridged version of life itself. . . .1

Dale goes on to point out that such first hand experiences
are not only direct; they are also purposeful. They offer direct
participation with responsibility for the outcome.2 Here lies the
very foundation of the premise on which television production in
the schools is based. The children are not studying about tele-

vision nor are they watching some one else's productions on the

screen. They are actively engaged in first hand experience with

 

1Edgar Dale, Audio-Visual Methods in Teaching (2d ed. rev.;
New York: The Dryden Press, 1954), p. 42-43.

2 Ibid.

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the medium. According to Edgar Dale, then, they are participating
in the most effective method of learning.1

Creativity.-However, as J. M. Stephens pointed out, the
activity must be within the child's ability to understand or he
will lose interest.2 Most peOple with television experience will
question whether a child, particularly on the elementary school
level, is capable of creating a television program worthy of air
time.3

Psychologically, there is support for the belief that
children can and should be encouraged to create artistic forms.

In an essay on "Creative Learning and Expression," John Madison

Fletcher points out that sufficient data has been collected to

 

1In Better Learning through Current Materials (Stanford,
California: Stanford University Press, 1952), p. 158, Lucien
Kinney and Katherine Dresden define a "good learning situation”
as one in which ”the pupils are interested and participate, demon-
strate resourcefulness and leadership, carry on activities of
[public] interest, and in which the teacher is competent to carry
on effective procedures.”

2Stephens, su ra, pp. 4-5.

3In A Television Policy for Education (ed. Carrol V.
Newsom ['ashington, D. C.: American Council on Education, 1952]),
p. 67, Bob Banner, producer of "The Fred Waring Show,” states that
”. . . amateurish programs can do more harm than good [to the
school]. . . . Nonprofessional shows will make for ridicule and
make the words . . . 'public service programs' synonymous with
uninteresting." Also, in Audio-Visual Procedures in Teaching (New
York: The Ronald Press Co., 1956), p. 469, Lester B. Sands (speak-
ing of school-produced radio programs) warns that only parents
will listen unless "the program is particularly arresting. Many
school programs are so far from fetching to adult listeners that
commercial stations are extremely chary of giving them time."

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prove that the ability to create is ”common to all human beings.”
His essay makes a plea for developing this innate ability.1
Winifred Iard's experience with creative dramatics is
the foundation for her belief that
e e e every child can, if given even a little encouragement
and help, express himself well enough to make his life
richer and happier.2
Satisfaction as a factor in learning.--The question still
remains whether or not this universal creative ability is on a
high enough plane to include the creation of television programs
acceptable to the viewing audience. The child's motivating desire
to place his own production and himself in front of the camera
presents him with a problem which cannot fulfill the learning
conditions laid down by Larrabee unless it is solved with satis-
faction.3 The extent to which participation in a "Let's Turn
the Page” program produces the necessary satisfactions to complete
the learning process is discussed in Chapter IV.
Summarz.-The creation and production of television

programs in the classroom seems to have a sound psychological basis

as a learning situation: it affords a high degree of interest for

 

1John Madison Fletcher, "Creative Learning and Expression,"
Educational Psychology, ed. Charles E. Skinner (3d ed. rev., New
York: ”Qatice-Hallg Ines, 1952), p. 233.

2Winifred Ward, Creative Dramatics (New York: Appleton
Century Co., 1930), p. 3.

3Supra, p. 4.

motivation; it involves a purposeful real life experience; the
possibility of satisfaction is present if the product created is

accepted.

Limitations of This Study

 

Although this study preperly comes under the heading of
educational television, it is not concerned with educational tele-
vision as most educators conceive of that sodium.1 The study is
not concerned with the use of television viewing for instructional
purposes. Although in-school viewing of "Let's Turn the Page"
programs is encouraged through publicity from Central Michigan
College, such viewing is a by-product rather than a primary pur-
pose. Viewing is mentioned in this study only as a method of
evaluating results.2

The study is not primarily concerned with the development
of program content specifically designed to promote better public

relations for the school. However, "Let's Turn the Page” bears a

 

11a reporting on his 1955 survey of educational tele-
vision in 260 public and private school systems, David C. Stewart
classified his results under only two heads: "programming produced
for actual instructional purposes in the school" and ”programming
produced with the general public relations purpose of acquainting
parents and other citizens with interesting aspects of the school
system.” "School Telecasting-—A Report,” The Journal of the Associ-
ation for Education by RadianTelevision, XV (April 6, 1956), 10-14,
cited by Leo Bogart, L22. cit., p. 283.

28cc Chapter IV.

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10

definite resemblance to the public relations type of program; the
two are often confused, sonetimes even by participating teachers.
The primary purpose of the public relations school program gftgg
makes it advantageous for the producer to utilize school children
as talent.1 The primary purpose of "Let's Turn the Page" always
makes it necessary to utilize school children not only as the
talent, but as writers and cooperative producers. The programs re-
sulting from these two purposes may look the same to the television
viewer.

The study is not concerned with the creation and production
of television programs on the secondary school level or by insti-
tntions of higher education. Such programs have been accepted even
by the television profession. The introduction of the same learning
situation on the elementary level has been questioned; the study is
limited to the controversial question of elementary level creation
and production of television programs.

For greater efficiency in the participating sampleb ability
to recall, the study is limited to programs televised since

January 1, 1958.

Jhstification for This Study
gigtinctiveness.-From the discussion of the limitations
being imposed, it will be seen that there are certain unique fea-

tures in the approach to television which is the basis of this

study.

 

1See Appendix A.

I»

 

 

0!.

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ll

Extensive library research has not located any book that
does for television participation what Jennie Waugh Callahan's
Radio Workshop for Children does for radio, although whatever the
two media have in common can be found in her text.1 Instructional
television has an exhaustive bibliography recently compiled by
Bidoyaiiumata.2 A.bibliography of equal length could probably
be compiled on the public relations type of school television
programs. However, a bibliography on the use of television par-
ticipation as a teaching tool might conceivably be confined to
the three printed articles on "Let's Turn the Page."3

Furthermore, according to Leo Bogart, the emphasis in
television research has been on the statistics of audience measure-
ment. This, he feels, has left a weakness "on the qualitative
side.” He points out the need for intensive case histories of in-

dividual television programs or program types.4

 

1Jennie Waugh Callahan, Radio workshop for Children (New
York: HcGraw-flill Book Co., 1948).

2Hidoya Kumata, An Inventory of Instructional Television
Research (Ann Arbor, Michigan: Educational Television and Radio
Center, 1956).

3”'Lot's Turn the Page' A TV Success Story” The Bell
Ringgr, August, 1957, p. 4; Olive M. Potrude, "Now, TV b the
Children,” The School Executive, LXXVII (November, 1957 ,56-58;
Jack H. White, "Let's Turn the Page,” Michigan Education Journal,
”(February 1, 1958), 233 and 242.

4Bogart, loc. cit., p. 317.

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12

Research was not confined to library sources. Eighteen
educators well-known in the educational television field were
queried by mail.1 Fifteen responses were received, their con-
tents adding up to a very impressive picture of the types of
educational television surveyed by Mr. Stewart.2 Many cases of
child participation in front of the camera were cited.3 For
example, Mrs. Kathleen Lardie reported that all Detroit Board of
Education television programs use students as talent. Partici-
pants are chosen at auditions held every wednesday. The audition
winners participate in a television workshop: then they are cast
in suitable parts in the regular instructional telecasts. Parti-
cipation is in small groups except on music programs: sometimes
entire vocal classes or large instrumental groups are used to
demonstrate music. Although there is no child planning of any
programs, kinescopes are sometimes shown to the children in order
to secure their reactions and subsequently use these reactions as

a springboard in adult planning.4

 

1The educators were suggested for this purpose by Dr.
Armand L. Hunter, Director of Television Development, Michigan
State University, after he had expressed belief that "Let's Turn
the Page" was a unique experiment in educational television.
(Personal interview, August, 1952)

zSupra, p. 8.
3See Appendix A for the responses to this mail query.

4Telephone interview with Mrs. Kathleen Lardie, Director
of the Department for Educational Radio-Television, Detroit Board

of Education, June 20, 1958.

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13

It will be seen that the Detroit plan for child participa-
tion stems from a different motive than the "Let's Turn the Page"
plan. The purposeful use of television participation as a teach-
ing tool was reported on the high school level but not on the
elementary school level.1 Educators seem to recognize the benefits
to be derived from participation without having utilized this
phase of television to the extent described in this study.2

Therefore, it can be concluded from the results both of
library research and of a mail query that the utilisation of edu-
cational television as described and analyzed in this study is
probably unique.

Intrinsic merit.-This study would place in the hands of
teachers a teaching tool which fits into the recognised objectives

of modern education. In the description, analysis, and evaluation

 

1See Appendix A for the use of television production as
a teaching technique in the Seattle, Washington, high schools.
An experiment of the same type was reported in the minutes of
the Saginaw Valley Educational Television Steering Committee by
Catherine Jean MacDonald, secretary. According to the minutes,
students at Jim Handy High School, Bay City, Michigan, have been
pro-planning, scripting and producing their own live television
programs for two years under the tutelage of Clarence Murphy.
Dy special arrangement with 'NEM, Channel 5, Bay City, Mr. Murphy
expects to include television directing in the course during the
1958-59 school year.

21a Teachin throu h Radio and Television (New York:
Rinehart and Co., 1952;, pp. 344-46, William B. Levenson and
Edward Stasheff stress the importance of "doing" television but
also point out that opportunities are limited. They cite several
examples of classrooms on the air (presumably with the teacher),
of high school workshops, and of other types of child participa-
tion programs. There is very little discussion of methods within
the classroom for utilizing the television participation as a
learning experience for the children.

 

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14

of the methods used in creating and producing elementary level
classroom television programs for in-studio production, it is
hoped that teachers will find the help they need for a better un-
derstanding of television and its possibilities in today's elemen-

tary school curriculun.

9.2.2.2222.

The primary survey.-In order to analyze the degree and
kind of learning resulting from the classroom creation of television
programs and in order to describe the methods used in their produc-
tion, a survey was necessary.1' The survey consisted of personal
interviews with twenty-five elementary school teachers who had
used ”Let's Turn the Page" programs as a teaching tool in regular
classrooms between January 8 and April 24, 1958. These interviews
‘ were conducted from two to three nonths after the programs were on
the air in order to allow time for the teacher's reactions to
stabilise.

The writer prepared a questionnaire covering the four-
fold purpose of this study. This questionnaire was pre-tested

with six interviews and discarded because its use of free-answer

 

. 1In Elements of Research (New York: Prentice-Hall, Inc.,
1950), p. 160, F. L. Whitney points out that a survey is not
only a "cross section of the present”; its ”purpose is to get
groups of classified, generalized and interpreted data for guid-
ance of practice in the immediate future."

 

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15

questions nade suanarization impossible.1 A more detailed ques-
tionnaire of the check list type was then set up. The answers
given on the pre-tests plus the writer's own knowledge of the
television projects made it possible to include alsost all pos-
sible answers on the check lists. Whenever it was felt that a
check list night influence the validity of the answer, free-answer
questions were substituted.2

Secondary surveys.-Since evaluation by participating
teachers might be weighted because of personal interest, adninis-
trators, television station personnel and parents of participants
were also asked to evaluate the ”Let's Turn the Page" concept.

Twenty administrators of participating schools were in-
terviewed personally. The interview utilised free-answer questions
to allow leeway for personal reactions to the progran.

Six television professionals who had direct contact with
"Let's Turn the Page" programs were also interviewed personally.
However, two of the men preferred to conmit their evaluations to
writing. The questions asked of these six men depended upon their
positions at the station. Directors were asked for suggestions

for improving the production of ”Let's Turn the Page" programs.

 

1In The Art of AskingLQuestions (Princeton, New Jersey:
Princeton University Press, 1951), pp. 42-44, Stanley L. Payne
discusses the difficulties encountered in the use of free-answer
questions.

2See Appendix B for a summary of the contents of the
prinary survey.

16

Child participants took hone short evaluation question—
naires for their parents to fill out and return.1 Because this
parent survey was nade late in the school year, only twenty of
the twenty-five ole-entary schools included in the primary survey
were included in the parent survey. The preoccupation of both
teachers and students with the closing of school reduced the
number of returns still further. However, the two hundred twenty-
feur parents who responded represent a large enough cross section
for their answers to have some value. There are sore serious objec-
tions to the validity of this survey than the nunber of responses;
the parents knew the filled-in questionnaire would pass through
the teacher's hands; the questionnaire was subject to the problems
that confront nail surveys since the child played the role of
mailman.2 The tables which resulted from this survey should be

studied with these factors in nind.3

Plan of Organisation
Chapter I includes (a) a statement of the purpose of
this study, (b) a brief description of ”Let's Turn the Page" for
the purpose of clarifying this particular concept of educational

television, (c) a discussion of the psychological basis for using

 

1See Appendix B.

2Payne, loc. cit., p. 7.

3Tables 4.8, 4.9 and 4.12.

17

television participation as a teaching tool, (d) a statement of
the limitation of the study, (e) a discussion of the justifica-
tion for the study, (f) an outline of the procedure followed in
making the study, and (g) the plan of organization to be followed
in presenting the study.

Chapter II contains background material about "Let's Turn
the Page,” including (a) the origin of the idea, (b) the history
of the four series of television programs which have been presented
under that title, and (c) the motivation of participating teachers
and the effects of participation on teacher attitudes.

Chapter III includes a description of the methods used in
creating and producing a "Let's Turn the Page" television program
in a particular classroom and the analysis of the methods used in
the twenty-five elementary schools surveyed. The methods are
divided into eleven steps: (a) the choice of subject area, (b) the
use of secondary subject areas, (c) reading and research, (d) pro-
gram planning, (e) scripting, (f) casting, (5) making scenery
and/or visual aids, (h) costuming, (1) properties, (1) rehearsals,
and (k) in-studio production. Wherever evaluations apply to one
specific step, such evaluations are included after the analysis
of the method.

Chapter IV deals with evaluations of the project as a
whole by (a) participating teachers, (b) the administrators of
participating schools, (c) television station personnel, (d) the

parents of participants, and (e) viewers.

18

Chapter V offers suggestions for the future utilisation
of the creation and production of elementary level television
programs in the classroom. The suggestions include (a) time of
the programs, (b) teacher preparation, (c) content of programs,

and (d) techniques.

 

"L

CHAPTER II

BACKGROUND OF "LET'S TURN THE PAGE"

Origin
"Let's Turn the Page" originated in wexford County,

Michigan, August, 1955, as a project to encourage children to
read. The idea was inspired by the sight of almost empty reading
rooms and by the frequent complaint of parents, teachers and 1i-
brarians that watching television had taken the place of reading
books. The original program used books as the exclusive source
of material. A

Although many changes of emphasis have taken place in
the "Let's Turn the Page" idea of television production by children
since its origin, two basic principles remain unchanged: (1) as
far as their age permits, children plan and write their own pro-
grams; (2) participation in planning, writing, and performing is
epen to all children.

Mrs. Gladys Cardinal, acting director of the Cadillac-
Wexford County Library, approved the program idea. A tentative
commitment was also given by station WWTV, Cadillac. At the sug-
gestion of Lee Gregory, the new county library director, the idea
for the project was presented to women's groups and Parent Teachers

Associations. Mr. Gregory worked out a tentative budget based on

19

20

one hundred dollar contributions from any ten organizations, of
which he hoped the library would be one. He also suggested that
the program was better adapted to the schools than the library.

In accordance with this plan of spreading the costs, the
plan was presented to the Cadillac Council of the Parent Teachers
Associations, the Cadillac Youth Recreation Association, the vex-
ford County School Board, the Cadillac-Wexford County Library
Board, the Manton Library Board, the Manton Philathea Club, and
the Manton Parent Teachers Association. Out of these groups,
came the following pledges of support: (1) Manton Philathea Club,
three dollars a month for the duration of the project: (2) Wexford
County School Board, two hundred dollars in a lump sum; (3) Manton
Parent Teachers Association, fifteen dollars a month for the dura-
tion of the project: (4) the Manton Library Board, books and
space for rehearsal. Although some members of the other groups
were interested, the project was voted down by the groups as a
whole.

Since the sum contributed was adequate to cover the ex-
penses, the writer decided to donate her time in order to put a
pilot series of "Let's Turn the Page" programs on the air.1 A
new program director at IITV, Daryl Sebastian, confirmed the

tentative commitment of his predecessor.

 

lThe encouragement of the writer's teen age daughter and
of Olive Potrude, lexford County School Superintendent, were in
a large measure responsible for this decision.

21

The First Series

"Let's Turn the Page" activities began in January, 1956,
with the formation of "TV-Reading Clubs" in the Manton Consolidated
School and five Vexford County one- and two-room rural schools.
The "clubs" met during school hours, but participation was volun-
tary. The teachers could use the motivation supplied by the
children's interest in the ”clubs" or not, just as they wished.
Many of the teachers did, helping the children with reading
choices, correlating the writing of script material with language
arts and the rehearsing of parts with speech.

Since the programs were not officially a part of school
work, the writer was the only adult really responsible for the
success of the project. However, the writer was assisted by
large numbers of Manton high school students who were anxious to
learn about television production. One of these is now a pro-
fessional radio announcer and another is preparing for a career
in television.

Fbur months of reading, writing and learning about tele-
vision went into the first program.

A public rehearsal was held in the Manton gymnasium the
night before the air show. This brought the children from rural
schools together with the town children for the first time and
gave parents and teachers a glimpse of what goes on behind the
scenes in a studio. Two banks of flood lights, made by one of

the high school boys, illumined the scene "on-the-air" while the

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22

usual set and cast changing went on in semi-darkness. Stockinged
feet were the rule from the moment the high school floormanager
called, ”Quiet in the studioi"

The School Executive carried the story of the first in-

 

studio production:

One May morning in 1956 [May 11], 4O excited youngsters
from a consolidated school and a 2-room elementary school
out here in northern Michigan invaded the studio of
Cadillac WWTV. These youngsters pioneered a new type of
educational television that day. They took over everything
except the control room and the two cameras. The youngest
were second graders, there to dramatize their favorite
Indian story; the oldest was a high school senior on the
set-moving crew.

During the half-hour show, five dramatic groups pre-
sented playlets written by their own members around books
they had been reading. They acted in front of lO-foot sets
they had constructed, with the aid of high school students,
out of building paper and lath and had painted with appro-
priate scenes.

The activities of the five groups were tied together by
a freshman girl who acted as master of ceremonies. She in-
terviewed a narrator from each group, bringing out pertinent
facts about how and why each playlet was put on.

During these interviews, high school set crews and prop
crews hastily rolled up the old scenes to reveal the new
ones behind them and changed the furniture for the next
playlet. Out in the middle of the studio, the high school
boom mike Operator and floor manager performed their care-
fully planned duties. Over at the side, high school girls
were making up youngsters for the last playlet.

The entire studio was a scene of orderly confusion cor-
rectly associated with television production. Its uniqueness
lay in the age of the participants-~eight years and up.

Thus began "Let's Turn the Page," the children's TV show
that is not only £25 children but by children.

School closed after the third program of a six-program
series. Many children remained with their "TV-Reading Clubs"

during the months of June and July. They met at the Manton Public

 

IPOtI’ude, 10¢. Cit.’ pp. 56-57.

23

Library to read and discuss books, wrote their scripts at home,
then met at the library again to rehearse. Mrs. Irene McDaniel
and several high school student directors assisted with the re-
hearsals.

The first five programs were thirty minute shows, but the
time of the final and sixth show was lengthened to forty-five
minutes in order to accommodate all of the other children who had
prepared skits.

Central Michigan College came into the picture when
Ioodward C. Smith, Vice-president in charge of Public
Services, alerted to the program's possibilities by Miss
Potrude, asked Edwin Spacie to take a look at this grass-
roots TV project. The latter visited 'WTV and saw forty-
five girls and boys, from second grade through high school,
go through the intricacies of a live TV production with
the self-assurance of veterans. Recognizing the educational
potential of such a project, Spacie recommended that Central
get behind the program, thus opening it to a wider area.1

The Second Series

Dr. Spacie's recommendation was followed but not until
after the writer had accepted a regular teaching position at
Manton. Field Services of Central Michigan College agreed to pay
mileage and incidental expenses and a flat sum of two hundred
dollars in order that the program might be enlarged and other
schools offered the opportunity to participate. After the pro-
grams started again, an additional sum was added to pay a substi-

tute for the writer two afternoons a week so that the latter

could visit the participating schools and give direct help. It

 

1Ihite, loc. cit., p. 242.

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24

will be seen that the time of the coordinator was again virtually
a donation.

A comprehensive outline was prepared and distributed
widely among schools near station WWTV. The outline contained
step-by-step methods for classroom use of television participa-
tion. The idea was so novel and teachers generally so fearful
of a medium they knew little about that the first four programs
had to be solicited. Publicity attracted attention to these pilot
programs and within two months all dates for the second series
were filled and a waiting list started for the ensuing year. Ex-
cept for schools in the city of Cadillac, the participating
schools were either rural or semi-rural consolidated schools.

From the end of January, 1957, until the close of that
school year, Central Michigan College employed the services of a
television coordinator, Jack M. White, for all television programs
emanating from the college. His assistance with "Let's Turn the
Page” took some of the pressure off the writer. He handled pub-
licity and made one visit to each participating school as director.
In the studio he conducted the final rehearsal which always pre-
ceded the air show and then went into the control room to direct
the final production. Because he had the advantage of two re-
hearsals with the children instead of one and because he was in-
terested in experimenting with cameo techniques, the picture quality
of "Let's Turn the Page" improved steadily throughout the spring

months.

25

Ihen school closed, twenty-four programs had been added
to the original six and slightly over six hundred children had
shared this experience.

2232598 during;second series.-Gradually, certain changes
had taken place. Instead of several different classes and schools
sharing one program (each class represented by a comparatively
small number), the entire program, now only fifteen minutes long,
was turned over to one class, making it possible for all of the
group to take part if they so desired. For the first and only
time, non-school groups took part. The Manton Boy Scouts put on
one program and the Bensonia Girl Scouts another.

There was also a gradual change in subject matter. About
half of the programs followed the original format of presenting
the contents of specific books by narration, dramatization, or
other means: but the tendency, so prominent today, to let the
subject matter cover the high spots of'a study unit, began during
this year. In most cases, the original motive of utilizing tele-
vision for reading stimulus was not lost but gained by the wider
use of books for background material. Outstanding examples of this
type of program in the second series were two on Michigan and one

based on unit study of the Eastern states.1

A.._‘

1The programs were: Doyle School (one-room), Missaukee
County, Mrs. Lora Sherman, teacher-a map tour of Michigan indus-
tries, a model of an early home and a skit of pioneer life.

Sixth grade, Cass Elementary School, Cadillac, Mrs. Leona
Nugent, teacher-a map tour of Michigan scenic and historic places,
dramatization of early fur trading and pioneer social life, models

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26

The time of the programs had been changed from the late
afternoon hour of the first series to 10:00 A.M. Saturday mornings.
Going into new schools during the next winter, the writer con-
stantly found boys and girls who had the ten o'clock Saturday
morning listening habit the year before. Though a good listening
time, early morning worked some hardships on the participants,
especially if they came from a distance. The high school crew,
which always accompanied the writer to the studio, will never
forget the sleet storm through which they walked the last two miles
to the station. 0n the way, they discussed plans to substitute
for the children who sat mournfully at their desks in nearby
Cadillac. The climax of that hike came when the crew found that
the engineers had been unable to arrive early enough to get the
station on the air.

The last and most welcome change during this second
series was 'VTV's new studio. The writer's own sixth and eighth
grade combination room at Manton had the honor of giving the first

live broadcast from the new studio, November 19, 1956.1 Today

representing the past and the present (an Indian village and the
Caberfae skiing area).

Fifth grade, Franklin Elementary School, Cadillac, Mrs.
Louise Heuss, teacher-~0ut of their study of the Eastern states,
the children chose to dramatize the Boston Tea Party and present
their regular unit work on New York State through talks, pic-
tures and examples of products and natural resources.

1The Telegraph. Samples of this script were widely dis-
tributed for study purposes. It belongs to the early type of
script in which two books were presented by name.

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27

when the new studio seems crowded with thirty or forty youngsters,
the crews wonder how they ever produced programs in a studio
hardly large enough to move the cameras around. Again much of

the credit goes to the high school crews, which controlled the
flow of talent in and out of the studio and changed scenery under
such crowded conditions that anything taken down had to be carried
out of the building. Under the improved conditions in the new
studio, the high school crews were cut from seven or eight to

three people each.

The Third Series

The third "Let's Turn the Page" series on WWTV began
earlier in the fall in order to accommodate as many schools as
possible before viewing audiences fell off in the spring. The
twenty-six programs of the 1957-1958 season brought television ex-
perience to six hundred thirty children.

Changes during third series.—-Severa1 important changes
were made. The writer was placed on half-time salary by Central
Michigan College with the official title of "Children's Television
Consultant" and full responsibility for the program. This particu-
lar television service was removed from Field Services and placed
in Information Services under Gilbert 0. Maienknecht. At his sug-
gestion, a clinic was organized for teachers who planned to par-
ticipate. The latter were invited to Cadillac to observe the final

rehearsal and air show of the first program, October 9th, at

0

v

28

4:00 P.M.1 After this introduction to studio procedure, the group

of thirty-two teachers repaired to a nearby resort for an intensive
session devoted to a study of the outlines and supplementary mater-
ials.

Information Services also instituted and carried on through
the entire school year a weekly letter service which proved to be
the needed type of publicity. Formerly, publicity had consisted
of an advance schedule put out for two months at a time and mailed
to superintendents in the listening area plus such newspaper
write-ups as could be secured in the localities where participants
lived. The new plan consisted of a letter written by each group
of participants, mimeographed by Information Services and mailed
with a cover letter from the writer to teachers of the participating
grade level, requesting that the children's letter be read to the
pupils. A third grade teacher, for example, would receive four or
five such letters in the course of the school year.

By means of these letters, concrete suggestions were made
as to how the Cadillac programs, now changed to three o'clock and
within school hours for most people, could be viewed by interested
classes. As a result, many teachers imported portable television
sets for the first time; and many others took their pupils on

field trips to some nearby home.

 

1”Safety First--Safety Last-~Safety Always," 4th Grade,
Hanton Consolidated School, Hrs. Thelma Sprague, teacher.

29

Another innovation was a demonstration, September 30th,
at the Michigan Education Association Conference of Regions l4
and 15. The Manton fourth grade under Mrs. Thelma Sprague made
the long trip to Cheboygan to give interested teachers an Oppor-
tunity to see a typical classroom rehearsal of their forth-coming
television program.1 High school students operating mock cameras2
and a home-made boom mike hooked up to a public address system
gave a realistic flavor to the rehearsal. Dr. E. G. Spacie acted
as moderator3 and seven teachers whose pupils had participated
the previous school year spoke on the outstanding features of their
projects.4 Over one hundred fifty teachers and administrators at-
tended the meeting. By popular request, a similar one was scheduled

for the 1958 Regional Conference in Cadillac.

 

1Much of the credit for making this demonstration possible
goes.to Supt. Hessell Shotwell. He and Mrs. Sprague (Elementary
School Principal) supported ”Let's Turn the Page” from its inception.

gPattern for mock cameras came from the University of
Hichigan Speech Department. The pattern is available on request.

3Dr. E. G. Spacie, Guidance Consultant, Central Michigan
College. (See p. 23.)

4Hrs. Josephine Harris, Lincoln School, Cadillac, 6th
grade, spoke on correlating a television project with English and
art.

Hrs. Carmen Johnston, Mosick Consolidated School, 8th
grade, discussed building a program around a field trip.

Mrs. Ida Dewey, Bellaire Elementary School, 3rd grade,
told how group script writing functions.

Mrs. Leona Nugent, Cass School, Cadillac, 6th grade, spoke
on the effects of the program on personality development, especially
with backward children.

Mrs. Hilda Whipple, Lake City Elementary School, 1st
grade, gave her estimate of what the youngest groups of children

30

Consultant visits.-Iith no teaching load, the writer was
able to devote more time to visiting participating schools. An
average of four visits were made to each school:

1. During the initial visit, the consultant talked
with both pupils and teachers about television
techniques in relation to the topic the group had
chosen. With upper elementary children this talk
frequently included board talks on aspect ratio
and the way to set up a floor plan. With even the
youngest groups, it included examples of contrast
actually used on preceding programs1 and a demon-
stration of the functions of a viewing box.2 Most
teachers gave the children an opportunity to ask

questions.

 

gain from this type of learning experience although they can
neither read nor write scripts.

Hrs. Viola Moffit, Greenwood school, (one-room), Wexford
County, told how she integrated the project with the normal work
load of a rural school.

Hrs. Lora Sherman, Doyle School (one-room), Missaukee
County, explained the committee method of research and script
writing and the utilisation of local people as source material.

1Frequently the samples of contrast used took on added
meaning because the children had already seen them on the television
screen. This was particularly true of a bridge painted by the first
grade of the Cooley School in Cadillac (Mrs. Nellie McDaniel, teach-
er) for the ”Three Billy Goats Gruff.” Painted in shades of gray
on a large carton, this first grade masterpiece bore little resem-
blance to the realistic bridge the children remembered from the screen.

2Edward Stasheff, Associate Prof. of Speech at the University
of Michigan, granted the writer permission to use and reproduce the
directions for making the Bretsbox found in the book he co-authored
with Rudy Bretz. (The Television Program [New York: Hill and Wang,

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31

2. The next visit was usually late in the planning
stage when the pupils could present the plans they
had made. These were reviewed and suggestions of-
fered. In some groups planning overlapped with at—
tempts at script writing; sample scripts were shown
the consultant for advice. Here again the black-
board was used to advantage. A floor plan showing
the layout planned by the group in relation to camera
and boom microphone movements quickly showed any
flaws in the planning. This gave the consultant the
opportunity to emphasise basic rules in planning for
television.13

3. The third visit usually came early in script writing
if no script was ready on the previous visit, or late
if some script had already been reviewed. Preferably
the visit included a script run-through with the sets
laid out in order around the schoolroom. Even though

the students were reading from incomplete scripts,

 

Inc., 1956], pp. 302-3.) Since the directions were intended for

older students and involved angles too difficult for most elemen-
tary pupils, the pattern for a simple viewing box used by William
H. Tomlinson at Michigan State University was substituted during

the 1957-58 season.

1Several common errors were: (1) failure to allow time
for camera and mike movement, (2) eXpecting close-ups in sequence
that would tie up two cameras just before a scene switch, and
(3) failure to follow a sequence that minimized the distance
cameras and boos mike had to move.

 

 

 

4.

32

the importance of careful planning for talent move-
ment became obvious. Since most "Let's Turn the
Page" programs involved larger numbers of talent
than the usual live program on local stations,
organisation at this point was often the difference
between smooth performance and chaos.
The last visit was for the purpose of reviewing
the finished product and usually came within a
few days of air time. Timing and plans for a
”cushion” were important considerations during
this visit. Almost all groups, left to their own
devices, would have come to the studio with a pro-
gram teo short. Material that took twenty minutes
to rehearse a week or ten days before the program
often took twelve minutes on the air. Many teachers
felt that the need to provide for a "cushion" was
the hardest problem for children to handle. A com-
mon device was to end the program with an appropriate
song or dance and let the picture fade out when the
time was up. Those who "cushioned" with a speaker
were sometimes disappointed to see the child more
interested in watching for time signals than in
his audience:

Often, on this last visit, the teacher had to be

reassured. Since a facsimile rehearsal with the

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33

children all in place around two or three walls

of a classroom bore little resemblance to the

familiar stage rehearsal where one group appeared

at a time as the curtains opened, viewers at this

point in the preparations needed previous tele-

vision experience or an excellent imagination to

form a mental picture of what the screen would

show out of the confused whole.

§2219°t matter.-Subject matter during this series of
programs centered largely around units of study, with only three
or four schools clinging to the old method of story or book drama-
tization and presentation. Some schools used special units, es-
pecially if their date coincided with major holidays; but even
these were normally study units where the factual knowledge in-
volved was well worth the student's time spent in research.
Proggam director.--WWTV assigned Wayne Bishop to the

program as director; he served "Let's Turn the Page" in that capac-
ity for the entire season, the first long period of time that the
program had the advantage of only one director. His familiarity
with the type of scripts used and the possible lay-outs, plus his
liking for children, even in large numbers, were a great asset to
the program. Even though he caught his first glimpse of the show
during the two-thirty studio rehearsal conducted by the high school
floor manager, by air time, with the help of the script, he knew

what to expect and how he could best use his cameras. One of his

34

shows brought praise even from WWTV's rivals at Traverse City's

'PBNel

The Fourth Series

The pressure for another series came from Traverse City
teachers who attended the Michigan Education Association Regional
section meeting and the clinic in Cadillac. For policy reasons,
Supt. Glen E. Loomis refused to allow these teachers to bring
programs to Cadillac, but promised full cooperation of his school
system if "Let's Turn the Page" could be produced live on IPBN.
Raving cleared a new series with Gilbert 0. Maienknecht and Ioodward
C. Smith at Central Michigan College, and knowing that the addition
of another station would mean full time work for half pay, the
writer approached Robert Detwiler and John Anderson at Traverse
City.2

Tentative approval for a series to start after January 1,
1958, was received on October 22, 1957, from Robert Detwiler. In
addition to the Traverse City Schools, three schools already

scheduled for the Cadillac station were closer to IPBN. These

were rescheduled for that station since the writer knew from

 

1"Puppets," 3rd Grade, Pullen Elementary School, Mt.
Pleasant, Mrs. Dorothy Lynch, teacher.

2Robert Detwiler, general manager of the Midwestern Broad-
casting Company, and John Anderson, station manager of 'PBN-TV,
Traverse City, Michigan.

35

experience that open dates in Cadillac would be filled quickly.1
The Grand Traverse County superintendent of schools, Byron Anger,
called a meeting of county administrators and teachers to alert
them to the opportunity represented by "Let's Turn the Page."
Bruce Miles, audio-visual coordinator for the Traverse City schools,
was assigned to alert the city teachers. All available dates were
taken before the first program appeared on the air.2
Sixteen programs on IPBN added four hundred fifty-four
children to the number who had shared this learning experience.
ggbject matter.--In general, subject matter on the Traverse
City station followed the pattern already set at Cadillac, although
there was a tendency to use more special units and even an occasional
program that was not a study unit at all, but a portrayal of a
regular school activity. This latter trend appeared in Cadillac,
too, before the end of the season; however, most programs remained
the results of much reading and research on the part of the children.
Changgs during fourth series.-One innovation on WPBN at-
tracted some controversy. To provide a ”cushion,” the teacher was

asked to appear at the end of the program.3 If there was any time

 

1All MWTV dates had been taken by the end of October.

2One school cancelled in February, but the opening was
promptly filled.

3This was a shattering of precedent: "The show is specif-
ically BY and FOR children. Throughout last year's broadcasting
schedule of 25 [24] programs not ONE adult appeared on the show."
(”'Let's Turn the Page': a TV Success Story!" 333. 315., p. 4.)

36

left, she was to say a few words; otherwise, she was merely intro-
duced by the student master of ceremonies. A few teachers refused
to appear in front of the camera; their programs followed the WWTV
pattern of providing filler material for a "cushion." A poll in-
dicated four times as many teachers were opposed to even this
brief glimpse of an adult as were in favor.1 However, several of
the teachers who did not appear on the air found the home audience

disappointed.

Teacher Response to "Let's Turn the Fags:

It will be noted that, beginning with the second series of
broadcasts, the classroom teacher assumed the responsibility for
the development and production of the individual programs. No mat-
ter how much writing and planning was done by the children, the
teacher's role as instructor and guide was vital and demanding.

Observers have frequently asked three questions about
teachers and teacher attitudes: (1) "How do teachers find out
about 'Let's Turn the Page'"; (2) "Why are teachers willing to un-
dertake a project as difficult as classroom produced television";
(3) ”'hat effect does working with 'Let's Turn the Page' have on

the teacher's attitudes toward television."

 

1The methods survey included the question: "Should the
teacher appear on the program? Yes 5 No 19 Undecided 1 ."

37

Although not properly a part of methods, these questions
were included in the methods survey on which this study is based.

Contacts.-—The sources of first and second contacts with
"Let's Turn the Page" for the twenty-five elementary school teach-

ers who were interviewed for the survey are summarized in Table 2.1.

TABLE 2.1

SUMMARY OF SOURCES OF PRELIMINARY CONTACTS WITH "LET'S TURN THE
PAGE” FOR'ZS ELEMENTARY SCHOOL TEACHERS WHO USED THE PROGRAM
AS A TEACHING TOOL BETWEEN JAN. 8 AND APR. 26, 1958

 

 

 

 

 

lst Contact 2nd Contact
Source of Contact f % f %

Saw the program on TV 4 l6 4 16
Knew teachers whose pupils had

participated 4 16 4 16
Board about program from school

administrator 4 16 3 12
Through Central Michigan College

publicity 4 16 2 8
Acquainted with program from its

inception 2 8 ... ...
At local teachers' meetings where

participation was discussed 7 28 1 4
Attended demonstration at MEA

Regional conferenc. e o o o e e 2 8
Attended clinic for participating

t.&Ch.r. o e o o e s 6 24
Contacted personally by TV consultant ... ... 3 12

 

Local teachers' meetings were the most effective means of

first contact, accounting for 28 percent of the total responses.

Q

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38

The television demonstration at the Michigan Education Associa-
tion Conference at Cheboygan, the clinics at Traverse City and
Cadillac, and personal contacts by the consultant were not men-
tioned as primary sources of contact with the program; however, in
the earlier days of "Let's Turn the Page," consultant contacts were
occasionally a primary source.

It is interesting to note that six respondents came directly
to a clinic for participating teachers after only one contact. It
is probably only a coincidence that the least frequency of response
for second contacts was given to local teachers' meetings. Of
greater significance is the fact that only eight teachers (32%
of the respondents) had seen "Let's Turn the Page" programs as a
source of first or second contact. Previous to the letter campaign
of the 1957-1958 school year, school room queries often indicated
that children were more familiar with the program than teachers.

Motivation of teachers.~-The role of the administrator
was as important in the early days as it is today. Without the
backing of Superintendent Hessel Shotwell of the Manton Consoli-
dated School and Miss Olive Potrude, wexford County school super-
intendent, there would have been no programs at all. Mrs. Wilma
Tremain, Missaukee County school superintendent, set up the first
teachers' meeting to explain what "Let's Turn the Page" could mean
in the classroom; Mr. Ray McKernan, director of elementary education

for the Cadillac schools, promoted the project in his system.

39

However, the desire of the administrator to have his
teachers use television educationally was never enough incentive
for most teachers. The reasons listed by the teachers themselves
may be classified into five categories as shown in Table 2.2.

The most frequent response given (27%) was the fact that an activity
program like television production fitted the requirements of the
teacher's own teaching techniques. The anticipated effect of the
television program itself on the school's public relations was the
least frequent response, a fact which would seem to indicate that
the usual public relations motive for school sponsored child par-
ticipation television programs is comparatively unimportant when

"Let's Turn the Page" is under consideration.

TABLE 2.2

SUMMARY OF THE REASONS GIVEN BY 25 ELEMENTARY SCHOOL TEACHERS
FOR.USING THE CREATION OF "LET'S TURN THE PAGE"
PROGRAMS IN THEIR CLASSROOMS

_
I

 

ILI

 

 

 

 

 

 

' Frequency Percentage
Reasons of of Total
Responses Responses
Child growth 9 21
Requested by administration 8 16
Personal interests ‘ IO 23
Public relations 5 ll

Utilisation fits requirements
of own teaching techniques 12 27

4O

Attitudes toward television.--Curiously enough, most of
the responses summarized in Table 2.2 make no reference to tele-
vision itself. Of the nine responses under "Child growth," five
indicated that television experience was important in the develop-
ment of the modern child. Only three teachers indicated any
personal interest in television because it is television, but seven
said they were always interested in anything new. Only three
respondents spoke of teaching techniques in terms of on-screen
results.

This is particularly significant in relation to the answers
to survey questions intended to bring out teachers' reactions to
television after their "Let's Turn the Page” experience. Twenty-
three of the twenty-five respondents (92%) gave an affirmative
answer to the question, "Would you like to learn more about tele-
vision?" (Table 2.3) Especially significant is the affirmative
response of twenty-one teachers to the question, "Would you like
to repeat this experience?" These responses were given with vary-
ing degrees of enthusiasm, but there is no reason to doubt their
sincerity.

The large percentages of the affirmative answers, ranging
from 92% to 76%, give more significance than usual to the negative
responses. For this reason, the negative responses have been com-
mented on in footnotes to the table by references to teacher mo-

tivation and other pertinent data.

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Sumnar

"Let's Turn the Page" originated as a "TV—Reading Club" proj-

ect in six schools of Wexford County. From a modest beginning of
six programs, it spread into other schools in the listening area
of WITV and WPBN for a total of seventy-two programs by the end of
the school year 1957-1958. The reading club idea gradually merged
into classroom activity units under the classroom teacher. The
change was largely due to the sponsorship of Central Michigan Col-
lege.

Although at first hesitant to attempt television projects,
teachers became more interested after a few programs had appeared
on the air. The program became popular enough that schedules were
filled sell in advance.

Approximately 1,800 children have shared the experience of
creating and producing live television programs in a project in-
tended to utilize their natural interest in television for the pro-

motion of reading and other school learning processes.

CHAPTER III
CLASSROOM METHODS USED FOR "LET'S TURN THE PAGE"

There is no specific "Let's Turn the Page" unit to be
followed by teachers in minute detail. Each teacher uses his own
methods, with only a suggested outline for guidance if any is de-
sired. The function of the writer during the second, third, and
fourth series of productions, was to act as a consultant in tele-
vision techniques. Even in this specialized area, arbitrary de-
cisions were used by the consultant only when required by station
policy.1

In spite of the many differences in program development re-
sulting from such a policy, a description of the methods used in a
sample classroom is advisable as an introduction to the detailed
analysis of methods in this chapter. Since there is no "typical"
group, the two-room school at Grawn has been selected arbitrarily
for this purpose.

Mrs. Irene Russell and Miss Pauline Bates were new teachers
in a rural school where they felt the children needed the learning

experiences possible in television program preparation and

 

lFbr example: the director at WWTV during the 1957-1958
series stipulated that the M. C.'s set be placed in the right hand
corner nearest the control room and all other sets along the two
walls to the M. C.'s right, because of a second live show back to
back with "Let's Turn the Page."

43

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44

performance. Their date fell on Washington's birthday so that the
topic choice was obvious.

They decided to combine the two rooms rather than leave
any of the sixty-two children out of the program;1 however, the
research and planning were done in the upper grade room. The young-
est children created a minuet from having seen them on television
.and having listened to records. Miss Bates had no direct experience
with minuets and gave all the credit for successful performance to
leaders among the children.

The children in the upper grades formed committees, each
intrusted with one section of the script. When the writer visited
the school during the planning stage, the committees had their desks
pulled into four circles for ease in working together. Shelves and
desks were piled high with library books and other reference material.

One committee wrote the narration while the other three de-
veloped dramatic skits; one skit was from washington's childhood,
the second from the Revolutionary war period, and the third from
the signing of the Constitution. Visual concepts of the last two
scenes came from famous pictures.

The older groups in the room proved capable of script
writing with very little help from Mrs. Russell; her assfifiance was
given mainly to the younger committees. In between the skits,

narration covered the outstanding events of Washington's life.

 

1Sixty-one children took part; one child was refused parental
permission for religious reasons.

\q.

45

These narrative bits were written long enough to permit scene
changing; all of the skits were planned for performance on one set
with minor scenery changes. Figure 1 shows the final floor plan
and format of the show as submitted to the WPBN director, Charles
Leipham. Throughout the planning period, the children and teachers
watched other "Let's Turn the Page" programs on the air and dis-
cussed their techniques.

Each committee did its own casting, some preferring to
take, on the air, the parts they themselves had written; others
voting for the classmates they felt best qualified. These older
committees assigned parts to children in the lower grade room when-
ever it became necessary to use the younger children.

Costumes were suggestive, cotton wigs for the boys creating
the necessary colonial flavor when supplemented with neckcloths.
The.children were very much interested in deciding which items in
their own modern wardrobes reflected the styles of colonial times.
If they had no clothes in the correct style, they borrowed in the
neighborhood.

Volunteers painted a window on unbleached muslin to add
realism to the indoor scenes and made a flag with thirteen stripes
and thirteen stars to he used by a sewing group in the Betsy Ross
scene and then hung for a background for the signing of the Consti-
tution. These simple but effective pieces were the entire scenery.
The misuet dancers performed before a rich—looking curtain belonging

to the studio.

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46

 

 

Dance set

 

Interior

Scene l-Washington's home
Scene 2-Betsy Ross home
Scene S-Independence “all

Format--Grawn School

M. C.--joined by 2 narrators
Scene l-—Interior M. C(D

M. C.'s set--6 narrators coming
into camera separately

Scene 2-—Interior

M. C.'s set--Narrator
Dance set-uMinuet (3 min.)
M. C.'s set-—Narrator

Scene 3--Interior (pantomime--
M. C.'s voice)

M. C. and 2 narrators

Dance set--Group of singers
(after M. C. closes)

 

CONTROL ROOM

l.--Floor plan and format Grawn School

 

47

The older boys were appointed property men, shifting the
scenes in rehearsal as well as at the studio. One week before air
time, a high school crew from Hanton Consolidated School brought
two large mock cameras into the classroom, seats were shoved back
into a corner, and the regular high school floor manager conducted
a facsimile rehearsal. Seeing for themselves the importance of the
floor manager, the group chose one of their own number to act in
that capacity the following week.

Although the children had spent six weeks in research,
planning, and script writing, only two were needed for rehearsal.
Most of the time was spent on speech techniques. Having had no
previous experience, the children spoke too rapidly and had a ten-
dency to slur or omit middle and final consonants. A tape recorder
was used effectively and the group became a committee of the whole
to watch for and point out inadequate speech habits. Improvement
was noticeable.

The upper-room children arrived at the studio first so
they might have a conducted tour of the entire television plant.

The mechanics of television and the method of program production

were filled with many new concepts for them. However, they fulfilled
their duties with the aplomb of veterans when air time came. Mrs.
Russell and Miss Bates felt their presence in the studio unessential,
and sat in the lobby through part of the program, enjoying the final

product on the air. Since the number was large, it was fortunate

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48

that IPBN had never insisted on a fifteen minute limit. Playing
time for "George Washington" was nineteen minutes.

As the tables in this chapter indicate, there are many vari-
ations of the method used by Mrs. Russell and Miss Bates in their
endeavor to bring an enriching experience to their students. The
twenty-five elementary school programs surveyed show a cross-section
of the possible methods for using television as a teaching tool

through the creation and development of classroom units and programs.

The First Step
In both the first outline of method and a shorter outline
prepared for distribution at teachers' meetings during the fall of

1957, the carefully considered decision to prepare a program is

1

listed as Step I. The decision is followed immediately by a request

for a date, since the schedule is often full early in the season.
Then:

Iatch a few Let's Turn the Page programs and let the

class analyze them. What type of presentation was most
effective? What kind of material shows up well on the
screen? How does a television program differ from other
pregrams such as those the children have seen on the school
stage?2

 

1See p. 24 for the first outline. The second outline, much
shorter than the first, was entitled "Central Michigan College
Offers You the Opportunity to Use Television as a Teaching Tool in
Your Classroom."

2"Central Michigan College Offers You--," pp. 1-2.

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49

These preliminary stages show little variation in the

twenty-five classrooms studied.

Choice of Subject Area
The subject matter: Whatever in your every day school
program appeals to you [the teacher] and the children as
suitable material to be molded into television pictures.

The lack of regimentation implied in the above statement
has resulted in a great variety of subjects presented on the air.2
During the twenty-five interviews forming the basis for this survey,
four teachers volunteered the statement that they liked the variety
resulting from this latitude of choice. A summary of the subject
areas used will be found in Table 3.1. The preponderance of social
study units in the 1956-1957 series is still observable (34% of the
total responses) in spite of the new and timely emphasis on science
(20%). Language arts with only one response (4%) seemed to have
the least appeal as a possible television subject.

lho chooses the subjgg£?--All material sent out through
the college suggested that the teacher choose the subject together
with the children. In Table 3.2, it will be noted that eleven
teachers (44%) followed the suggestion. However, in ten cases the
children were not consulted until after the teacher (seven responses,

28%) or the teacher and administrator (three responses, 12%) had

reached a decision.

 

lIbid., p. 1.

2See Appendix C.

x8...

50

TABLE 3.1

SUMMARY OF CHOICE OF SUBJECT MATTER FOR "LET'S TURN
THE PAGE" PROGRAMS IN 25 ELEMENTARY SCHOOLS

 

 

 

Frequency Percentage
Subject of of Total
Response Responses
Art......................... 2 5
Language arts............... 1 2
Music....................... 7 16
Physical education.......... 4 9
Reading..................... 6 14
Science..................... 9 20
Social studies.............. 15 34
Totals 44a lOO

 

‘Some programs cut across subject lines.

TABLE 3.2

SUMMARY OF RESPONSIBILITY FOR CHOICE OF SUBJECT AREA
FOR 25 ELEMENTARY LEVEL "LET'S TURN THE
PAGE" TELEVISION PROGRAMS

 

 

 

Frequency Percentage
Choice was Made By of of Total
Response Responses
ChildI‘CII’ “unidedeeeeeeeeeee 4 16
Children guided by teacher... 11 44
TQ‘ChCroeeeeeeeeeeeeoeeeeeeee 7 28

Teacher and administrator.... 3 12

 

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51

A comparison of Table 3.2 with those that follow in this
chapter will show that teachers tend to take more responsibility
on themselves in this step of development than in any other. It
is, therefore, interesting to note that the only teacher who felt
that she had a poor choice of subject matter had made that choice
together with the administrator without consulting the children.
Basis for choice of subject.-éTo quote from the latest out-
line of method again:
Together with the children, choose a subject area that will
be reaching a climax near the date of your scheduled TV
appearance. Don't be afraid of duplicating what some other
group is doing. No two classes have ever presented the same
subject from the same viewpoint, nor are they apt to.1
In spite of the emphasis on regular school units in all
literature put out by the college, only eleven schools (44%) used
regular units as the basis for their programs. Special study units
were the basis for nine programs (36%) and five (20%) were not study
units in the real sense of the word at all, but rather should be
classified as special programs. (Table 3.3)
I.special study unit is defined as a study unit set up

specifically for the production of a television program as opposed

 

1"Central Michigan College Offers You--," £25. £13. The
last statement was aptly illustrated by two programs on WPBN one
week apart. Each dramatized the Betsy Ross and the flag incident,
but so differently that neither group received any comment on the
duplication though both reported wide public reaction to their pro-
grams. The first group set up their scene to conform to an artist's
picture hanging on the wall of their schoolroom. The second filled
the Ross home with neighbors in order to involve more children.
The first had Washington enter alone; the second, with two aides.

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52

TABLE 3.3

SUMMARY OF THE BASES FOR THE CHOICE OF SUBJECT AREA
FOR 25 ELEMENTARY LEVEL "LET'S TURN THE
PAGE" TELEVISION PROGRAMS

 

 

 

 

 

Frequency Percentage
Basis Fbr The Choice of of Total
Response Responses
Unit taught regularly............ 11 44
Special study unit............... 9 36
Special program for TV........... 5 20

 

to one which is given every year. When a special unit is the basis
for choice, teachers are likely to find that the time absorbed by
the study and research outside the normal curriculum plus the time
concentrated on television preparation makes too large a dent in
the already crowded school day. A program based on a unit that is
part of the normal study program not only highly motivates the unit
but also requires surprisingly little extra time.

Ordinarily in this study, the word "program" refers to
whatever is put on the air, but "special program" in this instance
is used to denote those which most nearly resembled school assemblies,
traditional school Christmas programs, et cetera, and involved little
or no study of subject matter. The five programs so classified in-
cluded two dramatisations of favorite fairy tales, recreational
dancing, a safety patrol club, and an Easter religious program. The

last named could be classified as a Bible study unit.

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53

Involvement of secondary subject areas.--Although an oc-
casional teacher treats a "Let's Turn the Page" project as an
extraneous program, the responses in Table 3.4 clearly indicate
that most teachers allow the preparation of a television show to
involve as many subjects as possible. It is natural that the most
frequent response should occur in speech and language arts (twenty-
four responses each, or 96%). Reading also rated a high frequency

of response (twenty-one, or 84%).

TABLE 3.4

SUMMARY OF SECONDARY INVOLVEMENT 01“ SUBJECT MATTER
IN DEVELOPING 25 "LET'S TURN THE PAGE" PROGRAMS
IN ELEMENTARY LEVEL CLASSROOMS

 

 

 

Frequency Percentage
Subject Area of of

Response Classrooms
Arithmetic.................... 13 52
Art........................... 20 80
Language arts................. 24 96

composition other than

script writing............ 9 36
Letter writing.............. 21 84
Oral reports................ 16 ' 64
Script writing.............. 22 88
Music......................... 14 56
Reading....................... .. 21 34
Science....................... 9 36
Social studies................ 18 72
Speech........................ 24 96
Spelling...................... 9 36

TOtCIeeeeeeeeeeeeeeeeeeeee 220 see

 

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54

In Table 3.4 language arts have been broken down into
the divisions that showed most frequently on the survey. Composi-
tion other than script writing includes the composing of sentence
charts for reading in the first and second grades as well as writ—
ten reports on research (nine responses, 36%). Motivated letter
writing as a by-product of the program has been used by twenty-one
teachers (84%). Four types of letters were commonly used:

1. Publicity. This includes the original letter
mimeographed at Central Michigan College and
distributed to over 200 grades of the same level.

Some groups add more personal letters to local
schools and individuals.

2. ”Thankgyou" letters. Bus drivers, parents, tele-
vision station, consultant, administration, et
cetera, are the recipients of this type of letter.

3. Answers to "fan" mail. Teachers report that many
children are still corresponding with "pen pals"
from this source.

4. Miscellaneous correspondence. This includes letters
to the consultant during the planning stage, requests
for materials, et cetera.1

Many teachers failed to list arithmetic as a subject area

involved, but a glance at the details given by those who did list

 

1Examples of several types of letters will be found in
Appendix E.

55

it would indicate that its usage is probably more general than
the table shows (thirteen responses, 52%).
1. Timing. In the lower elementary grades, timing may
be an introduction to clock reading; in the upper
grades, practice of previous learningir Many children
learned how to use a stop watch.

2. Number concepts. Lower elementary teachers find the

 

project helpful in teaching number concepts. A third
grade teacher reported three new number concepts as a
direct result of the research done on the program.

3. Measuring. This usually consists of measuring prac-
tice areas, but several other usages have been re-
ported; e.g., a group of second graders measured
their child furniture at home to determine which set
to borrow: fourth graders, building a doll house,
used measurement in applying wall paper and bricks;
and several groups'reported the use of measurement in
making viewing boxes and spacing block letters.

4. Drawingfto scale. Floor plans may be laid out in the

 

classroom. Two groups reported using graph paper to

enlarge designs.

 

1During the second series, a fifth grade teacher dis-

covered that her group had had inadequate training in telling
time. She used the program to rectify the lapse.

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56

5. Counting. Counting is used primarily in the lower
grades, but a fifth grade reported making an audience
count by having each individual report his own count
and then adding the items on the board. They were
stunned by the size of the resulting figure.

6. Arithmetic uses incident to the topic. These included

 

dates, percentages, converting francs, figuring costs,
adding acreage, et cetera.

The spelling included in Table 3.4 refers only to spelling
lists which were a direct result of the project; the correction of
spelling used in writing appears in Table 3.19. The practice of
using unmotivated lists from a standard speller is so general that
a fifth grade group were triumphantly told by their peers in the
adjoining room that their television project was putting them "be-
hind" in spelling. They were learning to spell ionosphere, atmosphere,
constellation and similar words.

There was a wide variation in the extent to which different
teachers involved secondary subject areas. In Table 3.5 responses
indicate a spread of from four to twelve subjects per class. Four,
five and six subjects per class were involved in three classrooms
(12%). The highest number of subjects (twelve), however, had a fre-
quency of four or 16% of the total number of classrooms. It will
be noted that responses are infrequent until the median number
(eight) is reached. The average number involved per class is nine.

The purposeful involvement of secondary subjects is a com-

mentary on the possible scope of a television participation program

57

TABLE 3.5

SUMMARY OF‘THE NUMBER OF SUBJECT AREAS
INVOLVED PER CLASS IN DEVELOPING 25
"LET'S TURN THE PAGE" PROGRAMS

 

 

 

 

 

Number Frequency Percentage
of of of Total
Subjects Response Classrooms
4 l 4
5 1 4
6 l 4
7 2 8
8 6 24
9 3 12
10 2 8
ll 6 24
12 4 l6

 

in cutting across subject lines in unit teaching. Not all latent
possibilities have been explored. Further possibilities will be

found among the suggestions in Chapter V.

Reading and Research

 

Sources of materials.--Because even the special programs
required some background study, they are included in Table 3.6,
in which the source materials used both for unit study and tele-
vision techniques are summarized.

Books received the highest number of responses as a re-
search source with library books used in twenty classrooms (80%).

encyclopedias in seventeen (68%), and text books in fifteen (60%).

58

TABLE 3.6

SUMMARY OF SOURCES FOR RESEARCH USED BY STUDENTS IN 25 ELEMENTARY
SCHOOLS FOR PREPARING "LET'S TURN THE PAGE" TELEVISION PROGRAMS

 

:—

 

Subject Area Research Television Research

 

 

 

Source f % f X
Library books........ 20 80 12 48
Text books........... 15 60 2 8
Encyclopedias........ l? 68
Magazines............ 3 12
Newspapers........... 2 8 ... ...
Free materials

requested by mail.. 4 16 ... ...
Teachers' files...... 8 32 ... ...
Movies............... 4 16 1 4
Film strips.......... 3 12 ... ...
TV programs.......... 1 4 24 96
Experimental researcha 7 28 ... ...
Talks by visitors.... 8 32 22b 88
Field trips.......... 8 32 1c 4

 

‘Includes experimental work in dramatics while searching
for the best form as well as science experiment.

bIn 21 instances, the TV consultant was the source person.
cThe final field trip to the studio is not included since
it serves no purpose as preparatory study. Advance field trips

were discouraged because they took up so much studio personnel
time.

The one response for television programs came from a teacher whose
students used space as their subject. They found telecasts like

"Mr. Sun" very helpful. The fact that the low frequencies are all

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59

in current sources of material (television, newspapers, and maga-
sines) may signify either that the subject matter of "Let's Turn
the Page" is seldom current or that teachers tend to neglect this
more difficult source of research.

Only two classes found any useful television material in
their textbooks (8%) or in encyclopedias (8%). The lack may or
may not be a commentary on the age of the books. Other evidence,
such as the lack of response under newspapers, free materials re-
quested by mail, teachers' files, film strips and experimental re-
search, might indicate that teachers are so unaccustomed to thinking
of television as a study area that they may not use the available
materials to the best advantage. The fact that magazines and news-
papers were used so little or not at all paints up this argument.
It is to be hoped that teachers‘ television files were bulging at
the end of the project even though they were empty at the beginning.

Although not used as a source of subject material, tele-
vision.program watching was reported by twenty-four of the twenty-
five teachers as a source of techniques. Most of the groups watched
"Let's Turn the Page" for this purpose, but several reported study-
ing other programs, also.

Participation in research.-—A comparison of the columns in
Table 3.6 bears out the claim that "Let's Turn the Page" is a school
program first and a television program second. However, the limited
research in the area of television should not be taken to imply lack

of interest on the part of the children. Table 3.7 also offers a

60

comparative study, but with noticeably different results. The
highest response given (nineteen, or 76%) indicates that everyone
in the class participated in research both in subject matter and

in television.

TABLE 3.7

SUMMARY OF THE UNIVERSALITY OF PARTICIPATION IN RESEARCH BY
STUDENTS IN 25 ELEMENTARY CLASSES WHILE PREPARING
"LET'S TURN THE PAGE" TELEVISION PROGRAMS

 

 

t
.4

Subject Area Research Television Research

 

 

 

 

Number
1 96 f %
Everyone in the class 19 76 19 76
Almost everyone 1 4 g 2 8
Approximately half
the class 3 12 2 8
A few volunteers 1 4 1 4
No students 1 4 1 4

 

By comparing Table 3.7 with Table 3.2, it can be seen
that, although there were ten instances where the children were
not consulted in the choice of subject, there is only one instance
of a program that does not involve child participation in research
in the subject area and one in television. The single instances
were not in the same classroom. The recreational dance program
used no pupil research in the subject area and one of the lower

elementary level projects had no pupil participation in the study

61

of television. The second graders who used dancing as their sub-
ject had a portable television set in their classroom by means of
which they made an intensive study of several "Let's Turn the Page"
programs before deciding what to do themselves. Their final choice
was based on what seemed to them the most interesting activities

on the screen.

Motivation for research.--If the subject area is one that
will usually be studied anyway, the question arises as to whether
the addition of a television program adds any research. On the
survey, the question was put in this form: "Would they [the children]
have done all, some, or none of the subject area research anyway?"
The responses reported in Table 3.8 indicate that eighteen of the
groups (75%) would only have done some of the research without the
added motivation of a television project. Four teachers (17%) re-
ported that the television project added no research to their usual
program while two teachers (8%) claimed that all of the research
was over and above normal classroom work.

It will be noted that Table 3.8 contains the responses of
twenty-four teachers instead of the usual twenty-five. The reason
will be found in the one response to the "No students" item ap-
pearing in Table 3.7. One would expect, however, that all five of
the special programs for television reported in Table 3.3 would

involve no research.1 0n the contrary, the dramatization programs

 

lSuBra, p. 52o

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62

TABLE 3.8

SUMMARY OF THE EXTENT TO WHICH SUBJECT AREA RESEARCH
WOULD HAVE BEEN DONE IN 24 ELEMENTARY CLASSES
WITHOUT THE MOTIVATION OF A "LET'S TURN

THE PAGE" TELEVISION PROGRAM

 

 

Frequency Percentage

 

Children Would Have Done of of
Responses Classes

All of the research anyway 4 l7

Some of the research anyway 18 75

None of the research 2 8

 

were the result of extensive reading and experimentation;1 the
safety patrol club, although its study of safety was completed
earlier in the year, undertook a study of parliamentary procedure;2
and the Easter program was the result of extensive Bible study.3

It can be concluded from the large response under the
heading "Some of the research anyway" that "Let's Turn the Page"
acts as a study stimulus. Typical voluntary remarks in response

to this question were: "Some, but the program gave the push,"

 

l"Giving," 1st and 2nd Grade Combination Room, Cass School,
Cadillac, Mrs. Kate Murphy, teacher; and "We Help One Another,"
Gentle School, Wexford County, Mrs. Sara Tidey, teacher.

2"Safety in Action," 6th and 7th Grades, Bertha Vos
School, Acme, Mrs. Rose Gates, teacher.

3"What Easter Means to Us," Kindergarten through 6th
Grade, Haney School, Grand Traverse County, Mrs. Ina Robb, teacher.
The lower elementary children used a science theme for their por-
tion of the program. Grades 4-6 studied Bible themes.

 

.... ‘

‘1

CF.

63

"Some, but not quite in the same way-~more enthusiasm for work,"
"Did a lot more research this way."

Effect on other school work.--What effect does a television
project have on other school subjects? Do they suffer from the
children's enthusiasm for a new activity? This question, too, was
asked. None of the respondents would admit that the television
project detracted from other school work. Of the twenty-one teachers
(84%) who considered the project a stimulus even in unrelated sub-
jects, a large percentage gave their responses quickly and enthusi—
astically. Among those who hesitated, there may have been some
weighting of the response because "stimulated" was so obviously the

most acceptable answer. The responses are reported in Table 3.9.

...

TABLE 3.9

SUMMARY OF THE EFFECT ON OTHER SCHOOL WORK OF PARTICIPATION
IN A "LET'S TURN THE PAGE" PROGRAM BY THE
CHILDREN IN 25 ELEMENTARY CLASSES

 

 

Frequency Percentage

 

Effect on Other School work of of
Response Classes
Betracted from............... 0 0
Had no CIICCt on............. 4 16
StimlatedOOOOOOOO0.0.0.0.... 21 84

 

There is another aspect of the effect of the program on
other studies which was not brought out by the wording of the ques-

tion; i.e., does the time needed for this program interfere with

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64

the time required for other school subjects? Unfortunately, this
question was never asked in a form that allows analysis; therefore,
the voluntary responses concerning this subject will be treated in

Chapter IV.

Program Planning
The term "program planning" as applied to "Let's Turn the
Page" has two phases: (1) planning material for audience acceptance,
and (2) applying television techniques to the material selected.
The current outline for teachers suggests that during the
research stage, pupils should weigh
the material they read from the viewpoint of how it could be
adapted for television. Does it lend itself to dramatization,
demonstration, exposition-or a combination of several types
of presentation? Spend a period or two evaluating the ideas
that have accumulated, narrowing them down to those best suited
to the abilities of the class, the number who want to take
part, and the material that would offer the most interest to
the potential audience.1

Planning for audience acceptance.--The paragraph quoted

 

contains the first reference to the audience. This casual treatment
of "Let's Turn the Page" audiences often startles television pro-
fessionals; they are inclined to question the validity of a television
show that is aimed at the participant and not the audience. They

make the mistake of assuming that the writer's concern for the chil-
dren's learning experience must result in neglect of the important

factor of audience acceptance. The writer makes two assumptions

 

1”Central Michigan College Offers You--," loc. cit., p. 2.

65

concerning public reaction to the programs: (1) there is always
an audience interested in what children are doing, and (2) the
children and their teacher are aware of the audience and its pos-
sible reaction. Utilizing this awareness is in line with the
general policy to let the children take all of the responsibility
they are capable of handling. Chapter IV reports the extent of
audience acceptance "Let's Turn the Page" programs have received.
Techniques used in planning.-Occasionally a program is
all dramatization or experimentation, but most programs use more
than one method of presentation. Once the units within the program
are decided upon, the children are ready for what, to them, is the
most fascinating part of planning, the application of their ideas
to a television studio.
Television programs are laid out around the wall of
the studio, leaving one end of the studio free for observa-
tion from the control room and the center free for camera
and boom mike operation. Some of the children will be inter-
ested in drawing a floor plan using the dimensions of the
studio to scale. On it, they can plot the movement of the
program, the amount of space it requires, and the requirements
of the operating equipment. This [floor plan] should be
checked by a consultant for practicability. Then the measure-
ments can be transferred to the classroom floor for rehearsal
purposes.1
Additional hints on planning are included in an outline
of practical suggestions "for making your program effective on the
screen."2 It should be remembered that these outlines were written

for laymen and must necessarily contain details that seem obvious

to professionals.

 

1Ibid., p. 3.

2"Let's Learn How to Be on Television," duplicated outline
for use in preparing programs for WPBN.

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66

Actually, our television cameras can give us any one of
three pictures [WPBN cameras use 3 lenses; WWTV, 4] from any
given position on the studio floor--a. a wide picture show-
ing a whole scene called a cover shot, b. a smaller portion
of the same scene, such as two people from the waist up,
(sometimes called a medium shot) and c. close up of one
person's head and shoulders or the page of a book. To help
us see what the camera sees and nothing else, we can make a
simple viewing box with openings in the side to represent
the different lenses.

With a box like this, as we set up our program, we keep
checking the pictures we plan to use. We will soon see that
all of our pictures are the same shape no matter how large
or how small a scene they cover. The proportion is about 3
units high and 4 units wide. . . . (Technical name: aspect
rat1°)e e e e

The sequence of pictures should be so planned that cameras,
microphones and actors will always be where they are needed
when they are needed. . . .

. . . your uninterrupted series of pictures is achieved
by planned economy of movement for equipment and people.

Your poorest pictures come from large groups, but the
same number of people can appear effectively in a series of
smaller groups. Even as few as five people talking back and
forth hit and miss across the group will result in an inef-
fectual picture. The same five peOple and their talk can be
grouped in small sequences that involve only two at a time,
letting the cameras use tighter pictures--but the sequence
must be set up in a logical order for the director to follow.
All other things being equal, having the speaker come into
the camera instead of forcing the camera to seek him out,
is the simplest way of being sure the right person is in the
picture at the right time.1

Student participation in planning.-The grouping of students

for planning the television program is reported in Table 3.10. In

eight classrooms (32%) all of the children took part in what was

evidently a class planning session. In eight other classrooms this

general planning group broke up into smaller committees with every

child participating. Thus, sixteen teachers (64%) reported general

 

lIbid., pp. 1 and 6.

67

participation while only five (20%) reported the planning being

done by small groups (special committees) of children and four

(16%) reported teacher planning without student assistance. Three

of the schools where small groups did the planning were rural schools.

The older children planned for the younger children.

TABLE 3.10

SUMMARY OF ORGANIZATION OF STUDENT GROUPS FOR PLANNING
25 ELEMENTARY LEVEL "LET'S TURN THE PAGE" PROGRAMS

 

—_.__-
-

Frequency Percentage

 

Organization for Planning of of Total
Response Programs
(30-11300 of the 'hOleeeesoeeeeeee 8 32

Committee of the whole followed by
smaller committees involving

Ontir. STOUPeeeeeeeoeoeeeeeeoeee 8 32
Special committee(s) involving

only part of the group.......... 5 20
No .tudent plmniDSoeseeeeeeeeeeee 4 16

 

It should be noted that Table 3.10 is not set up by
grades; of the four teacher-planned programs reported, three were
from lower elementary grade rooms.

Teacher assistance.-—In Table 3.11 responses reported in-

 

dicate that only two teachers (8%) felt that they were able to
give a minimum amount of assistance to students in planning. High
frequency of response (six, or 24%) went to the item "Much assistance"

and five responses each (20%) were given to "A great deal of

Q Q -

IOO.IIOIOOI

68

assistance" and "Approximately half of the planning." Of the five
teachers who reported giving a great deal of assistance in planning,
three taught lower elementary grades and a fourth taught a one-room
rural school with a large percentage of lower elementary level

pupils. The older pupils in this school were all boys.

TABLE 3.11

SUMMARY OF TEACHERS' ESTIMATES OF AMOUNT OF ASSISTANCE
GIVEN STUDENTS IN PLANNING 21 "LET'S TURN THE
PAGE" TELEVISION PROGRAMS

 

 

Frequency Percentage

 

Teachers' Assistance of of Total
Response Programs
A great deal of assistance...... 5 20
”ch CBBi‘tMCCeeeeeeeeeeeeeeeee 6 24
Approximately half of the
planninSOO......OOOOOOOOOOOOOO 5 2o
A littl. ‘.Bi.tance............. 3 12
‘ .1131“. .mth of helpeeeeeeee 2 8

 

It will be noted that percentages in Table 3.11 were com-
puted on the basis of twenty-five programs although only twenty-one
of the total number of programs are included in the table. The
other four were teacher planned.

Consultant assistance.-A1though teacher assistance with
planning concerned itself with both the general phases, consultant
assistance dealt almost exclusively with technical aspects. Usually

such assistance was given after the group had made plans; it

.~.....~...ICQ

69

consisted of suggested changes (often with several alternatives)

in the interest of smoother operations in the studio. In Table

3.12 the number of changes which resulted from consultant assistance
are summarized. The high frequency of response given to "2 major
changes" (ten, or 40%) makes this frequency almost a numerical
average as well as the median figure. The two ends of the spread
("More than 3 major changes" and "Minor changes only") have the

same frequency (three, or 12%).

TABLE 3.12

SUMMARY OF THE NUMBER OF CHANGES MADE IN PLANS FOR
25 ELEMENTARY LEVEL "LET'S TURN THE PAGE"
TELEVISION PROGRAMS AS A RESULT OF
CONSULTANT ADVICE

 

 

Frequency Percentage

 

Number of of Total
Responses Programs
More than 3 major changes........ 3 12
3 major changes.................. 3 l2
2 major changes.................. 10 40
1 major change................... 6 24
Minor changes only............... 3 12

 

It should be remembered that the students and teachers
were working in a new element, one in which there are no texts
for elementary level and none on any level that apply directly to

classroom usage. Teacher training for handling television

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techniques consisted of a three-hour clinic1 where there was a
chance to observe a program being televised and to ask questions.
Reference material consisted of three or four duplicated or mimeo-
graphed outlines or sample scripts, the former hastily put together
as the need arose and the latter uncorrected for errors. These
facts make the number of changes seem surprisingly small.

The types of changes, because of their intrinsic interest,
have been summarized in Table 3.13. The highest frequency of
response (thirteen, or 52% of the teachers responding) is found in
the area of picture improvement through better blocking, greater
simplicity, or better angles in relation to the camera. The low
frequency of response (three, or 12%) in the category of better
usage of the rear view projector was to be expected, partially be-
cause half of the groups had no opportunity to use such a projector
and partially because such usage represented an unfamiliar tech-
nique, which could be avoided without noticeable effect on the pro-
gram.

Meaningfulness to children.--In Table 3.14 the extent is
shown to which planning techniques take on meaning for the children.
Concepts which have no meaning at first become a part of the child's
thinking by the time he has completed the experience. These concepts
seem to become a matter of great pride to the youngsters from about

the fourth grade on. In analyzing the table, it will be noted that

 

1Two teachers did not attend the clinics, although one of
these visited a program being televised.

71

TABLE 3.13

SUMMARY OF TYPES OF CHANGES RESULTING FROM CONSULTANT SUGGESTIONS
IN THE PLANNING PHASE OF 25 ELEMENTARY LEVEL "LET'S
TURN THE PAGE" TELEVISION PROGRAMS

 

J

 

 

 

Frequency Percentage
Types of Changes of of Total
Response Programs
More convenient arrangement of sets 9 36
Use of fewer sets 6 24
Improve pix by better blocking,
greater simplicity, or better angles 13 52
Better use of visuals 5 20
Talent movement into camera to
reduce panning 7 28
Arrangements for successful panning 4 16
More cushion 2 8
Better use of rear projection screen 3 12
Total A 49
TABLE 3.14

SUMMARY OF THE EXTENT TO WHICH TELEVISION TECHNIQUES USED IN THE
PLANNING OF 25 ELEMENTARY LEVEL "LET'S TURN THE PAGE"
PROGRAMS BECAME MEANINGFUL TO THE CHILDREN

 

 

 

Without Partially Generally Fully

Techniques Mzaning Megningful Megningful Meaningful
Use of sets 2 8 7 28 10 4O 6 24
Camera and mike

movements 1 4 14 56 6 24 4 16
Use of small groups .. .. 17 68 2 8 6 24
Controlled talent

movement 2 8 4 16 12 48 7 28
Camera angles 19 76 5 20 1 4 .. ..
Aspect ratio 5 20 ll 44 7 28 2 8

Lens changes 1 4 10 40 9 36 5 20

 

72

the low frequency responses in the "Without meaning" column were
given for the simplest and most obvious techniques: small groups
for better pictures, no response; changing lenses for variety of
pictures, one response or 4%; and moving the camera from set to

set, one response or 4%. Except in three items (use of sets around
the walls of the studio, the careful control of talent movement

from set to set, and the utilization of the principles of camera
angles) the "Partially meaningful" column contains the highest fre-
quencies. For the first two of the three items, "Generally meaning-
ful" has the highest frequencies. The use of small sets and the
movement from set to set are concepts seemingly within the grasp

of elementary students. The third item, camera angles, has the
highest frequency in the "Without meaning" column (nineteen, or
76%). This concept might be considered difficult by professionals.
The generally low frequencies in the "Fully meaningful" column,
ranging from no response to seven, would indicate that most respondents
felt that techniques were still not fully understood.

The original intention was to break Table 3.14 down by
grades, but an analysis of the figures proved that the breakdown
would have little significance. Although it is true that most of
the "Iithout meaning" column figures represent lower elementary
grades, the scattering of the same figures through the other levels
seemed to indicate indifference to television on the part of the
teacher rather than child interest or capacity. Indeed, second

grade children, in a room where the teacher was unusually interested

73

in television, acquired rather clear concepts, while several of
the "Partially meaningful" column figures represent older grades
where very little time was allotted to group discussion of tech-
niques.

Teachers of groups who were thorough in their study of
the television production art, are often amused at the solemnity
of the critical comments made by their students about other pro-
grams. Nor do the children confine their remarks to "Let's Turn
the Page" offerings; the networks get their share of comment. The
children notice backgrounds, costumes meant for color that are
wrong for black and white, unconvincing expression, failure to pay .
enough attention to the aspect ratio, poor lighting, "flubs" and
many other details. This increase in perception may be an aid if
the same children are ever exposed to closed circuit television

teaching.

The Script

Most teachers and students consider the script the hardest
part of the project, but without a script of some kind, the director
would be lost. He rarely sees any of these rather complicated pro-
grams more than once, if at all, before he puts them on the air.

Types of scripts.--The types of scripts used in the pro-
duction of "Let's Turn the Page" programs are summarized in Table
3.15. Eighteen teachers (72%) reported using complete scripts
which included every word the children intended to say. 0f the

seven who did not report complete scripts, three (12%) submitted

74

just an outline and four (16%) reported using almost complete
scripts. From the latter, a few ad lib portions were omitted;

e. g., the dialogue in a puppet play.

TABLE 3.15

SUMMARY OF TYPES OF SCRIPTS USED FOR 25 ELEMENTARY LEVEL
”LET'S TURN THE PAGE" PROGRAMS

—V -
S- ‘C-

 

 

 

Frequency Percentage
Types of Scripts of of Total
Response Programs
co-plet. .criptSOOOOOOOO0.0.0.0....O 18 72
Complete except for short ad lib
portions.......................... 4 16
mtlin. on1y0000.....OOOOOOOOOOO.... 3 12

 

The complete script, which looks so popular in Table 3.15,
has been the subject of much argument. Many teachers feel that
use of a "word-fordword" script results in some stiffness or par-
roting of lines. To settle the argument, if that were possible,
the survey contained the question: "If you were doing it again,
would you use the same kind of script?" Twenty-two respondents
(88%) gave affirmative answers (Table 3.16).

The three teachers who answered "No" gave the following
reasons: (1) two of them wanted to eXperiment with ad lib dialog,

and (2) the other one felt that more action cues would be a benefit

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75

to the director.1 Additional comments indicated that teachers

felt young children needed the feeling of security the complete
script gave them. Said one, "We tried to ad lib, but the children
left out too much. They're too young to ad lib a timed program."
Nevertheless those whose students used ad libbing gave affirmative
answers also. Two teachers commented that a complete script did
not prevent students from ad libbing if they wrote the script them-
selves. The children felt free to change their own words at any

time; the script served merely as a guide and timing device.

TABLE 3.16

SUMMARY OF ANSWERS TO THE QUESTION "IF YOU WERE DOING
IT AGAIN, WOULD YOU USE THE SAME KIND OF SCRIPT?"
ASKED OF 25 ELEMENTARY LEVEL TEACHERS

 

 

 

 

Ifi-

 

 

Affirmative Percentage Negative Percentage
Answers of Total Answers of Total
22 88 3 12

 

Methods used in scripting.--The methods by which the
children did their own scripting is the subject of Table 3.17.
The term "Group orally" is used to give credit for scripting to
small children who delight in figuring out what each one is to

say, but who are too young to write the script for the director

_1

1Appendix D contains samples both of a complete script and
of an outline script. The absence of action cues is noticeable in

the complete script.

76

(nine responses, or 36%). The most frequent response (thirteen, or

52%) indicates that the most popular method is allowing each child

to write his own part. It will be noted that the low response

(three, or 12%) went to "No child participation" or teacherdwritten

scripts. Comparison with Table 3.10 shows that there is one less

response for teacher-written scripts than for teacher-planned pro-

grams.

TABLE 3.17

SUMMARY OF METHODS USED TO ALLOW CHILD PARTICIPATION
IN SCRIPTING 25 ELEMENTARY LEVEL "LET'S
TURN THE.PAGE" TELEVISION PROGRAMS

 

 

fl

Method

 

Group orally...................
Entire group in committees.....
Some children in committees....
Each writes his own part.......

No Child part1cipation.........

Total

Frequency Percentage
of of Total
Response Programs
9 36
3 12
5 20
13 52
3 12
33‘ ...

 

aSeveral groups used more than one method, particularly
when a few children out of the group wrote their own parts.

Teacher assistance.--Responses which show the extent to

which teachers felt they must fill in and edit the children's writing

are shown in Table 3.18. The favorite method of each child writing

“l

77

his own part requires considerable tying together on the part of
the teacher. However, several teachers report that if they change
the wording very much, it is promptly changed back to the original
form in rehearsal. It will be noted that the greatest frequency
of response both in first writing and in editing is given to those
items which indicate little or no help. The figures would indicate
that most teachers were satisfied to put on the air programs which

were largely child written.

TABLE 3.18

SUMMARY OF THE EXTENT OF TEACHER ASSISTANCE GIVEN CHILDREN IN
SCRIPTING 25 "LET'S TURN THE PAGE" TELEVISION PROGRAMS

 

 

 

 

Extent of Assistance 19' 'riunfi— M

f 94 f 9"

Minimum amount of help.......... 7 28 12 48

Some help....................... 6 24 7 28

An average amount............... 4 16 3 12

Quite a lot of help............. 3 l2 ... ...

A great deal of help............ 2 8 ... ...

Entirely teacher written........ 3 12 ... ...

 

.This column does not total 100% because the 3 teacher-
written programs required no editing.

In interpreting the above table, it should be remembered
that the more help the teacher gives with the original writing, the

less editing the script will require. 0n the other hand, three

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78

teachers reporting a minimum of help needed with the original script,
also said they did a minimum of editing; and three others who re-
ported giving "some" help in the beginning, are likewise down for
a minimum of editing. Child written scripts are easily recognized
by the reader, but recognition on the air is not so easy. Sentences
that seem choppy when read sound natural when spoken by children.
Furthermore, children tend to make any script their own by changing
the wording if it seems unnatural to them.

Utilization of scripting_for teachipg English fundamentals.--
One of the many details the survey attempted to establish was the
extent to which teachers made use of script writing in teaching
the fundamentals of composition. In Table 3.19, the responses tell
the story, not of what £2313 be done, but of what 125 done. Per-
centages are based on twenty-five programs although all affirmative
respondents are included in the sixteen (high frequency, 64%) who
used the project to promote the usage of good English. Because
many teachers started with the more familiar area of report writing
on the results of subject area research, the summary in Table 3.19
includes both uses, script writing and report writing. The low fre-
quency bf paragraphing (one response, or 4%) is partially accounted
for by the fact that many of the teachers who used the project to
good advantage in teaching composition were doing so in the lower
grades.

Iith punctuation and sentence structure responses at thir-

teen, the drop to twelve in the spelling response needs explanation.

‘\

79

TABLE 3.19

SUMMARY OF THE EXTENT TO WHICH SCRIPT WRITING AND/OR REPORT
WRITING PRELIMINARY T0 SCRIPT WRITING WERE USED TO TEACH
FUNDAMENTALS OF ENGLISH COMPOSITION DURING PREPARATION

OF 25 ELEMENTARY "LET'S TURN THE PAGE" PROGRAMS

 

t 1

Frequency Percentage
Fundamentals Used of of
Response Programs

 

Good English usage including

vocabulary improvement........ 16 64
Punctuation..................... 13 52
Spelling“....................... 12 48
Sentence structure.............. 13 52
Paragraphing.................... l 4
None............................ 9 36

_‘_

aSpelling here refers to use of dictionary to spell

a needed word and the correction of misspelled words. The

use of spelling to create lists for class use is found in

Table 3.4, page 53.
This comes from a third grade where the teacher used the project
to motivate interest in sentence formation.1 The sentences were
written on the blackboard as the children formed them. Terminal
punctuation was suggested by the children, but the teacher did the
writing. She felt that concepts might be confused if spelling were
involved. Another third grade reported use of the project for im-

proving sentence concepts, but the sentences were written by the

children on paper.2

 

1Third Grade, Old Mission Peninsula School, Traverse City,
Mrs. Viola VanVorst, teacher.

2Third Grade, Elementary School, Beaverton, Mrs. Blanche

Witer, teacher.

80

Nine teachers did not use the program for its most obvious
correlation. Four of the lower elementary teachers are among the
nine non-users, leaving five in the higher grades. The usual reason
given by the latter is lack of time. "we were after ideas," said
one. Another wrote the script himself. However, only two of the
three teachers writing scripts are among the non-users of project
motivation for teaching English fundamentals. The third teacher
was confronted by an exceptional situation.1 The children of a
rural school had known little self-discipline for several years.
Project work, if started, was never finished. A new teacher was
hired to correct the situation. She chose "Let's Turn the Page"
as the remedial project she needed because of the high motivation
it offers. She used a script writing method fairly common; the
children wrote reports on their research first. These reports were
checked for English fundamentals and rewritten in the children's
notebooks. Her next assignment would normally have been letting
the children combine the individually gathered material into a
script. At this point, however, she felt that these particular chil-
dren had already worked beyond any previous discipline and had
stretched their present capacity to its limit. Rather than let
interest in the project bog down in a second writing assignment,
she wrote the script herself, using the notebooks as the source of

material. By this compromise, she brought the entire television

 

1

teacher.

Arlene School, Missaukee County, Mrs. Lora Sherman,

81

project through to a successful conclusion and was able to report
that the children's pride in their own accomplishment had materially
raised school morale.

Use of script form.--In using the term "script writing"

 

most teachers are evidently referring to the audio portion of the
television script, if one judges by the low frequency with which
respondents sent in scripts with both audio and video columns
filled in (five, or 20%). Most of the scripts (twenty-three, or
92%) were professional in form when submitted, but the video column
was left to the director's imagination. Usually, the writer had
to fill in enough detail for director understanding. Although the
lowest frequency of response (three, or 12%) indicates that very
few children learned to write a professional looking script, re-
spondents felt that in seventeen groups (78%) the children under-
stood the form. This was particularly true in the thirteen groups
(52%) that had duplicated copies of the final script for all the
children (Table 3.20).

The writer found that her pupils liked to assume a-pro-
fessional attitude, that they wanted to handle the script form
themselves. With the use of viewing boxes, they became quite
camera conscious; attention to the creation of video directions
motivated some of the exacting work of script writing.

Evaluation of script writing.--Of all the activities in-
volved, scripting seems to be the hardest and most potentially

tedious for young television producers. If this is the case, is

\l

82

TABLE 3.20

SUMMARY OF EXTENT TO WHICH PROFESSIONAL SCRIPT FORM
WAS USED AND UNDERSTOOD IN SCRIPTING 25 "LET'S
TURN THE PAGE" TELEVISION PROGRAMS

 

 

 

Frequency Percentage

 

of of
Responses Scripts
Children wrote all or part in
professional form........... 3 12

Children understood professional
fOI‘OOOOOOOOOO......OOOOOOOO 17 68

Children had duplicated copies of
their script in professional

form........................ 13 52
Teachers sent in scripts in
professional form........... 23 92
Audio and video complete8 5 20
Mostly audio 10 40
Entirely audio 8 32

 

aVideo directions are held to the minimum necessary
for director understanding of group planning.

it worth including in the over-all project? Teachers' answers to
this question are found in Table 3.21. Seventeen of the twenty-
five respondents (68%) felt that script writing for children was

a worthwhile part of the project. The least frequent response
(three, or 12%) was given to a complaint heard the previous year,
"Child written scripts are too bookish." "Scripting too difficult
for some children" brought only five responses (20%), but to these

might be added the three teacher-written scripts (12%).

 

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83

TABLE 3.21

SUMMARY OF THE RESPONSES IN AN EVALUATION OF SCRIPT WRITING
FOR CHILDREN IN SCRIPTING 25 ELEMENTARY LEVEL
"LET'S TURN THE PAGE" TELEVISION PROGRAMS

 

 

Frequency Percentage

 

Evaluating Statements of of Total
Responses Programs
Worthwhile part of project....... 17 68
Fosters originality.............. 10 40

Child written scripts are too
b0°kiah00000OOQOQQQOQQOQQ...... 3 12

Child written scripts are time
consuming although this time is

"11 spent..................... 6 2‘
Scripting too difficult for some

Chilerneeeeeeeeeeeeeeeeeeeeeee 5 20
Teacher wrote script............. 3 12

 

In addition to the responses to questions asked on the sur-

vey, many teachers volunteered statements:

1. "Script writing isn't too practical on the second
grade level."

2. "Writing the script was the hardest part, but the
children became aware of the fact that we study
composition in order to 232 it."

3. "The project brought out the failure of previous
training to instill sentence concepts. Children
had lots of ideas but had trouble putting them on

paper."

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84

4. "It's certainly the equal of any creative writing,
but correlation should be planned early to use the
motivation to the greatest advantage."

5. "It didn't consume much time because each committee
worked on a different section of the script."

6. "The children wrote an hour long script and gained
good practice in evaluating for cutting and summar-
izing. Research went way beyond requirements of the
script because the children wanted to learn."

7. "Script writing gave the children important practice
in expressing themselves in clear sentences."

Script copies.--The chief source of information on script-
ing came to teacher and children through duplicated scripts of
other shows. All teachers who reproduced multiple copies of scripts
were encouraged to send in the extra cepies, which were distributed
according to the age of the writers and the subject matter. Twelve
of the twenty-five teachers rated these scripts as the most helpful

of the printed materials they received.

Casting
Universalityofparticipation on the air.--Casting for

"Let's Turn the Page" differs from most television casting because
of the well-established precedent that all who want to take part
should have the opportunity. This means that the program itself

must be planned with many minor parts.

'\

85

Because any TV program is made up of a series of
small pictures, the class can be divided and sub-divided
until every child who wants a part, has one. The fascina-
tion of TV tends to draw out the latent abilities of
children who are ordinarily indifferent to school work.

The extent to which this democratic principle is carried
out is indicated in Table 3.22. The entire class participated in

ten pragrams (40%).

TABLE 3.22

SUMMARY OF EXTENT TO WHICH STUDENT PARTICIPATION
ON THE AIR INCLUDED THE ENTIRE CLASS IN 25
ELEMENTARY "LET'S TURN THE PAGE" PROGRAMS

 

 

Frequency Percentage

 

of of

Response Classes
Entire class 10 40
All but 1 child 9 36
All but 2—4 5 20
Select few 1 4

 

In the above table, the one group that discarded the demo-
cratic principle stands out more prominently than the facts war-
rant. This was a seventh grade group.2 Hesitance about appearing
befdre the cameras normally begins late in the sixth or early in

the seventh grade. In this particular seventh grade group, however,

 

1"Central Michigan College Offers You--," 10c. cit., p. 2.

2"The International Geophysical Year," 7th Grade Panel
Discussion, Mason County Central School, Scottville, Mrs. Blanche
Hansen, teacher.

there were twice as many volunteers as appeared on the air. The
others were given the opportunity to appear before school assem-
blies instead.

Furthermore, Table 3.22 contains no explanation for a few
children being left out of fourteen programs. The reasons for
their non-appearance on camera are shown in Table 3.23. Nine
children (40%) were left out because of illness, the response re-
ceiving the highest frequency. Two items, "Parents took children
out of town" (two responses, 9%) and "Parental permit slips lack-
ing (five responses, 23%). are the type that cause teachers to
turn gray. Perhaps the most significant item is the last one,
"Pupil failed to show up for bus" (three responses, 14% of the
missing youngsters). One of these was a sixth grader who said,
"I got to playing and forgot to go home." The teacher interpreted

this to mean, "I was nervous about appearing on camera."

TABLE 3.23

30mm! OF THE REASONS GIVEN FOR SLIGHTLY LESS THAN 100%
PARTICIPATION ON THE AIR IN 14 CLASSROOMS PRODUCING
ELEMENTARY LEVEL "LET'S TURN THE PAGE" PROGRAMS

 

 

 

Frequency Percentage
Reasons of of
Responses Responses
Illn....OOOOOOOOOOOOOOOOOOOOOOOOOOO 9 40
Parents took children out of town.. 2 9
Parental permit slips 1acking...... 5 23
Pupils enrolled late in project or
..r. about to ICGVCoooooooooooooo 3 l4
Pupils failed to show up for bus... 3 14

Totals 22 100

 

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87

Choosinggthe cast.--The outline of methods for producing

 

"Let's Turn the Page" programs makes only one casting requirement:
Choose a master of ceremonies from the group. His
function is to make introductions and necessary explana-
tions, and thus to tie the segments of the program to-
gether. If he needs a helping hand, a narrator or two
can be chosen.1
The use of a master of ceremonies is, of course, universal
on these programs. Therefore, in the schools covered by the sur-
vey, twenty-five children have had the exciting experience of
being the first of their group on camera. The use of a child in
this capacity is one of the unique features of the program. Be-
cause of this fact, Table 3.24 is organized in such a way that the
master of ceremonies is separated from the rest of the cast. It
is interesting to note that his importance as the first represents-
tive of the group has made nine teachers (36%) single out this part
for their personal decision, although high frequency (eleven re-
spouses, or 44%) goes to the entire group of children. Fer an
outstanding part like master of ceremonies, only two children (8%)
picked the honor for themselves.
However, when the responses concerning the rest of the
cast are considered, the individualistic item, "Each choosing his
own part," has the high frequence, nineteen (76%), more than double

the response to any other item. The low frequency, five (20%), is

found for "Committee(s)."

 

1"Central Michigan College Offers You--," 10¢. cit.

TABLE 3.24

SUMMARY SHOWING DIVISION OF RESPONSIBILITY FOR CASTING 25
ELEMENTARY LEVEL "LET'S TURN THE PAGE" PROGRAMS

 

 

 

 

Casting Dene by Master of Rest of
Ceremonies Cast

f K r %

Entir. “0013......................... 11 44 7 18

co-itt..(.)0‘00......OOOOOOOOOOOOOOO. 3 12 5 12

Each choosing his own part........... 2 8 19 48

T.‘Ch.r.........OOOOOOOOOOOOOO0...... 9. 36 9‘ 22

Totals 25 100 . 40 100

 

In spite of the fact that each of these responses equals
9, only 6 teachers are included in both responses.
with so much of the casting in the hands of the children,
the question naturally arises as to the wisdom of their choices.
Some typical comments by teachers on this point are:
1. "They weren't my choices but everything turned out
all right."
2. "As long as the children wrote the material, they
should have the fun of giving it on the air."
3. "At first I was surprised at some of the choices, but
later I was surprised at how right the children were."
4. "Several wanted the same parts and by my letting them

make the decisions, they gained experience in giving

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89

way to playmates they thought were better able to
do the job."

The only adverse comment concerned a self-chosen part in
an instance where the child seemingly was over-confident.

An interesting by-product of short parts with many children
writing their own, is the ease with which children became familiar
with each other's lines. Most of the groups found no difficulty
in substituting for absentees. A few took the precaution of
practicing with a stand-in for the master of ceremonies, but many
depended successfully on impromptu substitutions.

Basis for casting.-—The basis for casting is reported in
Table 3.25. This phase has been partially covered in statements
about children taking the parts because they had written them.
However, this basis was included in the new table for the sake of
complete coverage. With large casts and many motives for using the
project, it becomes obvious that the same basis may not be used
for all parts in any given group with the result that the total
number of frequencies is thirty-eight instead of twenty-five.

Again the high frequency (twelve responses, or 48% of
the total number of programs) is found for the item "Individual
preferences." Tryouts (nine, or 36%) often ended in a group vote,
though occasionally the teacher was the judge. The tryout method
was commonly used in selecting the master of ceremonies. The
least frequent response was given to the item "Group vote without

tryout" (four, or 16%).

90

TABLE 3.25

SUMMARY OF THE METHODS USED AS THE BASIS FOR CASTING 25
ELEMENTARY LEVEL "LET'S TURN THE PAGE" TELECASTS

 

 

Frequency Percentage Percentage

 

Mbthod of of of
Responses Responses Programs

TryoutBOOOOOOOOOOO00...... 9 24 36
Criteria set up by class.. 6 16 24
Special ability........... 7 19 28
Individual preferences.... 12 31 48
Group vote without tryout. 4 10 16
Totals 38 100 ...

 

In order to determine whether teachers were satisfied with
the methods used for casting, they were asked for their reactions.
Twenty-three teachers expressed themselves as satisfied; they
would use the same method again. The two who were not gave the
following comments:

1. A teacher who had not used tryouts felt that she

should have.

2. Instead of individual tryouts, another group held

auditions for several complete dramatic casts. As
a result, the teacher felt that better actors in
unsuccessful casts were left with minor parts in

the air show.

 

O l O
I O' I
9

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91

Variety of parts.-—Trying to find suitable parts for a
whole room full of children tends to give variety to the methods
used in portraying each theme. Table 3.26, designed to show the
various types of parts used, also shows that the programs averaged
four types per program.1 To clarify the use of similar terms, it
would be well to mention that narration is used to designate those
parts which assist the master of ceremonies in tying the program
together; interview-type narration, the same parts if the narration
is a conversation between the master of ceremonies and the narrator
and is not directed at the camera;2 and exposition, those parts
whihh are explanatory talks within the main body of the program.

Aside from the master of cermonies, the most frequent
response (seventeen, 68%) was given to the favorite method of adult
. educational telecasters, exposition with visuals to illustrate the
main points. But with children, dramatization ran a close second
with fifteen responses (60%). Only one group 6f the twenty-five
(4%) reported using the effective television device of puppets;
the same low frequency applies to pantomime. Only two groups (8%)
actually performed experiments on the air although seven groups
(28%) used demonstrations. These numbers have added significance

in the light of audience responses reported in Chapter IV.

 

1Table 3.26 was compiled from the scripts and not from
the survey.

21a one instance, the interview was a scene in itself, an
example of how to conduct a newspaper interview. "Little Beaver,"
Third Grade, Beaverton Elementary School, Mrs. Blanche Witer,
teacher.

92

TABLE 3.26

SUMMARY OF TYPES OF PARTS AVAILABLE FOR CASTING 25 ELEMENTARY
"LET'S TURN THE PAGE" PROGRAMS

 

 

 

 

____“

 

Frequency Percentage
Types of Parts of of

Responses Programs
Master of ceremonies........... 25 100
Narration...................... 8 32
Interview-type narration....... 4 16
Exposition without visuals..... 4 16
Exposition with visuals........ 17 68
Demonstration.................. 7 28
Experiment..................... 2 8
Dramatization.................. 15 60
Siaging........................ 8 32
Dancing........................ 6 24
Pantomime...................... 1 4
Puppeteer...................... 1 4
Totals 100 ...

 

Small parts encourage even the timid to try. They also
reduce the time spent in rehearsal, an important factor in a busy
schoolroom. However, so many faces and so much variety creates a
problem of its own; how to maintain a sense of continuity. Whether
a feeling of continuity is there or not cannot be reported in
tabular form. However, several devices have been used to try to

create such a feeling; for examples, a master of ceremonies was

93

occasionally used between scenes; one or more children were some-
times employed in a transitional role, progressing from scene to

scene as visitors whose faces become familiar to the audience.

Making Scenerygand/or Visual Aids

 

Scenery available at studios.--Basic scenery for these

 

twenty-five programs was available at the studios. At WWTV, Central
Michigan College stored seven flats, three for outdoor scenes and
four plain flats to which the group could add any desired item.

A detachable window frame went with the flats; any outdoor scene
could be placed behind the window to create the illusion of a living
room. In addition, the station offered the usual cyclorama.

WPBN offered most of its scenery for use; included was a
rear view projection screen. The use of the latter represented
such a radical change from anything teachers were accustomed to
on stage that only three took advantage of it. Two of these teachers
were not entirely satisfied with results because new slides failed
to show up on time, a fact which necessitated the last minute sub-
stitution of old ones. The third teacher was eminently satisfied,
commenting, "People at home said those boys really looked lost in
the woods!"

Scenic aids made in schools.--Although the making of elabor-
ate scenery was never encouraged for these projects, bits of detail
and graphics of various types were made prolifically.

WPBN used an Opaque projector which accommodated two-

dimensional material three inches by four inches. After the first

94

two programs this was sometimes used for "supering" the name of
the school over the master of ceremonies at the close of the
program. Hand-drawn pictures or mounted photographs ("telops"),
projected by the Opaque projector, received the highest frequency
of response, eight (32%), in spite of the fact they were used on
only one station. A window to set the locale of an interior re-
ceived the same response. Low frequencies of one response (4%)
went to puppets and ceramics, eachof which was the subject of a

single program.

TABLE 3.27

SUMMARY OF ART WORK MADE FOR 25 ELEMENTARY LEVEL
"LET'S TURN THE PAGE" TELEVISION PROGRAMS

 

w -' r
m ‘. r

Number Percentage Frequency Percentage

 

Kind Made of Total of of
Number Response Programs

Complete background 8 4 4 16
Window ‘ 8 4 8 32
Flag 17 9 3 12
Chart 15 7 7 28
In. 3 2 3 12
Poster 9 4 6 24
Name placards l2 6 6 24
Telop 27 14 8 32
Pencil drawings 22 ll 4 l6
Puppets 35 17 l 4
Flannelgraph 2 l 2 8
Ceramics 10 5 1 4
Parts of costumesa 25 13 2 8
Niscellaneousb 7 3 4 l6
TOtflll 200 100 o o o o o o

 

‘Paper hats, wings for birds, tails for squirrels, etc.

bIncludes a totem pole, a doll house, papier mache frog
legs, a 2nd grade "movie," etc.

95

The frequency of response does not give a true picture of
the quantity of art work used. One program used thirty-five
puppets (17% of the items made), representing six different ways
of making them. Seventeen flags (9%) were used on three programs.
The most ambitious art work is reported in the eight complete back-
grounds (4% of items made) which were used on four programs. Two
flannelgraphs (1% of items made) were made for two programs.
Charts, posters, and maps were sometimes used as background, but
more often stood on an easel or were held in the hand. Hand hold-
ing of visuals was discouraged as much as possible, but some
students persisted in holding their visual aids; perhaps the tang-
ible item provided them with a sense of security.

Participation in art work.-A little finer distinction is

 

necessary in discussing the participation of children in the pro-
duction of art work. Table 3.28 contains a breakdown of the total
responses to show the percentage of art work done by the children
and the approximate number of children who participated in the ac-
tivity in each response. In the breakdown, the highest frequency
was given to two items, "All of the children" and "Child volunteers,"
which accounted for 100% of the art work on five programs each (20%).
It will be noted that although adult help, either from teachers
(seven, or 28%) or from other adults (two, or 8%), has a total

of nine responses, the breakdown indicates that the help accounted
for 60% or less of the total amount of art work in the particular

programs.

96

The seeming discrepancy of one in the total frequencies of
the child participation items is due to the fact that one of the

twenty-five programs used no art work.

TABLE 3.28

SUMMARY SHOWING THE DIVISION OF PARTICIPATION IN PRODUCTION
OF ART WORK FOR 25 ELEMENTARY LEVEL "LET'S TURN THE
PAGE" TELEVISION PROGRAMS

 

 

Percentage of Art Work per Room f %
Made by

0-3096 31-60% 61-90% 100%

 

 

All of the

children..... 1 4 5 ll 44
Best child artists ... ... 4 5 20
Child volunteers ... l 5 8 32
Teachers 3 4 ‘ ... ... 7 28
Other adults 2 ... ... ... 2 9

 

Both cases of help from other adults involved the necessary
use of perspective. Only in the fifth or sixth grade did the writer
find children using perspective themselves. One of the most effect-
ive pictures drawn by children was a "telop" of the new Mackinaw
Straits bridge. The tiny drawing was "blown up" on the screen in

perfect perspective.l

 

lSixth grade, Willow Hill School, Traverse City, Mrs.

Teresa Dowd, teacher.

97

Teachers reported that a great deal of the art work pro-
duced during the course of the project was never shown on the
screen. Often the unused items were displayed in the homeroom;
only the best were taken to the studio.

Use of television art techniques.-The principles of color
and contrast fascinated the children and they earnestly followed
the instructions:

We speak of black and white television, but what we really
see is a 5521 picture--all shades of gray from the light
shade that looks white on the TV screen to the dark shade
of gray that looks black. . . . Do you know what shade of
gray cobalt blue or burnt orange will become on the TV
screen? . . . The safest rule to follow to get that all
important contrast in your scenery,art work, models and
costumes is to use contrasting shades of the same color:
blue, brown, green, gray. . . . Not too sharp a contrast,
but enough to show up.

Since the television camera does not reproduce small

details so that they are noticeable, simplicity is also 1
important. You can suggest an orchard with one tree. . . .

Each room drew on a rich resource of past experience in
art. Most teachers found the familiar media and materials of the
classroom adequate for the art needs. Consultant advice, when
sought, stressed the fact that a carton painted in shades of gray
is as effective as an expensive backdrop. Table 3.29 indicates the
extent to which the principles of contrasting color versus change

of color became meaningful to the participating groups before

they went on the air.

 

1"Let's Learn How to Be on Television," loc. cit., p. l.

98

TABLE 3.29

SUMMARY OF THE.USE OF COLOR AND CONTRAST IN MAKING
ART WORK FOR 25 ELEMENTARY LEVEL "LET'S TURN
THE PAGE" TELEVISION PROGRAMS

 

 

 

Frequency Percentage

 

Color of of Total
Response Programs
Shades of gray................ 10 40
Contrasting shades of one
color....................... 6 24
Contrasting shades of more
than on. color.............. 9 36
Hired colors.................. 12 48
TOt‘l 37 eee

 

It should be noted that, although twelve programs (48%)
contained art work in the familiar mixed colors, almost as many
tried the new method of using shades of gray (ten responses, or
40%). If those who used contrasting shades of one color (six, or
24%) and of more than one color (nine, or 36%) are added to the
users of gray, we find an impressive amount of art work done in
techniques easy enough for children to adapt them for television.

Although most of the children secured contrast simply by
using dark and light shades, a few secured effective results
through outlining and/or shading. Only a very few tried high
lighting, perhaps because most of the art was done under the room

teacher and not art specialists.

99

The extent to which the basic principles of television art
work became meaningful to the participating groups, judged on the
basis of what was actually used on the air, is reported in Table
3.30. This rating was made by the writer; teachers either lacked

the background or were too involved in the production to judge.

TABLE 3.30

SUMMARY OF THE EFFECTIVENESS OF THE UTILIZATION OF TELEVISION
ART TECHNIQUES IN THE PRODUCTION OF 25 ELEMENTARY LEVEL
"LET'S TURN THE PAGE" TELEVISION PROGRAMS

 

 

Not Partially Generally Fully
Tech-1m viseda Effective Effective Effective

f % f % I % f %

Contrast............ .. .. 3 l2 9 36 13 52
Proportion.......... 3 12 ll 441 10 40 l 4
lide lines.......... 3 12 6 24 7 28 9 36
Bpacisg............. l 4 6 24 17 68 1 4
Simplicity.......... l 4 5 20 9 36 10 4O
Perspective......... 14 56 3 l2 6 24 2 8

 

aIncludes programs that avoided art work involving the
technique as well as the occasional violation.

The technique used effectively with the greatest frequency
(thirteen responses, or 52%) was the one that seemed to fascinate
children the most, contrast. The simplicity which is characteristic
of television art work was also used with great effectiveness on
ten programs (40%). The harder the technique, seemingly, the less

it was used or the less effectively. Perspective was not used at

100

a11 on fourteen programs (56%) and on eleven programs (44%) the
use of proportions suitable to television pictures was only
partially effective.

Evaluation of art work as learning experience.-Three
months after a certain school had been on the air, the writer noticed
a highly effective library bulletin board which exemplified tele-
vision art techniques. "Yes," said the teacher, "the children
haven't forgotten. All of their art work reflects what they learned
during their TV project."1

Many groups spent a great deal of time on visuals, and
two questions naturally arose: "Did the children learn enough in
art to justify the time expenditure," and "Did the television
project add new learning not ordinarily found in the regular art
course.” (Table 3.31)

Twenty-three respondents (92%) answered the first question
in the affirmative and twenty (80%), the second.

Painting on cloth, making their own designs and patterns,
using block letters, emphasizing with outline, and using contrast
were named most frequently as the types of new learning that in-

terested the children.

 

1Fifth Grade, Oak Park School, Traverse City, Mrs. Alberta
Lynch, teacher.

101

TABLE 3.31

SUMMARY OF'TEACHERS' EVALUATION OF ART WORK AS A LEARNING
EXPERIENCE IN THE PRODUCTION OF 25 ELEMENTARY LEVEL
"LET'S TURN THE PAGE" TELEVISION PROGRAMS

4L

 

 

Frequency Percentage
Evaluating Statement of of
Response Programs
Children learned enough about art to
justify amount of time spent....... 23 92
TV project added new learning not
ordinarily found in their art
I...on.........OOCOOOOOOOOOOOO0.... 20 80

 

Costuming
Extent of costuming.-—"Let's Turn the Page" policy has

 

always been opposed to expensive and elaborate costumes.

You can suggest . . . a militiaman with a three-cornered

hat. Too much detail distracts, but line is important.

And don't forget--the soft colors of old clothes are

more effective than hard surfaced new ones.1

The extent to which costumes were used in the programs

surveyed is reported in Table 3.32. In spite of the fact that
every group was told that new clothes were not an essential on
television, teachers reported receiving telephone calls from parents

who wanted to know what they must buy. The teachers themselves co—

operated whole-heartedly in keeping costuming inexpensive and

 

1

"Let's Learn How--," loc. cit.

102

within the reach of all pocketbooks. Suggestive costumes (ten

responses, or 40%) were often a part of the art work.1

TABLE 3.32

SUMMARY OF THE EXTENT TO WHICH COSTUMING WAS UTILIZED IN
THE PRODUCTION OF 25 ELEMENTARY LEVEL ”LET'S
TURN THE PAGE" TELEVISION PROGRAMS

W-

 

 

 

For a Few For Most For All Total
Children Children Children
f % f % f x %
No costumes........ 4 16 ll 44 10 40 100
Complete costumes‘. 4 16 5 20 . . . . as
Suggestive costumesa 9 36 1 4 .. .. 40

 

‘Fbur groups used complete costumes and suggestive costumes
both.

Two of the teachers used a device for inexpensive costum-
ing fairly common on programs aired the year before. They asked
the children to bring old sheets or table cloths to school and
had a ”dyeing bee," usually using gray or pastel dyes. The children
then made paper patterns and cut out the needed costume parts. Thus
birds acquired wings and elves acquired hats, items which delighted
the children.

It will be noted that none of the twenty-five schools sur-

veyed used costumes for everyone although ten (40%) used no costumes

 

1See Table 3.27.

 

 

 

103

at all. As a rule, the master of ceremonies and narrators are
not in costume (and none were in this sample), but for a Pilgrim
program at Thanksgiving time, costumes were worn by the entire
cast.1

Responsibility for costuming.--To what extent did the

 

children take responsibility for costuming? For the younger
children, a great deal of help might be expected. Ten teachers
(67% of the programs using costuming) reported enlisting the aid
of mothers, especially for complete costuming; seven teachers
(47%) did it the hard way, themselves. While Table 3.33 does
not indicate the percentage breakdown within the room, the high
frequency of twelve responses (80%) is still indicative of the ex-
tent to which children took responsibility in the area of costuming.
The total frequency of response (twenty-nine) indicates that the
responsibility was shared in many groups by both adults and chil-
dren.

Choice of clothigg.-Children everywhere were keenly inter-
ested in what they should wear on television. Whether it was a
costume or regular clothing, question after question was hurled at
the teacher and/or consultant. The writer developed the habit, when
the teacher referred the question to her, of walking around the
room and analyzing the probable picture effect of what different

students were wearing that day. In the survey, an effort was made

 

1

teacher.

Fifth Grade, Kingsley Area School, Mrs. Mabel Henschell,

104

TABLE 3.33

SUMMARY OF RESPONSIBILITY FOR COSTUMING
25 ELEMENTARY LEVEL "LET'S TURN THE
PAGE" TELEVISION PROGRAMS

 

 

Person Responsible Frequency Percentage

 

of of 15
Response Programs
Teacher 7 47
Children 12 80
Parents of participants 10 67
Total 29 eee

 

to determine whether or not children understood the screen effects
of poor choices in clothing and the reason for the effects.

In Table 3.34, the high frequency of response (twenty-one,
or 84% of the total programs) was given to the item "Children under-
stood what clothing to wear on TV." However, only eight responses
(32%) indicated that the understanding included some concepts of
how the television picture was made.

Respondents reported eight instances of poor choices made
by the children; e.g., an exceptionally loud plaid, a white sweater
that washed out a little blond mistress of ceremonies, a gawdy
Hawaiian head scarf (the more striking because it was used in a
Betsy Ross scene), an outsize white shell necklace. Most of the
articles represented something dear to the heart of the wearer;
wearing them or not wearing them made little difference in the show

as a whole.

105

TABLE 3.34

SUMMARY OF THE EXTENT TO WHICH CHILDREN PARTICIPATING ON 25
ELEMENTARY LEVEL "LET'S TURN THE PAGE" PROGRAMS
UNDERSTOOD GOOD CHOICE OF
CLOTHING FOR TELEVISION

 

 

 

Frequency Percentage
Children Understood of of Total
Response Programs
What clothing to wear on TV..... 21 84
Picture quality reasons for a
Bel-aetions.........OOOOOOOOOO. 8 32

 

.Three teachers specified "Partially understood."

Both the director and the writer were fearful of an Uncle
Sam costume which seemed to be all stripes; however, fear that the
stripes would "crawl" proved groundless. The colors were pastel;’
making contrast negligible. The chief effect was to make Uncle
Sam a rather pallid character.

The children's excessive interest in personal appearance
led to an incident that was humorous in spite of the trouble it
caused in the control room. Little Goldilocks arrived at the
studio in a dress that contrasted beautifully with her blond curls
.and that was styled just right for a six-year old. Then she began
to move and the control room sought the source of an annoying,
grating sound. The dress was taffeta and rustled harshly with

every movement. When the sound was first heard, a narrator was

telling the story on a separate mike and the child was using pantomime,

106

so the director switched off the boom mike, only to be caught a
minute later with the mike off and the three "bears" speaking on
the set. Those who work with children in television like to claim

that this sort of mishap is what makes life interesting.

Properties

 

The making of all types of properties which involve art
work has already been considered in the section on "Making Scenery
and/or Visual Aids," which begins on page 93. This section, there-
fore, deals only with those hand prOperties and items of set dress-
ing which involve no art or are not made by the students or teacher.
For the purposes of this study, science experiments are considered
as involving no art even though the students may have made such
things as model electric motors and home telegraph outfits.

Amount of properties.--Again, in the area of preperties,
the accent was on simplicity and utilization of a minimum number.
Whenever possible, properties belonging to the studio were used.
Both studios had about the same types of set dressing available
except that WWTV had risers and WPBN did not. In addition, liter-
ally hundreds of items were brought into the studio for use on the
twenty-five programs surveyed. These included special furniture
for dramatizations, models, experimental materials, items for
demonstrations and exhibits, books, musical instruments, and one

complete puppet theatre.

107

At I'TV, the master of ceremonies always sat behind a
desk on a chair; at WPBN, he sat on a stool with nothing between
him and the camera.

Procurement of properties.--For the purposes of this study
the amount of responsibility taken by the children in procuring
the properties brought into the studio is more important than the
sheer numbers. Table 3.35 shows the spread of responsibility.
The children procured all the properties in two instances, 61-99%
of the properties in seven, 31-60% in nine, and up to 30% in
three, making a total of 21 programs (84%) on which the children
assumed responsibility. Procurement of properties by adults falls
into the lower percentage brackets in all but two instances. One
of the latter was a program using a single "prop," a model of a
satellite loaned by Brooks and Perkins of Detroit.

One principal said that the children had become first
class scroungers, but he seemed to think the experience was very
good for them.1 Perhaps responsibilities taken by the teacher
might often have been left to the children: but teacher, too,
sometimes was carried away with enthusiasm for what she was doing.
Sometimes the children's interest at school ended in forgetfulness at
home. One teacher, instead of taking over the children's responsi-
bility (in this case to bring yarn to mark the orbits of the planets

around the sun) handed them a ball of school twine, much too thin

 

1Interview with James Roberts, Principal Kinney School,
Mt. Pleasant.

....

108

for their purpose, and let them dye and braid it. The braiding
was a long and tedious task, well calculated to overcome forget-

fulness.l

TABLE 3.35

SUMMARY OF SPREAD OF RESPONSIBILITY FOR PROCURING PROPERTIES
USED ON 25 ELEMENTARY "LET'S TURN THE PAGE" PROGRAMS

 

.A‘

 

 

Procured Percentage of Proppgper Room Total %
by . ‘
0-30% 31-60% 61-99% 100% f
Children 3 9 7 2 21 84
Teacher 7 5 ... ... 12 48
Parents 5 l ... ... 6 24
Other adultsa 5 3 ... 1 9 36
School 4 2 l ... 7 28

 

.Includes Bell Telephone Co., Brooks and Perkins of Detroit
as well as local stores and individuals.

Production teams.--As children become older, the desire
to appear in front of the camera is submerged in some individuals.
These, however, were drawn into interesting participation if a
full crew of production people was set up: cameramen, mike
operator, floor manager, stage manager, prOp men, all add a feel-
ing of professionalism to the schoolroom studio. Many teachers

ignored this opportunity, usually because they lacked knowledge of

 

1Fifth Grade, Oak Park School, Traverse City, Mrs. Alberta

Lynch, teacher.

109

the functions of production teams, but sometimes because they felt
the children were too young. Where the children assumed such
responsible positions from the beginning of rehearsals, they usually
were able to carry through with responsibilities delegated to them
in the studio.
It will be noted in Table 3.36 that many teachers clung

to the simpler method of having each child take care of his own
properties. Except in the case of property men or stage managers,
the production team showed some tendency to break down in the
studio. Even in these positions there was a drop in child re-
sponsibility between rehearsal and studio partially due to duties
taken over by the high school crew. In the case of scene shift-
ing, the assumption of responsibility by older students was in-
-tentional. Of the twelve programs requiring scene shifting, all
but two were entirely the responsibility of the children as long
as they were in the classroom (talent responsibility, three re-
sponses: property men, seven). On the air, the high school crew
hastily recruited talent (an increase of two responses) and other
adults (three) to take over part of the duties of the regular
classroom crew. Occasionally, the change was due to the children's
interest in their new surroundings; they were so enthralled they
neglected the duties assigned them. Two of these cases may have
been due to the duties being assigned the children late in the

preparation rather than being something they were used to.

110

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111

In the responsibility for hand properties, the pattern set
up in the classroom had more carry-over in the studio. Most of
the shift (two responses) was from appointed prOperty men to
child talent.

Table 3.36 is based partially on the writer's studio re-
ports and partially on teacher responses.

Evaluation questions.--The survey Contained several evalua-

 

tion questions relating to the section on prOperties and set
dressing. In order to summarize the answers in Table 3.37, they
have all been worded to require an affirmative answer. Any answer

not appearing in the table can be assumed to be negative.

TABLE 3.37

SUMMARY OF EVALUATIONS BY 25 TEACHERS OF UTILIZATION OF
PROPERTIES AND SET DRESSING ON ELEMENTARY LEVEL
"LET'S TURN THE PAGE" TELEVISION PROGRAMS

 

 

 

Frequency Percentage
Evaluating Statements of of
Response Programs
Had right number of props......... 21 84‘
Props pre-judged for TV adaptability 18 72
All hand props showed up on TV screen 17 68
Screen showed set dressing placed ‘
CIIGCtivelyOOOOOOOOOOO...-0...... 18 72
Children fulfilled responsibilities
in regard to handling props and
.9t change-.....u......e........ 21 84

 

aTwo programs without props are included.

- so:

112

Failure of hand properties (eight responses, 32%) and
set dressing (seven, 28%) to show effectively on the screen was
probably due to lack of familiarity with camera angles and "tight"
shots. It will be noted that teachers gave twenty-one affirmative
responses (84%) to the item "Children fulfilled responsibilities
in regard to handling props and set changes," a number slightly
higher than the figures in Table 3.36.

The specific reasons given by teachers for ineffective
screen results are summarized in the following list:

1. Set dressing was placed on background too high, es-

pecially if children were seated. In attempting
to correct this, it was placed behind the children's
heads a few times.

2. Properties blocked each other, especially on tables.

3. Tables blocked talent and/or properties or other set

dressing.

4. Children holding props failed to bring them into

tight shots.

5. Some objects were too bright, such as plastic book

covers.

A large black spider for Miss Muffet was the classic example
of a property that no one saw on the screen. One of the boys had
the idea of shooting it across the floor on a skate. Miss Muffet
did a fright act and ran off camera, but the audience never saw

what frightened her. The spider rolled in below the shot with such

113

speed neither the director nor cameraman caught the motion until
too late. Failure to slow up action is often just as important
a cause of mistakes1 on these programs as failure to think of
shots in prOper ratio.

The evaluation questions elicited other voluntary remarks:
"Everybody helped; the girls even helped the boys put on their
make up": "When the bus failed us, the children went out and dug
up the cars themselves on a moment's notice"; "Everybody tended

right to business."

Rehearsing

 

Teachers constantly express surprise at the small amount
of rehearsal a "Let's Turn the Page" program requires.
You are now moving into the last week or ten days before
air time and are ready to rehearse. It takes very little
general rehearsal for a program the children have put
together themselves. More important is the help you can
give individual children who do not speak clearly or who
lack expression.2
Rehearsal techniques.-If the group follows the rehearsal
pattern recommended in the outlines, all rehearsals will be on
sets the exact size of those used in the studio, with floor posi-
tions marked with tape whenever necessary. Even the distances?

between sets should correspond with studio measurement if possible.

A complete production crew should be using viewing boxes for

 

1To the children, mistakes are "booboos". Participants
almost always count their "booboos" after a program.

0

it., p. 3.

ZnCQntral Michigan College Offers You--," loc.

114

cameras, real or mock microphones, and moving properties and
scenery. The floor manager should be performing all the studio
duties of that office. Many groups added a timer to the recom-
mended production crew.

Early use of all properties was strongly recommended,
though many groups found the substitution of mock pr0perties for
fragile or borrowed things worked very well. The greatest fre-
quency of response in Table 3.38 (twenty-two, or 88%) was given to
complete property rehearsal, indicating that teachers generally
appreciated the importance of children working with real properties
in rehearsal.

While summarizing their rehearsal techniques for the survey,
teachers were asked to rate the techniques they found most valuable.
In Table 3.38, the average number of times a room used each tech-
nique is reported also. The most frequent average number (ten)
was given to rehearsals in the order of sets to be used at the
station. The least frequent was given the tripod mock cameras and
the high school floor manager. High school students were needed to
operate the cameras and were rarely available because of the con-
flicting hours. The high ratings given the use of these cameras
(four first ratings and two second ratings out of eight uses) in-
dicates the arrangement was unfortunate.

To facilitate grouping the techniques into their respective
categories, suitable divisions have been made in Table 3.38. How-

ever, totals are not given for the divisions because there is some

TABLE 3.38

115

SUMMARY OF THE UTILIZATION AND EVALUATION OF REHEARSAL TECHNIQUES
IN THE PRODUCTION OF 25 ELEMENTARY LEVEL "LET'S TURN THE PAGE"
TELEVISION PROGRAMS

 

 

 

L
-

 

 

 

 

 

 

Frequency Percent- Ratin Ave.
of age of -———————JL——————- No.
Rehearsal Techniques Response Programs 1st 2nd Times
a Used
er
I % f %a oom
Mock Camera.
Viewing box............ 21 84 1 5 5 24 a
Tripod neck camerasb... 8 32 4 so 2 25 1
Floor Plan
L.1d .nt to .CIIOe e e e e e 6 24 3 50 2 33 9
Sets in order not to scale 20 80 3 15 l 5 10
Microphone
Mock microphone........ 2 s 1 so 1 so 8
Live micfophone........ 16 64 4 25 3 l9 2
Floor Manager ,
Child as floor manager. b 11 44 l 10 2 18 8
B. 8. student floor manager 8 32 l 13 .. .. 1
Teacher as floor manager 11 44 l 10 .. .. 5
Dress Rehearsal
lith costumesc......... 14 56 1 7 1 7 2
'ith complete propsd... 22 88 6 27 2 9 4
Iith almost complete props 17 68 .. .. .. .. 6
Complete scene shifts“. 10 40 l 10 .. .. 5
Almost complete shifts. 3 l2 .. .. .. .. 9
'1th ‘3 ludiODCO. e e e e e a 18 72 6 33 7 39 2

 

.Percentage of frequency of response for this item (column 2).

bRequire high school students who are not always available

during school hours.

cTotal number programs using costumes 8 15.

dTotal number programs using props a 23.

.Total number programs using scenery shifts a 12.

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116

repetition of groups; e.g., the same group may have used both
complete and almost complete prop rehearsals.

It is interesting to note that, in general, the highest
rating percentages (50%) went to those techniques which most nearly
simulated studio conditions; i.e., floor plans to scale, the use
of the mock cameras and mock micrOphones. The high ratings (33%
first rating, and 39% second rating) given to audience rehearsals
are specially interesting since television is primarily a non-
audience medium at the place of production.

In the inevitable comments that the discussion of tech-
niques elicited, the most frequent were: "Next time, I'd start
using these techniques sooner"; "We should have used a live mike
more often"; and "I didn't realize how important television con-
cepts were."

Time span for rehearsals.—-How long a time span should the

 

rehearsals cover? Frequencies reported in Table 3.39 indicate that
teachers differ. Some preferred to rehearse less frequently over
a longer period of time; two teachers used four weeks (8%) and
seven used three weeks (28%). Others preferred concentrated work
over a shorter period; four groups (16%) did all their rehearsing
in one week. The greatest frequency was given two weeks (nine re-
sponses, or 36%).

According to the teachers' responses, however, the shorter

time span seemed to be the favorite. One of the two teachers using

117

four weeks and three of the seven using three weeks indicated

that the time was too long. Two of the five teachers using short
.time spans indicated that they preferred more time. The two weeks
time span seemed to give the greatest percentage of satisfaction,
only one teacher out of nine favoring change. The usual reason
given for favoring a longer time was to spread the practice more;
for a shorter time, the danger of the project going stale and being

over-rehearsed.

TABLE 3.39

SUMMARY OF THE TIME SPAN SPENT IN REHEARSAL OF 25
ELEMENTARY LEVEL "LET'S TURN THE PAGE" PROGRAMS

 

 

Frequency Percentage Want Time Changes

 

 

Time Span ‘ of of More Less
Response Programs

f % f %

1 week.............. 4 16 1 4 .. ..

1% weeks............ 1 4 l 4 .. ..

2 weeks............. 9 36 .. .. l 4
2% weeks............ 2 8 .. .. l

3 weeks............. 7 28 .. .. 3 12

4 weeks............. 2 8 .. .. l 4

Totals 25 100 2 8 6 24

 

Speech improvement.--One of the many by-products of a

 

television project is the opportunity it affords for motivated

speech practice. In Table 3.40, the greatest frequency is given

118

to some improvement in speech resulting from the project (fourteen
responses, 56%). Three responses (12%) indicated great improve-
ment. Frequencies in the table do not total twenty-five because
the dance program did not involve speech except for the master of

ceremonies.

TABLE 3.40

SUMMARY OF THE EXTENT TO WHICH 25 ELEMENTARY LEVEL
"LET'S TURN THE PAGE" TELEVISION PROGRAMS
RESULTED IN IMPROVEMENT IN SPEECH

 

 

 

 

 

 

Some Much Great
Improvement Igprovement Improvement
f % t % f %
Speech improvement? 14 56 7. 28 3 l2

 

The survey not only queried the extent of speech improve-
ment, but also the methods by which the improvement was attained.
In Table 3.41, the highest frequency was given the method of using
criticism by the class as a whole (nineteen responses, or 76%).
Class discussion of techniques received sixteen responses (64%).
Only two groups (8%) received assistance from a speech teacher.
Many teachers said emphatically that the children learned more
from each other and would take more criticism from each other than

from any adult. Tape recorders were used in fifteen groups (60%).

or

119

TABLE 3.41

SUMMARY OF THE METHODS UTILIZED TO SECURE SPEECH IMPROVEMENT
FOR 25 ELEMENTARY LEVEL "LET'S TURN THE PAGE"
TELEVISION PROGRAMS

 

 

Frequency Percentage

 

Method of of Total

Response Programs
Tape recorder......................... 15 60
Public address system mike............ l 4
Help from a speech teacher............ 2 8
Suggestions from consultant........... 13 52
Imitating the teacher................. 12 48
Suggestions from audience(s).......... 4 16
Class discussion of techniques........ 16 64
Criticism from the class as a whole... 19 76

Children giving individual help

to classmates....................... 9 36

 

Child understanding:of microphones.--Two questions were
asked in an attempt to determine the amount of understanding behind
child use of microphones. In Table 3.42, nineteen responses (76%)
indicate that most of the groups understood what they must do to
be heard effectively, although a few teachers added, "They didn't
practice everything they knew," or ”We should have used the micro-
phone in the classroom more often for better results." A correspond-
ingly few teachers said, "They surprised me, they learned so quickly.”
Nevertheless, only five responses (20%) indicated that the

children knew how the microphone operates.

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120

TABLE 3.42

SUMMARY OF 25 TEACHERS' EVALUATIONS OF CHILD UNDERSTANDING OF
MICROPHONES AS SHOWN IN "LET'S TURN THE PAGE" PROJECTS

 

 

 

Children Understood Frequency Percentage

 

of of
Response Projects
How to speak effectively over
.licrOPhODQooooooooeooooeooee 19 76
How a microphone operates....... 5 2O

 

In The Studio

The final rehearsal was always in the studio with the
studio director in charge at WPBN and the high school floor manager
at IITV. In both cases, it was the control room director's only
opportunity to see the show before he had to put it on the air.

Orientation.--The children came into the studio with stars
in their eyes, so awed by their surroundings that some device was
needed to make them feel at home. Whenever time permitted, the
high school students took the children on complete tours of the
studio,1 preferably before the rehearsal. The tour and the re-
hearsal combined had the effect of making the children feel at ease
so that when they faced live cameras, comparatively few showed any
nervousness. In fact teachers frequently remarked, ”I don't know

how they do it. £.couldn't2"

 

1Twenty tours were taken altogether; four 2nd or 1st grade
groups did not tour because their teachers felt they were too young,
and one 6th grade group arrived too late.

O Q Q Q C O O

121

Interest in equipment.--The cameras themselves excited the
greatest interest on the part of the children. One hundred percent
of the twenty groups that toured the station mentioned cameras in
response to the question, "What interested you the most in the
studio?" (Table 3.42) The control room ranked second with twelve
respbnses (60%) and lights third with eleven responses (55%).
Probably the control room, transmitters, and film-slide cameras
suffered a little in frequency of responses because this part of
the studio was visited by only seventeen groups. Rarely were groups
below the fourth grade taken into the directors' and engineers'
quarters.

Many groups prepared themselves for the tour in advance.

To add to their interest in delving into things technical, the
writer sometimes suggested in the classroom that the high school
guides liked to answer questions, the more difficult the better.

Trying to stump the guides became a favorite sport; two groups

succeeded, much to their elation.

summary
The creation of television programs for in-studio produc-
tion as a classroom activity seems to involve two processes: the

regular methods of developing a study unit and the application of

television techniques to selected material in the unit.

TABLE 3.43

SUMMARY OF CHILDREN'S INTEREST IN TELEVISION STATION
EQUIPMENT AS‘SHOWN IN 20 TOURS IN CONNECTION WITH
ELEMENTARY LEVEL "LET'S TURN THE PAGE"
TELEVISION PROGRAMS

 

 

Greatest Interest Shown in Fr°qu°n°y P°r°°nt989

 

of of
Response Tours
Cameras......................... 20 100
Lights.......................... 11 55
Boom microphone................. 7 35
Monitor......................... 5 25
Scenery for other programs...... 3 15
Professional talent seen previously

on screen..................... 8 40
Rear view projector screen (IPBN) 3 15
Newsroom (WWTV)................. 3 15
Control room.................... 12 6O
Transmitters.................... 2 10
Film and/or slide cameras....... 3 15

 

Analysis of the tables on method shows that both processes
were essential parts of the program.

Since a classroom activity becomes a learning process in
almost direct proportion to the extent of child participation in
all phases of the activity, the tables on participation are also
significant. The extent of child participation varies from step
to step of the production process. Choice of subject area has

the lowest percentage of child participation, and performance on

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123

the air show has the highest. In spite of the variations, however,
the figures show that "Let's Turn the Page" is essentially the

children's own show.

CHAPTER IV
EVALUATION

Evaluation of a project of the magnitude described in
Chapter III becomes very important, not only to the teacher, but
also to the administration and the television station.1 Normal
schedules have been disrupted, station personnel have worked extra
hours under conditions which the industry considers difficult, much
time has been taken from the school day, time which parents may
feel ought to have been spent on basic drill.

Because evaluation, to be valid, needs to present many
viewpoints, teachers, administrators, station personnel, and the
parents of participants were queried. These people are probably
in the best position to know whether the program attains its ob-
ject in providing an enriching experience for the children. Howb
ever, according to the standards of the television world, audience
,acceptanco is the final evaluation. Gilbert Seldes said:

If the mass media merely serve their audiences, the measure-
ment of size is a sound business practice; if they go further

and create audiences for themselves, the conclusions they draw
from their statistics become important to society at large.

 

1Levenson and Stasheff, 22. cit., p. 209.

2Gilbert Seldes, quoted by Leo Bogart, 22. ci ., p. 306.

124

.'

125

Accordingly, insofar as facts are known about the audience created
by "Let's Turn the Page,” they will be reported although an audience

survey was not the purpose of the study.

Evaluation by Teachers

According to Edgar Dale, "The best way to evaluate any
teaching is by seeing how closely the resulting behavior resembles
the behavior we set out to teach."1

Child growth.-To the teachers who looked on television
participation as a means of promoting child growth, both indivi-
dually and socially, the responses in Table 4.1 will be of inter-
est. All participating teachers, in considering child growth,
were asked to think in terms of growth only during the project.
Characteristics already strong were reported separately. Thus
where the frequency of four responses (16%) was given under the
heading ”Characteristic Already Strong" (see the item "Ability
to work as a team"), it was to be expected that these same four
groups would be rated as having had "Some" or "No growth" during
the project. The same reasoning can be applied to all of the re-
sponses under the heading "Characteristics Already Strong.” It
will be noted that "Awareness of own limitations" and "Pride in
group accomplishment" had no responses under this heading.

High frequency of response (twenty, or 80%, under "Great")

was given to group pride in what the children had accomplished by

4

1Dale, 22. cit., p. 11.

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126

creating and producing a television program. Increase in the chil-
dren's understanding of television rated next with eleven responses
(44%) under both ”Great" and "Good " growth. Ability to work as a
team and increase in self-confidence had eleven and ten responses,
respectively, under "Great". The item, "Awareness of own limita-
tions," received the least frequent response; i. e., nothing under
"Great" and the highest frequency (eleven, or 44%) under "No growth."
This is a satisfying response because such an awareness would be
likely to mean that children found themselves inadequate to the

task imposed by the project.

TABLE 4.1

SUMMARY OF 25 ELEMENTARY SCHOOL TEACHERS' EVALUATIONS OF STUDENT
GRO'TH DURING THE CREATION AND PRODUCTION OF A "LET'S TURN
THE PAGE" TELEVISION PROGRAM

 

j-

 

 

 

 

Charac-
Extent of Growth N¢ teristic
Characteristic Great Good 59.. Growth Already
Strong
.f 96 f x f 9‘ f a f"?
Self-confidence 10 40 S 32 6 24 l 4 3 l2
Awareness of own
abilities 2 8 10 4O 8 32 5 2O 1 4
Awareness of own
11-1t.t10n8 O. .0 5 20 9 36 11 44 .. Q.

Appreciation of the
abilities of
others 9 36 8 32 7 28 l 4 2 8.

Understanding or TV 11 44 11 44 3 12 o o o o o o o o

Ability to work
as a team 11 44 5 20 7 28 2 8 4 16

Group initiative 7 28 9 36 7 28 2 8 l 4

Pride in group
accomplishment 2O 80 5 2O .. .. .. .. .. ..

 

127

No table could tell the complete story of student growth

during a "Let's Turn the Page" project. The mere mention of the

category brought individual instances to the respondents' minds.

Space permits the use of only a few examples:

1.

2.

Group acceptance: In a city school, Mexican children

 

grew in stature in the eyes of themselves and their
playground peers.

From a fifth grade came the report that the "runt"
of the class won much needed recognition for himself
for his efficiency as master of ceremonies.

A sixth grade had four retarded students who worked
hard and enthusiastically on very minor parts.

Just the effort to create parts these backward mates
were capable of handling seemed to give the other
students a new awareness of the boys as human beings
with problems of their own. A similar report from a
fourth grade affected two boys. The fact that all
of these students gave creditable performances in
front of the camera heightened the acceptance after-
wards.

Teacherepupil relations: A fifth grade chose a boy

 

for a dramatic lead who had been a source of annoyance
to the teacher from the opening of school. During re-

hearsals, his fellow students put an end to his showboff

128

tendencies and bore down on him so hard he was going

to quit. Belated recognition of the nature of his
problem caused the teacher to give him personal help;
he stayed in the program with her backing; and a new,
more understanding relationship between them resulted.
Incidentally, he gave a very successful performance.

In correlating spelling with the television project,

a fourth grade teacher abandoned her usual weekly

fifty word list and began giving five words at a time
from television terminology or unit work with television
project motivation behind it. A boy, long since given
up as a hopeless speller, at once jumped into the 100%
right group. The teacher re-appraised his case and de—
cided that she had been the cause of his trouble by her
use of long, unmotivated word lists. She reorganized
her approach to spelling. The boy is still doing well
in the subject.

The mentally_disturbed: A sixth grade boy who had re-

 

ceived psychiatric care more than once presented his
radio hobby on one of the science shows. Several of
the men in the community complimented him both on the
presentation and on the hobby. Result: a boy who at
least temporarily has found needed self-importance.

Another boy so unsure of himself that his speech was

affected and he refused even to go to the store alone,

129

took a part voluntarily. Then he found he could not
remember his lines. To ad lib was beyond his ability.
He was encouraged to make cue cards; after all, even
President Eisenhower uses a tele-prompter. With this
crutch, he gave a creditable performance. His mother
reported with delight, that he runs errands alone,
does better work in school, and has found a measure

of acceptance among his peers.

The timid: Many instances were reported of shy children

gaining self-confidence through the use of the television
project. To the timid, the camera can be presented as
a cold, indifferent machine, not a bit like an audience;
the peeplo in the studio are too busy to pay any atten-
tion to the talent. This approach encourages the timid
child to try, and a follow-up after the program cements
the gain. A fourth grade boy had never taken part in
any school assembly or program because of excessive
shyness. He began his participation as "camera man"
behind a viewing box. He steadily refused a speaking
part for two or three weeks. Finally, his desire to
face the other end of the camera overcame his timidity.
His parents were surprised and relieved. The teacher
reported the gain likely to be permanent, judging by

his response in school since the program.

5.

130

Thegphysically handicapped: The selectivity of pic-
ture possible to the television camera has encouraged
crippled children to participate even though they

might be sensitive about physical handicaps. An out-

standing example in the groups surveyed was a fourth

grade girl with a badly twisted cheek. The teacher

maneuvered until the logical place for the child was

at the end of the table with the defect away from the
camera. 0n the screen, the child was beautiful. After
the program, the compliments she received changed her
attitude toward the once dreaded operation which doc-
tors say will restore her twisted cheek eventually.
Another teacher encouraged participation on the part

of a boy who was unduly sensitive about people seeing
his club foot. He finally became confident to stand

in front of the camera realizing that on a close up no
crippled foot would show. Then, in the middle of the
child's narration, a careless engineer flipped the
intercommunication system switch and filled the studio
with a coarsely worded query. When the alien sound
interrupted the boy, he froze. The prompter had lost
the place; the teacher was too startled to act; the
child stood. Then, with visible effort, he pulled him-
self together and after a break of seconds, went on

with the narration to finish his part. He left the

131

studio, his self—confidence shattered. But the end
result was better than the teacher had expected when
she urged his participation. Children and parents
alike greeted the boy with awe. "How did you ever

have the nerve to go on!" and "I'd have died right
there in my tracks!" were typical of the comments that
made the child realize he had met a difficult situation
with fortitude. He acquired a new, more firmly rooted
self-confidence.

A somewhat similar incident, but with no physical handicap
involved, marked one of the two unfortunate incidents reported on
the survey. A master of ceremonies was a child who needed group ac-
ceptance. He lost his place in the script while watching for
closing time cues; the playground element made certain he knew
their reaction: "You were the 2211 one who goofed.” But in this
group also, the classmates began to feel that the comment was unfair.
The boy had done all right until the very end of the program when
he became tangled in trying to read filler and watch the floor man-
ager at the same time. His classmates began to defend him so that
two months later the teacher felt that his position in the group
was actually strengthened by the experience though she had worried
excessively immediately after the program.

The other unfortunate incident involved running out of
time before two fourth grade girls had a chance to say anything.

They had been chosen to prepare the filler. Either one of them

.0

132

was prepared to ad lib for five minutes and neither said a word
on the air. The camera showed them seated on either side of the
master of ceremonies as he closed the program-~and that was the
wonderful television appearance for which they had worked so hard!
One parent felt that overcoming disappointment was a good growth
experience for her child. There was no report on the other child.

Learning experience.--In addition to the effect of the

 

program on child growth, teachers are naturally concerned with
evaluating the experience as a learning process. Many of them

used the project because it fitted in with their regular teaching
techniques. Did it produce learning as effective as the other
projects they had used? Table 4.2 contains the responses to this
question,.:responses overwhelmingly in favor of this highly motie
vated method of learning. Twenty-three teachers (92%) reported that
the project resulted in more effective learning than other activity
projects they had used. None of the respondents felt that it was
less effective.

Another of the questions asked on the survey was directed
toward evaluating the impact of the learning experiences: "Which
one of the learning processes involved had the most lasting impact
on the class?" Teachers' responses, broken down into four general
categories, are tabulated in Table 4.3. Child growth, although dis-

cussed in a section of its own, appears again in the more inclusive

P\

133

TABLE 4.2

SUMMARY OF 25 ELEMENTARY SCHOOL TEACHERS' EVALUATION OF A
"LET'S TURN THE PAGE" TELEVISION PROGRAM CREATION AND
PRODUCTION PROJECT AS A LEARNING ACTIVITY

 

 

 

 

As Less More
Effective Effective Effective
r 96 t % f 96
In comparison with other
methods, this project was 2 8 .. .. 23 92
TABLE 4.3

SUMMARY OF 25 TEACHERS' SELECTION OF THE LEARNING AREA IN WHICH
PARTICIPATION IN AN ELEMENTARY LEVEL "LET'S TURN THE PAGE"
TELEVISION PROJECT HAD THE GREATEST IMPACT ON STUDENTS

 

 

 

Frequency Percentage
Learning Area of of

' Response Projects
Child sro'thOOOOOO......OOOOOOOO 7 28
TCICViSionseeeeeeeeeeeeeeeeeee.e 7 28
Regular school subjects......... 6 24

Cooperative development and
completion of a unit activity. 5 20

 

Q

OOQOIIOO

134

question asked here.1 It should be remembered that the responses
are not total responses to a general question about the various
learning processes that took place, but 223 response per teacher to .
a specific query directed toward determining the greatest learning
impact. No check list was used for fear of weighting the responses.
It is therefore interesting to note that there is no significant
difference in frequency among the four learning areas into which
the twenty-five answers fall. Child growth and knowledge of tele-
vision have a slight edge of one response over regular school sub-
jects and two responses over the development and satisfactory com-
pletion of a unit activity.
After the second series of "Let's Turn the Page" programs,
Ray McKernan, director of elementary education in the Cadillac
schools, called a meeting of the five teachers in the system who
had used the television project that year. They brought out six
points which effectively summarize most of what has been said by
other teachers since then:
1. The requirements of such a program are so diversi-
fied that they offer opportunity for every child to contribute
according to his talents and interests, whether he is a tap

student or a poor one. With a spot for everyone, jealousies
disappear.

 

1Compare V. T. Thayer, Caroline B. Zachry, Ruth Kotinsky,
ReorganizingSecondary Education (New York: D. Appleton-Century
Co., Inc., 1939), p. 18. "As a matter of fact it is impossible
merely to add knowledge, skills, and habits to the equipment of
the individual, because he is changed as a whole person by the
events that befall him. . . . His learning is creative, making him
a different person, and simultaneously reshaping his activities
and their effects upon others.”

135

2. The program is peculiarly adapted to bringing out
the shy, misfit children since all children (and teacher)
approach it with equal inexperience.

3. It presents challenging new fields to conquer (such
as script writing, constructing a viewing box, laying out a
studio around the classroom walls). Success in these fields
tends to increase self-confidence.

4. It offers an unusual exercise in self—discipline,
not only the disciplines of a well-organized project but
also the discipline that comes from undertaking a large task
and carrying it through to completion.

5. It affords remarkable motivation for almost any
type of school work. The related subjects which it motivates
directly are legion. Even unrelated subjects seem to bene-
fit from the enthusiasm for school work the program itself
engenders.

6. It gives children a new and clearer concept of what
TV is all about and the time and teamwork that goes into
every 15-minute show.1

A typical "Let's Turn the Page" learning experience took place,
in the third grade at Beaverton. The little master of ceremonies
and his two narrators spent a considerable amount of time in the
hall writing their script portions. Afraid that such unsupervised
effort might be too poorly worded for the air, the teacher wrote
a script over the weekend. The children read their script to the
group, the teacher read hers, and then everybody, teacher included,
voted that the children's script was the best and the one to be used
on the air.2

So completely engrossed in their projected trip to Switzer-
land did Mrs. Bacon's fourth grade become, that one of the boys

asked when they were leaving for EurOpe.- However, the children

 

1Potrude, loc. ci .

2"Little Beaver," loc. ci .

136

made the studio trip a very "real" excursion to the country
they had been studying by naming the Cadillac hills (enormous
looking to children from the plains of Mt. Pleasant) for famous
Swiss Alps.1

Difficulty of classroom production.-In keeping with the

 

program's purpose, most of the teachers' evaluations thus far

have dealt with the children and the values they received. But no
such evaluation is complete unless the values gained are balanced
against the loss. What about the time loss from other subjects?

Is it really worth while to become so involved in the techniques

of television just to air a program? Is it really worth while to
put in the extra time to prepare students for conducting a program
without adults when it would be so much easier (and safer:) for

the teacher.to act as master of ceremonies for the air show? The
responses to these four questions are summarized in Table 4.4.

A total of twelve answers were attended by qualifying statements

so that they could not be clearly classified as affirmative or
negative. Most of the qualifying statements appear in the foot-
notes to the table. It will be noted that twenty-two of the twenty-
five teachers (88%) did not feel that the program was too complicated
for effective classroom use or that the programs would be just as

effective with less emphasis on television techniques. Twenty

 

1"Our Trip to Switzerland," Fourth Grade, Kinney School,
Mt. Pleasant, Mrs. Jennie Bacon, teacher.

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137

teachers (80%) definitely felt that the children should continue
to conduct the program on the air; nineteen (76%) said the pro-

grams were not too much work for the amount of gain.

TABLE 4.4

SUMMARY OF RESPONSES FROM 25 ELEMENTARY SCHOOL TEACHERS
TO QUESTIONS EVALUATING THE DIFFICULTY OF "LET'S
TURN THE PAGE" PROGRAM PRODUCTION

Ii

Yes No Neither
f % f 96 f %

 

Evaluating Statements

 

TV programs take too much work

for the amount of gain........ 1 4 19 76 5a 20
Program too complicated for b

effective classroom use....... 1 4 22 88 2 8
Programs would be just as effective

with less emphasis on TV

techniques.................... 1 4 22 88 2 8
Teacher should conduct program c

on the air, not the children.. 2 8 20 80 3 12

 

a"On this grade level," "a lot of work for anything below
3rd grade," "1st time, but wouldn't be again," Bl took too much
time from other subjects," "too much for present work load.”

b”For 2nd grade," "for our type of program."

c”Sometimes," ”might be an interesting show, but couldn't
compare in results with present type," "if the subject that is
being used requires a teacher."

Several of the teachers who said, "No, the teacher should
not conduct the program on the air," added comments: "The children
would be disappointed; they like the idea that this is their program,"
"It would change the atmosphere entirely," "It would defeat the

purpose of the program," "Refreshing as is."

138

Public reaction.--In a communications medium like tele-
vision, public relations can be made a secondary purpose, but the
audience still remains a potent force in the end result. The
children take the response of their public very seriously and
"fan” mail is greatly prized. Therefore, teachers were asked to
give responses indicative of the public reaction to each program.

Table 4.5 contains a partial analysis of the receipt of
letters following each program. The figures have to be considered
very carefully before drawing any conclusions from them because of
the existence of so many variables. For instance, two of the
three o'clock Wednesday programs received over thirty pieces of
mail and three other Wednesday programs received between ten and
thirty, while none of the four o'clock Saturday programs received
over ten. Nevertheless, it would be a mistake to think that the
day and the time were the sole reasons for the discrepancy. The
Wednesday programs were on WWTV which had carried the series for
two years and had built up a following of steady listeners. The
Saturday programs were the first ever broadcast over WPBN. Again,
IITV has a broader listening area because of its more powerful
signal. Every antenna that WPBN can reach, WWTV can reach at the
same time, but the reverse is not true. Even such variables as
the percentage of administration inspired programs apparently

affected the type and in consequence the response.1 Teachers

 

1See Table 2.2, p. 39 . Of the 8 teachers who said they
were asked to participate by their administrators, 2 gave that
request as their only reason for taking part. One of these programs

139

whose programs were postponed or subjected to other time changes,
were convinced that being off schedule was the determining factor.1
However, many of these off-schedule shows were late in the season,
and there are many statistics to show that season has a pronounced

effect on the audience.2

TABLE 4.5

SUMMARY OF PUBLIC RESPONSE TO 25 ELEMENTARY SCHOOL LEVEL
"LET'S TURN THE PAGE" TELEVISION PROGRAMS AS INDICATED
BY THE NUMBER OF LETTERS RECEIVED BY PARTICIPANTS

 

 

 

 

 

 

 

 

”HI-1;" WPBN 4 :00 Sat; mv 3 :00 mm. on Schedule
Legters f %c %t f %c %t . f %c %t
Over 30 C . C C O O 2 22 8 O O O O O 0
10-30 so so so 3 34 12 as so so
3-9 4 44 16 2 22 8 1 14 4
1 or 2 3 34 12 1 11 4 3 43 12
None 2 22 8 l 11 4 3 43 12
Totals 9 100 36 9 100 36 7 100 28

 

%c . Percentage of total responses in this category.
%t 2 Percentage of total number of participating groups.

 

received 3 letters, the other none. Two of the teachers gave a second
reason and 4 gave 3 or more reasons, all 6 implying that the adminis-
tration request coincided with their own inclinations. Of the 6, 3
received no letters, 2 received 1 apiece, and the last one received

5 or 6 letters.

1Of the 7 programs off schedule, 4 were on WPBN and 3 on
WWTV. Two of those on WPBN and one on WWTV received no mail. The
highest number of letters, 3, went to a WWTV program.

2"The size of the audience depends not only on the time of
day but on the time of year. Viewing and listening are at their
height in the winter months, and drop down in the summer, when out-
door activities beckon." Bogart, 23. 313., p. 72, citing A. C.
Nielson Co. charts of 1955.

140

The highest number of letters received by any one group
was one hundred nine in response to a program on Switzerland pre-
sented by the fourth grade of the Kinney School in Mt. Pleasant
under Mrs. Jennie Bacon. Next to the highest number of letters
was "over forty." These were received by the fifth grade of the
Evart Public School in response to their dramatization of the Carol

Ryrie Brink book, All Over Town. Mrs. Bonnie Neuman was their

 

teacher.

Answering "fan" mail was a pleasant experience for the
children who received letters. At the time of the survey, several
teachers reported that their students were still exchanging let-
ters with other children from whom they had received "fan" mail.1

For public reaction expressed orally, respondents were
easked to rate the response as "Favorable," "Very Favorable,"
"Extremely Favorable," or "Mixed Reaction." In tabulating the re-
sults of the rating in Table 4.6, another column was added for
lack of comment. It will be noted that the most enthusiastic re—
actions came from parents with 60% of the teachers rating parents'
responses as extremely favorable and no one indicating lack of com-
ment. Both cases of mixed reactions (8%) were to programs on which
the children talked too rapidly, making it difficult to understand
them. Even then, only a few parents were critical. However, all

of the mixed reaction responses from people other than parents

 

1See Chapter II, p. 28, for an account of the initial let-
ter sent by the participants to possible listeners. Many of these
included an invitation to write and a promise to answer.

141

came from one or the other of these two programs. Incidentally,
neither school had used a tape recorder. Nevertheless, one of
these two programs received the highest response from school chil-
dren when an informal survey was made to discover what programs

children liked best.

TABLE 4.6

SUMMARY OF 25 TEACHERS' ESTIMATES OF PUBLIC REACTION TO THEIR
”LET'S TURN THE PAGE” TELEVISION PROGRAMS AS
INDICATED BY ORAL COMMENTS

III I_- —-'W _—_ . _ . -

 

Extremely Very Mixed No
Favorable Favorable Favorable Reactions Comment
f i f g f g f N f N
Parents 15 60 4 16 4 16 2 8 ‘ e s so
Other teachers 5 20 5 20 13 52 l 4 1‘ 4
Administrators,
including school b
boards 5 20 7 28 10 40 l 4 2 8
Other schoolmates 5 ,20 e 32 7 23 1 4 4° 16

Community not
directly connected
with class 8 32 7 28 7 28 .. .. 3 l2

 

.In giving this response, the participating teacher said,
"They were jealous."

bRural schools.

cOf course, the 4 rural schools in this figure had no
other classmates.

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142

It will also be noted that the response of other teachers

in the school system is rated the lowest. In a few systems, the

respondents seemed to feel that the other teachers were favorably

impressed with the program; but the greatest frequency of response

(thirteen, or 52%, under ”Favorable") indicated that other teachers,

while not actually critical, were rather non-committal. Perhaps,

there was undue sensitivity in this area.

The teachers who were queried repeated many of the comments

made to them. The following comments are typical:

1.

2.

3.

4.

5.

6.

7.

”The other second grade teacher was the first to
congratulate the children.”

"I was surprised at the number of people not even
connected with the school who stopped me on the street
to say they'd seen the program and enjoyed it."
"There were ten telephone calls before I'd been home
an hour.”

"I think all parents watched; one father who travels,
located a set in a city one hundred miles from home."
”The superintendent came in and thanked the children
for representing the school so well."

”Other teachers said, 'How did you ever do it: It
went so smoothly!’"

"My husband even received compliments on the program

when he went to the Kiwanis Club.”

v.

143

8. "When we got home, we went into a local restaurant and
the place exploded with 'Were you good!‘ This sort
of thing lasted a week."

9. "Other children on the playground greeted mine with
'TV stars' and other such names, but it was all good-
natured."

Queries about newspaper reaction brought the response that
most local newspapers carried articles in advance of the programs,1
but a few articles indicated public response after the performance.
State-wide newspaper publicity followed the appearance of the
Scottville panel discussion group because of the research they had
done for "Let's Thrn the Page."2 One editorial should be quoted
here:

Ever since the Russians put their Sputnik in orbit
last October, the American educational system has come
under concentrated fire for alleged deficiencies in
scientific instruction . . .

With much of the criticism launched at our schools
of late we have been compelled to agree. The basic
fundamentals, we fear, have in too many cases been
sacrificed . . .

But this week a group of Mason County Central seventh
graders has given tangible proof that all is not as black
as painted for our schools. These young people, under
the guidance of their teacher, Mrs. Blanche Hansen, have
made several local appearances with a panel discussion
on the subject of the International Geophysical Year.
They climaxed their week with an appearance yesterday
on To Vs

 

1An occasional newspaper still refuses to print anything
about television even when it concerns the education of local
children.

2519!: p. 85s

.s

144

. . . That these young peeple know and grasp the facts
about this satellite age in which we live has been readily
apparent to all who have had the pleasure of hearing and
seeing them. . . . We hepe and trust that they are truly
representative of the high type of intelligent young
Americans who will be our country's leaders in years to
come.

Evaluation by Administrators

 

During the interviews for the primary survey, it soon be-
came evident that the responses of participating teachers were
heavily weighted in favor of the project to which they had given
so much time. In the belief that an administrator might view the
program more objectively, informal chats were held with principals,
superintendents, and elementary supervisors if they happened to be
available at the time the teacher was interviewed. The chief pur-
pose of the conversation with the administrator was to query him
in regard to participation of the same school next year. Only a
few general questions were discussed with administrators. Usually
they were more positive in their answers than the teachers; they
used such words as definitely and certainly more freely. Table 4.?
contains the responses of twenty administrators speaking about
twenty-two projects. There were five principals, four elementary
supervisors, and nine superintendents in the group, but responses
show no significant differences in this breakdown; therefore the

table is set up without it.

 

1"A11 13 Not Dark," editorial, The Mason County Press,

145

The most frequent response (nineteen out of twenty, or
95%) was given to the desire to use the television programs in the
same school another year. Seven of these affirmative responses
specified that future programs must be voluntary on the part of
the teacher. This specification is in accord with "Let's Turn

the Page" policy.

TABLE 4.7

SUMMARY OF RESPONSES FROM 20 ADMINISTRATORS REPRESENTING 22
CLASSROOMS TO EVALUATION QUESTIONS ON THE CREATION AND
PRODUCTION OF ”LET'S TURN THE PAGE" PROGRAMS

 

 

Creation and Production Frequency Per°°nt38¢

 

of of
of the Program Response Responses

Resulted in observable child growth.. ' 17 85
Ias a worth while learning experience

for the t1... spent................. 18 90
Had good-to-excellent public a

relations results.................. 17 85
'ill be used in this school next

yearOOOOOOOOOOOOOOOO.......OOOOOOOO 19 95

 

aThe total frequency of 17 is comprised of 5 responses
specifying "Good" and 12, "Excellent." The third negative response
came from a program postponed because of a late Tiger ball game.

The negative responses were never more than three in number
(15%) and were usually from the same sources; 1. e., a new adminis-
trator who didn't seem to have any opinions about the project and a

woman principal who was consulted about the program after the

teacher and children had requested a date. Any other negative

....‘ee

. 1.—
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146

responses were due to failure to answer that particular question
in an informal interview rather than to a negatively expressed
attitude.

Administrators added a new facet to the evaluation: nine
of them volunteered the statement that the project resulted in
teacher growth in professional stature. The teacher growth was
often as noticeable as the child growth. This comment was usually
the result of a discussion of the use of the project the following
year. Should the same teacher try the project again whenever a new
group of children was involved? In the interests of economy,
Field Services had suggested that the same teacher continue to
represent the school if he were willing. Certainly, he would do
so with increased efficiency in television production. Although
the administrators queried were willing to concede the last point,
thirteen of the twenty came out strongly in favor of passing the
opportunity around and two others admitted that they would prefer
other teachers to have the opportunity. Although teacher growth
and experience were the usual reasons given, the danger of profes-
sional jealousy was also mentioned by five administrators, who
felt this hazard was augmented by the amount of publicity and the
warm public response most programs received.

It is interesting to note that all four elementary super-
visors were very definite in their desire to pass the experience
around to as many teachers as possible. "'Let's Turn the Page'

offers an excellent opportunity to work with unit teaching methods,

147

an experience most of our teachers need," was the comment from
Ed Johnston, supervisor of Traverse City's elementary schools.
According to reports from administrators, five schools
hoped to own television sets next year as a direct result of their
"Let's Turn the Page" project. Two of the schools acquired sets
during the 1957-1958 season.
Casual remarks interpolated by the administrators tended
to be more illuminating than any table.

Comments on childggrowth.--Seventeen administrators (85%)

 

said they observed child growth which they attributed to the
project.

1. "This gain was badly needed by children in our
community." 1

2. "There was very definite child growth. These
children needed the rough edges rubbed off and
the project did it. They're much better behaved
now."

3. "A television project is a more modern approach
to poise and self-confidence."

4. "All the participants seem to have a higher value
of themselves, but it's particularly noticeable in
those of Spanish descent."

Comments on the project as learning experience.-—Eighteen

administrators out of twenty (90%) considered the learning gained

148

from the project well worth the time spent on it. The other two

evaded the question.

1.

6.

"The children gained a lot; there's no question

but that the time lost from other subjects was

more than made up in other learning."

"There's bound to be lots of carry-over in science
from such intensive research."

"This project was the biggest learning value of the
year; the field of television itself has so much to
be learned."

"This is the kind of learning you can't measure."
"Facts learned in an activity like this stay with
the children."

"The children had the time of their lives."

Comments on public relations.--Seventeen of the administra-

 

tors queried (85%) rated the public relations resulting from the

use of a "Let's Turn the Page" project from "Good" to "Excellent."

1.

2.

3.

"Everyone I talked to thought it was a most worth while
and educational project."

"The program seems to have had a large audience, at
least there was lots of comment."

"This program made the community more cognizant of

what the school is trying to do."

4.

5.

6.

7.

10.

149

"The community accepted our own programs, but it may
take another year to motivate parents to watch for
'Let's Turn the Page' regularly."

"Ours is a high socio-economic level community with
lots of college graduate parents who are unfavorable
to the activity type of learning. To be frank, we
didn't get much response after the program although
several called up when the program was delayed by the
ball game."

"The parents felt that more people should have seen
the program so they had the children repeat it for
PTA. It was well received there.”

"This was a good project to promote parent participa-
tion."

"There was a larger audience than we at first realized--
we expected the parents to listen, but there was com-
munity wide interest as well."

"This project did more to improve our public relations
than any other event of the year. The public's estima-
tion of this teacher has gone up ten-fold."

"I didn't hear any comment. Perhaps I didn't run into

the right people."

It will be noted that the responses of administrators tended

to be weighted just as heavily in favor of the project as did the

responses of participating teachers.

II

\.

150

Evaluation by Television Personnel

In order to secure a well balanced evaluation of "Let's
Turn the Page," it was necessary to interview the television station
personnel most closely associated with the program.

WWTV.--At WWTV, Director Wayne Bishop, Program Director Paul
Hill, and Assistant General Manager Daryl Sebastian had the necessary
contact with the program to evaluate it from the standpoint of sta-
tion policy.

Wayne Bishop directed all but two of the 1957-1958 season
programs as well as a few the preceding year. Twenty-eight was the
average number of children on each of the twenty-five programs of
this study. Many directors are opposed to such large numbers of
children. However, Mr. Bishop said:

If children know what they're supposed to do, that's

half the battle. These kids used to surprise me--they knew
what to do so well. The teachers surprised me, too. They
have no TV experience, yet they come up with good TV pro-
grams. The average person doesn't even know what you're
talking about when you talk techniques, but these teachers
direct and rehearse real TV programs right in the classroom
and are all ready to go on the air when they come into the
studioll

As program director for WWTV, Paul Hill wrote about the
program in terms of public relations:

While every broadcasting station is required to commit

a given number of hours to public service programming, it

is not always easy to schedule suitable programs of this
nature e

 

1Interview with Wayne BishOp, June 3, 1958.

151

The excellent Opportunity to fulfill this obligation
while at the same time provide suitable viewing for a mixed
audience, is incorporated in WWTV's airing of "Let's Turn
the Page." . . . The telecasting of the "Let's Turn the
Page" series has proved quite satisfactory from a schedul-
ing standpoint as well as beneficial in overall public rela-
tions. . . . As a personal observation, I feel that our work
with you as the series director and all the various school
groups has been a rewarding undertaking.1

Daryl Sebastian, program director of WMTV at the time
"Let's Turn the Page" started and now assistant general manager of
that station, has had more experience with the program than any
other television professional. He says:

"Let's Turn the Page" has most certainly been a unique
program in the history of "educational television' on com-
mercial outlets. And the program has also been unique in
its value to Station WWTV.

It goes without saying that the opportunity of being
able to present their work on the television screen has
been a satisfying experience for the participating children,
and for their teachers. Seldom have we at WWTV seen such
enthusiastic and interested groups as those who have arrived
each week to present "Let's Turn the Page."

And, although some adults in search of"higher things"
might have disagreed, "Let's Turn the Page" was successful
entertainment for the children of grade school, and in many
cases, high school age.

It goes without saying that seeing their sons and daugh-
ters performing on television was a wholly satisfying exper-
ience for the proud parents.

It couldn't help but follow that Station WWTV would
benefit from the telecasting of a program of the nature and
standards of "Let's Turn the Page." Many favorable comments,
mostly verbal and some in writing, were received by the
station. Dissatisfaction, if any, was certainly very limited.

The relationship between the station and the teachers and
students of the participating schools was greatly improved by the
experience gained on_"Let's Turn the Page." The visiting actors,

.their stage crews, and their instructors came to know the
'finside” of television, and WWTV in particular. Many of the
children clamored to return as guests on one or more of the
station's regular television shows.

 

1Letter from Paul A. Hill, June 4, 1958.

‘ I! I.‘. Ill-1.1. I

IAA:

152

Parents who came with the children, and those who wrote
in, expressed great happiness that WWTV would cooperate in
such a project. And just plain viewers seemed to both enjoy
and appreciate the work that other peoples' children were
able to do on television.

WWTV also felt that "Let's Turn the Page" greatly as-
sisted in cementing the valuable bond between the station
and Central Michigan College, which gave much assistance to
the production of the program.

All in all, “MET believes that "Let's Turn the Page" has
been an outstanding example of how a commercial station, in
cooperation with school groups, can render a valuable public
service, and at the same time promote its own "membership"
in the community which it serves.1

EEBN.—-Responses from WPBN personnel agreed in general with
the responses from WWTV peOple. Director Charles Leipham, who
directed fourteen of the sixteen WPBN programs, added:

I had just as much fun as the children. It's a good
little show, giving the director plenty of opportunity for
interesting reaction shots. There's no boredom when you
change subject matter and groups every week like that.2

A favorable public reaction to "Let's Turn the Page" pro-
grams on WPBN was reported by Robert Detwiler, general manager of
the Midwestern Broadcasting Company, the corporation which owns
the station.3 Following the first month of broadcasts, Station
Manager John R. Anderson wrote:

Congratulations on your first several "Let's Turn the

Page" programs over Channel 7. Comments from our viewers
have been extremely favorable.

 

1Daryl Sebastian, an untitled paper evaluating "Let's
Turn the Page," June 13, 1958.

2Interview with Charles Leipham, April 24, 1958.

3Interview with Robert Detwiler, April 24, 1958.

153

The TV staff has been very impressed with the way the
programs are organized and at how much the children seem
to get out of the series. I personally feel one of the
nicest parts Of the program is the understanding the par-
ticipants get of television. After all, television does
play a pretty big part in the lives of everyone today.1
In conversation at the close of the series, Mr. Anderson
not only indicated his satisfaction with the current programs but
he also expressed the hope thatthe programs might be continued
another year. "This is an educational experience the new generation

needs. It lays the ground work for good public speaking and public

relations in the future."2

Evaluation by Parents

 

As Mr. Sebastian pointed out, many parents voiced their
opinions at the time the programs went on the air. Teachers and
administrators reported parent Opinion in connection with responses
on public relations.

However, because these reports were second hand, a more
direct method of securing response from parents was sought. A
survey in any depth that would reflect parents' Opinions presented
enormous difficulties. The method finally used has only moderate
value statistically because of certain elements inherent in it.
Nevertheless, it indicates the trend of parental thinking and will

therefore be summarized here.

 

1Letter from John R. Anderson, February 8, 1958.

2Interview with John R. Anderson, May 26, 1958.

154

The method used was to send a slip home with the child
for the parent to fill out. This method had several obvious de-
fects: (l) the returns were not complete;1 (2) parents may not
have been entirely frank on questionnaires that were being re-
turned through the child's and/or the teacher's hands; (3) parents
had to interpret the questions themselves; and (4) since all slips
were sent home at about the same time, there was a wide range of
time lapse since the various programs were broadcast.

Two hundred twenty-four parents of children in twenty rooms
(average of 11.4) filled out and returned the questionnaire slips.
The first question sought to determine the percentage of parents
who felt their children received direct benefit from participation
in the project. Two hundred ten (94%) gave affirmative answers.
(Table 4.8). 0.. parent (0.4%) specified that the child "said he
benefited." FOur parents (1.6%) said "No." Probably most of the
nine people (4%) who did not check the item can be assumed to feel
that the benefits were slight if any. A blank here may easily indi-
cate self-consciousness about a negative answer being read by the
teacher.

Some teachers expressed the opinion that the table actually

is a fair representation of the percentage of parents who would

 

1Part of the incomplete returns were due to the fact that
the survey was made late in the school year. It was so late that
only 20 of the 25 participating schools were surveyed at all and
the preoccupation of both teachers and pupils with the close of
school reduced the returns in most of the others.

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155

feel the child did not benefit. This opinion is based on the
premise that those parents who think time is wasted on projects

are rarely hesitant to say so.

TABLE 4.8

SUMMARY OF RESPONSES FROM 224 PARENTS TO THE QUESTION "DO YOU
FEEL THAT YOUR CHILD BENEFITED FROM PARTICIPATING IN A
'LET'S TURN THE PAGE' PROGRAM?"

 

 

Frequency Percentage

 

Parent Response of of Total
Response Responses
Child benefitedCOOOOOOO0.0.0.0.... 210 94.0
Child did n0t benefit............. 4 1.6
Left item blanROOOOOOOOOOOOOOOOOOO 9 4.0
Child said he benefited........... 1 0.4
Totals 224 100.0

 

Since positively stated questions tend to receive more
automatic checks after the word "Yes" than after the word "No",
a space was left on the questionnaire for parents to fill in the
specific benefits they had noticed. Of the two hundred ten parents
giving affirmative responses, one hundred fifty-two filled in the
space provided. If a check list had been used, the number would
undoubtedly have been greater, but free answers were used to se-
cure maximum validity. Eighty-two of the one hundred fifty-two
gave multiple answers. In addition, forty-two used generalizations

that implied multiple benefits. As so often happens in free answer

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156

questions, there were many similar categories. In reducing the
number of categories, every answer was carefully considered to make
certain that it was being placed in the category of the parent's
intent. No attempt was made to phrase the categories in the
language of the educator unless teacher-parents had already done

so. Such items as OOOperation and teamwork were combined because

 

of their similarity in meaning. Wherever the combination appeared

doubtful (as self-confidence and overcame shyness), the items were

 

 

left separate (Table 4.9).

The highest frequency of response was given to the area of
child growth (lOO responses,or 37% of the total). Within this
category, self-confidence received the highest frequency of
response (thirty-three, or 33% of the responses in child growth).

A sense of personal importance (three responses) and the feeling
of being necessary to the group (three responses) were low frequencies.

The general category of improvement in school work was second
high in frequency of response (eighty-one, or 29%). Improvement in
the ability to speak before the class or any other audience received
forty-three responses (53% of the responses in this category). The
acquiring of specific knowledge as the result of research during the
lproject received nineteen responses (23% of the category), but learn-
ing to do and like research received only seven (9%).

The benefit of the television experience itself was mentioned

by fifty-nine parents (22%). An additional thirty-one respondents

TABLE 4.9

157

SUMMARY OF FREE ANSWER RESPONSES FROM 152 PARENTS LISTING

BENEFITS RECEIVED BY THEIR CHILDREN
PRODUCING "LET'S TURN THE PAGE" PROGRAMS

IN CREATING AND

 

 

 

 

 

 

 

Frequency Percentage Percentage
Child Growth of of Subtotal of Total
Response Responses Responses
Learned cooperation....... 16 16 6
Gained self-confidence.... 33 33 12
Overcame shyness.......... lo 10 4
Acquired poise............ 11 ll 4
Sense of personal importance 3 3 l
Felt necessary to group... 3 3 1
Feeling of accomplishment. 10 10 4
Learned to appreciate others 3 3 1
Growth in general......... 11 ll 4
Subtotals 100 100 37
Improvement in School Work
Increased interest........ 12 15 4
Improved public speaking.. 43 53 16
Learned to do and like
research................ 7 9 2
Acquired specific knowledge 19 23 7
Subtotals 81 100 29
TV Experience
Learned how TV is produced 26 44 10
Increased interest in TV.. 7 12 2
A needed real life
experience.............. 26 44 10
Subtotals 59 100 22
Miscellaneous
Good learning experience.. 31 .. ll
“ts or fun............... 4 so 1
Subtotals 35 .. 12
Totals 275 .. 100

 

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158

(11%) used ambiguous terms to indicate that presumably the entire
experience, in the classroom and at the studio, was a good learn-
ing experience.

It must be remembered that four out of the two hundred
twenty-four parents checked "No" as their answer to the question
"Did the child benefit?" They did not offer a reason for their
response; however, the questionnaire also queried "Let's Turn the

Page" viewing habits and so they were known to be non-viewers.

Evaluation by Viewers
The ease with which a television set can be turned off or
tuned to another program makes the act of viewing an evaluation in
itself.

Child viewing.--The child is the audience with which "Let's

 

Turn the Page" is primarily concerned. The National Broadcasting
Company's committee for reviewing children's programs (1955) pointed
out that "what is planned for children must seem good 32 them as
well as be good.£2£ them."1 In a program that accentuated child
writing and planning, the question of acceptability to children be-
came increasingly important.

There have been several informal attempts to determine the
extent to which children viewed "Let's Turn the Page." The

writer, going into a strange classroom as a consultant, usually

 

1Giraud Chester and Garnet R. Garrison, Television and
~Radio (New York: Appleton-Century-Crofts, Inc., 1956), p. 53.

159

asked the children, "Have you seen 'Let's Turn the Page'?" The
response varied from fifty to ninety percent of the children present
depending on the distance from the television station and the age

of the group. The greater the distance, the less response; the
older the children, the less response. Although the majority of
secondary school children apparently have little interest in

the program, many isolated instances of constant watchers in this
age group have been reported.

In the informal queries there was no attempt to secure
quantitative answers; however, most rooms contained at least one
child who found an Opportunity to say proudly, "I watch all the
'Turn the Page' programs."

However, one effort has been made to secure quantitative
statistics on child viewing. At the beginning of the 1957-1958
season, wexford County rural teachers were asked to announce the
Opening "Let's Turn the Page” program on WWTV, October ninth, and
then report how many children viewed it. Twelve schools reported.
Of the two hundred sixty children in the twelve schools, one hundred
thirty-four (51%) said they saw the program. The response, however,
was undoubtedly weighted by the announcement the previous day. .On
the other hand, it should be noted that the program was at 4:00 P.M.
on a sunny fall afternoon. One teacher added the comment that it
was not a good viewing time.

Another attempt to inquire into child viewing habits was

included in the methods survey on which this study is based. The

160

questions were not directed toward an analysis of overall viewing
habits; instead, they attempted to determine whether or not chil-
dren's interest in watching "Let's Turn the Page" lagged after
their own participation in a program. The results of the inquiry,
reported in Table 4.10, are inconclusive because children whose
pregrams were late in the schedule did not have an equal opportun-
ity to watch after their own participation. Five schools (20%)
reported no viewing of "Let's Turn the Page" after their own pro-
gram. One of the schools reporting no viewing had the last program
on that station; three others were within one or two programs of
the end of the schedule. The fifth report was from a teacher who
was no longer teaching and said she had no way of knowing whether
the children listened or not. She presumed they did listen because

she knew they were interested.

TABLE 4.10

SUMMARY OF RESPONSES FROM 25 ELEMENTARY SCHOOL TEACHERS
CONCERNING STUDENT VIEWING OF "LET'S TURN THE PAGE"
TELEVISION PROGRAMS BEFORE AND AFTER PARTICIPATING

 

 

Frequency Percentage

 

Children Viewed Programs of of
Response Groups

Before their own.............. 24 96

After their own............... 20 80

 

It will be noted that twenty-four schools reported viewing

other programs before attempting to put one on the air. In the

......

161

one school where no viewing was reported, school was dismissed at
the exact hour of the programs. After participation, this group
was dismissed early whenever the program was on that age level in
order that non-bus children might be home in time to view it.

The responses in Table 4.10 were given by the teacher for
the group as a whole. Apparently the area of child viewing has
been insufficiently covered by this study. In the future, some
attempt should be made to secure quantitative data in this area.

Teacher viewing.--Teacher viewing was surveyed from the

 

same angle as child viewing; 1. e., a comparison of the extent of
viewing before and after the class participated on the air. Such
a comparison, it was felt, would indicate whether teachers watched
the programs because of intrinsic interest or because of the methods
which could be studied through viewing other programs. The compari-
son in Table 4.11, like that in Table 4.10, is not entirely valid
because teachers whose students participated in programs late in
the season did not have an equal Opportunity to view after such
participation. There is, however, some increase in validity since
the teacher was answering for herself and giving quantitative answers.
Responses indicate that the drop in teacher viewing after
the ulterior motive ceased to exist was actually very slight. Of
the seven teachers (28%) who stepped viewing the programs, five
mentioned the fact that their programs were either the last or very

late in the season, a fact which limited their viewing Opportunities.

Another teacher was unable to view the programs because of Saturday
classes. The seventh teacher did not have a television set at

home and evidently was not enough interested to seek one elsewhere.

TABLE 4.11

SUMMARY OF THE EXTENT TO WHICH 25 ELEMENTARY SCHOOL TEACHERS
VIEWED "LET'S TURN THE PAGE" TELEVISION PROGRAMS BEFORE
AND AFTER THE PROGRAM IN WHICH THEIR STUDENTS

 

 

 

PARTICIPATED

Number of Programs Viewed ._§E£2£2_ .2522!.

f % f %

over 8 eeeeeeeeeeeeeeeeeeeeeeeeeeeee 4a 16 3 12
7 or 8 eeeeeeeeeeeeeeeeeeeeeeeeeeeee 3 12 .se ee
5 or 6 ......‘C..................... 7 28 3 12
3 0r 4 eeeeseeeeeeeeeeeeeeeeeeeeeeee 5 20 5 20
1 or 2 eeeeeeeeeeeeeeeeeeeeeeeeeeeee 6 24 7 28
N030 eeeeeeeeeeeeeeeeeeeeeeeeeeeee ee ee 7 28

 

aResponses over 8 were 11, 12 and "all".

Viewing by other adults.--Although discussions of public

 

response to "Let's Turn the Page" in the earlier portions of this
chapter have indicated that there was an adult audience other than
the parents of participants, the only figures available were obtained
from the parent's questionnaire sent home with the children. The
poll to which two hundred twenty-four parents responded included

two questions on viewing: (1) "Did you watch your school on 'Let's

Turn the Page'?"; and (2) "Approximately how many other 'Let's Turn

v. s
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163

the Page' pragrams have you seen?" Two hundred fourteen of the
two hundred twenty-four respondents (96%) saw their children on
"Let's Turn the Page." This was an anticipated response. The
second question was the important one.

Because of the wide geographic area represented on the
programs, respondents would not normally be expected to have a
local motive for viewing more than one or two. The fact that
listening at all meant viewing at three o'clock on a Wednesday
afternoon and usually four o'clock on Saturday should be taken
into consideration when examining the figures in Table 4.12.

High frequency of response (thirty-five, or 24% of the
viewers) was given to viewing three or four programs other than
those in which the respondent had children. The viewing of five
or six programs received almost as high a response (thirty-one,
or 21%). The responses did not decrease consistently as the number
of programs viewed increased: "Over 10" and the ambiguous "Almost
all" items have together a response of twenty—one (15%). Since
those responses that gave words instead of numbers were extremely
difficult to convert accurately into numbers, they were inserted
in the list where they approximately belonged. In most cases it
would be valid to add them to the figure above the item expressed
in words.

The most interesting figure in the table is the subtotal

one hundred forty-five, which indicates the number of parents who

164

viewed programs without the incentive of parental relationship to

the participants. This figure represents 65% of the total respondents.

TABLE 4.12

SUMMARY OF THE EXTENT TO WHICH 224 PARENTS VIEWED "LET'S TURN
THE PAGE" TELEVISION PROGRAMS OTHER THAN THE PROGRAM IN
WHICH THEIR CHILDREN PARTICIPATED

 

 

Frequency Percentage Percentage

 

Number of Programs Viewed of of of 224
Response Viewers Parents
a

over 10 ......OOOOCOOOCOOOO 8 6 3.5
Almost a1100000000000000000 13 9 6.0
9 or 10.0.00000000000000000 7 5 3.0
7 or BOOOOOOOOOOOOOOOCCOOOO 13 9 6.0
several. 0 O O O O O O O O O O O O C O O O O O 9 6 4.0
5 or 6.0.0....0000000000000 31 21 14.0
3 or 4. O O O O O O O O O O O O O O O O O O O O 35 24 16.0
A feWOOCOOOOOOO0.0.0.000... 6 4 2.5
101“ 2eeeeeeeeeeeeeeeeeeese 21 15 9.0
Parts Of someOOOOOOOOOOOOOO 2 1 1.0
Subtotal 145 100 65.0
NoneOO.........OOOOOOOOOO. 34 .0 15.0
Item not checked.......... 45 .. 20.0
Subtotal 79 .. 35.0
Totals 224 .. 100.0

 

aTwenty was the highest number given.

Many viewers added comments at the bottom or on the back
of the questionnaires. Typical comments were: "I thought they

were all good," "It really shows how hard the children work for

165

something like that," "They were all very well written and staged,"
"Of course the ones in which my own children have been were best,
but all programs are very good [saw tenJ," "Most of the children
seemed at ease and did well," "I thought there was an exceptionally

good variety [saw most of them]."

Summary

Teachers were agreed that student participation in the
creation and production of live television programs as a class ac-
tivity resulted in noticeable child growth and group solidarity.
Many of the teachers cited individual instances of exceptional
growth in desirable directions. Almost all of the teacher respond-
ents found the televised program an effective means of furthering
good relations between the school and the public. Administrators,
on the whole, agreed with their teachers concerning the benefits
derived from utilization of the program. All but one of the ad-
ministrators interviewed expressed a desire to continue using this
type of program.

Television personnel agreed that "Let's Turn the Page"
fulfilled their requirements for a program in the public interest
because of its content, its value to children, and its appeal to a
mixed viewing audience.

Almost all parents responding indicated specific benefits
which their children had received as a result of participation in

the creation and production of a television program.

166

Reports from children, teachers and parents indicated that
"Let's Turn the Page" had an audience other than the audience with
immediate personal motivation. Parents watched programs on which
they had no children. Students and teachers reported watching after
the study of other programs had any direct value in preparing for
their own participation. The exact size of the audience is un-

known.1

 

1Leland Baxter, writing on "Educational Television,"
(Atlantic Monthly, November 1955), includes among the seven "de-
lusions" inhibiting the growth of educational television the belief
"that every television audience must be large." (Cited by Bogart,

93. cit., p. 283.)

CHAPTER V
CONCLUSION

Before summarizing the conclusions that have been reached
as a result of the study of the creation of television programs
for in-studio production in elementary level classrooms, it seems
pertinent to list the suggestions made by respondents in the
course of the survey. Such suggestions are, in effect, the con-
clusions of interested observers of "Let's Turn the Page."

Ever since the origination of the program, suggestions
have come from many sources. An analysis of the program's history
in Chapter II indicates that such suggestions were frequently fol-
lowed. It was natural that the surveys on which this study is
based should lead to discussions of many of the problems connected
with effective use of the program and possible solutions for such
problems.

Most of the problems can be divided into four categories:
(1) problems related to time; (2) problems arising out of the need
for teacher education in the field of television; (3) the desire
to improve the methods utilized in the classroom; and (4) the

problem of variety in program concepts.

167

 

‘0.

168

Problems Related to Time

 

"Let's Turn the Page" had two types of problems related
to time: (1) the time of day for broadcasting, and (2) the
length of the programs.

Time of day.--The most frequent suggestion from both
teachers and parents concerned changing the time of day for broad-
casting the program. Three o'clock on Wednesday afternoon was a
good time for school groups that wanted to view the program to-
gether but a poor time for many groups who were just climbing aboard
the buses to go home. It was to be expected that schools without
television sets would object to the time. Working parents also
objected.

The people who hOpefully suggested a better time of day
for the broadcasts were taking an unrealistic view of commercial
television. Unless a station has live broadcasting on Saturday,
non-commercial programs are doomed to early afternoon hours on
weekdays. WPBN did have live broadcasting on Saturday and did of-
fer more than one time slot. The choice was among late Saturday
noon, after the Saturday ball game, and early any other afternoon.
The final choice of time,after the Saturday ball game, proved to
be a poor one. When WPBN's source of network basketball games
switched to another program at four o'clock and "Let's Turn the
Page" appeared to interrupt an exciting game, many a ball fan

blamed the innocent children. Then, when baseball started, the

169

network source carried the entire game regardless of time, so that
several children's groups were late getting on the air or had to
change dates. Although the alternative times were not considered
particularly good from the audience standpoint, the program actually
seemed to have its own audience which often tuned in just for the
one broadcast. This type of audience was as likely to listen early
on Saturday as later.

Length of the program.--"The time is too limited for each

 

program to really get any meaning," wrote a parent. A similar
criticism accuses some groups of trying to "stuff" everything they
know about a subject into fifteen minutes.

"Let's Turn the Page" began as a thirty minute program,
then shortened to fifteen minutes when the entire time was given
to one group. Younger children often found fifteen minutes all
they could handle, but older children just as often found it hard
to compress their material into the shorter time. As one principal
said, "My teachers have done a very good job of handling the project,
but it's difficult to include a whole class in fifteen minutes.
Maybe expanding to thirty minutes would help." Another principal
added, "A fast moving fifteen minutes is better than a slow thirty
minutes, but a good thirty minute program would be best."

It has been suggested that the 1958-1959 programs might
experiment with using both times, offering fifteen minute shows to
schools that prefer them, but setting up a series of thirty minute

shows for experimentation, especially by older groups.

l7O

Teacher Preparation

 

In spite of the compliment Mr. Bishop of WWTV paid partici-

pating teachers when he said their ability to direct and rehearse

real television programs right in the classroom surprised him,1 a

great many of the teachers themselves have expressed a need for

better preparation for using a television project.2 Several sug-

gestions for satisfying the need came from the twenty-five teach-

ers interviewed for_the survey:

 

l. Condense and classify the outlines so that the
teacher and/or children can find what is pertinent
to their own situation.

2. Keep a file of scripts which can be borrowed for
study purposes.

3. Develop a sample unit outline on a specific subject.

4. Print a list of program suggestions, or at least a
list of the subject areas not adequately covered in
the past.

5. Describe and list the types of situations that
children have been able to handle well ansthose
that they could not handle on the air adequately.

6. Hold two clinics instead of one. The first one is
needed to orient the teacher; but, just before

1See p. 150.

28cc Table 2.3, p. 41, and Table 4,4, p. 137.

171

rehearsals start, there is need for a refresher
clinic in techniques.

Most of the suggestions from teachers can and probably will
be implemented at an early date.

Another suggestion came from Superintendent Byron Anger
of Grand Traverse County:

I am of the Opinion that some sort of an extension course
on television program planning should be given in the fall
of 1958 or in the spring of 1959.

From the response I get from the teachers, they indicate
that they are extremely interested in the television programs,
but feel quite inadequate in their preparation for such. The
extension course I have in mind would be one which would pre-
pare teachers in such a manner that they would be able to ar-
range their own television programs after they had learned
the fundamentals of program planning.

This suggestion made in the fall, was echoed by both ad-
ministrators and teachers during the winter. The suggestion was
put into effect in May, 1958, at a joint meeting of representatives
of Field Services and the Education Department of Central Michigan
College. A committee was set up under Dr. Curtis Nash to plan the
content of an education workshop course in television for teachers.
The course was described as a study in the utilization of tele-
vision as an educational device in furthering the unit method of
teaching. The first experimental courses were scheduled for fall

of 1958 at Cadillac and Traverse City. .Both WWTV and WPBN were to

cooperate with the instruction.

 

1Letter from Byron Anger to WOodward C. Smith, November 26,
1957.

172

Improvement of Methods

A great many suggestions for improvement of methods were

made in Chapter III as each method in the develOpment of a "Let's

Turn the Page" program was discussed separately. Most of the sug-

gestions given here are in addition to those mentioned earlier; a

few are repeated because of the emphasis they received when teachers

and principals were offering suggestions.

Reading and research.--This step in the project received

 

the most suggestions:

1.

3.

4.

Plan the reading and correlation with other subjects
from the beginning of the year.

Enrich the research by bringing in authorities both

in the subject area and in television.

Take advantage of the rich resource materials offered
free by the large commercial companies and the networks.
A child's investment in a two cent postcard can result
in curnent materials of great interest to him.

On age levels where there is no suitable material in
print, help the children develop their own reading
material, mimeograph their little stories and let them
make the sheets into books. One group varied this
method by writing the material in the form of a news-
paper. An older group, although able to read the avail-
able material, still felt it worthwhile to collect and

assemble it in the form of a scrap book.

5.

7.

8.

9.

10.

11.

173

During sight reading periods, use scripts for
material. A great deal of interest is added to
sight reading if the children take the different
parts. ’
If the group is large or the time short, divide

the subject research into three or more areas

with a committee investigating each one and reporting
back to the group. However, some teachers prefer in-
dividual investigation with individual reports to the
group.

Encourage the children to listen to television.

List coming programs of interest on the blackboard.
Assign specific things to watch for. One group made
an intensive study of the projection of personality
by famous television stars as the basis for class
study of personality.

In c00peration with other teachers and the local
stations, develOp a TV listening guide.

Encourage the children to bring in the pictures of
studios and cameras they find in the magazines.

Study the pictures for orientation.

Use movies on television and kinescOpes of children's
programs.

Whenever possible, rearrange the order in which other

subjects are being studied in order to take advantage

 

174

of the motivation the television project will give
to specific sections; e. g., during the project use
the English unit in letter writing or the science unit

in sound.

Pregram planning.--Program planning by children is one of

the unique features of "Let's Turn the Page." Even though the ex-

tent of planning the children are able to do varies from grade to

grade and group to group, it is advisable to let them_become aware

in this early stage that theirs is the responsibility. The desire

to take responsibility seemed to increase with this awareness, but

teachers had difficulty trying to superimpose a sense of responsi-

bility at later stages if the teachers began the planning themselves.

Respondents offered several practical suggestions for this phase:

1.

2.

Divide the entire group into committees covering all

of the productive phases. Include such functions as
publicity, transportation, and securing properties as
well as script writing, stage management, et cetera.
One fifth grade group, using this type of organization,
also elected a room chairman, who conducted the meetings
with the consultant and tied the work of the committees
together.

Plan a longer program than needed, then condense it.
Plan to use natural situations; e. 8., three or four
children in a group can present just as much material

in conversation as they could coming before the camera

175

one by one with straight exposition. After the estab-
lishing shot, the camera will usually pick up the
individual speakers anyway.

Plan plenty of floor room. If the classroom has
immovable desks or too many desks, use an activity
room. A thirty by forty foot space permits setting

up a scale studio for rehearsal.

The script.--One suggestion on scripting appears over and

 

over again:

try for more informality. Ad lib portions tend to give

a feeling of intimacy if the children feel secure in the subject

matter.

One teacher suggested that using a flannelgraph stimulated

creativity and helped the children to overcome self-consciousness

because they concentrated on the flannelgraph story and forgot the

audience.

Two suggestions were made on organization for script writing:

1.

Have script writing committees, each committee being
responsible for a definite section of the final script.
One teacher tried labeling the duties within the com-
mittee; e. g., one child took care of the source mater-
ials they wanted woven into the script; a second. child,
word usage and spelling; a third, sentence structure;
and a fourth, the actual writing. All contributed to
the line by line development of the script, but each

was doubly aware of responsibility for a specific angle.

176

2. Let each child write parts of the script; then hold
a group or committee discussion to adopt the best
wording. The class that recommended this method had
a "secretary" to write down the script as the decisions
were made.

One teacher strongly recommended that the unit study be com-
pleted before the script was started. She found that the children
stopped looking for material when they started writing.

Casting.--Since the primary purpose of "Let's Turn the Page"
is not developing specific platform talents, encourage the children
to cast along existing lines of ability. However, it is well to
remember that television does not require the voice projection that
the stage does. Very often a good television performance will come
from that telegenic youngster with the soft voice who was left out
of the Christmas play.

If the children form the habit of filling in for classmates
who are absent from school, substitution becomes no problem.

Techniques.--Many of the respondents suggested more stress

 

on television techniques, especially the techniques related to the
use of the camera and the microphone. Those who did not have an ap-
portunity to use the large, tripod cameras suggested that some ar-
rangement be made so that all children could have the benefit of
facsimile rehearsal with them.

More practice with a live micrOphone was also suggested.
The first step in correcting poor speech habits is child awareness

of what others hear when he speaks.

' \

177

The directors mentioned the fact that a few groups have
brought in visuals which would look well on the wall of the school-
room. but which were not designed for television. They recommend
constant awareness of the principles of aspect ratio and contrast
as applied to television. A few groups would have benefited from
more attention to the total picture and less concentration on what

they were going to say.

Variety in Programming

"Let's Turn the Page” is often complimented for its vari-
ety. After directing sixteen programs on WPBN, Charles Leipham
said, "I never got bored with 'Let's Turn the Page.’ Different
subject matter, different children, different approach every week,
all added up to lots of good variety.”1

Nevertheless, maintaining variety of audience interest be-
comes a problem after seventy-two programs. One administrator
stressed the fact that topics should be carefully selected for a
learning situation. A second administrator suggested, "The subject
matter must seem educational to adults."

Types of programs with audience appeal.--Audience reactions
tend to bear out this position with one exception. Dramatization,
particularly by younger children, has a great deal of appeal for
adults. However, an informal survey of program preferences taken

among children showed a strong preference for those shows that

 

1Interview with Charles Leipham, April 24, 1958.

178

contained demonstration and unusual facts. As one teacher said,
"Let's have something doing, not just talking."

To the children, there is tremendous satisfaction in being
told by an adult, "I liked your show; why, some of those things I
didn't even know myself!"

Even for the participants, new learning is vital to the
complete success of the project. So delve deeply into a subject
until the satisfying of the child's insatiable curiosity proves
that material with audience appeal has been unearthed. It was no
accident that the programs on space, satellites, Switzerland, puppets
and story dramatization resulted in the most letters. They repre-
sent the two ingredients audiences seem to prefer: new and imagina-
tive information or dramatic quality. The two ingredients combined
is even better than one alone.

Science as a subject area was touched briefly in the third
and fourth series of programs. It still offers limitless oppor-
tunities. Mathematics has never been used, except incidentally in
connection with other subjects. The only English grammar program
was well received. Social studies, too, have great unexplored
areas of interesting information.

Depth versus skimming.--How deeply can a group go into a

 

subject in one short program? In skimming the surface of any sub-
ject for a short presentation, groups have had a tendency to use
the more obvious basic approaches to the subject. Consequently,

the program content is likely to be familiar to the audience and

179

some attraction other than content is necessary to hold attention.
This dilemma occurs most frequently in lower elementary programs

on social studies themes. If the content is already familiar to
the audience (though it may have been new learning to the partici-
pants), the program may still be interesting to the viewers if
there is an original,artistic, or dramatic approach to the familiar
subject.

On the upper elementary level several teachers have sug-
gested that more depth could be obtained by having several groups
present different aspects of the same subject during a given month.
With widely scattered schools, such a suggestion was not practical
in the past. However, a pattern might be worked out through the
proposed college course in utilizing television in the classroom.
As one teacher said, "A good program limits its area to give the
audience laSting concepts rather than crowding a short period with

information to show off the group's brilliance."

Summary

"Let's Turn the Page" represents a unique approach to tele-
vision for children because of its accent on child participation
in the creation and production of the program as well as in per-
formance before the cameras. The idea of children writing and
producing their own scripts was first developed in Wexford County
with "TV-Reading Clubs" serving as the focal point for operations.

After Central Michigan College became the sponsor, classroom study

180

units were found to be the ideal focal point. Teachers found

that students studied enthusiastically when a study unit was moti-
vated with television production. Such motivated research probed
deeply and its subject matter apparently was remembered better than
most learning. Retention was to be expected since the television
project fulfilled the requirements of an effective learning situa-
tion; i. e., a real life experience in an activity motivated by
current interests.

Approximately 1800 children have shared in the creation of
television programs for in-studie production over station WWTV,
Cadillac, and WPBN, Traverse City. Most of the seventy-two
programs were produced under the direction of elementary school
teachers with the assistance of a television consultant who made
three or four visits to the classroom. Teachers had many reasons
for undertaking such an unfamiliar project; the reasons given most
frequently were suitability of the project to the unit method of
teaching, the teacher's personal interest in new methods, and the
opportunity for enriching child experience. Teachers found their
own interest in television stimulated by the experience.

The production of a "Let's Turn the Page" program in the
classroom has been divided into nine steps for convenience in dis-
cussing the methods involved. The teacher had outlines for guides
but was under no obligation to follow them. Therefore, the methods
tended to reflect several facets of modern pedagogy. The twenty-

five elementary level programs produced between January 1 and April

181

26, 1958, were surveyed to obtain data on these methods for the

benefit of other teachers. The most prevalent methods used in

each step of production are summarized here.

1.

2.

Choice of subject matter.-—Social studies is the sub-

 

ject area most frequently used as the basis for the
television programs. Science, however, was used on
nine programs. The children, usually guided by the
teacher but sometimes alone, chose the majority of
subjects used. In eleven instances the choice was
based on regular study units; in nine instances it

was based on special units; e. g., George Washington's
life, the develOpment of the American flag, and the
lives of famous people having birthdays in February.

Reading and research.--In nineteen of the twenty-five

 

classrooms,-all of the children participated in read—
ing and research both in the subject area to be pre-
sented and in television background necessary for
production of a program. Books were the source of
most of the research, but field trips, movies, talks
and other sources were used in a few groups. Twenty
teachers indicated that adding a television project

to a unit encouraged research in the subject area in
excess of what would normally have been done. Twenty-
one teachers felt that the children's interest in the

television project stimulated other school work not

3.

4.

182

related to the subject area of the program. Teachers
also found that learning necessary for the production
of the program motivated learning in many secondary
subject areas such as spelling and arithmetic.
Planning.--Some type of committee organization involv-
ing all of the children was the favorite grouping for
planning the programs. A floor plan was often developed
on the blackboard first. Although the television con-
cepts were so new that teachers found they had to give
a great deal of guidance and assistance in the planning
stages, the committee form of organization gave the
children a feeling that this was their program. Class-
room planning was usually reviewed by the consultant
and an average of two major changes made as a result.
Changes recommended were usually in the interests of
greater simplicity of picture and ease of production.
The use of small sets and small groups, the movement

of cameras and microphones, the controlled movement of
talent, all became meaningful to most of the children;
aspect ratio and lens variety available also became mean-
ingful to many of them. Children who understood these
techniques were more critical and observant in their
viewing of television.

Script writing.--Writing the script was considered by

 

most teachers the hardest step in producing the program.

 

Ilil..lll.4¢lllll 11'. III':

5.

183

Because of the sense of security a complete script
gives the children, most of the groups wrote a word-
for-word copy. However, ad lib portions were used
successfully by some groups. The favorite method of
producing the script was for each child to write his
own part and then the group or the teacher put the
parts together. A majority of the teachers said they
contributed little to the actual writing; they served
rather as an authority to whom the child could bring
the finished product for approbation or correction.
Sixteen of the groups correlated script writing with
instruction in one or more of the fundamental processes
of composition. Twenty-three of the scripts were sub-
mitted in professional form, but in most cases the
teacher himself had converted the children's original
writing to that form. Seventy-seven percent of the
teachers felt that script writing was a worthwhile
part of the total project in spite of the time it took.
Casting.--In all but one program, the entire class or
most of the class were in the final cast to appear be-
fore the cameras. A majority of the children chose
their own parts; however, in eleven cases the entire
group chose the master of ceremonies. Because of the
large numbers, parts were short and most members of a

group could substitute for each other without notice.

184

Explanatory parts with visuals and dramatic parts were
the most common types, except, of course, for a master

of ceremonies who conducted each program.

Art work.--In addition to the basic scenery available

at both studios, two hundred pieces of art work were
made for scenery or visual aids. In many cases con-
trasting shades of gray or contrasting shades of one

or more colors were used. Children became particularly
conscious of the need for contrast and simplicity.
Proportion, spacing and lines suitable for television
were also used effectively by a majority of the groups.
Although all of the children worked on the art projects
in eleven groups, more of the art work was done by the
better artists in the group or by child volunteers.
Twenty-three of the teachers felt that the children
learned enough in art techniques to justify the time

spent on art work for the programs.

Costumes.--Most of the programs used no costumes; if

they were used at all, the tendency was for a few
children to wear suggestive costumes rather than com-
plete costumes. Children, parents and teacher, shared
in the responsibility for costuming. In judging the
application of the principles of color and contrast

for television to clothing worn on the air show, twenty-

one teachers felt that the children understood what

9.

185

to wear but only eight teachers said they knew

:19:-

Properties.--In addition to art work, the children

 

used large quantities of other properties. The chil-
dren were responsible for making or securing the
majority of these properties and for handling them in
the studio. Twelve groups had specially chosen property
men, but in most of the other groups, the talent handled
their own properties. During the air show, a high school
crew which always accompanied the consultant to the
studio, took charge of scene changes and made some
property changes. However, the children usually as-
sisted. Twenty-one teachers felt that the children
fulfilled their responsibilities in regard to handling
properties and scene changes even under the bewildering
conditions of studio production.

Rehearsal.--Most teachers found that two weeks or less
was adequate for rehearsals for the final program.
Having written the material, the children had no dif-
ficulty.mastering it. Rehearsals with large mock cameras
and live microphones and rehearsals before an audience
were rated the most effective preparation for the

final production. Most of the groups used a viewing
box, a floor manager and complete properties as aids

in rehearsing. All teachers felt that the motivation

186

of live television resulted in speech improvement;

the only regret expressed was the failure to allow
enough time to take better advantage of the Opportunity
for speech work. Fifteen groups used a tape recorder
and one used a public address system microphone for re-
hearsal; lack of micrOphone practice was considered a
handicap by most of those who did not have the oppor-
tunity to use one. Criticism from their peers was
rated the most effective method of improving child
speech habits for on-microphone effectiveness. Nine-
teen teachers felt that their children did know how to
use the micrOphone effectively, but only five teachers
said their groups understood how the microphone works.

The climax of the project was the final rehearsal and air
show in the studio. Twenty groups took guided tours of the studio.
Children showed the most interest in the cameras, but the lights
and the control room were also frequently mentioned as sources of
great interest.

Teachers, administrators, station personnel and parents
furnished evaluation material for this project which emphasizes child
participation from the beginning of a television program to the end.

In reporting on child growth during the project, teachers
placed the greatest gains in the categories of pride in group ac-

complishment, ability to work together as a team, understanding of

187

television, self-confidence, and appreciation of the abilities Of
others. They recited many instances of individuals who had made
extraordinary personal growth in desirable directions.

In reporting on the project as a learning experience, twenty-
three teachers rated it more effective than other learning activities
they had used. An attempt to pin point the area of greatest impact
of the project resulted in a stalemate; teachers' Opinions were al-
most evenly divided among child growth, the television experience,
learning in regular school subjects, and the cOOperative development
and completion of a significant unit activity. In general, it was
felt that the television project Offered diversified activity for
all children, attracted the misfits as well as the capable, presented
challenging learning experiences, offered unusual exercise in self-
discipline, motivated many other subjects, and gave children a
clearer concept of what television is all about.

Public reaction to the programs reported by teachers was
almost entirely favorable. The children particularly prized "fan"
letters; nineteen programs received letters.

Administrators generally gave responses similar to the
teachers, though some of the former were more emphatic in their
praises. Nineteen of the twenty administrators interviewed ex-
pressed interest in using "Let's Turn the Page" in their schools
again. Nine administrators pointed out that the teacher "grows" as

well as the child in a project involving new methods and experiences.

188

Television personnel indicated that "Let's Turn the Page"
filled their requirements for public service programs of interest
to a mixed audience. They complimented the organization of the
programs and the conduct Of the children in handling their indi-
vidual programs. They felt that the children received a great
deal of benefit from the experience.

Parents, too, reported that the children received benefits
from participation in the project. Thirty-seven percent of the
parents listing benefits mentioned some phase of child growth;
twenty-nine percent, improvement in school work; twenty-two per-
cent, personal contact with television; and thirty-one percent, a
good learning experience.

There has been no adequate audience survey of "Let's Turn
the Page." The figures available indicate that a majority of par-
ticipating children continued to watch after their own programs were
over. The same was true of teachers. 0f the two hundred twenty-
four parents surveyed, one hundred forty-five reported some viewing
of programs other than the ones in which their children performed.
The viewing varied from one program to over ten, with the greatest
frequency of response between three and six programs. There is no

general audience data available.

Recommendations
The audience reactions of people with special interest

in even one "Let's Turn the Page" program can hardly be considered

189

disinterested. Because the program is unique and because child
created and planned television does not have the polish of profes-
sional shows, a complete survey of audience reaction would be a
subject worthy of another study.

The content of the proposed college course in television
for teachers suggests another field for investigation. What are
some of the ways in which the teacher can use the motivation
television offers? What learning experiences can be enriched by
viewing? What activities can grow out Of viewing? Such questions
may Offer areas for further research.

Television's constant need for variety might be the basis
for a study or several studies in what constitutes variety. "Let's
Turn the Page" is praised for its variety, yet there is a certain
sameness to the programs. Since public relations programs from all
schools using television have a similar problem, a study of what
constitutes acceptable variety in the content of school programs
might be beneficial.

Teachers say that retention of subject matter is increased
by the use of a television project, but there has been no scientific
testing to establish the extent of increase. Anyone who has had
close contact with the children will agree that the increased re-
tention is there, but the degree is unknown. A careful study in
this area might have implications in the field of curriculum im-

provement.

190

The question of speech improvement motivated by the desire
to speak effectively on the air is another area in which testing
might have significant results. A speech correctionist used "Let's
Turn the Page" production in her elementary level classes. She
claimed no previous method produced half the effect Of motivated
speech study for a television program. Incidentally, favorable
audience reaction to the program was expressed immediately in
numerous telephone calls.

Because the creation of television programs for in-studio
production as an elementary classroom activity is a new concept in
the extent of responsibility that children can take beneficially,
there needs to be further study Of this type of activity and its

influence on child growth.

GLOSSARY

ad lib. TO depart from the script or to proceed without script.

aspect ratio. The prOportion of picture dimensions in television;
relation Of height (3 units Of measurement) to width (4
units) e

 

audio. The sound phase of television.

back-to-back. Two live programs one right after the other
without intervening film.

 

blow up. To enlarge small slides or other picture material on
the screen.

booboo. Also called flub, goof, or bloop. An Obvious error in
acting, lines, direction, or any phase of production.

boom mike. A micrOphone suspended from a telescOping metal arm
which is mounted on movable apparatus.

contrast. Degree of brightness relationships between various
elements in a picture.

control room. The portion of a television studio in which the
signals from the cameras and micrOphones are monitored
and controlled, and where camera pictures are mixed and
switched on the air.

 

crawl. A term used to describe the tendency Of striped or
checked material to expand beyond its actual size. Also
may mean a revolving drum for rotating titles.

cue card. A large card or sheet of paper with the talent's
lines printed for readability at a distance. Often
called "cheat sheets" or "idiot sheet."

cushion. Music or talk used to fill in the time when a program
runs short.

cut. A deletion of material to fit the prescribed time. Also
means to stOp the performance.

191

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.

 

192

dolly. The action of moving the camera steadily toward or away
from the subject.

dressin . Properties, set decorations et cetera, added to the
__.5 9
set to provide character or interest.

establishing shot. A camera shot containing the entire scene.
Usually-taken at the beginning of a sequence to establish
the relationship of talent to each other.

facsimile rehearsal. Rehearsal with cameras, microphones, proper-
ties and sets simulating the final production.

flipstand. A stand for holding art work done (or mounted) on
cardboard. Designed so that cards can be changed (flipped)
quickly.

flat. A wooden frame covered with painted material suitable for
a background. The basic unit of scenery.

floor manager. A director's assistant who remains in charge of
the studio when the director retires to the control room.
All messages from director to talent are transmitted
through the floor manager.

floor plan. Scaled diagram of studio showing the location of
walls, sets, doorways, playing areas, etc.

in-studio production. The act of using all the physical and
‘ material requirements of a television program including
scene design, construction and execution, painting, art
work, wardrobe, make-up, properties, titling and special
effects, both visual and sound, in the place where the
television program is being televised.

kinescope. ‘A film recording of a program photographed directly
from the picture tube. Correctly used as the brand name
of a particular picture tube.

lay-out. n. The pattern Of sets and movement on the studio floor.
f. To establish the pattern.

lens changes. Television cameras have from three to four lenses
mounted on a turret on the front of the camera. Changes
from one lens to another are made readily by twisting a
knob in the back of the camera. A

 

193

limbo. A scene shot outside and independent Of the regular action
set; applies particularly to graphic inserts.

live production. Televising Of real things and people as Opposed
to film or still pictures.

tripod mock cameras. A mock camera similar in size to the real
television camera but without any electronic equipment.
Lenses are simulated by various sized holes in a large
turret which can be turned, bringing the desired size
into place in front Of the box through which the "camera
man" looks. The box itself is mounted on a swivel head
attached to a tripod. A triangular platform on rubber
casters holds the tripod in place. Patterns are available
from the Speech Department of the University of Michigan.

 

monitor. A screen on which the talent can see the picture going
out over the air. The same term is used for the screens
in the control room showing the pictures from each camera.

on the nose. A program which ends precisely on time.

 

pgn or panning. To turn the camera smoothly from right to left
(or vice versa) in ahorizontal plane in order to follow
the action or to carry the eye from one section of a
set or Object to another.

 

pgoperties (pgopg). All physical materials used in a scene
except costumes and scene:y;e. g., furnishings, decora-
tions, et cetera.

 

hand prop. As distinguished from set dressing, a property handled
by the talent in the course of the action.

 

property or prop men. The persons whose function it is to place
and move props.

 

rear view projection. The projection Of a scene on the rear of a
translucent screen to provide background for a set.

 

run-through. A rehearsal.

script. The words to be said (audio) and the directions for
acting (video) in a program. Professional forms contain
one column for audio and another for video.

set. The background scene for any given part of the program.
Often used loosely to include the playing area. Also used
to mean a television receiver.

vs

\-

194

signal. The sound or piCture after it has been changed into
electricity or radio waves.

super or supering. Short for superimpose. Overlapping of an
image produced by one camera with the image from another,
both pictures being visible at the same time.

talent. Any one who performs in front of the television camera.

telegenic. Anyone who looks well on television.

telegprompter. A manufacturer's name for a device to roll the
script of a speech so that it can be read without inter-

ruption while the speaker appears to be talking to the
audience.

 

telOp. Two dimensional material to be used on a "telOp", a manu-
facturer's name for an Opaque slide projector.

time signals. Hand signals given at specified intervals to inform
talent of remaining time.

transmitter. The ehectronie device that makes the radio-wave
current and combines the television signals with it.

 

video. The picture phase of a television program.

viewing box. A six-sided box designed to confine the field-of-
view Of the eye so that it can see only the horizontal
and vertical angle-of—view of the camera lens. Carefully
calculated Openings are cut in the sides so that the person
looking through one Opening will be seeing with a specified
angle-of—view through the Opposite opening.

 

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195

BIBLIOGRAPHY

BIBLIOGRAPHY

findio and Televisionl General
Books

Adams, Charles. Producing and Directing_for Television. New YOrk:
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Bendick, Jeanne, and Bendick, Robert. Television WOrks Like This.
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Bogart, Leo. The Age of Television. New York: Frederick Ungar
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Bretz, Rudy. Technigues of Television Production. New York:
McGraw-Hill Book Co., Inc., 1953.

Bretz, Rudy, and Stasheff, Edward. Television Scripts for Staging
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Chester, Giraud, and Garrison, Garnet R. Television and Radio.
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Denman, Frank. .Television: The Magic Window. New York: The
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Ewbank, Henry L., and Lawton, Sherman P. Broadcasting: Radio and
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Greene, Robert 8. Television Writing: Theory and Technique. New
York: Harper and Brothers, 1952.

Head, Sydney I. Broadcasting in America. Boston: Houghton-
"itflin CO. ’ 1956.

 

Bedapp, William. The Television Actor's Manual. New York:
Appleton-Century-Crofts, Inc., 1955.

 

Hubbell, Richard. Television Proggamming and Production. 3rd ed.
revised. New York: Rinehart and Co., 1956.

Kaufman, William 1. (ed.) How to Direct for Television. New York:
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196

197

. How to Write for Television. New York: Hastings House,
1955.

Kingson, Walter K., Cowgill, Rome, and Levy, Ralph. Broadcasting
Television and Radio. New York: Prentice-Hall, Inc.,
1955. -

 

Stasheff, Edward, and Bretz, Rudy. The Television Prqgram. 2d ed.
revised. New York: Hill and Wang, Inc., 1956.

Stoddard, Edward. The First Book of Television. New York: Franklin
Watts, InCe, 1955.

Articles and Unpublished Materials

Corwell, Marion Elizabeth. ”Television Programs Designed to Stimu-
late Interest in Reading Books." Unpublished Master's
thesis, Department of Speech, Michigan State University,
1954.

Day, Janice Elaine. "The DevelOpment Of a Traditional Fblk Ballad
as a Dance-Drama for Television." Unpublished Master's

thesis, Department of Speech, Michigan State University,
1955.

Fletcher, John. ”Are You Ready to Write for T. V.?" writer's
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Gumpert, Gary. "The Problems Involved in the Television Adaptation
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Tomlinson, William Henry. "Analysis of Techniques Used in Direct-
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and for Television." Unpublished Master's thesis, Depart-
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Radio and Television, Educational

Books

Callahan, Jennie Waugh. Eadie WOrkshOp for Children. New York:
”caulk-Hill Bock CO. ’ Inc. , 1948.

. Television in School, College and Community. New York:
McGraw-Hill Book Co., Inc., 1953.

 

198

Carskadon, Thomas R. and Others. Television for Children. Boston:
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Metcalf Co.).

 

Cumming, William Kenneth. This Is Educational Television. Ann
Arbor, Mich.: Edwards Brothers, Inc., 1954.

 

 

Kumata, Hideya. An Inventory of Instructional Television Research.
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1956.

Levenson, William B., and Stasheff, Edward. Teaching through Radio
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Newsom,.CarrOll V. (ed.) A Television Policy for Education.
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Tooley, Howard. The Television Workshop. Minneapolis: The North—
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Willey, Roy DeVerl, and Young, Helen Ann. Radio in Elementary Edu-
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Gable, Martha A. "ETV: The 1957 story," Audio-Visual Instruction,
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Haas, Dorothy. "Play Television," Teaching Tools, V, No. 1 (Winter,
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Huus, Helen. "How a TV Program Can Be Used as a Springboard to
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199

Levenson, Sam. "Teachers Should Use Television--Not Fight It,"
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Potrude, Olive M. "Now, TV By the Children," The School Executive,
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Siepman, Charles A. "The Case for TV in Education," reprinted
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Stoddard, George D. "The Power of Television in Teaching,"
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Willis, Edgar E. "What Can Courses in Radio and Television Writing
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55-58.

 

Education
Books

Dale,'Edgar. Audio-Visual Methods in Teaching. 3rd ed. revised.
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Good, Carter V. (ed.) Dictionary of Education. New York:
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Hanna, Lavone A., Potter, Gladys L., and Hagaman, Neva. Unit
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Kilpatrick, William Heard. PhilOSOphy of Education. New York:
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200

 

Kinney, Lucien, and Dresden, Katherine (eds.). Better Learning
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Larrabee, Harold A. Reliable Knowledge. Cambridge: Houghton-
Mifflin COe . 19450

 

MacCennell, Charles Marshall, and Others. New Schools for a New
Culture. 2d ed. revised. New York: Harper and Brothers,
1953.‘

Miel, Alice (ed.). COOperative Procedures in Learning. New York:
Bureau of Publications, Teachers College, Columbia Univer-
sity, 1952. (Printed by The Colonial Press, Inc., of
Clinton, Mass.)

Sands, Lester B. Audio-Visual Procedures in Teaching. ~New York:
The Ronald Press, 1956.

 

Skinner, Charles E. (ed.) Educational Psychology. 3rd ed.
revised. New York: Prentice—Hall, Inc., 1951.

 

Stephens, J. M. Educational Psychology: The Study of Educational
Growth. New York: Henry Holt and Co., 1956.

Stroud, James B. Psychology in Education. 2d ed. revised. New
York: Longmans, Green and Co., 1956.

Thayer, V. T., Zachry, Caroline B., and Kotinsky, Ruth. Reorgan-
izing Secondary Education. New York: D. Appleton-Century
Co., Inc., 1939.

 

Thorndike, Edward L. Human Learning. New York: The Century Co.,
1931.

 

Hard, James. Psychology Applied to Education. Edited by G. D.
Hicks. Cambridge: University Press, 1926.

Whitney, F. L. Elements of Research. New York: Prentice-Hall,
Inc., 1950.

Wittich, Walter Arno, and Schuller, Charles Francis. Audio-Visual
Materials: Their Nature and Use. New York: Harper and
Brothers, 1953.

 

e.
.\
o.
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.

201

Speech and Dramatics
Books

Burger, Isabel B. Creative Play-acting: Learning Through Drama.
New York: A. S. Barnes and Co., 1950.

Lease, Ruth, and Siks, Geraldine Brain. Creative Dramatics in
HomngSchool and Community. New York: Harper and
Brothers, 1952.

 

Ogilvie, Mardel. Speech in the Elementary School. New York:
McGraw-Hill Book Co., Inc., 1954.

 

Thomas, Charles Kenneth. Handbook of Speech Improvement. New
York: The Ronald Press, 1956.

 

Slade, Peter. Child Drama.. London: University Of London Press,
Ltd., 1954.

 

Ward, Winifred. Creative Dramatics. New York: Appleton Century
Co., 1930.

 

. Play-making with Children from Kindergarten through
Junior High School. 2d ed. Anchorage, Ky.: The Children's
Theatre Press, 1957.

 

 

. Stories to Dramatize. Anchorage, Ky.: The Children's
Press, 1952.

 

Articles

Parsteck, Bennett J. "Speaking about Books," Speech Teacher, V,
No. 3 (September, 1956), 207-208.

 

Viola, Ann. "Drama with and for Children, an Interpretation of
Terms," Speech Teacher, V, NO. 4 (November, 1956), 305-308.

 

General
Books

Berelson, Bernard. Content Analysis in Communication Research.
Glencoe, 111.: Free Press, 1952.

 

Payne, Stanley L. The Art of Asking Questions. Princeton, N. J.:
Princeton University Press, 1951.

 

APPENDICES

203

APPENDIX A. REPORT ON RESULTS OF MAIL INQUIRY

Respondents

 

Eighteen educators well-known in the educational tele-
vision field were queried by mail to determine fihe extent of
child participation in creating, planning, producing, writing
and performing for television programs in school systems across
the nation. Fifteen educators responded either personally or
through other members of their organization:

Uberto T. Neely, General Manager, Greater Cincinnati
TV Educational Foundation

John W. Dunn, Director, The Oklahoma Educational
Television Authority

Ron Hull, Production Director, University of Nebraska
Television

John W. Taylor, Executive Director, Chicago Educational
Television Association

Richard B. Hull, Director, Radio and Television Broad-
casting, Ohio State University

Kathleen N. Lardie, Director Department of Education
through Radio and Television, Detroit Public Schools

Raymond D. Hurlbert, General Manager, Alabama Educational
Television Commission

Vernon Bronson, Director, Community Television Foundation
of South Florida, Dade County Board of Public Instruction,
licensee, Miami

01a B. Hiller, Administrative Assistant in charge of
Communications, Flint Public Schools

.ef.

."

 

204

Loren B. Stone, Manager, Community Television Service,
University of Washington, Seattle

James F. Macandrew, Director Of Broadcasting, Board
of Education, City of New York

Martha A. Gable, Director Of Radio and Television
Education, Board Of Education, School District of
Philadelphia

Haskell Boyter, Director Radio and Television Education,
Board of Education of the City of Atlanta

James Case, Producer-director-manager, KRMA, Denver
Public Schools

Marguerite Fleming, Manager KSLH, St. Louis Board Of
Education

Responses

Because some of the responses contained frank statements

of financial inability to carry on children's programs and others,

even franker prejudices against child participation, names have

been omitted in reporting the responses to the mail survey. While

the omission may save embarrassment in some cases, it also pre-

vents giving credit tO the many wonderful examples of progressive

educational broadcasting. Although the responses failed to bring

to light any programming of the "Let's Turn the Page" type, they

did indicate extensive child participation in television.

The responses may be summarized in four categories:
1. No child participation was reported. NO further
comment is needed on the three responses in this

category.

2.

3.

205

The writing and production of television programs

by students on the secondary school level was reported
in two responses. The following excerpt illustrates
this type:

We carried one series Of 10 programs, 1
per week, called "High Times" written, pro-
duced and performed entirely by high school
students, thru Inter-High council, among the
8 Seattle High schools. This series dealt
with activities of the students at school,
both scholastic and extra curricular. It
had a minimum of teacher supervision and was
a well-done series.

Five responses fall into a third category: exten-

sive child participation was reported, usually in

,public relation presentations but occasionally in

school teaching situations. Adults planned the pro-
grams and conducted them on the air. The benefit
the child received was incidental to the purpose of
the program. The response quoted below in detail

is a typical example; other responses in this cate-
gory differ only in the number of child participants
and the number of programs.

I. Television programs produced . . . September
18, 1957 - June 11, 1958.

A. "Look, Listen and Learn"

1. lS-minute program
2. 38 programs produced
3. 19 with child participation

4.

II.

III.

IV.

V.

206

B. "The Road Ahead"

1. 30-minute program
2. 24 programs produced
3. 7 with child participation

C. See enclosed sheets to determine degree of
child participation.

Primary purpose of programs.

The purpose of these programs is to interpret the
school system . . . to the parents and taxpayers
of the city. Only incidentally are they designed
for child development. Our programs are public
relation presentations.

Basis for determining who shall participate.

Adult participants of our programs are for the
most part automatically selected when the content
of any particular program is determined. For
example, a broadcast exhibiting the work being
done in the reading clinic will necessarily in-
volve some qualified personnel of the reading
clinic. The decision to include children in the
program is made by the adult participants.

The basis for selecting particular children varies,
but in general chief consideration is given to
ability. A program showing the training and special
help a pupil receives in the reading clinic, for
example, could be successfully presented with or
without children.

Integration with school curriculum.

Our television programs are not designed to inte-
grate with the school curriculum; they are designed
to interpret it for the public.

Extent of adult participation with the children on
the air.

Our programs are presented by adults. When children
are used on the air, they are used to demonstrate
some aspect of the content.

Five of the responses were so worded that it was

difficult to determine exactly what, if anything, the

children did in connection with program preparation.

207

To prevent the omission of any material that might
apply to the subject of this study, applicable ex-
cerpts are quoted with only names deleted.

The . . . schools present a series Of pro-
grams in which children are used. We have been
doing this for ten years. The programs are for
in-school use. The . . . presents a public re-
lations program on Sundays . . . on which children
are used sometimes. Adults and children work to-
gether in preparation, planning and presentation.

I am enclosing for your use and interest a
television schedule Of THE LIVING BLACKBOARD . . .
produced . . . for use in the classroom. Children
participated on the following programs [A list
Of ten program titles follows.] The choice Of
participant was placed in the hands of the Board
of Education producer who is also a licensed
teacher, and consulting personnel in the various
divisions of the Board Of Education.

We have purposely avoided this area [the local
production of children's programs] for the simple
fact that we are not staffed to do a creditable
job. Most of the ideas which come to us from
various organizations are of such poor quality
that we have turned them down. . . . Our closest
approach to a children's program is CONVERSATIONAL
GERMAN for children. This is a small class of
about 20 children who work with a member of the
Modern Languages Department. . . . This is on a
voluntary basis, the children agreeing to be regu-
lar in attendance and working hard. The series
is not a part of any of our in-school programs.

Several adults work with the group on the air
and the style is rather informal in an endeavor
to get away from the classroom situation.

Our regular schedule includes five daily
live half hours of children's programming. Only
one of these includes children as talent, and
this is not frequent. . . . Its format is a weekly
trip to a foreign country. . . .

This program was a 30-week series. Our purpose
in using a child (and we only used children of

O
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208

other lands) was to give our little viewers a
chance to meet some children their own age, who
happen to live a long way from it. . . . The
child "guest" usually told a story from his
country and chatted with . . . the puppets.

This particular activity was not associated with
the regular school curriculum in any way.

Thus far the network has used very few children
as talent. Last summer the . . . Board had a
"Talent Review" and staged some dramatizations of
fairy tales which used upper elementary and high
school students.

We have discovered telecasts designed to in-
terest youngsters at home lose their appeal to
the viewers when children are in the studio. The
only exception to this has been where the children
actually take part in the teaching process. . . .

An elementary enrichment course has been broad-
cast on the network for the past three years. . . .

The . . . child guidance departments have used
some children in their "teaching" demonstrations
but these appearances have been infrequent. On a
few occasions, groups such as [blind] or other
handicapped children's schools have made appearances
on . . . to show their handicraft.

To my knowledge we have not had any telecasts
presented written by children.

Boy Scout Troops . . . single programs demonstrat-
ing Indian lore, etc. University Laboratory School
. . . series of 3 programs on travel using pupils
who had worked up the programs with direction from
teachers. . . . Only in the case of the Boy Scout
programs and the Laboratory School projects and in
the case of an occasional one time performance by
a group, not an institution, did the children plan
and produce the program. Those programs that were
handled in this way took more time for the station
Producer-Director to whip into shape and make suit-
able quality-wise than he could spare.

APPENDIX B. QUESTIONNAIRES

The Primary Survey
The primary survey utilized the following questionnaire
as the basis for personal interviews with the twenty-five elementary
school teachers whose students participated on "Let's Turn the Page"

between January 8 and April 26, 1958.

LET'S TURN THE PAGE

School Grade Teacher's Name

 

Station: “'TV WPBN Subject

 

Date of program No. children in room
of interview in program‘

 

‘If number in program is less than number in room,
give reason for difference.

I. Teacher

A. ‘First and second contact with "Let's Turn the Page":
(No. in sequence)

Local teachers' meetings Saw it on TV

MBA section meeting CMC publicity
Participating teachers Clinic
Administration Other (specify;

B. 'hy did the teacher decide to use this project?
C. Influence of project on teacher attitudes toward TV:

Did this experience increase , decrease , or
not influence your interest in using TV in
the classroom?

would you like to learn more about TV? Yes No

would you be interested in taking a
college course in the utilization of
TV in the classroom?

209

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Are you interested in using TV listening
as a basis for classroom work?
(In what subjects? )
Would you like to use "Let's Turn the
Page" in your classroom again?

 

II. Choice of Subject Matter

 

A.

B.

C.

Who chose the subject area?

Teacher

Children had free choice
Children guided by teacher
Adm. and teacher

What was the basis for the choice?
Unit taught regularly

Special unit (Why?

Special program (Why?)

Other (specify)

Involvement of project with regular subj

210

Yes

ects:

No

Underline the subject used for program subject and check

 

all others used in unit:

 

 

 

 

Social studies Arithmetic English
Spelling Speech 'Letter writing
Science Music Oral reports
Art Reading. Script writing
Other (specify) Composition other than script
writing
III. Reading and Research
A. Library Subj. Area
Texts
Encyclopedia
Movies
Film Strip

Talks by Visitors
Field Trips
Magazines
Newspapers
Teachers' File
Other (Specify)

211

B. How many children took part in this phase?

All Subj. Area TV
Almost all

Half ____. _____
A Few Volunteers

None __ __

C. Would they haVe done all , some , none
of the subject area research anyway?

D. Do you feel that this project detracted from , had
no effect on , stimulated other school work?

Planning the TV Program

 

A. The planning was done by: Amount of teacher help:
Group as a whole A great deal
Entire group in committees Much
Special committee(s) Approx. half
Individual pupils A little
Teacher Minimum

 

 

B. Consultant help: Number of visits devoted to planning
List most important changes due to consultant help:
C. TV techniques considered in planning:

Meaningfulness to Children

 

No
Meaning Partially Generally FulLy

 

 

 

Floor plan (use
of sets)
Planning for camera
and mike movement
Use of small groups
Controlled talent
movement
Camera angles
Aspect ratio pictures
Variety of lens
possibilities

V.

212

The Script

 

A.

C.

F.

Kind of script:

Complete
Partially (ad lib)

(Were you satisfied with the ad libbing?)
Outline

 

If you were doing it again, would you use the same kind of
script?

Yes No Why not?

 

 

How was the script written?

Group orally

Entire group in committees

Some children in special committee(s)
Each child his own part

Specially chosen individuals

By the teacher

Extent of teacher help in script writing:

lst writing Editing
Minimum
Some help
Average amount
Quite a lot
A great deal

 

 

 

 

Correlation of script writing (or report writing preliminary
to script writing) with language arts:

Good English usage Punctuation
Sentence structure Spelling
Other writing fundamentals (specify)

TV script form:

Children used it

Only teacher used it

Children understood it

Submitted it in usable form (Consultant rating)
Children had printed copies

VI.

VII.

G.

213

Evaluation of script writing for children:

Worthwhile

Brings out originality

Children tend to copy too much from books
Too difficult

Takes too much time

Other comments

Casting

A.

C.

Casting was done by:

Entire group
Committee(s)

Each choosing own part
Teacher

If not done by teacher, would you have made same choices?
Basis for casting:

Try-outs Special ability
Criteria set up by class Other

Class vote ~

Individual preferences

would you use the same method again?

Yes No Why not?

work

Art

A.

Kind and amount made for program:

No. No.
Complete background Charts
'indow Maps
Pictures Posters
Flag Name cards
Telops Other (specify)

%

 

 

Iho did the art work?

%
All the children Teachers
Best artists Other adults (Why?)
Volunteers

(C

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VIII.

F.

G.

C.

214

Color:

Shades of gray
Contrasting shades one color
Contrasting shades more than
one color
Mixed colors
How did you insure contrast?

Effectiveness of art technique utilization:

Not Partially Generally lholly
Effective Effective Effective

 

 

Used

Proportion

Contrast

Thickness of line

Spacing

Simplicity

Perspective

Evaluation:

Do you feel that the children learned enough in art to
justify the time spent? Yes No

Did this project add new learning not normally in
their art course? Yes No

Were you satisfied with the screen effects of your
art work? Yes No

(If not, why not?)

 

 

Costumes
A. Did you use costumes? Yes No
For Most Children For a Few Children
Complete
Suggestive

Who was responsible for costuming?
Teacher Students Parents
Color choice:

Did the children understand use of contrast and color?
Yes No

 

 

 

 

 

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215

Did the children understand the reasons for the effects
of contrast and color? Yes No

Did you notice any poor choices showing up on the
screen? Yes No
What were they?

 

 

IX. Properties

 

A. Procured by:

Volunteers among children
Teacher

Administration

Parents

Other adults

Others (specify)

B. Handled by:

Hand Props In rehearsal At studio

% %

 

 

Talent using them
Appointed prop men
Teacher

High school crew
Others (specify)

 

 

 

Scenery In rehearsal At studio
% %

Talent using them
Appointed prOp men
Teacher

High school crew
Others (specify)

 

Number of scene shifts

C. Evaluation: Yes N

0

Were props judged for TV adaptability?

Were set dressing placed effectively?
(Include art work)

Did all hand props show up on screen?

Do you think you used too many props?

Do you think you used too few props?

Did children fulfill all responsibilities?

 

 

 

 

 

 

D. Give details of ineffectiveness that might help some
future group.

216

X. Rehearsals

 

A. Length of time:

1 week 3 weeks
2 weeks No. weeks

Looking back, should you have taken more time ,
same time , less time ? Why?

B. Rehearsals: No. times used

 

 

With viewing box (no. )
College mock cameras no. ___)
Floor plan to scale
Set order not to scale
Mock microphéne
Live microphone
Pupil floor manager
High school floor managers
Teacher floor manager
Costume rehearsal
Complete prop rehearsal
Almost complete prop rehearsal
Complete scene shifting rehearsal
Almost complete scene shifting
rehearsal
Rehearsal with audience
(Who?)

...4
(D
m

I?

Imitating teacher
Help from speech teacher
Children giving individual help
to mates
Criticism by group as whole
Suggestions from consultant
Public address system mike
(no. of times ) ‘
Class discussion of techniques
Other (specify)

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217

D. Evaluation:

How much speech improvement resulted from this project?
Great , Much , Some , None

Do you feel that the children understood how to speak
effectively over the microphone? Yes No

Did they understand how the microphone operates?
Yes No

Do you feel you could have improved rehearsal techniques?
Yes No How?

 

XI. The Studio Trip

 

A. Who provided the transportation?

Parents School:
Teachers By car By bus

B. Did your students take a studio tour?
Yes No Why not?

What interested them most at the studio?
Cameras Newsroom

Control room Professional talent
Film and slide cameras Rearview projection

Lights" screen

Microphones Settings for familiar
Monitor programs

Other (specify) Transmitters

 

C. Were the children satisfied with the trip?
Yes No Why not?

XII. Personal Growth of Pupils

 

A. Evaluation of Growth: Increase Rate
Great Good Some None

 

 

Self-confidence
Awareness of own talent
Awareness of own limitations
Appreciation of ability

of others
Teamwork
Group iniative
Pride in group accomplishment
Understanding of TV

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

B. List any of the above attributes which were already strong.

XIII.

XIV.

218

Public Relations

 

 

 

 

 

 

 

 

 

 

A. Reactions to program:*
Favorable Mixed Unfavorable
From parents of children
Other school children
Other teachers in the system
Community outside the school
Administration
I'Use one to three checks to indicate degree of response.
B. Letters received:
Number Solicited? From whom?
Viewing
A. Student viewing:
Did your students watch "Let's Turn the Page" before
their own program? Yes No
Did they watch it after their own performance?
Yes No
B. Teacher viewing:
Did you watch programs before your own? Number
Do you watch them since your own?
Evaluation
A. Effects of the project:
Of the learning processes involved, which one had the
most lasting impact on the class?
In your Opinion, did this project produce learning as
effective , more effective , less effective
, than other methods you have used?
Have you seen any evidence that the children's attitude
toward TV was influenced by this experience?
Yes No In what way?
B. Personal reactions:

Yes N2
Do you feel that the "Let's Turn the Page"
type of program involves too much work

for the amount of gain?

219

 

Do you feel that "Let's Turn the Page"
is too involved for effective classroom
utilization?

Would you have liked to have been able to
use more TV techniques in the project?

Do you feel that this type of program
could be used effectively with less
emphasis on TV techniques?

Should the teacher conduct the program
on the air?

Should the teacher appear on the program?

WOuld you have preferred a longer clinic
than the one you attended?

Comments:

XVI. Suggestions

 

A. List any utilization of this project in regular classes
that might be of special interest to other teachers.

B. Suggestions for improving "Let's Turn the Page."

The Secondary Surveys

Administrators.--Interviews with administrators were informal;

 

however, the interviews were based on four questions:
1. Did the project result in observable child growth?
2. Do you consider the project a worthwhile learning
experience in relation to the amount of school time

spent?

3. To what extent, if any, did the project benefit the
school's public relations?

4. Are you planning to use the project in your school
next year?

Parents.--In order to take a poll of parent's opinions} the
following questionnaire was sent home with participating students
just before the end of the school year. Twenty schools were included

in this survey.

220

"LET'S TURN THE PAGE"--Children's TV Show

Parent's Poll

 

Name of School Grade your child is in

Do you feel that your child benefited from participating in

a "Let's Turn the Page" program? Yes No
If you answered "Yes", in what way or ways did your child
benefit?

Did you watch your school on "Let's Turn the Page"? Yes
No

Approximately how many other "Let's Turn the Page" programs have
you seen?

Which ones did you like best?

APPENDIX C. SCHEDULES

Schedules of comdng programs in the "Let's Turn the
Page” series were mailed from Information Services, Central
Michigan College, every two months. The coverage of this ad-
vance publicity included all superintendents and/or principals
in the listening area of IITV and IPBN and any other school
personnel who requested this service.

The following schedules for the winter and spring months
of 1958 include not only the twenty-five elementary school level
programs surveyed fer this study, but alse the five secondary
school level programs and the two specialprograms (music and

speech correction) which were interspersed with them.

IITV'
LET'S TURN THE PAGE
CENTRAL MICHIGAN COLLEGE AREA TELEVISION PROGRAM, station IITV,
Cadillac, Channel 13, every Wednesday at 3:00 P. M.
Please post on bulletin board.

Jan. 8 Cass School, Cadillac, Grades 1 and 2, Kate Murphy, teacher.

GIVING
The children dramatize two stories, "The Elves and the

Shoemaker" and "The Christmas Picnic," to illustrate
the spirit of giving.

221

Jan. 15

Jan. 22

Jan. 29

PCbs 5

Feb. 12

Feb. 19

222

Lake City Elementary School, Grade 6, Daisy Whitney,
teacher.

PAUL BUNYAN AND HIS CAMP

A greenhorn visits Paul Bunyan's camp where he learns a
great deal of the lore surrounding this legendary here
and sees some of the tools, etc. of the lumbering era.

Kinney Elementary School, Mt. Pleasant, Grade 4, Jennie
Bacon, teacher.

OUR TRIP TO SWITZERLAND

vs visit many places in Switzerland and show you what
they do there. One place has a festival and you will
see a dance there.

Evart School, Grade 5, Bonnie Neuman, teacher.
ALL OVER TOWN

The girls and boys have chosen to dramatize scenes from
this beloved book by Carol Ryrie Brink.

Manton High School TV Workshop, Grades 10-12, Edith
Larson, teacher.

A LOOK BEHIND THE SCENES

High School students who ordinarily work behind the
scenes, are coming out in front of the cameras to explain
and demonstrate some of the technical aspects of "Let's
Turn the Page."

Gentle School, Vexford County, all grades, Sara Tidey,
teacher. ' ,

WE HELP ONE ANOTHER
”The Old Woman in the Shoe" finds her problems solved
when the children learn to help one another with story
telling, games and other fun.
Franklin School, Cadillac, Grade 2, Mable Jones, teacher.
DANCES OF OUR PIONEERS

We are going to dance the favorite dances of pioneers
in different parts of our country.

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223

Copemish Consolidated School, Grade 4, Margaret Thompson,
teacher.

A PEEK INTO THE PAST

A patriotic program based on the famous Americans whose
birthdays come in February.

Pullen Elementary School, Mt. Pleasant, Grade 4, Grace
Pitts, teacher.

ELECTRICITY--THE MODERN MAGIC

The theory of electricity, featuring the experiments
we do in our fourth grade science unit and including
an original Ben Franklin skit.

Traverse City High School, Science Department, Philip
Krull and John Groomes, teachers.

WHY WE LIKE SCIENCE

Discussion of gases, illustrated with experiments and
diagrams.

Arlene School, Missaukee County, all grades, Lora
Sherman, teacher.

TREES

Our 4-H Conservation Club will present TREES from planting
through tree products.

Mason County Central School, Scottville, Grade 7, Blanche
Hansen, teacher.

THE GEOPHYSICAL YEAR

A panel discussion with the emphasis on research and
experiments of members of the class.

Beaverton Elementary School, Beaverton, Grade 3, Blanche
liter, teacher.

LITTLE BEAVER
Little Beaver is the children's own newspaper. In building

a TV show around it, we plan to dramatize some of this
year's special items.

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Apr. 16

Apr. 23

Pullen School, Mt. Pleasant, Grade 3, Dorothy Lynch,
teacher.

PUPPETS

Iith paper and paint, wire and cloth,
Leather, wood and glue,

They're easy to make-umore fun to play--
Tune in...we'll share them with you:

Cadillac High School, Science Department, Edward Babcodk,
teacher.

SOUND: SPEED AND MEASUREMENTS

Discussion and experiments developing the theory of
sound.

Whittier School, Cadillac, Grades 6 and 7, Stanley
Levandusky, teacher, and Anna Nelson, music teacher.

MUSIC THROUGH THE YEAR
we have built a program around the seasonal songs we

love to sing as a part of our regular elementary music
program.

'PBN

LET'S TURN THE PAGE

CENTRAL MICHIGAN COLLEGE AREA TELEVISION PROGRAM, station IPBN,
Traverse City, Channel 7, every Saturday at 4:00 P.M.

Jan. 11

Traverse Heights Elementary School, Traverse City, Grade 2,
Maxine V. Carlson, teacher.

COMMUNITY HELPERS
Ihat would happen if we had no community helpers--no

milkman, no postman, etc.? Dramatization and a home-
made movie bring out their importance in our lives.

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Jan. 25

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225

Oak Park Elementary School, Traverse City, Grade 5,
Alberta Lynch, teacher.

A LOOK AT SPACE

This timely science subject will be presented under
three tepics-Atmosphere, Traveling in Space and
Living in Outer Space. .

Kingsley Area School, Grade 3, Frieda Snyder, teacher
FUN WITH READING

A flannelgraph and dramatization are among the methods
used to show how many kinds of books we have.

Junior High School, Traverse City, English Grade 9, Mrs.
Carl Lautner, teacher.

TRIAL BY GRAMMAR

Some characters who ”murder" the English language are
brought to trial, convicted and sent to a "good English
reformatery.” Rehabilitation so improves their speech,
they find better Jobs.

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Fife Lake Consolidated School, Grades 4 and 5, Agatha
Steele, teacher.

CERAMICS

The students demonstrate the steps in making your own
ceramics.

East Bay School, Grand Traverse County, Grade 4, Irsa
Snelling, teacher.

DEVELOPMENT OF THE FLAG
The history of our flag centering around original reproduc-
tions of various flags used during the early years of our

country. Dramatization of high spots in tlag's story.

Grawn School, Grand Traverse County, Grades Kindergarten
through 7, Irene Russell and Pauline Bates, teachers.

GEORGE WASHINGTON

This group plan to dramatize some of the outstanding
phases of our First President's life.

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Mar. 8

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Mar. 29‘
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Apr. 5
(Apr. 7)

226

Williansburg Consolidated School, Grades 5 and 6, Dale
Stilson, teacher.

THE TELEPHONE

Dramatization of the discovery of the telephone, telephone
manners, and up-to-the-minute facts about modern telephone
equipment.

Bertha Vos School, Acne, Grades 6 and 7, Rose Gates, teacher.
SAFETY IN ACTION

You are invited to be present at a meeting of the Safety
Patrol for reports and discussion of safety activities.

Bellaire Public School, Grade 6, Ethelyn Buhland, teacher.
SCIENCE ON THE 6TH GRADE LEVEL

we want to show you the most interesting experisents
and projects from our annual Science Fair.

Traverse City High School, Science Department, Philip
Krull and John GrooIes, teachers.

WHY WE LIKE SCIENCE

we plan to discuss and show a few of our individual
science projects.

Old Mission Peninsula School, Grade 3, Viola Van Vorst,
tCGChCr 0

THE CHERRY PENINSULA

How our peninsula became the heart of Cherryland; how we
raise and process our famous product; and how we use a
project like this in our classroomnoeven in arithmetic.

Haney School, Grand Traverse County, all grades, Ina Robb,
teacher.

WHAT EASTER MEANS TO US

We are telling the meaning of Easter in music, original
pee-s, talks and stories.

 

’Figures in parenthesis under the original date indicate

variations in the announced schedule due to commercially sponsored
baseball games.

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Apr. 12
(Apr. 17)

Apr. 1’
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Apr. 26
(Apr. 24)

Grand Traverse County Speech Correction Classes, all
grades, Mrs. Pat Ingwersen, teacher.

NEW PATTERNS IN SPEECH

A glimpse of modern methods in speech improvement in
action.

lillow Hill School, Traverse City, Grade 6, Teresa Dowd,
teacher.

WE STUDY MICHIGAN
The state that is known as the Heart of Nature's Play-
ground and the industrial giant of the Union, is also
proud of its agricultural and historical contributions.

Gaylord Community School, Grade 5, Robert Bailey, teacher.

A VISIT T0 OLD MACKINAC

On our visit to Michigan's famous island, we delve into
its history and legends.

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APPENDIX D. SCRIPTS

Scripts are submitted in so many forms that the two scripts
presented here in full should he considered as individual samples
rather than as typical ones. A minimum of necessary video direc-
tions are added to the script copy that goes to the director.

These samples illustrate the complete script and the outline
script. The former presents a major writing effort on the fourth
grade level; the latter is intended for an ad lib show. As shown
by these two samples, subject matter content has a tendency to dic-
tate the type of script the group can use. The complete script,
an outline, and a combination of the two types are used on both
stations. All directors have expressed themselves as preferring a
complete or almost complete script, unless the routine of the pro-
gram is as easy to follow as the one produced from this outline
script;

The scripts are strictly utilitarian, so that the reader
receives no mental picture of the actual sets.

The rather choppy effect of fourth grade sentence structure
disappears on the screen. The children have a tendency to revert
to their natural speech no matter how formally they wrote.

The introduction and closing come from an unseen station
announcer. The children's program begins and ends with the master

of ceremonies.

228

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Mountain scene

Set I

Kinney 4th Grade
Format:
M. C.
Set I--ski scene
Set II--wood carving scene
Corner set-~cheese buyer
Set I--Swiss farmers
Set II--watch factory scene
Set I--festiva1 scene (song and dance)

M. C.

corner
set

 

 

II 133
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CONTROL ROOM

Fig. 2.--Floor plan and format Kinney School

 

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'ITV’ 4th Grade

Channel 13 Kinney School

Cadillac LET'S TURN THE PAGE 'Ht; Pleasant
Mrs. Bacon,
teacher

OUR TRIP TO SWITZERLAND 1/22/58
VIDEO AUDIO
SLIDE MUSIC: UP 8 SEC; AND UNDER...

DISSOLVE T0 H.Co
RIGHT CORNER

SET I IN FRONT OF MOUNTAIN
SCENERY—-2 CHILDREN STANDING
AS TRAVELERS ENTER

ANNOUNCER: Central Michigan
College welco-es you to "Let's
Turn the Page.“

MUSIC: UP AND OUT

H. C.: lblcone to our program
on ”Let's Turn the Page." This
is Phil Howard inviting you to
a progral by Mrs. Bacon's Fourth
Grade of Kinney School in Mt.
Pleasant, flichigan. This nonth
our school is working on Switzer-
land. Here are two of my class-
nates, Toni and Frank. They are
traveling to Switzerland. First

they are taking us to Zernatt.

TONI: My name is Toni and this
is my friend Frank. Io are fro-

the United States and are staying

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VIDEO

231

AUDIO

TONI: for a few weeks in a hotel
in Zernatt. We would like to
take part in acne sports.

DIANE: I an Grettle Martin.

BOB: I an Joseph Loon. We teach
skiing.

DIANE: we are tron the official
ski-school run by the champion
Gottlieh Perren.

BOB: How such skiing have you
done?

FRANK:V 'e have done just a
little skiing.

BOB: we have a standard Swiss
technique providing thorough
training. We train the beginners
to ski safely and stylishly and
then into all-around cross-
country snow-sportsnen.

DIANE: You will need your own
ski clothing. A11 skiing equip-
ment can be rented at fixed
prices.

BOB: The chair-lift takes only

eleven minutes from Zernatt to

 

,

VIDEO

JAI AND DAVID
TALK.IN

BOB:

232

AUDIO

Sunnigga 7,480 feet up.

We have a restaurant there and

a sun deck with chairs. There

are many peaks to admire fro-

there; The Matterhorn can be

seen very easily. The ski trail

leads down through several vil-

lages.

DIANE: If the snow isn't good

there we can take the ski-lift

for another
to Blawherd
higher. we
year round.
BOB: we have
hockey each

you care to

ten-linute ride up
one thousand feet

can ski there all

curling natches and
day at lar-att if

watch.

DIANE:' we also have a skating

school where you can learn to

skate e

TONI: That sounds good to us.

BOB: Here cone two brothers.

They are sountain clinbing

guides. I'd like you to neet

Peter and Hans Antonio. This

 

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VIDEO

233

AUDIO
BOB: is Thai and Frank. They
might like to try some mountain
climbing.
DAVID: How do you do, Toni and
Frank? welcone to Zermatt.
How did you get here?
FRANK: we came by cogwheel train.
we were certainly surprised
that we could not get to Zermatt
by car or bus because no roads
are built over the mountains
around it.
JAY: Have you had any experience?
TONI AND FRANK: No, we have
never clinbed before.
JAY: Then we think you should
try Stockhorn. That is a small
mountain. Later in the year
you can try Matterhorn.
DAVID: I think we had better
climb only half way up Stockhorn.
JAY: Yes, that would be better.
DAVID: we'll probably stay at a

chalet. A chalet is a Swiss

VIDEO

ALL BUT THE TRAVELERS
LEAVE

SET II AROUND TABLE-
TRAVELERS ENTER

AUDIO

DAVID: house. Some chalets are
like inns. It is built so that
it goes in at the bottom and
is wider at the top.

JAY: If you want to we'll begin
tomorrow. It will cost $30.00
a day for each guide.

DAVID: we will furnish all the
equipment. Be sure to let us
know by tonight.

DIANE: Yes, he sure to tell us,
too.

ALL: Goodbye.

FRANK: we must hurry and go to
the woodcarving school at

Brienz.

VICTOR: Good morning. welcome
to Briana woodcarving school.
TONI: How did you become inter-

ested in carving?
VIRGINIA: My name is Trudy. My

brother taught me to carve.

 

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VIDEO

CLOSE UP
ANIMALS

CLOSE UP
CARVING

235

AUDIO

RICHARD: My name is Anton Rani.
I'm eleven. My father taught
me how to carve when I was
five. I lived in Borne. My
father was a very famous man.
He carved a lot of animals in
his time.

VICTOR: my father taught me to
first carve when I was eight
years old, and when I got good
at it my father sent me to this
woodcarving school.

VIRGINIA: I went to this school
three months.

RICHARD: I have been in this
school for two months.

VICTOR: I have been going to
this school for eight months.

VIRGINIA: Our special piece is
this man who is William Tell.

RICHARD: v. carve William Tell
so much because he saved Switzer-
land from Governor Gessler.

Governor Gessler was a cruel man.

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VIDEO

BETIEEN SET I AND SET II
ON CORNER

HANS STANDINGo-TRAVELERS
ENTER

236

AUDIO

RICHARD: They made Willia- a

prisoner because he didn't
salute to the duke's hat which
had been put on top of a pole.

Governor Gessler took Switzer-

land because he was so cruel.
He ruled Austria, too.

VICTOR: Iould you like to buy
a carving or two?

TONI: Yes. (PICKS our CARVING)
FRANK: Io have an appointment
with Hans Birri, the cheese

buyer.
TONI: Let's go now.

ALL: GoadeCQ

GENE: Hello, Toni and Frank.
1'. Hans Birri. You wrote to
we, remember?

FRANK: Yes, I wrote to you be-
cause we wanted to cone with

you to buy cheese.

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WALK ONTO SET I

'ITH FAMILY AND PILE OF
CHEESE BOXES

AUDIO

GENE: Each year I buy about

500 tons of cheese to ship
to other places. Last year
cheese brought in about

$20,000,000 to Switzerland.

TONI: Does the United States

buy the sost cheese?

GENE: No, we shipped only 3,600

tons to your people last year.
Italy bought 4,900 tons. well,
let's get going up the sountains
to see the Rubli fasily. I buy
their cheese each year. They
are hard workers and know how

to sake good cheese.

Here are the Rubli fasily.
These two, Toni and Frank, are
Iv friends fro- the United
States. They case with we this

year to buy your cheese.

ALL: Hello Hans, Toni, and Frank.

GENE: my; you're looking fine.

(SHARES HANDS)

VIDEO

238

AUDIO

PETER: Thank you.

GENE: How is your cheese crop
this year? (SHAKES HANDS)

EDDIE: Very good, thank you.

GENE: Did you work very hard
and sake a lot of cheese for
se? (SHARES HANDS)

HELEN: we sure did. We have
about twelve rounds of cheese
to sell you this year.

GENE: Can you sake cheese as
good as your sother can,
Irsagard?

PAM: I can do it pretty good.

GENE: I like this type of
cheese best, Ber Rubli, because
of the ssall holes. This sakes
a better cheese even though the
people in Asorica like the
larger holes. (SAMPLES CHEESE)

PETER: Don't you think it has a
'fine flavor?

GENE: Yes, it is very good. This
cheese sounds very solid.

(THUMPS CHEESE)

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239

VIDEO AUDIO

HELEN: The weather was just
right for curing.

PAM: Mother told me to watch the
temperature in the curing
sheds very carefully.

PETER: We have 830 pounds of
cheese.

GENE: This is an exceptional
crop, and I'll pay a premius
price for it. (PAYS)

ALL: Thank you (etc.).

EDDIE: Now that the susser cheese
saking is finished, father won't
be needing so because there is
less to do. I'll be going to
the city to work in a factory.

PAM: Yes, Mother said that I
could go to work this year in
the chocolate factory in Berne.

PETER: I'll be doing woodcarving
at hose. I sold all that I
carved last winter.

HELEN: I guess I will be saking

cheese by myself this winter.

VIDEO

SET II CHILDREN AROUND
TABLE FULL OF CLOCK
PARTS-~TRAVELERS ENTER

240

AUDIO

HELEN: We sake less cheese in
the winter. The cows give
less silk in the winter than
they do in susser.

GENE: Hell, I'll see you next
year, Her Rubli. Hope your
next crop is a good one. This
year's crop is very good. ‘

TONI:. we had better hurry to
Geneva. Nobody ever: leaves
Switzerland without buying a
Swiss watch.

FRANK: Yes, I want a watch too.

CHARLOTTE: -Ielcose to the Geneva
factory. we are very glad to
see you. we sake watches and
clocks and all of thes are
beautiful.

TONI: How did you happen to
becose a watch-saker?

CHARLOTTE: I was born one. My
great-great-grandfather had

his own watchnaking business.

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241

VIDEO AUDIO

CHARLOTTE: Both of sy grand-
fathers are 76 and are still
watch-sakers. Here are soso
of the girls that work with
so in the fastery.

CAROL: Did you know that Swiss
watches were invented in
Switzerland sore than three
hundred years ago by a
Durgudian who settled in Geneva.
This skilled work can show the
patience and the willingness
of sy people to work hard.

CHRISTINE: Parts of the watch
or clock sovesents are quite
often sade in the hoses by
fasilies who for years have
been experts in saking perhaps
just one little part. The
watches are taken to the factory
to be put together.

ERNA: Here sen and wosen adjust
and put clocks together. They

test watches that probably

242

VIDEO AUDIO

ERNA: will keep tine for people
in far distant parts of the
world.

LINDA: I knew that I would never
be happy unless I was a watch-
saker. I love the delicate
coiled springs of a watch,
it's tiny screws, and it's bits
of hard jewels. All the hundred
wee pieces that sake up a watch
char-ed se.

ROGUE:‘ Did you know a watch
sust not lose 3 seconds or
gain 12 seconds a day? In
Geneva a good watchsaker can
tell a lot by the tick of a
watch.

ERNA: Nearly three-fourths of
our watches go to the United
States and help to pay for
products cosing into our country.

LINDA: We prefer working in clean,
well-lighted factories to
spending long lonesose winters

in the country.

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VIDEO

SET I-SINCERS,
TRAVELLERS ENTER

M. C. RIGHT CORNER

243

AUDIO
TONI: May we buy a watch here?
ROQUE: They are for sale in the
front office.
FRANK: we had better hurry to
Interlaken to the festival.

ALL: Goodbye.

SINGERS: (AT END or SONG SINGERS
SEPARATE, BECOME AUDIENCE AS
DANCERS DANCE ON)

FRANK: (AFTER DANCERS DANCE OFF)
I's glad we got here in tise to
see sose of the festival.

TONI: I's sorry our trip through
Switzerland is over, but we'll
have to go and pack now. The
plane leaves tosorrow sorning

for hose.

M. C.: We all wish we could have
taken a trip to Switzerland.
Linda and Su Ann will tell you
where we got sose of our inforsa-

tion to write in our progras.

or».

SLIDE

244

AUDIO

LINDA AND SU ANN WILL FILL IN

ANY EXTRA TIME WE HAVE.

M. C.: Boys and girls, we hope

you have enjoyed our progras
about Switzerland. wo would
enjoy hearing fros you. Send
your letters to Fourth Grade,

Kinney School, Mt. Pleasant.

.GOOdby. e

MUSIC: UP 8 SEC. AND UNDER...

ANNOUNCER: Thank you, girls and

boys... You have just been watching
the fourth grade of the Kinney
School at Mt. Pleasant in an
original progras featuring a
trip to SwitSerland. Mrs. Jennie
Bacon is the teacher. ”Let's
Turn the Page" is brought to

you each week by Central Hichi-‘
gan College in cooperation with
WWTV and the public schools of
the area. (For further inforsa-
tion about this series of educa-

tional TV programs by and for

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245

VIDEO AUDIO

ANNOUNCER: children, write to
Inforsation Services, Central
Michigan College, Mt. Pleasant.
The director of today's show was
Iayne Bishop and the producer,
Edith Larson.)’ Next week, the
5th grade fros the Evart Con-
solidated School will drasatize
scenes fros a favorite book.
Hrs. Donnie Neusan is the teacher.

NUSIC: UP AND our;

f0sit saterial in parenthesis unless children's progras runs
short.

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246

 

 

Fife Lake 4th Grade

Format:
M. C.--boy and 2 girls join him
Table 1--l demonstration
Table 2—-1 dem.
Table 3--2 demonstrations
Table 4--2 dem.
Table 5--2 dem.
Table 6--l demonstration
Table 7--l dem.
Individuals holding pottery

M. C.--joined by Mrs. Steele

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Individual
Talent

 

CONTROL ROOM
All tables elevated

Fig. 3.--Floor plan and format Fife Lake School

 

ase-

-el ...

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IPBN
Channel 7
Traverse City

VIDEO

TELOP

DISSOLVE TO M. C.
ON LEFT

M. C. JOINED BY
BOY AND 2 GIRLS

FOLLOW BOY AND
2 GIRLS

247

4th and 5th
Grades

LET'S TURN THE PAGE Fife Lake

Mrs. Steele,
teacher

CERAMICS

AUDIO
MUSIC: UP‘B SEC. AND UNDER...
ANNOUNCER: Central Michigan
College welcoses you to ”Let's
Thrn the Page,” the TV progras

for children and by children.

MUSIC: UP AND OUT.
u. C.:, (WELCOME SPEECH TELLING
IRY THEY cnoss To BRING CERANICS

To LET'S TURN THE PAGE.)

(INTRODUCES GREG, JUDY AND NARGo.)
Let's watch Judy and Greg as
they show their visitor the sany
processes needed to sake a

piece of pottery.

(THE BOY AND 2 GIRLS BEGIN AT
SMALL TABLE ON THE LEFT END or

ROI OF SMALL TABLES AND WORK

 

o '0-

—o.-

On

VIDEO

TABLEI

TABLEZ

TABLE 3
(2 DEMONSTRATIONS)

248

AUDIO
RIGHT DowN Row, USING INFORMAL
INTRODUCTIONS, QUESTIONS, AND
EXPLANATIONS OF THE DEMONSTRA-
TION ON EACH TABLE: THE FOL-
LOHING IS AN OUTLINE OP WHAT
EACH DEMONSTRATION Is ABOUT.)
BILLY: (PREPARATION OF CLAY:
a. CONDITION OF CLAY
h. HEDGING)
BEVERLY: (SHAPING POTTERY:
a. THINKING OF DESIGN
h. PLAIING AROUND
WITH CLA!
c. USING HANDS AND
FINGERS TO PUSH
CLAI INTO DESIRED
SHAPE
d. CRACK DANGER
e. HELP FOR.MIBTAKE8)
GARY: (SHAPES WELL SUITED TO CLAY:
a. NO SHARP CORNERS
h. FLOIING LINES
TELLS HOH PIECE NUST Now

DRY'TOtFORM CRUST)

I
.“

VIDEO

TABLE 4
(2 DEMONSTRATIONS)

TABLE 5
(2 DEMONSTRATIONs)

TABLE 6

TABLE 7

LINDA :

24$

AUDIO

(SHOWS A COMPLETED FORM

AND EXPLAINS HOW IT MUST BE

NEXT DRIED FOR FIRING.)

JUDY:

(SHOWS How A POTTERY

PIECE IS SCOOPED OUT:

a. TOOLS USED
b. MAKING GUIDE LINE
c. HOW TO SCOOP

d. THINGS TO BE CAREFUL OF)

BEVERLY: (TELLS HOW SHE USES

HER FINGHIS, PALM OF HAND, IN

SMOOTHING SCOOPED PIECE)

HIKE:

(SHOIS HOI'BACK OF SPOON

IS USED)

LINDA :-

(SHOIS BISCUIT WARE

ExPLAINS FILM AND ITS WORK)

GARY :

ALICE:

(GLAZING PROCESS:
a. WELL FILLED BRUSH
h; NUMBER OF COATS
c. DON'T OVER BRUSH)
(PUTTING ON DESIGN:
a. UNDERGLAZING
b. USE OF SCRAFFITO TOOL
c. OTHER WAYS OF MAKING DESIGNS

(1. USE OF‘ TRANSPARENT GLASS

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CLOSE UP OF INDIVIDUALS
EACH ONE COMING ALONE INTO
CAMERA 'ITH FINISHED POTTERY

THE BOY AND
2 GIRLS

M. Cl
MRS.STEELE

250

AUDIO

10 CHILDREN: (FEW REMARKS EACH

ABOUT OIN POTTERY)

MARCO: (THANKS OTHERS FOR SHOW-

ING HER AROUND AND TELLING

ABOUT THEIR HOBBY)

M. C.:(THANK YOU SPEECH. INTRO-

DUCES TEACHER)

MRS. STEELE: (FILL IN IF NEEDED.)
MUSIC: UP AND UNDER...

ANNOUNCER: Thank you, girls and

boys and Mrs. Steele. This
program has been sponsored by
Central Michigan College in co-
operation with IPBN and the
public schools of this area.
Next week we will bring you the
fourth grade of the East Bay
School, Mrs. William Snelling,

teacher. Your director was

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VIDEO

251

AUDIO
ANNOUNCER: Chuck Leiphal and
your producer, Edith Larson.

MUSIC: UP AND OUT.

APPENDIX E. LETTER WRITING

”Let's Turn the Page” offers teachers an Opportunity to

motivate their regular classes in letter writing. Appendix E

contains three types of letters commonly written by the children:

1.

2.

3.

Invitations to listen. These are written by partici-
pants, mimeographed at Central Michigan College and
nailed to teachers of children on the same grade level
as the writers.

Letters from viewers. Many classes view "Let's Turn
the Page” programs as a group and have a follow-up
lesson on letter writing.

Letters of appreciation. Bus drivers, chaperones,
television station personnel, and many other people
are the recipients of student-written ”thank you"

notes.

252

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