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“TEACHERS' AR "2
:3. TELEVES‘uiGN PROGRAM ABOUT ART

Thesis fie»? flue .stng :25 M A.
MECWGAN S'EA‘E'E UNWERSSTY
Eric Samara
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now an acceptee ‘act. this medium tould see n to be useful, therefore,

been cnerous musical and dranasic progrars on both co cral and -
educational television. Belevision programs about the visual arts
{e_a -ng, painting, etc.) have bee n far less frequent and po3ular,

-4
J

nowever. Perhaps one of the reasons for tnis is tnat it is difficult

to mane the visual arts "live" over television in the way that the
perfs~ in; arts do. In this thesis I have tried to su gest, by example,

\

a me; ad for producing entertaining and meaningful pro rats about the

In chapter one I have presented a theory that purports to provide
a rasional oasis for the use of certain produC't ion techniques. A work
or ar; shown over television can never look the same as it does in a
neseun. The TV producer trying to present art over television, therefore,
st add certain elements or television, such as camer a movement or
1:

mnsica accompaniment, to compensate tor what is lost.

Chapter two consists of a script tor an art program that I have

planned Moll ring the theory presented in chapter one. In chapters
tnree and four I have described the various stages of planning the pro-

gram. Finally, in chapter five, I have tried to show how the program

ts the theory and where compromises had to be made.

"TEACHERS' ART": A TELEVISION

PROGRAM A3 Ur ART

By

ric Somers

A THESIS

Michigan Sta se University
in partial fulfillment of the requirements
for the degree of

EASTER CF ARTS

Department of Television and Radio

1965

Approved /// // /

Ifiajor Professor

 

ACKNOWLEDGMENTS

I wish to thank the Michigan Education Association, the Michigan
Art Education Association, and especially Dr. Arthur Rice, Jr. and
George Brown for making the artwork reproduced in this thesis available
to me and for providing other assistance.

Also, I wish to thank Professor Arthur Weld, Jr. for his helpful
suggestions regarding this thesis. Finally, I wish to thank Paul

Witkowski for drawing the studio floorplan and Richard Conrad for

making the internegatives from the color transparences of the art.

ii

TABLE OF CONTENTS

ACKNOWLEDGMNTS O O O O O O O O O O O O O O O O O 0 O O O O O
L IST OF ILLUSTRAT IONS O O O O O O O O O O O O O O O O O O O 0
LIST OF APPENDICES O 0 O O O O O O O O O O O O O O O O O O . O

INTRODUCT ION O O O O O O O O O O O O O O O O O O O O O O O 0

Chapter
. I. A THEORY FOR THE PRESENTATION OF ART OVER TELEVISION.

The Theory
The Nature of Artistic Elements
The Elements of Art and of Television

11. A SCRIPT OF THE PROGRAM "TEACHERS' ART" . . . o . . .
III. THE DEVELOPMENT OF THE ORIGINAL PROGRAM . . . . . . .

The Initial Idea

The Purpose of the Program

Initial Program Arrangements

Putting the Show Together -- Early Stages
Arranging for Production Facilities

IV. THE DEVELOPMENT OF THE FINAL PROGRAM . . . . . . . .

Selecting New Music

Initial Rearrangement of the Pictures
Final Arrangement of the Pictures'
Final Planning

B IBLIOGRAPHY O O O O O O O O O O O O O O O O O O O O O O O 0

iii

Page
ii

iv

17

48-

60

68

72

LIST OF ILLUSTRATIONS

Figure ' Page

1. Layout of the Script of "Teachers' Art" . . . . . . . . . . l7

2. Studio Floorplan for the Production of "Teachers' Art" . . . 20

iv

LIST OF APPENDICES

Append ix Page

A. Program Description of "Teachers' Art" . . . . . . . . . . 73

Q

B. Original Arrangement of Pictures for "Teachers' Art" . . . ‘ 76

C. t The Notes that Accompany the Music for "Teachers' Art" . . 80

INTRODUCTION - ,

An essential part of this thesis is a recording of the musical
accompaniment to the program presented in chapter II. It may be
obtained on tape from the Michigan State University Department of
Television and Radio or found on RCA recording LMr2558 (monaural) or

LSC-ZSSS (stereo) entitled Studies in Improvisation and performed by

 

Lukas Foss and the Improvisation Chamber Ensemble. The timings of the
music in the script are for the tape recording when played on a machine
with a hysteresis synchronous motor. If phonograph records are used,
however, and are played on a high quality turntable or changer, the
timings should not vary greatly.

The basis of this thesis is a script for a program called
”Teachers' Art." In preparing the script I have tried to present an
example of what I believe to be an effective and entertaining presen-
tation of art (painting, drawing, prints, etc.) over television. Of
course, the script is not without flaws, but its real value lies not
in its value strictly as a program to be viewed but as a sample of
techniques that may be used in presenting art over television. Certain
principles or a theory must accompany techniques as a basis for their
use. Chapter one is an outline of my theory of presenting art by
television.

To further help the reader to understand my planning of an art

program, and to show the circumstances under which this program took

shape, I have in chapters III and IV traced the development of the

2
script from the time the idea was first conceived until it was put in
the final form as it appears in chapter II.

As will become evident in reading chapter III, the early stages
of the script were first planned when it appeared that the program '
would be produced and music composed especially for it. During this
period a very basic (and not necessarily final) order of pictures
was established. This original order may also be of interest to the
reader since, from the strictly visual point of view, I believe it to

be superior to the revised one (arranged to fit the music I finally

used). It is, therefore, included as appendix C.

CHAPTER I "
A THEORY FOR THE PRESENTATION OF ART OVER TELEVISION

In the text that follows I will briefly present my philosophy or
theory of how I plan television programs about art. I cannot completely
justify all parts of this theory on a logical basis, as to do so would
require a volume at least as large as this entire thesis. I will,
however, outline the basic elements of it and indicate some general
production procedures.

I do not feel that this is the only "correct" theory of the pre-
sentation of art over television. Different television producers do
things in different ways. This is simply my theory and I believe that
its basis is sound, The program presented in script form in chapter II
was planned according to this theory. Although the present chapter
will discuss general form and very basic production techniques, if the
reader wishes to examine specific techniques it is best to examine-the
.script.

The theory.-- To understand my theory of presentation let us

 

consider for a moment what happens when a person looks at art. Most
art is shown in museums or at exhibitions. This is the way the art
used in the program in chapter II was originally displayed. When a
work is painted the artist usually intends that the viewer will see
it hanging somewhere, very likely in a gallery or other type of exhibit.
Little, if any, art is painted especially for use over television except

painted stage sets or illustrations of a text.

3

4

Paintings and drawings intended for exhibition are best seen in
an exhibition. By best seen, I mean the viewer most accurately sees
what the artist intends him to see. He can study form, texture, size,
etc., and see it approximately as the artist sees it. CoTors'are moat
true, being affected only by the color of light in the room where the
work is displayed and by differences in people's eyes.

Probably in an exhibit, more than in any other means of presenting
art, the viewer considers each picture by itself with little regard to
influence from surrounding pictures. That is, a sequence or arrangement
is not intended to guide the viewer in his thinking about the pictures.
Pictures that are adjacent to each other will influence a viewer to
some extent. (A very large picture placed next to a very small one
may accent the differences in size, for example.) In a gallery,
pictures are generally arranged in some logical groups but there is
little attempt to add meanings or impose new forms by arranging pictures
in a certain way. ‘In most galleries viewers can wander as they please,
each person seeing the pictures in a slightly different order. Each
person can spend as long or short a time as he wants to look at each
picture, he can view the pictures from different distances and study
various details at will. Since artists intend their works to be shown
in this manner, it is, in fairness to the artist, the best way to view
art.

. At first it would seem, therefore, that a television presentation
of art should try to recreate this "best" way as closely as possible
to be fair to the artist. This is not the case, however. When a TV

camera is pointed at a painting the image that appears on the television

screen is vastly different from the original painting. The picture has

5

been changed by television transmission. Color, for example, is miss-
ing from the television image, or in the case of color television, at
least distorted somewhat. Texture may be hard to distinguish over TV
as well as small detail, relative size of the pictures, etc.. The '
television image is at best an imperfect likeness of the original. The
experience of looking at the televised image will not be as aesthetically
satisfying as looking at the original. If, then, we make our television
camera take the place of the live viewer in a simulated "gallery visit"
via television, the broadcast result will be much less satiSfying than .
a live visit. A person who sees the exhibit live would benefit little
from such a broadcast.

This is not to say that we never would want to show art over
television in this way. If a program were being produced in which a
museum curator showed new acquisitions in hopes of interesting people
in coming to the museum, it would ndt be necessary to make the program
a more satisfying experience aesthetically since part of what we are
trying to do is create a desire for a more satisfying experience.

The televised "visit" technique may be used effectively in an
incidental way in other types of programs. The NBC production called
”The Louvre" was a documentary of a museum. During the course of the
program the camera wandered about and looked at certain paintings.

Since the program didn't intend to present the paintings as works of
art so much as to point out that they are there during the course of
tracing the history of the museum, the technique was effective.

If, however, we intend to present a program about art itself and

Show it through the imperfect medium of television, we must find a way

to make the experience more satisfying aesthetically even though it will

6
never do the same kind of job as a personal visit. TelevisiOn can
never replace a museum visit and it shouldn't try. Rather, it can
produce a result that will serve some of the same purposes as a visit
to those who are unable (or lack ambition) to make a personal visit '
(i.e. it will expose them to art) and also be satisfying to the person
who frequently visits a museum since it is different from a visit.

How do we accomplish this? Since certain artistic elements are
lost or damaged in television transmission we must add elements from
other arts that are within the capabilities of TV transmission to help .
compensate for the loss. Since these new elements are different from
the ones lost, the resulting experience will be different than viewing
the original, but it may be no less satisfying.

The nature of artistic elements.-- In order to understand the
artistic elements lost by TV transmissiOn or added by it we should
first know something about artistic elements in general.

None of the arts have well defined artistic elements that compare
with the elements of chemistry. Chemists know that certain compounds
contain certain elements (such as hydrogen, oxygen, etc.). Of course
the physical elements of art (i.e. paint, canvas) can be analysed in
the same way. But it is not the physical elements only that make an
art object. The physical elements only make an object. These physical
elements must have certain properties to make them a work of art.

' The artist creates a painting (or any other work of art) by
arranging the physical elements in a certain way that is pleasing to
the viewer. To aid in talking about art or in instructing peOple in

its techniques, names have been given to certain physical elements that

have certain characteristics. For example, "line" refers to a strip of

7
paint that is shaped a certain way, ”color" refers to the prOperty of
certain materials to cause certain waveTengths of light to be reflected,
etc.. Similarly, music is concerned with vibrations in the air. The

I

" for example, have been assigned to designate

names "pitch" and "rhythm,
respectively the frequency of vibrations of the air, and the temporal
arrangement of tones. In television, an art that works with many
physical elements including light, sound, and electricity, the term
"shot" for example is used to refer to a single picture.

These so called "artistic elements" then are really names we use ,
to talk about certain parts of a work of art. These parts are defined
not by their chemical composition but by certain other ways that relate
to what they do in a work of art. There are various levels of artistic
elements. For example, "cubism" is an element of overall organization
or style, ”mass" is the name that applies to many shapes, and "cube" is
the name of a single shape. ‘

When talking'about sulfuric acid, we can say that it contains
two parts hydrogen, one part sulfur, and four parts ox gen. These
elements are the building blocks of the chemical, sulfuric acid.
Artistic elements do not serve the same function. Art is not built
from line, mass, color, etc.. Hydrogen, oxygen, and sulfur all exist
by themselves and are combined to form sulfuric acid. The artistic
elements do not exist by themselves, but are properties of the physical
elements of art. .The definitions of chemical elements are mutually
exclusive. Oxygen is never hydrogen also. This is not the case with

all of the artistic elements. Something that is a line can also be the

color red.

8

Talking about £32 elements of an art, therefore, is quite
difficult, much more so than talking abdut the chemical elements of a
certain compound. When we choose a set of elements to be 532 elements
of art we really mean that we will talk about art in terms of these.
elements, not that no other elements can be found. We could limit
ourselves to mutually exclusive terms but these would not be useful to
us. The purpose of naming certain prOperties or "elements" is to aid
in talking about art. If we limit ourselves to mutually exclusive terms,
we limit ourselves so severely that we have not aided discussion of art-
very much. All painting could be talked about in terms of line and
form, for example. Color, texture, and other elements could be thought
of as prOperties of line and form. But it is more useful to work with
a larger list of elements. So, in choosing a list of elements we want
to choose the ones most useful to us. In order to discuss art and
television let me choose a list of elements for each and show how they
relate.

The elements of art and television.-- The book Art Today mentions
five elements of art that the authors call the plastic elements. These
are line, form, space, color, and texture.1 Form in the sense intended
in this case means shape or mass, not the general organizational plan
of a work of art. Line and color are self explanatory. Texture can be
of two types, actual and simulated. If simulated the illusion of
texture will be created by the other elements and will therefore, be

dependent upon them. Space in sculpture and architecture refers to

depth or use of volume. In the two dimentional art we are discussing,

 

lRay Faulkner, Edwin Ziegfeld, and Gerald n111, Art Today (3rd
Edition. New York: Henry Holt and Co. 1956), p. 288.

9

it is simply an illusion caused by certain arrangements of color, line,

form, and texture. It can therefore be defined in terms of the other
elements. For our purposes we need not consider it a separate element

(it will not aid our discussion). The elements of art we will use

then are line, form, color, and texture.

 

Now let us look at television. Ivor Montagu in Film World lists
four elements of film: image, speech, sound, and arrangement.2 I
think that we can use these for television although perhaps not exactly
as Montagu uses them. .

Image, in the sense we will use it, means the single picture or

frame on a television screen. These pictures are put together in a

(D

pecial sequence or arrangement. When we were considering the appear—
ance of a work of art on a television screen toward the beginning of
this chapter we were considering only the element of image. All of the
elements of a work of art discussed above that "survive” being broad-

cast by television will be part of the single element of television we

Line and form in a painting often transmit fairly well over
television. There is poorer definition of line on TV than the eye can
make at a live viewing, so a television shot that shows an entire
painting may not show fine line. Line and form may be distorted by
defects in the television scanning system, but usually this is not
Serious.

Texture may or may not be faithfully broadcast over TV. Actually

texture, in the physical sense is never transmitted by TV since the face

 

2Ivor Montagu, Film World (Baltimore, Maryland: Penquin Books Inc.,
1964), p. 172.

 

10

of the television picture tube never takes on a texture. The appearance
of texture, which is really what is moat important to a picture (since
it is seldom touched) may be transmitted by photographing (with the
television camera) actual texture in the original or simulated texture.
If a simulated texture in the original depends upon color or fine
detail that is not transmitted successfully over television the TV
image will lack the textured appearance. The element of color, of
course, cannot be transmitted by black and white television and will be
distorted to varying degrees, depending upon conditions, by color
television.

The task of the television producer is to use the elements of
arrangement, speech, and sound to make an aesthetically satisfying work
of art (television art) to compensate for the fact that our television
image is not the same as the original work of art.

In arranging images we must sequence the images in such a way
that two shots, by being adjacent to each other temporally, express
an idea different from that expresSed by the two shots individually.
Sergei Eisenstein in The Film Sense (and in other articles) calls this

3

montage. We can make images adjacent in two ways. First, we can

 

take a new entirely different image by introducing a new shot from

 

3Sergei M. Eisenstein, The Film Sense (New York: Harcourt, Brace
and Company, 1942) p. 69. Actually Eisenstein's definition is,
“Representation A and representation B must be so selected from all the
possible features within the theme that is being developed, must be so
sought for, that their juxtaposition -- the juxtaposition of those
very elements and not of alternative ones -- shall evoke in the percep-
tion and feelings of the spectator the most complete image of the theme
itself." He is talking to the director who is choosing shots to express
a particular theme. We are considering a situation where some Shots
(the paintings) are given and we must arrange them so that certain
themes emerge. My definition of "montage," then, fits this situation.

 

 

 

 

 

11

another camera by a take, dissolve, or fade out and fade in. Or, we
can change certain elements within an image. In a program involving
peOple or other mobile subjects this latter change can be accomplished
by moving either the subject or the camera, or both. Sinée paintings
are motionless, we can only move the camera on art programs. By moving
a camera in to take close-ups or panning across part of a picture we
can focus the viewer's attention on certain portions of the art and

make him "

see" things he might otherwise miss. This, and the other
techniques to be discussed, can actually help an inexperienced art .
viewer to understand a work of art better than he might in an art
museum if no one is guiding him.

The sequencing of various camera shots and camera movements must
be used to add emotional impact to art by making an ever changing
experience that builds to certain climaxes. Logical progressions based
on similar forms and themes must follow each other with pictures seem-
ingly "growing" out of each other or suddenly "destroying" each other
by effective use of the principle of montage. In this way the art
becomes a living thing in spite of distortions caused by the medium
and will not disappoint even an experienced art lover. These sequences,
however, should still do justice to the artist. I think that attempts
at "telling a story" and other too "cute"devices impose overly strong
artificial meanings on the artists} work. A technique that is valuable,
however, when more than one c0py of a work of art is available (i.e.
where photographs of the art are available) is to switch to a close-up
or long shot of a picture by taking the long shot on one camera and the

close-up on another and cutting (by dissolve, take, etc.) to the new

shot, thereby avoiding another camera move. This can help prevent a

12
constant in and out motion of cameras dollying to close-ups and out
again for long shots.

Many times, however, I think that pictures are best shown without
the use of many close-ups or camera moves. At first the television'
producer might equate this with shooting a play, for example, using
mostly long shots. This is not the case. The artist has provided a
composition, a frame, just as the TV cameraman shoots. Sometimes this
composition is a "long shot," otner times a l”close-up." Je do not
always need to create new frames when showing art over television.-

A problem arises when the art is not in the three by four ratio
of television. I believe that in a program where art as art is being
shown (rather than illustrations for some other purpose), it is
desirable to preserve the artist's form and "shoot off” provided a
suitable neutral backing material is used. Pictures quite close to the
three by four ratio can be crOpped Slightly to avoid having to "shoot
off," but I see nothing wrong with showing a vertical or square picture

as the artist intended it. Sometimes an interesting effect can be

H-

obtained by t lting down a long vertical picture or panning across an
xtremely long one, but this is not a necessity all of the time.

If used sparingly, various special devices can create interesting
effects. Note that in picture 24 of the program in chapter II I intend
several photographic c0pies of the picture to be mounted on a large
drum (to minimize distortions caused by sharp curvature of a small one)
which is rotated to make the dancing effect of the abstract figures
seem to come alive and dance about to the wild musical accompaniment.

Other effects can be used that move pictures, create multiple images,

distort lines, etc. Care must be taken not to overdo these effects to

13

m

tne point where the art is destroyed or overshadowed by the effect

a

itself and the effect, not the art, is all that is conveyed to the
viewer.

Sound and speech could really be put together under the single
heading of sound. However, as we will see shortly, speech does not
serve the same purpose as other sound, so we will maintain Montegu's

distinction. In the context of art tograms we are really most con-

’L‘
l ;

cerned with speech and music. Except in special instances, I believe
that use of special non-musical sound effects produces too artificial -
a result that detracts from the artist's work.

Q _ o
. §

Words can be used to descrio -st 3 life, d cuss nis

(D
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style, or simply to introduce the art. I feel, however, that unless

an art program is intended to be primarily instructional in nature,
spoken passages should be used sparingly when art is being shown. (In
the program in chapter II, I used nOne at all during the art segments).
Art must be allowed to speak for itself, perhaps with the aid of music.
Explaining it literally while it is being shown is somewhat comparable
to the behavior of a person who tells a joke and then explains it in
case anyone missed the point. Also, I question the value of reading
poetry or other literature while showing art unless the art is intended
(by the artist or writer) to illustrate the t x or unless the relation-
ship is very obvious. A text tends to impose too strict a cognitive
meaning to the art and the result is that the literature becomes most
prominent with the art taking second place. A program about literature
could better be accompanied by art than vice-versa although even this

technique seems of doubtful value since the mental images evoked by

literature are perhaps more meaningful, in respect to the literature,

than the visual ones found in art. ‘hinx that music uses the aural

potential of television be t as an accompaniment to art.

(.0

For some reason not yet fully explained by musicians, philosophers,
or psychologists, music has a very strong emotional appeal, stronger to
many than visual art itself even under the best of conditions. Music

conveys general emotional feelings, not specific cognitive ideas as

does literature. The emotional efiect of music (or of painting) cannot

.1.\

be accurately described by words. The two complement each other in a
way that literature and art do not. However, as Eisenstein emphasizes,.
the musical line and the visual one must be planned as carefully as are
two lines of a musical score.

How should music fit the visual elements? First, the musical
changes should match the changes in visual elements. musical phrases
must match shot sequences. But the music should also match the charac-
ter of the paintings being snown as well as match the visual movement.
How does nusic, a temporal art, relate to painting, a spatial one?

John F. A. Taylor, comparing the rhythm of poetry (which we can consider

as we would music) with what he calls the rhythm of painting, says,

.0

'the parts of the image are simultaneous; the parts of the ipoetig line,

as the line is heard, are successive. How then should the one be
thought to represent the other? Very simply: it fixes on the structure

of the sequence, and omits its temporality. Though time and space

0

C

difier, the order of the sequence is in both the same....To hear the

 

Susanne K. Langer, Philosophy in a New Key (Mentor Books, no.
HDlOl; New York: The New American Library of World Literature, Inc.,
1959) p. 199.

 

S .
line is to near that pulse; to see tne image is to see it.” To him

the repetition of certain visual forms corresponds to the repetition
of certain poetic (or, I think, musical) forms.

1

Eisenstein admits of an even closer connection between m sic and
paintinfT than does Taylor by contending that since the eye moves across

Q

the temporal element is even present in a

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painting Answering to the objection that since the visual arts are
Spatial and music temporal, “he visual representation of music cannot
really have much connection with tne music, Eisenstein states, ”The .
objections at first sound quite reasonable. And then we realize that

an e: tremely important factor nas been ignored, namely, that the motion-
less whole of a picture and its parts do not enter the perception

simultaneously (with the exception of th se cases where the composition

 

is calculated to create just such an effect). The art of plastic

comaosition consists in leading the spectator's attention through the

xact latn and with th exact sequence prescribed by the author of the
a V

composition. This applies to tne eye's movement over the surface of a

canvas if the composition is expressed in painting, or over the surface

,
,- < . o o O
or tne screen if we are dealing with a film-frame."

Eisenstein shows in very elabo te detail in the final chapter of

The Film Sense how he plans shots and music to fit each other. His

 

methods are too long to explain here, but the point is that consi erable

 

5John F. A. Taylor, Design ion in the Visual Arts (New

a ess
Yora: Dover Publications, Inc., 1964) p. 82.

,

0 ' ' 0 V *1 7 .

Sergei H. Eisenstein, The bilm ense, trans. Jay Leyda (New York.
Harcourt, Brace and Company, 1942) p.69. '

 

16
planning should be done to fit pictures and music together. Camera

moves, as well as shot changes, must occur with the music. When the

.uSiC becomes more intense the camera can dolly in to examine some

detail. As the music "relaxes” the camera can dolly out. 'It is
interesting to note that so.ietim the effect of a move itself, and not

the new comp. position it creates, is most important in expressing a

particular feeling. In this case we ai e matching visual t.‘v:ment not

visual cortposition with the music.

 

Occasionally, as in the program that follows, limitations imposed.
by the art and - sic availa ole create a situation where a shot must be

q,

taken that does not coincide well witn the music, or a certain shot
sequence will not exactly match the musical mood. he producer must

attempt to fit pictu ures and sound together as closely as possible,

however.

CHAPTER II

A SCRIPT OF THE PROGRAM "TEACHERS' ART"

The script that follows is intended
use by a television director for whom its
too "fussy" and detailed.

It is arranged

Figure 1. Layout of Script of

    
 

for the reader, not for actual
organization would probably be

as follows:

"Teachers' Art."

  
  
   
 

Camera 1 Fade in Full frame 0:00 ****************
****************
**************** 3
****************
****************.
****************
Camera 3 Dissolve Medium shot 0 There is an o saying tha
host "those who c ,‘dg, thos
who can‘t, ach." We wi l .
attempt to rove that fal e
by showin a group...
A B C D E
A. The number of the camera intended.

A description of the shot.

(on a synchronous machine) of a

The audio. For music, the times listed are for the playback

tape on file with the

Michigan State University Department of Television and Radio.
For those using RCA record LM92558 or LSC-2558, the opening
and closing titles are side two cut three (fading out at the
given times) and the music for the art segments is side two

cut one.

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The art being shot in the art segments.

(If a

work is used more than once it has a different number for each

occurrence.
program are not numbered.)

17

The works used at the opening and close of the

18

The discussion segment is of an informal type and, therefore, is

not scripted in advance.

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I“.
I

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C

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of course, the host and guests.

and just "spot" certain areas including,

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é.‘ 43* |

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19

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announce. (The dotted line shows his .

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movement during the opening announce.)

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20

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43

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46

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47

 

 

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CHAPTER III
THE DEVELOPMENT OF THE ORIGINAL PROGRAI

The initial idea.-- In September of 1964 I learned that the
Michigan Education Association was planning to sponsor an art exhibit
as a means of finding paintings, drawings, and prints to hang in the
MEA building, then just completed. The exhibit was to be limited to
works created by teachers in Michigan. Any teacher in an accredited
school could enter regardless of the subject or level he or she taught.

For reasons which I will discuss later, I felt that an interesting
television program might be produced based on the works of art in the
exhibition. I arranged an intervieW‘with Mr. George Brown, public
relations director of the MEA, to find out if the Association would
have any interest in such a program. I explained to Mr. Brown that
I would be interested in producing the program as part of a thesis and
briefly described the basic treatment I would employ for such a program.
The primary purpose of this meeting, however, was to find out if the
Michigan Education Association had any interest at all in seeing an
art program produced.

' The costs involved in producing a program were only briefly
discussed. I did not know exactly what facilities for video recording
would be available and what the costs would be. First I felt it more
important to determine whether or not I had good program material and

support of one kind or another from the Michigan Education Association.

48

49

Even during this first meeting with Mr. Brown one major pro-
duction problem became evident. Although more than two hundred entries
were expected for the exhibit, only about seventy-five were to be
selected for showing and of this an even smaller number (determined
partly by budget) would be purchased. If all the works selected for
the exhibit were considered for use on the program (rather than just
considering the purchase awards) it would be difficult to make a
lengthy program just showing the art. Many works would not be suitable
because they could not be worked into logical sequences, and other art .
would have to be rejected because without color much of its significance
would be lost. Certainly to make a sucessful program at least one half
hour in length (the minimum program time accepted by most stations)
material other than the presentation of art would have to be included.

I suggested a discussion segment be included, perhaps a critical
analysis of the artworks. Mr. Brown felt that a discussion about
educational topics such as "the role of the art teacher in the public
school" would be more useful to the MBA. Although I felt in my own
mind that such a topic area, not being directly related to the art
shown, would tend to weaken the program slightly by making it less
unified or "defocusing" the message to be communicated, I also knew
that MEA support of some sort would be necessary if the program was to
be produced so I agreed that this type of discussion could be included.
. Musical accompaniment would be necessary for the art segments of
the program. I originally thought that I could commission a Michigan
music teacher to write a score. Mr. Brown said, however, that he had

a college degree in musical Theory and Composition and could do the

job. We briefly discussed the type of music that would be needed and

50
tentatively settled on scoring the music for violin, piano, flute and
clarinet. A big advantage of this combination is that it is diverse
enough to produce varied tonal colors and moods to accompany many
different pictures and yet is small enough to enable good performers
to be secured.

Finally in our first meeting, Mr. Brown said that if an art
program was produced it could be distributed by the MFA to a number
of television stations, mostly commercial, that regularly carry public
service programs supplied by them. °

The purpose of the_program.-- Let me now explain why I felt that
the MFA art exhibit made interesting material for a television program.
First, there is a tremendous "culture boom” presently in progress in
the United States. People are becomming increasingly aware of art.
With increased leisure time and money there is more participation in
the arts and more works are being purchased. A program about art,
regardless of the type, therefore, has especially strong appeal
nowadays.

But "Teachers' Art" offers still more to attract the average
viewer. It offers the viewer close identification with the artist for
two reasons. First, there is an identity with locality. All of the
art in the exhibit was created by Michigan artists, not someone in
Paris, Florence, or Greenwich Village. Second, all of the works were
created by teachers, more or less normal respected peOple in a
community, not strange looking eccentric people as in a common
stereotype. The viewer then, could look at the art without feeling that

the artist was not really speaking to him. For this art is created by

relatively average peOple living in Michigan communities.

51

Finally, this program does service to the teaching profession by
showing teachers as creative individuals capable of producing good art.
This tends to weaken the commonly held attitude that "Those who can, do,
those who can't, teach." '

Also, it should be mentioned that the discussion segment as
described above, helps people to understand the function of teaching
art to peOple who will never become professional artists. By showing
the value of art courses, the common stereotype of art as an easy

course that requires little work can be weakened.

Initial program arrangements.-- To show original paintings and

 

drawings over television would be difficult and risky. Works of many
sizes were included in the show, ranging from smaller than eleven by
fourteen inches to pictures several feet in length. Handling these in
a TV studio would be difficult. Also, there would be the danger of
damaging original works. Pictures mounted in glass could cause problems
with light reflections, too. I decided, therefore, to photograph the
pictures and produce prints approximately eight by ten inches (depending,
of course, upon the preportions of the original) for use over TV. The
first step was to secure permission for, and make arrangements to take,
these photographs.

The administration of the exhibit was being handled by the
Michigan Education Association Art Acquisitions Committee. I arranged
a meeting with this group and explained that I wanted to take photo-
graphs and needed clearances from the artists involved to use their

. 7
work on televi31on. Arrangements were made to shoot the accepted

 

7For a brief summary of copyright regulations related to television
see: Fred S. Siebert, Donald G. Wylie, and Thomas F. Baldwin, "Using
Copyrighted Material for ITV," NAEB Journal, May - June, 1965, p. 44 - 47.

 

52
works on the day of the judging just before the pictures were hung.
An insert would be included in the acceptance notices stating that
unless they heard to the contrary, the MEA would assume the artist
had no objection to his work being broadcast.

The Art Acquisitions Committee wanted color transparencies of the
entries also, so I agreed to shoot my pictures on color reversal film
and have black and white negatives made from which the prints would be
made. The quality of the black and white prints suffered slightly with
this technique; but much definition is lost on TV anyhow and the prints.
looked good in a brief camera test. Actually, I would not use this
process again, however, because the prints were much more difficult to
make than they would have been if photographed directly on monochrome
film.

On the day the judging was to take place I gathered together the
necessary photographic equipment and arrived at the MBA building about
ten A.M. so as to be ready to start photographing the art as it was
accepted and to look it over and start thinking of how it could be
worked into a television program. My first reaction upon seeing the
first fifteen or twenty works accepted was not altogether one of
confidence. It took time to get to "know" some of the paintings.
Although my own background in art has not been as extensive as it
could be, I certainly have had more learning in the area than the
vast majority of peOple who would watch the TV program. This emphasized
the point that if this art was to be presented effectively over tele-

vision, a way must be found to help the viewers "see"

the art rapidly.
I think that the type of television presentation used, and discussed at

length in chapter I, accompished this to some extent.

53

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54
one still life were so good that I decided to use them for the opening
and closing credits since they didn't fit well elsewhere. I then
grouped the pictures of buildings and nature together to form a large
"environmental" group. Pictures of people and abstracted human forms
were grouped together making a total of three groups, people and human
forms, abstracts, and environmental pictures.

I sorted through the pictures in each group and tried to arrange
them into rough sequences. As discussed in chapter I, I wanted the
pictures to follow in logical sequence with moods and ideas growing -
or evolving from previous ones. At this early stage I did not eliminate
any pictures from a group. I simply pretended that I was going to use
all of them and tried to arrange them in the best possible order.

After this I started to eliminate ones that I didn't think fit for one
reason or another. Actually, I wanted to throw away more pictures than.
I did, but I needed enough to make a television show. It would have
helped if I could have started with a larger collection. If I were
doing an entire show about the work of one artist or one school of art
I probably wouldn't want to eliminate as large a preportion of works

as there would not be such great variations in style, quality, themes,
etc..

Let me now describe the program as it was planned at this stage.
I will describe the sequences and in parenthesis indicate examples of
the pictures in each sequence by indicating the picture number of the
work in the present program. In appendix B I have listed the numbers

of all pictures in the original sequence and included those not used

in the present program.

 

55

The program Opened with two pictures of men's heads (1,2), the
first obviously Albert Schweitzer. This set a familiar and easily
understood base from which to progress. It went next to shots of men
in situations (4,5), feeding pigeons, and patients in a mehtal
institution (presumably). Then it went to increasingly more abstract
bold figures (10) climaxing in the very abStract heads (9). The
program shifted suddenly to more or less realistic pictures of women
(6) that climaxed in the very mystical nude (7). In talking to Mr.
Brown at one point we thought of starting with the sequence of women
then following it with the sequence of men. The type of music I
envisioned for this sequence (starting with the women) was first
rather simple and ”sweet" (but BEE saccharine and artificial) that
would become slightly more mystical in character as the nudes were
shown. To start the sequence of men it would again be simple, but this
time bold. Gradually it would develop in complexity and become quite
dissonant and somewhat eerie for the more abstracted figures. I had
considered visually bridging the three more abstract pictures (3,9,10)
to the others by inserting the abstract arch-like pictures (16,17) but
later thought better of this idea. It seemed a bit contrived and
”overdone."

For any of the sequences I had not, at this stage, planned
definite shots (such as close-ups and camera moves) although I
ihdicated to Mr. Brown some such ideas I had considered. For example,
I had thought of beginning the sequence of pictures of women by
starting on the girl's hands in picture number 6 then either dollying

out or dissolving to a full shot. After Mr. Brown had finished the

music I would have worked out detailed shots and might have even

S6
changed picture sequences slightly, perhaps even eliminating a few
more pictures, to improve the sequences and fit them to the music.
I encouraged Mr. Brown not to try to write for each picture but rather
to write for the changing moods and let me find the proper place in
the music for each shot. I definitely felt that the music was an
important part of the program and should not be weakened by forcing
the composer to write to too rigid specifications.

The environmental sequence was planned as follows. It.started
with close-up scenes of flowers (39), progressed gradually through more ’
sweeping nature scenes (such as landscapes), changed to simple buildings,
and finally progressed to city oriented pictures (45) ending with
industrial scenes (38). It is interesting to note here that picture
40 was not originally included in this section but was with the
abstracts. Later I decided it was not abstract enough so I put it with
the nature pictures. The music for this sequence would start with
simple flowing almost folk-like music and progress through more complex
patterns to very dissonant and forceful bold music at the end.

The abstracts were to start with very soft unclear forms (14),
gradually progress through clear but flowing lines (30) to more sharp
geometric shapes (27) to very elaborate and complex patterns (22,24),
to strained dissonant pictures (23) to bold simple block-like forms
(31,32). The music would start slowly and have a muted effect.
Gradually it would become first flowing and lucid then more and more
melismatic and sensuous, then wild, then strained, and finally broad
and sweeping (but simple harmonically) yet definitely not like a

"Hollywood climax." In all cases the music would be serious modern

music, not jazz or "pOp concert” music. If Mr. Brown wanted to inject

57
a bit of humor or shock into the music I was willing to include the
pop art entry (12) in the abstract section.

The music for the opening and closing credits was to be simple
and short. Although at this stage I had not actually planned the "
credits, I had thought of opening with a short "teaser" that would
show one of the artworks with voices discussing the art. Then the
music would begin, the credits would begin to appear, as the voices
would fade out. The closing credits would simply be supered.over
another painting with musical accompaniment.

Since each of the three main art segments would have its own
separate musical composition, I was not going to place the segments
adjacent to each other. To create more variety and some relief from
the art for viewers less knowledgable in this area, I planned to start
with the opening credits followed by the human figure and environmental‘
sections. Next the discussion would come followed by the abstracts
and the closing credits.

Arranging for production facilities.-- I had planned to use the
following television studio facilities to produce the program.

One three hour session with audio equipment only to record music.
Two three hour_sessions with studio and cameras as follows:

three cameras and operators

three floor directors

engineering staff (including audio operator)

Videotape recording facilities for second session only
One three hour session with studio and cameras as follows:

two cameras and operators

one floor director

engineering staff

Videotape recording facilities

One two hour Videotape editing session.

58

One one hour roll of Videotape.

Before each studio session time‘would be needed to set up and
light the studio.

I intended to produce the program in segments. During the first
studio period (with cameras) the art segments and the closing credits
would be rehearsed. These would be recorded the second session.
During the third period the discussion and the opening credits would
be rehearsed and recorded. The guests for the discussion would act
as the voices for the opening credits.

The music would be recorded in advance, but all announcing would
be done live with the announcer on camera. The shots for the art
segment would be called from the musical score by an assistant
director. He would not ready the cameras but would simply tell the
director when to take shots or move the cameras. When a score is
available it is best to use this method rather than the stOpwatch
procedure used for the script in chapter II since the timings will
never be exact because of stretching tape and speed inaccuracies of
tape decks. (An assistant director that cues shots from timings must
be very alert to call shots in the "proper" place musically even if
this occurs a second or two before or after the timing given. In
either case, camera moves must be given in advance of the correct
musical point in order to allow time for cameraman to react. It
requires much skill and practice on the part of the assistant director
to feel the correct place to call a move so that it will occur at the
right time.)

After considerable investigation of television facilities

available it was found that the only studios that could be used would

59
cost the MBA $2500 (including the kinescopes that they wanted, musicians

fees, etc.). This money was not appropriated, so the program was

develOped no further in this original form.

THE DEVELOPMENT OF THE FIJAL PR GRAM

Selecting new music.-- Since the program was not going to be

 

produced I felt that I couldn't ask George Brown to write music for it.
It takes quite a long time to write fifteen minutes of music and I
couldn't afford to pay Mr. Brown for this service. I decided, there-
fore, to look for appropriate music on records.

Actually there was no longer as much need for specially composed
music. By having Mr. Brown compose some for a program to be recorded
and distributed I would eliminate any worry about royalties either for
use of modern music or for use of a~recorded performance of any music.
Knowing that the program was now not going to be produced, I was free
to look for recorded music that would fit the pictures.

In looking for music I was aware that the pictures would probably
have to be rearranged somewhat to fit whatever music I should find,
but I still wanted to keep the three basic groups, human forms,
environment, and abstracts. As I began listening to music, stepwatch
in hand timing sections, it soon became apparent that modern music
would have to be used. This of course, seems most logical since all
of the art is modern (that is, painted in modern times though not all

of the works used what is usually considered a modern idiom). Yet,

 

8
See footnote 7.

6O

61
sometimes an older piece of music can convey a modern feeling or at
least a feeling that is commensurate with modern art. Old music may
not be a product of our age, but it can often speak to it.

For this program, however, older music had several drawbacks.

The most serious was that most music written before the twentieth
century doesn't change moods or character fast enough and the changes
that are made are not extreme enough to fit the moods of all of the
pictures in a short length of time. This was also a failing (for my
purposes) of many modern compositions, especially ones that incorporated
classical forms, such as sonatas, concerti, and symphonies.

In the production of a program about a single artist or a single
school of art, usually all of the artworks involved have certain sim-
ilarities and the range of musical moods needed to fit differing styles
is not so great. Here, however, there were many styles and types of
paintings. All of these styles had to be incorporated into a short
space of time since there were not enough pictures to make a good
program longer than about fifteen minutes much less a program limited
to only a few styles.

One solution, of course, would be to take selections of music
suitable for each mood I wished to create and, by editing tape,
produce a sound track of many varied pieces. This I felt was a weak
idea for this particular program, however. First of all, tape
editing problems would be great and each section would be so short
that a "choppy" feeling would be created. Also there would be problems

regarding matching pieces of music that are in different keys or use

widely differing instrumentation.

62

To make a uniform program, a single composition for each of the
three groups would have to be found. ‘I was willing to edit a segment
long enough to fit an entire art section out of a longer work as this
would not pose such great editing problems. Often a large'musical '
work has many segments that are to a certain extent complete within
themselves. For example the eXposition section of certain sonata-
allegro movements could be used in this way I believe. At this point
I did not even imagine I would be able to find a single composition
that could be used for all three sections.

After first auditing and rejecting various classical compositions
that included a Beethoven string quartet, a Bach fantasy, Chopin
preludes, and others, I explored the possibilities of some modern
music in my record collection. These included compositions by Arthur
Schnabel, Howard Hanson, Paul Hindemith, and others. It became
apparent that I would have to look beyond my own collection to find
the "perfect" music to accompany the art.

One day I visited a local record shop with my stopwatch in my
pocket for the purpose of selecting appropriate music. I selected
three records that looked interesting to start with. These included
a clarinet concerto by Hindemith, an orchestral work of Bartok, and

an interesting looking record called Studies in Improvisation with

 

Lukas Foss and the Improvisation Chamber Ensemble. I wandered back

to the record players in the rear of the store to listen to these

newest candidates for my program. I put the Lukas Foss record on

first, listening to a couple of short cuts. Immediately I was impressed
with the variety of tonal colors of the group and the overall musical

sound of the performance. I placed the stylus on a band containing a

63
quintet called Moirai (meaning “fates" after the Greek goddeSses who
control the destinies of man). Immediately I could visualize very
clearly certain sections of the program. I became excited feeling that
I had found the "perfect” music but then my joy subsided as I wondered
if I could find the variety of moods I needed and each about the right
length. At this point I was thinking mostly of using parts of this
piece (it is in three movements) for the abstract segment. A check of
the music with the stopwatch, indicated that it might be usable. Here
was a twelve and one half minute composition divided into three move-
ments each lasting 3:14, 6:33, and 2:10 respectively. At this point
I first wondered if the composition could be used for the entire
program. I felt, however, that I'd better listen to the other records
to make sure I wouldn't like them better. I quickly realized that it
was pointless. The "right" music had surprisingly been found right off.
I still was not sure I could make it‘fit perfectly but the chances
seemed good that at least some of it would be used for part of the
program, so I bought the record.

Initial rearrangement of the pictures.-- At home I began the task
of timing the music carefully, recording on paper various words
describing certain passages and the length of each passage. If the
entire piece was used for all of the art, I wondered, would the three
movements coincide with the three art segments? The total length was
almost exactly the same as I had intended for the art in the original
program (excluding, of course, the opening and closing credits and the
discussion). Musically there was enough variety to accompany all of

the art fairly well, although, as will be seen later, there were some

flaws. ’

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65

After I jotted down notes about the piece (from listening to it),

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I very roughly grouped the pictures in each group into sections and
started to listen to the various musical movements repeatedly,
shuffling the cards around as the music seemed to call for'this or
that picture. I did not throw out any pictures at this point. I only
grouped them so that they fitted the moods expressed by the quintet.

I could readily see this way that there were far too many pictures for
some parts of the music and in a few places there were not as many as
I would have liked.

Since there were many pictures of human forms and environmental
scenes, I edited out the ones I didn't think fitted the music as well.
Although I took out a few abstracts that didn't fit the long second
movement at all, I had to add even more that I had not included in the
original groupings.

Final arrangement of the pictures.-- Next I repeatedly listened

 

to the music and sorted the pictures while in my mind thinking out
basic camera moves and trying to arrive at a "correct sequence" of
art. I eliminated still more pictures, added others, and in two cases
used a picture twice. When I finally arrived at an order I timed the
music, writing on each card the time within the movement it would be
shown. Next I typed these timings on sheets of paper, three to a
page, and pasted the cards next to the appropriate times to form a
Jscript" so that I could see more than one picture at a time and not
have to keep flipping cards.

I next went through my cards and indicated camera moves beside

each picture. I didn't put the time of the move at first, only the

move. I did much of this without listening to the music so as to

66
try to limit my attention at first, to pictorial continuity, feeling

that apprOpriate places in the music could be found for these planned

1

moves. After transcribing tne music to a tape recorder driven by a
synchronous motor, I retimed the shots then indicated the timings of,
the moves, making revisions where necessary to better fit the music.
Many changes were made. This produced the arrangement that appears in
the final script in chapter II.

Sometimes, in fitting these final sequences together certain
compromises had to be made. There was no really sweeping broad music .
to exactly fit the bold abstracts 32 and 33. I had to fit them in as
best I could. There were a few other scattered pictures that didn't
feel "just right" yet I could find no suitable alternative that fit
the music better. One can never expect a given set of pictures to fit
a given piece of music exactly unless the music is composed to fit the
pictures or the pictures painted to fit the music. Even in these
cases individual interpretations may (in fact, probably will) disagree
to a certain extent. In this respect, television broadcasting of
music with art is imperfect.

Final planning.-- Next I was faced with arranging the various
elements of the program. In the original program variety was achieved
through separating the art sections by the discussion. In this new
program however, the musical accompaniment was intended to be played
as one piece. Should I separate the movements? After much indecision,
I felt it best to sacrifice variety for musical unity and show the
entire art sequence as one unit after the opening credits and introduc-

tion. The discussion follows the art and finally come the closing

credits.

67

Music for the opening and closing credits comes from a bagatelle,

O

J

also by Lukas Foss and the Improvisation Ensemble. Since usually more
credits are shown at the end, more music will be played. In both
o 1 . obl .fl’l' "3 d 1 P L‘ 0
instances tiere is a pOSSi e ending (a ca once) at seen or the times
listed, avoiding the need for an audio fade-out.

Although originally I was willing to discuss topics only indirectly
related to the art to please the MEA if they were sponsoring the program,
I feel that without such an external consideration it is best to keep

the discussion centered around criticism of the art and a discussion of.

the teacher as a creative individual.

CHAPTER ° '
I
SUMMARY

In chapter I a theory was presented that provided a rational
basis for the use of certain techniques in presenting art. Chapter II
consisted of a script for a program that was planned following this
theory. Chapters III and IV described the various planning stages.
Let us now briefly review the theory and examine specific instances
of the use of some of the techniques in ”Teachers' Art."

When an artist paints a work of art he usually intends that it
will be viewed hanging somewhere such as in an art gallery or similar
situation. When a television camera‘takes a shot of such a work of
art, the art as it appears on the television screen does not look the
same as it does to the live viewer. Certain elements or qualities of
the art are lost or distorted by the television transmission. The
television producer must use certain creative elements of his medium
to compensate for the distortions and make the television viewing of
the art a satisfying experience, though a much different one than
viewing the art “live."

, In comparing the pictures originally entered in the MBA exhibit
with the imperfect reproductions in the script (which approximately
simulates the distortions created by television) there are certainly
many elements lost. The simple coloring of picture 39, the delicate

lines of picture 7, and the massive size of picture 33 cannot be seen

69

in the script (or over television). Since color is totally lost by

O

4

black and white television (which would have been used if the program
were actually produced), there were several fine works of art that_ '
could not be used at all because they relied so heavily on color for
their meaning. Other pictures, included in the script, take on a much
different appearance over television than they do "live.” Picture 21
is an example.

In presenting the pictures over television according to my theory
I had to arrange them in a meaningful way as well as use camera move-
ment, music, and other devices to enhance the presentation. In the
early planning stages, when I thought that I would be able to have the
music composed to fit my shot sequences, I tried to arrange the pictures
in the way I considered most meaningful. From the total exhibition
pictures were selected that seemed to best form logical progressions.
Certain excellent works could not be used simply because they did not
properly fit into any logical sequence with the other works. The
pictures finally used in the opening and closing credits (over which
to super the credits) are an example of these "misfits."

When it was determined that I would have to use already recorded
music, many changes had to be made. First, music had to be found that
would express the many different moods called for by the art. After
this was found I had to rearrange the art to fit the music. Of course,
the visual sequence still had to be meaningful by itself without the
music, yet also fit the music. '

Compromises had to be made. Visual sequences had to be weakened

slightly to fit the pre-arranged audio sequences. The task of taking

a group of paintings of all kinds and arranging logical pictorial

also have to

lems are mult

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71

Ilr'v

lne Motto is heard, is expanded, but remains
dispassionate, objective." ,.-

During this part of the music we see shots of industry. Not
dramatic shots of the men involved in industry, just long exterior Shots
of industrial locations.

"A semblance of life is attempted, breaks down."

During this part we see living plants (though not represented
completely realistically in all cases), first ornate flowers then a
more barren bush.

Hr‘!‘

lne Motto resumes. There is no motion, no
drama. ”End" is, as it were, spelled out
in tones."

Here again we shift to scenes of man-made buildings. Not the
scope or power of factories this time, but less impressive buildings,
some simple homes, an ancient city, a modern slum. If "end'l is spelled
out in tones, is it not also spelled‘out in pictures? It is interesting
to note that I planned the picture sequence before I read the musical
description.

"Teachers' Art," then, does seem to have been planned in accord
with my theory. The theory, however, really acts only as a guide.
There are no set ”rules" for planning an effective program. Much
trial and error is necessary. Through years of experience, technique
can be refined. Eisenstein's techniques are very complex, mine are
simple. Eis;nstein was a great film master, I am an apprentice. The
final product is all important to the television viewer who cares

little about theory or advance planning. I have tried to produce an

acceptable product.

BIBLIOGRAPH

found no books that discussed the presentation of art over
television. The following is a list of books that I consulted about

related topics:

The nature and elements of th visual arts--

Faulkner, Ray, Ziegfeld, Edwin, and Hill, Gerald. Art To‘ay.
3rd. Edition. New York: Henry Holt and Company, 1956.

Taylor, John F. A. Design and Expression in the Visual Arts.
New York: Dover Publications, Inc., 1964.

The nature and elements of music--
BigElO‘J, Earl LJLH
II

0
Vol. *elody. Chicago: H. T. Fitzsimons Company,

R., et al Creative-Analytical Theorv of Music.
: Fo I
Inc., 1949. .

Langer, Susanne K. Philosophy in a New Key. (Mentor Books,
No. MDlOl). Jew York: The New American Library of World
Literature, Inc., 1959. (First Published in 1942:
Cambridge, Massachusetts, Harvard University Press.)

The combining of music and pictorial elements in film--

Eisenstein, Sergei M. The Film Sense. Translated and edited
by Jay Leyda. New York: Harcourt, Brace and Company, 1942.

Montagu, Ivor. Film World. Baltimore, Maryland: Penguin
Books Inc., 1964.

Copyright laws and television--

Siebert, Fred 8., Wylie, Donald G., and Baldwin, Thomas F.
"Using Copyrighted Material for ITV," NAEB Journal,

May-June 1965, 44-47.

 

72

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”Teachers' Aft" (working title) is designed to aquaint viewers
with the drawing and painting that is being done in Michigan by people
who teach. Most of the art will be that that has been done by art
teachers although some may be done by teachers of other subjects.

It is often said that ”those zho can, do, those who can't, teach."
This program will try to show that teachers too are often nighly
creative and talented artists. The works to be broadcast will be
selected from an exhibit that was sponsored by the Michigan Education
Association in October. Teachers from all over the state entered works
from which a Milwaukee juror, James A. Schinneller selected about 80
for xhibition.

The audience to which this show will primarily appeal is people
who are already interested, at least mildly, in art. This program is
not intended to explain art to those who don't understand it although
the method of presentation (which will be discussed later) may help
make it more easily understood. The program will present a variety of
artwork from which the viewer can draw his own conclusions. Also this
program may have some appeal to those who are interested in knowing
more about the capabilities of today's teachers.

The construction of the program is as follows. One or two art

works will be shown as an opening "teaser." The audio will be either

73

 

 

74

H

music or "eavesdropping on a critical discussion of the works. The

a

host will then be shown who will introduce the program and lead into
the opening credits.

The artworks will be gr used into three segments each about four

A

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minutes long. ne groupings will be determined on the basis of styles,
themes, moods expressed, etc.. Although each section will include
some explanation by the host, they will mostly consist of the artworks
being shown with apprOpriate musical accompaniment. The pictures in
each section will be arranged in logical sequences or "pictorial
phrases” to which the music will correspond.

After a brief explanation of how the art exhibit came into being,
two of the segments will be presented and then, before the final
segment a twelve minute discussion segment will be inserted. This will
consist of one or two of the artists and the composer of the music,
with the host as leader, discussing the artwork. The artists can
describe their thoughts while creating their paintings or drawings and
the composer can tell how he wrote music to compliment the art. The
group can briefly discuss the role of art education in a complete
school curriculum.

Finally, the last art segment will be shown followed by the
closing credits.

Paintings and drawings are more or less static pieces of art as
cbmpared with the performing arts. The emotional excitement inherent
in the performing arts often attracts people who are less interested
in the "static” arts. This program will try to bring the I'static" art

to life. Camera moves will focus peOple's attention on different

sections of a painting. Careful, creative cutting and a logical

75

sequence of shots coupled with the emotional influence of music can

lend some of the excitement of the performing arts to ”static” art.

This type of TV presentation can help people to "see" the works of art.

A

O

It can of course, be argued that this type of television presentation
changes the original meaning of the art. This is true to some extent;
but can't (and doesn't) any perfo mance show the creative influence of
the performer while preserving (except in bad performances) the

an

intentions of the original creator? Though the art may be slightly

changed by this program, it will not be destroyed.

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STATE UNIVE

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1293 03

ITY LIBRARIES

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