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ABSTRACT
A COMMUNICATIONS METHOD OF
NON-THEATRICAL FILM PRODUCTION:
A DESCRIPTION.AND A DEMONSTRATION

by Francis Leon McConkey

American universities are faced with serious prob-
lems of escalating enrollments, rapid increases in new
knowledge and concurrent recognition of the need to improve
the quality of instruction. University film production
units have been given the opportunity to share in an all-
out effort to solve these problems. While their resources
are not equivalent to those of commercial producers, they
have not yet realized the potential of untapped resources
near at hand.

For almost half a century there has developed a
body of research findings in film and communications which
seems to offer much needed help to the overburdened producer
of non-theatrical films. But, to date, there has been no
systematic effort to coordinate these findings or develop
a system in which they can be applied.

It was the purpose of this study to develop and
describe through demonstration, a method of planning, pro-
ducing and evaluating films which, recognizing the practical
considerations and limitations of university film units,

provides for application of research findings and techniques

Francis Leon McConkey

in the critical areas of film design and evaluation.

A communications method of non-theatrical film pro-
duction was developed to enhance the successful performance
of university productions. It accomplishes this objective
in these specific ways: (1) it calls for the use of rele-
vant research findings as aids to film design, (2) it pro-
vides for evaluation of actual performance with the sponsor
and selected audience members, (3) it calls for analysis
and interpretation of results by the producer, who (4) makes
any modifications in the film which are necessary and feas-
ible, (5) modifies the method if necessary, (6) identifies
any findings which may be of subsequent use to himself and
to others, and (7) shares his findings with the sponsor
to whom he makes recommendations for supplementary materials
and other modifications in use procedures which may have
been indicated by an interpretation of the findings.

The film, é;Second‘Egg§, planned, produced and eval-
uated for this study, can be obtained by contacting the
Lansing Community Services Council, Lansing, Michigan.

It is a 20 minute, sound, black and white, 16 millimeter
production. It is typical of a university film producer's
assignments.

To demonstrate experimentally how research findings
might be adapted to a creative process, a review of liter-
ature in communications and film research was conducted
to find materials appropriate to the nature and purpose
of the film. Selections from the writings of some 18

Francis Leon McConkey

authors were used to construct a rationale for each of the
film's sequences.

The operational objective of the film was to gain
acceptance for the film's message by the sponsor and the
target audience. The implied objective was to persuade
potential employers of Lansing to hire handicapped workers.

To demonstrate how university film units can con-
duct simple but effective evaluations, the film was tested
with the sponsoring committee of the whole, a subcommittee,
two target audiences selected by the sponsor, and one small
group representing business, industry and education.

The tests developed for the study were designed
to illustrate alternate ways of feeding relevant informa-
tion back into the production system. A practical consid-
eration of the evaluation was that it provide valid and
pertinent information for both producer and sponsor without
being unnecessarily lengthy or cumbersome to administer.

To assist the producer in making use of his eval-

uations, an analysis of results was demonstrated.

FINDINGS

1. For the Coordinating Committee for the Handicapped,
the Sponsor, it was concluded that, (l) the film had

a positive effect, and (2) the film was accepted.

2. The Employ the Handicapped Committee, a sponsor sub-

committee that worked closely with the production, was

Francis Leon McConkey

asked to predict typical target audience member responses
to various test items. It was concluded that, (1) they
predicted the film would have a positive effect on the
typical target audience member, but that (2) there would
be little change in the way they thought of handicapped
workers on such dimensions as Safety, Flexibility and
Productivity, and that (3) the film would be accepted

by the typical target audience member.

‘As a result of the analysis of the predictions of this
subcommittee as compared with actual responses of tar-
get audiences, it was concluded that, (1) with Service
Club B the predictions were close, and (2) with Service
Club A the predictions were close but erred consistently

on the conservative side.

As a result of the analysis of the data collected from
Service Club A, it was concluded that, (1) for this
target audience the film had a positive effect, and

(2) the film was accepted by this target audience.

As a result of the analysis of the data collected from
Service Club B, it was concluded that, (l) a significant
change in the members' positions toward hiring handi-
capped workers was not detected, (2) the film had a
positive effect on the way they thought of handicapped
workers on such dimensions as Safety, Flexibility and
Productivity, and (3) the film was accepted by this

target audience.

Francis Leon McConkey

6. From an informal critique of the film by a small group
of professional people involved in the hiring process
came suggestions for using the film and an insight into

whether or not the application of theory was working.

7. In general, on the basis of the evidence collected from
five showings and the administration of four evaluative
devices, it was concluded that the experimental film,
é;Second 5225, designed and evaluated by the communica-
tions method described in this study, achieved its oper-
ational objective, i.e., acceptance of the film's mes-

sage by the sponsor and target audience.

To demonstrate the ways in which the method can be
of help to university film producers, an analysis of results
indicated that application of the method used in this study
can be: (1) an aid to film design; (2) an aid to instruc-
tion; (3) an aid to experimentation; (4) an aid to film
modification; (5) an aid in use situatiOns; (6) an aid to
modification of the method; and (7) an aid to subsequent
production, planning and development.

The communications method of non-theatrical film
production is recommended to university film producers as
a means of strengthening their units. It takes cognizance
of the limitations of university film units in that the
procedures it requires of them are well within their capa-
bilities. It also recognizes the tremendous potential of
such film units to influence human behavior. It is toward

this end that the method is advanced.

A COMMUNICATIONS METHOD OF
NON-THEATRICAL FILM PRODUCTION:

A DESCRIPTION AND A DEMONSTRATION

By
Francis Leon McConkey

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF EDUCATION

College of Education

1965

Dedicated To

My wife, Carmella, and my children, Mary Lee, Scot and
Christi; their understanding and giving of themselves

made the difference.

11

ACKNOWLEDGMENTS

The author wishes to express his sincere apprecia-
tion and gratitude for the sustained interest, assistance
and encouragement given him by his doctoral committee
Chairman, Dr. Charles F. Schuller, and guidance committee

members Dr. Randall P. Harrison, Dr. Ernest O. Melby and

Dr. William J. Walsh.

iii

TABLE OF CONTENTS

ACKNOWLEDGMENTS . . . . . . . . . . . . .

LIST OF FIWRES O O O O O O O O O O O O 0

LIST OF APPENDICES O O O O O 0 O O O O O 0

Chapter
I.

II.

III.

INTRODUCTION . . . . . . . . . . .

THE PROBLEM. . . . . . . . . . .
BACKGROUND OF THE PROBLEM. . . .
IMPORTANCE OF THE STUDY. . . . .
PURPOSE OF THE STUDY . . . . . .
METHODOLOGY FOR THE STUDY. . . .

DEFINITION OF TERMS RELATED TO THE

CATIONS METHOD OF NONATHEATRICAL
WCTION O O O O O I O . O O O O 0

WY. 0 C O O O O O O O O O 0

DESCRIPTION OF THE METHOD. . . . .

”TIONALE O O O O O O O O O O O O
ELEMENTS OF THE METHOD . . . . .
STRATEGY OF THE DEMONSTRATION. .

WY. 0 O O O O O O O O O O O

THEFHJM O O O O O O O O O O O O 0

DESCRIPTION OF THE FILM. . . . .
RATIONALE OF FILM SEQUENCES. . .

WY. 0 O 0-. O O O O O O O 0

iv

COMMUNI—
FILM PRO-

Page
iii
vi

vii

\OkomHl-‘H

10
14
17
18
21
25
26
28
28
29
56

Table of Contents (continued)

IV. EVALUATION OF THE FILM.
THE GROUPS TESTED . .
THE TESTS . . . . . .
RELIABILITY . . . . .
VALIDITY. . . . . . .
THE HYPOTHESIS TESTED
THE MODEL USED. . . .
SUMMARY . . . . . . .
V. ANALYSIS OF RESULTS . .

FINDINGS FROM GROUP 1, THE SPONSOR.

FINDINGS FROM GROUP 2, A SPONSOR SUBCOM-

MITTEE O O O O O O O I

FINDINGS FROM GROUP 3, SERVICE CLUB A .

FINDINGS FROM GROUP 4, SERVICE CLUB B .

COMPARISON OF PREDICTIONS TO ACTUAL RE-

SPONSES O O O O O O 0

FINDINGS FROM GROUP 5, SMALL GROUP INTER-

VIEW. . . . . . . . .
SUMMARY . . . . . . .
VI. SUMMARY AND CONCLUSIONS
SUMMARY OF THE STUDY.
CONCLUSIONS . . . . .
DISCUSSION. . . . . .

SUGGESTIONS FOR FUTURE RESEARCH

BIBLIOGMPM O O O O O O O O O O

APPENDICES. . . . . . . . . . .

Page

58
S8
62
65
65
66
66
66
68
69

71
73
76

80

81
88
9O
91
93
96
102

106

110

FIGURE
1.

3.

LIST OF FIGURES

Page

A Communications Method of Non-Theatrical Film
PrOdUCtj-on O O O O O O O O O O O O O O O O O O O 22

The Conditions of Asymmetry (1), and Alterna-

tive Methods (2 and 3) by which a Person In-
itially Opposed (A) to an Object of Judgment

(X) Could Achieve Symmetry in His Relationship
with a Peer (B). . . . . . . . . . . . . . . . . 41

Service Club B Subjects' Positions on Items of
Social Distance Scale Before and After Film. . . 77

Service Club B Subjects' Positions on Attri—

butes of Handicapped Workers Before and After
Film 0 O O O O O O O I O O O O I O O O O O O O O 79

vi

APPENDIX

I.

VI.
VII.

VIII.

XI.

XII.

XIII.

XIV.

LIST OF APPENDICES

STANDARD EVALUATION FORM . . . . . . . . . .
CRITERION INSTRUMENT A . . . . . . . . . . .
CRITERION INSTRUMENT B . . . . . . . . . . .
CRITERION INSTRUMENT C . . . . . . . . . . .
CRITERION INSTRUMENT D . . . . . . . . . . .
SEQUENCE SCRIPT OF EXPERIMENTAL FILM . . . .

SOURCES USED IN CONSTRUCTING RATIONALES FOR
FEM SEWENCES O O O O O C C O O O O O C I 0

TABLE A.1. Summary of Item Mean Scores of
the Sponsor, Service Club A and Service
Club B O O O O O O O O O O O O O O O O 0 O 0

TABLE A.2. Comparison of Item Mean Scores
of the Sponsor with Those of Service Club A.

TABLE A.3. Comparison of Item Mean Scores
of the Sponsor with Those of Service Club B.

TABLE A.4. Difference Between the Sponsor's
Total Item Mean Scores and the Averaged
Total Mean Scores of Service Clubs A and B .

TABLE A.5. Summary of Sponsor Changes from
Perceived Before-Film Positions on Hiring
the Handicapped, to After-Film Positions . .

TABLE A.6. Summary of Gross Changes for All
Sponsor Subjects in Positions on Hiring the
Handicapped O O O O O O O O O O 0 O O O O O 0

TABLE A.7. Summary of Service Club A Sub-
jects' Changes from Perceived Before-Film
Positions on Hiring the Handicapped to
After-Film POSitiOns e e o o o o o o o o o 0

vii

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111
112
114
117
121
122

133

135

136

137

138

139

140

141

CHAPTER I
INTRODUCTION

THE PROBLEM

Generally, university film producers do not use
the findings of research as guides to message design, nor
do they use research techniques to evaluate their films.1
In ignoring empirically developed theories in message con-
struction, they are not taking advantage of the growing
body of literature in this area. In passing over experi-
mental research techniques which could be used to evaluate
their productions, they seem to be violating the 'feedback'

principle of good communications.

BACKGROUND OF THE PROBLEM
A large body of supporting film research literature
exists, the most extensive being that produced by the In-
structional Film Research Program under a contract between
Pennsylvania State University (then the Pennsylvania State
College) and the United States Departments of the Army and

 

1"We would be less than candid if we didn't acknow-
ledge that many university film makers, like their colleagues
in industry, never go beyond the 'souffle' stage in their
development."--Ernest D. Rose, "Motion Picture Research
and the Art of the Film Maker," Journal of the University

5:31;; Producers Association, XV (1933), p. 8.

the Navy. It might be said that the general objective of
this research was to determine the governing factors in
films which influence audience behavior. No small part
of the program was the deve10pment of research tools.
Ken Kendall, of the National Film Board of Canada,
reporting on the Instructional Film Research Program for
the Society of Motion Picture and Television Engineers,
concluded that, "The most important implication of this
work is that existing methods of film production and utili-
zation can be greatly improved by applying research methods."2
The Instructional Film Research Program stirred up
some controversy by daring to offer some rather concrete
proposals to producers and users of film, based on findings
of the research. Film director and author Don Livingston
said, "One time I found that a certain organization was
spending time, money, and effort on a survey designed to
discover the merits of opticals in teaching films! This
is like trying to discover the merits of commas, periods,
and paragraphs in a textbook."3
In spite of such criticism, the Instructional Film

Research Program's 'principles' have remained unchallenged

in kind until recently. Robert Travers, in his presidential

 

2Ken Kendall, "Film Production Principles-—The Sub-
ject of Research," Journal.2£,the SMPTE, LVIII (May, 1952),
p. 441.

3Don Livingston, Film and the Director (New York:
The Macmillan Company, 1935), p. 192.

address given by retiring presidents of the American Psy-
chological Association, described the beginning of a two
year research project to determine, among other things,
if more information is acquired when the same information
is transmitted simultaneously through both the auditory
and visual senses than when a single channel is used.4

This seems to challenge the 'both' factor identi-
fied in the Instructional Film Research Project studies
which led to the suggestion that both audio and visual
channels should be properly integrated.5

Another Penn State principle was that of Picture
Primacy. ”The influence of the motion picture is primarily
in the picture, secondarily in the accompanying language
and/or music, and is relatively unaffected by 'slickness'
of production."6

In recent research at Stanford University, Breitrose,
Maccoby, and Rose found in one particular case that "the
contribution of the picture to a correct understanding of

the situation was almost negligible in comparison to the

 

4Robert M. W. Travers, "Transmission of Information
to Human Receivers,” Presidential Address of Division 15,
Educational Psycholo ist, II (1964), pp. 1'5',

5Charles F. Heban, Jr., and Edward B. vanOrmer,
Technical Report No. SDC 269—7-19 INSTRUCTIONAL FILM RE-
SEARCH (Rapid Mass Learnin ), 1918-1965, Navexos P—9T7:
Special Devices Center Port Washington, L.I., N.Y.).

6C. R. Carpenter, Special Report No. 1, Practical
Princi les Governin the Production and Utilizat on‘g_
Sound MOtIon P ctures—TThe Pennsylvania SEate CEllege
IEEEEuctIonal FIlm Research Program, 1 August 1950), p.
10.

contribution of the sound track.“7

An unfortunate consequence of dissent and conflict-
ing findings is that many film makers continue to operate
as though no research had been conducted at all.

One attempt to resolve this neutralizing effect
was that of Edward Levonian, Associate Research Psycholo—
gist at the University of California, Los Angeles. After
experimenting with a film tailored for a specific audience,
Levonian concluded that:

The term 'pre-production planning' seems inapt,
for it appears to imply that it is possible to
plan a film before shooting begins so that the
final product will have a predicted effect . . .
there is little evidence to indicate such a pre-
diction has been achieved to any great extent.8

Levonian's method provides for tentative versions
of a film before producing a 'final' version.

Such an approach has academic value for communica-
tions researchers and thus potential value for university
film producers, but it does not solve the immediate and
pressing need for these small, non-commercial units to do
a better job of producing non-theatrical films. They oper-
ate under the stringent limitations of low budgets, short
production time and with few personnel. They are not af-

forded the luxury of lengthy experimentation, yet they are

 

7Rose,‘gp. cit., p. 11.

8Edward Levonian, "Development of an Audience-
Tailored Film," A!,Communication Review, VIII (1960), p.
67. '

expected to produce films at least comparable in quality
to those of larger, commercial units.
The temptation is to release films of low quality
with only a token effort, if any, to determine actual effect.
The need is for an approach which considers the
limitations of the university film unit while recognizing
the demands made on it. It would be discouraging if, as
Levonian indicates, film producers could not predict actual
performance with a fair degree of confidence on the basis
of careful pre-production planning. It would be discourag-
ing, too, if the wealth of research findings in film and
communications had no concrete value in terms of planning,

production and evaluation for the university film producer.

IMPORTANCE OF THE STUDY

One question rarely, if ever, answered satisfactorily
in the literature is the practical application of theory.
Non-theatrical producers are cautioned against its indis-
criminate use. "It would be folly for film makers to rush
in blindly and begin applying what little we have learned
in such experiments helter-skelter in everything they do."
Rather, they should search " . . . not merely for patterns
of ideas but for understanding.“9

It is worth considering whether simple, inexpensive,

yet meaningful studies might not eventually be provided

9Rose,‘gp. cit., p. 23.

for in film contracts without impairing production effec-
tiveness or efficiency.

One weakness of the traditional process of film
making is an almost total dependence on intuition. Intui-
tive thinking, at its best, may achieve excellent results
quickly and, indeed, may find solutions that analytic methods
could not find. Intuitive thinking at its worst may achieve
bad results quickly and the damage may never be discovered.
As Bruner points out, ”Some men are good intuiters, others
should be warned off."10

To the film designer who worries lest creativity
suffer under the yoke of scientific influence, reassuring
words can be found in Bronowski.

. . . there exists a single creative activity,
which is displayed alike in the arts and sciences.
It is wrong to think of science as a mechanical
record of facts, and it is wrong to think of the
arts as remote and private fancies.11

And, while this does not negate the possibility
that the product of the scientist could be used to restrict
the creativity of the artist, science historian, Derek J.
deSolla Price believes that to stand on the shoulders of

others is to take advantage of the cumulative knowledge

 

loJerome S. Bruner, The Process of Education (New
York: Vintage Books, Random House, I96§T:’p. 6 .

11J. Bronowski, Science and Human Values (New York
and Evanston: Harper TorchSEoks7Science Library, Harper
and Row, 1959), p. 35.

of 5000 years of recorded history.12

On the surface Bronowski appears to be contradict-
ing this borrowing from others when he cautions, "A man
must see, do and think things for himself, in the face of
those who are sure that they have already been over all
that ground."13

In fact, he is saying that truth must be tested
in action. ”Science confronts the work of one man with
that of another and grafts each on each. . . . Only by these
means can science pursue its steadfast object, to explore
truth."14

Heban and vanOrmer argue that although the research
findings of the past 30 years may be fragmentary and sub-
ject to qualifications, they can facilitate the process
of predicting the influence a film will have on its audi-
ence.15

The film designer must concern himself with the
film medium's potential to affect human behavior. As Berlo

said, " . . . we communicate to influence-to affect with

intent."16

 

12Derek J. deSolla Price, Science Since Bab lon
(New Haven and London: Yale University Press, 1961;, p. 93.

13Bronowski, op, cit., p. 78.

14Ibid., p. 81.

15I-Ioban and vanOrmer, op. cit., p. 4.

16David K. Berlo, The Process of Communication,
An Introduction to Theor and PracEIce_TNew York: Holt,
RIneEarE and WInEEon, 1960), p. l .

If it is the purpose of university film producers
to influence human behavior consistently rather than depend-
ing upon the hit-or-miss and ill-defined ways of the few
truly gifted and artistic geniuses in their midst, they
may find it useful to operate within some standard, rational
system. HOban and vanOrmer are optimistic about the appli-
cation of research findings in such a system.

Perhaps one of the virtues of research in an applied
field, such as that of the instructional motion
picture, is that judgments involved in each step

of the process can be 'educated' judgments. Such
judgments, formed on the basis of experimental and
testimonial evidence, (thou h with an awareness

of alternatives and hunches , are more likely to
lead to the production of more effective instruc-
tional films and to a more effective way of utiliz—
ing them.17

It may be said that successful films have been made
and will continue to be made without a thought being given
to the findings of relevant research. Two questions should
be raised in reference to such a claim: (1) how is the
term 'successful' to be operationalized; and (2) if the
film is 'successful' how can it help future designers with-
out their knowing the rationale of its construction?

The use of empirically developed theory in design,
and research techniques in evaluation can add to the art
of film production because these methods can be explained

and either used or rejected by others; their effect is

cumulative.

 

17Hoban and vanOrmer, op. cit., p. 4.

I
1213
U

The unique functions of university film units--those
of teaching future producers of educational films by ap-
prenticeship, developing better methods of production, and
serving the immediate film needs of their universities--
are too important to be disregarded. Their importance de-
mands that a serious effort be made toward developing a

method of production which will facilitate their achievement.

PURPOSE OF THE STUDY
The purpose of this descriptive dissertation is
to demonstrate a communications method of non-theatrical
film production which makes use of research findings in
film design and uses research techniques to develop, admin-

ister and analyze responses to various evaluative devices.

METHODOLOGY FOR THE STUDY
To accomplish the purpose of this study, the follow-
ing general procedures were followed:

1. Introduction The major problem leading to the
develOpment of this study is identified, discussed
and its background reviewed. A rationale is de-
veloped for approaching the problem through demon-
stration of a communications method of non-theatri-
cal film production. A definition of terms related
to the communications method of non-theatrical film

production is listed.

2. Description of the Method A rationale for the

method is given. Elements of the method and the

10

strategy used for demonstrating the method are de-

scribed.

3. Theoretical Justification of Film Sequences A
review of communications and film research litera-
ture was conducted. Relevant findings were used
to design an experimental film. A rationale for
each of the experimental film's 15 sequences was

developed and reported.

4. Evaluative Techniques Several evaluative devices
were developed and administered. The methodology

is discussed.

5. Analysis of Data Responses to the various eval-

uative devices are analyzed and repOrted.

6. Discussion A communications method of non-theat-
rical film production as demonstrated in this study
is summarized. Conclusions are drawn concerning
its utility. Implications of the method are pro-
posed for university film producers. Suggestions
are made for future research on the problem.

DEFINITION OF TERMS RELATED TO
THE COMMUNICATIONS METHOD OF
NON-THEATRICAL FILM PRODUCTION
It may be helpful to describe some of the terms
important to this study, especially as they may vary in

interpretation from common usage.

11

Animation Scene - A scene in which the subject matter
is some form of graphic material and is generally manip-

ulated to produce movement.

Close Shot -- A picture of the subject matter which

reveals less than the total subject.

Communications Method of Non-Theatrical Film Production ~-
A systematized approach to pre-production planning,
production and evaluation that incorporates research
findings in film design and uses research techniques

to develop, administer and analyze responses to various
evaluative devices. Chapter Two will treat this term

at some length.

Criterion Instruments -- Tests used to evaluate actual

performance of a film.

Cut -- The point at which two scenes are joined. The

expressions used are 'cut away from' and 'cut to.‘

Design - The structure or 'blueprint' of a film as
described by its script and given form by the steps

of production.

Dissolve -- This term is used in reference to both visual
and sound elements. In a visual dissolve the fade out
of one scene is superimposed over the fade in of another
scene. In a sound dissolve the fade out of one sound
element is superimposed over the fade in of another

sound element.

12

Effects - A term used to indicate various sound effects,

i.e., traffic, footsteps.

Entropy -- From the physicists' second law of thermo—
dynamics, the tendency to disorganization; used in com-

munications theory as a measure of uncertainty.
Evaluation -- Determination of a film's actual effect.

(£292 -- This term is used in reference to both visual
and sound elements. In a visual fade out, the scene
gradually becomes black. In a sound fade out, the vol-
ume gradually diminishes. In a visual fade in, the
picture gradually appears from black. In a sound fade

in, the volume gradually increases in intensity.

Feedback -- Control based on the determination of actual
performance rather than expected performance, i.e.,
analysis of test results may lead to changes in utili-
zation of the film and/or modification of elements within

the production method.

Intelligent System or an Open System -- A system in
which the film producer can introduce research findings
and/or various production techniques and use the results

of feedback to modify the system or the communication.

Live Scenes -- A term used to differentiate live or

real subject matter from animation or still pictures.

13

Long_Shot or Full Shot -- A picture of the subject
matter which reveals the total subject. Since the
picture establishes the subject it is frequently re—

ferred to as an establishing shot.

Montage -- A series of short scenes, generally but
not necessarily related, joined together to produce

a single effect.

Opticals -- Special film effects printed in a labora-
tory rather than photographed in a camera, i.e., fades,

dissolves, supers.
Pan -- Camera movement from side to side.

Picture Primacy -- A principle which states that the
picture in a film is more influential than its sound

track.

Pre-Production Planning -- Those steps such as research,
consultation, budgeting, script writing, and search

for talent which precede the actual filming.

Production -- The steps of filming, editing and sound—

ing the script.
Pull Back -- Camera movement away from a subject.

Scene -- A film segment joined to others to form a
sequence. Roughly the equivalent of a paragraph in

a book. The term is a convenience used by writers and

14

directors to break the script down into units for pro-

duction.

Segpence -- A series of scenes joined together. Roughly

the equivalent of a chapter in a book.

Still Scene -- A scene in which the subject matter is

a still picture.

Super (short form of Superimposure) -- An optically
printed scene in which one scene is superimposed over

another.

System -- A set of components arranged in an orderly
fashion with the purpose of accomplishing a specified

goal or goals.
Tilt -- Camera movement up and down.
Visual -- The picture part of the scene or sequence.

Wipe -- The appearance and movement of an optically
printed scene from side to side, hence the expressions

'wipe on' and 'wipe off.'

SUMMARY
University film producers are faced with the unique
problem of serving the immediate film needs of their re-
spective universities while effecting an on-the-job train-
ing program for future film makers and acting as pace set-

ters for the educational film industry. They are expected

15

to achieve these objectives though operating with smaller
budgets, fewer facilities and less personnel than their
counterparts in commercial production.

If these interrelated objectives are to be achieved,
a standard, rational system must be developed and imple-
mented which encompasses pre-production planning, produc-
tion and evaluation. Lacking this, there can be no orderly
and consistent approach to the solution of their problem.

Over the past 50 years there has developed a body
of research findings in film and communications which seems
to offer much needed help to the producer of non-theatrical
films. But, to date, there has been no systematic effort
to coordinate these findings or develop a system in which
they can be applied.

It is the function of this study to demonstrate a
method of operation which, recognizing the limitations of
university film units, provides for a practical application
of research findings and techniques in the critical areas
of film design and evaluation.

It is felt that the demonstration of this communi-
cations method of non-theatrical film production is a nec—
essary first step in its develoPment. Its adoption by
university film producers may eliminate the suspicion and
fear they have of incorporating the labors of researchers
in their creative efforts. It may be of help to them in
producing effective films more efficiently. Its adapta-

bility may open up new techniques of expression to them.

16

Its procedures may be of help to those bewildered neophytes
who so often are left on their own to divine the mystery

surrounding the how and why of film design.

qe

di

t}.

if

CHAPTER II

DESCRIPTION OF THE METHOD

Film producers may pale at the very mention of the
term 'system' or 'method.' To them such words may suggest
a lock step organization which could infringe on the inde-
pendence of their units with subsequent control being trans—
ferred to professional administrators.

But, while autonomy may have been gained initially
for university film units through the simple expediency
of knowing more about production than anyone else, it can-
not be maintained indefinitely by experts operating in iso-
lated pockets independent of other departments within their
own universities or without profitable liaison with similar
film units at other universities.

It would seem that a sure way to lose this inde-
pendence is to ignore the dynamics of American society in
general and university societies in particular, the very
distinct trend being toward more organization. In order
to cope with the very real threat of having to do more
things in less time, it has been necessary for universities
to tighten their organizational structures and find more
efficient ways of achieving their objectives.

As noted in Chapter I, certain objectives have

17

18

accrued to university film units beyond the initial one

of 'making movies.' Because of their physical presence

at centers of higher education, their film efforts take

on the aura of authority both in subject matter and in form.
Because of their limited professional staffs which causes
them to employ student help, they have become (by default)
trainers of the next generation of educational film pro-
ducers. This is a mixed blessing. Students come and go,
but production schedules are not sympathetic to the rhythm
of quarters or semesters. There is little time to develop
on-the-job training programs. Much of the education these
unofficial apprentices receive is not conducive to the long
range development of themselves or the film profession.

The method to be described is a way of approaching
these seemingly diverse but very much related problems of
university film units. The method is flexible, allowing
for individual, creative expression. It is orderly, pro-
viding for efficient accomplishment of operational objec-
tives. It is amenable to analysis and explanation, ensur-
ing openness within units, within universities and among

universities.

RATIONALE
Film production is seen as a communications system
of messages, media-instrumentation, men, methods, and en-
vironment. It is a specialized application of the communi-

cations process.

19

The objective of communications is " . . . to in-
fluence—«to affect with intent."18

To achieve this objective in any other than a ran-
dom manner it is necessary to have a controlled system.
Control based on the determination of actual performance
rather than expected performance is known as feedback,19
the property of being able to adjust future conduct by past
performance.20

It is uncommon for university film units to obtain
an evaluation of their films.' Most often, verbal approval
by the sponsor is considered adequate. If the film is
placed in the university's film library for off campus
distribution, a standard evaluation form (see Appendix I)
may be sent to the customer along with the film. Those
few that are filled out and returned reflect more on the
physical condition of the film than on its content.

The communications method proposed here makes use
of criterion instruments, i.e., evaluative devices, as in-
dicators of actual performance. The results are fed back
directly to the producer who, after analysis and interpreta-

tion, gives them to the sponsor along with such recommenda—

tions as appear of value in putting the film into use.

 

18Berlo, 22, cit., p. 12.

19NOrbert Wiener, The Human Use p£.Human Beings.

Cybernetics and Sociegy (New York: Doubleday Anchor Books,
9 P:

20Ibid., p. 33.

20

If relevant research findings are inserted into
the design process they can serve the function of memory,
or stored data. In other words, they can be used as part
of the feedback control system which is anti—entropic, work-
ing for a more effective communications system.

An apparent weakness is that once a film is released
it might seem like an exercise in futility to expend fur-
ther time or money on improving it. Obviously the purpose
is not to reproduce a completed film, although it is impor-
tant that revealed weaknesses can be shored up with supple-
mentary printed materials and/or amplificatory statements
by a laboratory assistant or instructor. The purposes of
inserting the findings of film and communications research
into the design process and inserting the results of eval-
uation into the film production system are to reduce the
uncertainty inherent in message design, and to provide for
an 'intelligent' system.

While it may be said that conflicting research find-
ings could lead to uncertainty, these findings also open
up new alternatives to the film designer, thus enabling
him to make better predictions based on more complete evi-
dence.

In brief, the method while designed for application
to individual films has a cumulative potential in that,
used in an ongoing system, it is flexible--providing for
a feedback mechanism to ensure adaptability while also

allowing for the "alterations produced by outer sense

21

impressions to be retained as more or less permanent changes
of structure or function.“21

The key component of this communications method
is feedback, the input of research findings being consid-
ered as part of the long range feedback mechanism. If re-
sults of evaluative data are used only to criticize and
supplement the 'film of the moment' they exercise a re-
stricted although perhaps beneficial control.

”If, however, the information which proceeds back-
ward from the performance is able to change the general
method and pattern of performance, we have a process which
may well be called learning."22

Relevant findings of past research in film and com—
munications are considered as base line information or
'starters' for the system. It is for the producers indi-
vidually in their own units, and collectively through their
professional organization, the University Film Producers

Association, to begin to accumulate and collate the 'memory'

component of the system from which all members can benefit.

ELEMENTS OF THE METHOD
In Figure 1, an adaptation of Westley and MacLean's

communications model is used to describe a communications

 

211bid., p. 55.

221bid., p. 61.

22

method of non-theatrical film production.23

Figure l. A Communications Method of Non—Theatrical Film
Production

 

10. Feedback--Audience to Sponsor (fAS)

 

  

10. Feedback--Sponsor to Producer (f
and Producer to Sponsor (fPS

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

(X I n t e r a c t i o n (I)
25 1. — ———— 2 T'“-'— —> 3.
(x ) 9.
3 Producer's
(x ) Sponsor 8. Producer Messa e 3- Audience
4 Sponsor' (x3)
(x Messa e
. lO. Feedback-undience
(X ) to Producer (f )
00 AP

4,5,6. Information
Relevant to Subject
or Design of Film.
Key to Figure l:
l. The Sponsor, equivalent to the source of a message in
the communications process, is one or more persons who has

accumulated a body of experience in a specialized area and

who is motivated by it to communicate.

2. The Producer, equivalent to the mediator of the message,

 

23Bruce H. Westley and Malcolm S. MacLean, Jr.,
“A Conceptual Model for Communications Research,“ Journalism
Quarterly (Winter, 1957), pp. 32-35.

23

i.e., one responsible for message design in the communica-
tions process, is one or more persons who has accumulated
a body of experience in a specialized area and who is desig-

nated by the sponsor to design a message.

3. The Audience, equivalent to the receiver in the communi—
cations process, is one or more persons who has been desig-
nated by the sponsor to be the receiver of the message as

mediated by the producer.

4. The symbols X1.....Xoo represent different bits of in-
formation relevant to the subject or design of the film

which are available to the sensory field.

OOOOOX

5. The symbols X represent relevant information

1 4
in the sponsor's sensory field. X1 and X2 are esoteric
information about the subject not shared by the sponsor

and producer.

6. The symbols X3.....XS represent relevant information

in the producer's sensory field. X3 and X4 are films and/or
printed literature shared by the sponsor and producer.

X is communications and film research information not

5
shared by the sponsor and producer.

7. The symbol '1' represents interaction between the spon-
sor and producer concerning message design, scheduling,
budget, procedures. Implied in interaction is information

the sponsor can infer about the producer, information the

24

producer can infer about the sponsor, and information both
sponsor and producer can infer about the audience through

interaction with them.

8. The sponsor's message to the producer (X'). This mes-
sage is influenced by relevant information in the sponsor's
sensory field, the sponsor's past experience in the spec-

ialized area plus information gained from interacting with

the producer and the audience.

9. The producer's message to the audience (X"). This mes-
sage is influenced by relevant information in the producer's
sensory field, the producer's past experience in his spec-
ialized area plus information gained from interacting with

the sponsor and the audience.

10. (a) The audience's feedback to the sponsor (fAS)°
(b) The audience's feedback to the producer (fAP)'
(Feedback from the audience yields information about
the producer's message as perceived by the audience.)
(c) The sponsor's feedback to the producer (fSP).
(Feedback from the sponsor to the producer yields
information about the producer's message as perceived by
the sponsor. It includes the dimensions of (1) the spon-
sor's acceptance of the message, and (2) his prediction
of the target audience's acceptance of the message.)
(d) The producer's feedback to the sponsor after an-

alysis and interpretation of the evaluation (fps).

25

Essentially the method assures successful perform-
ance, or makes it less uncertain. Steps 1 to 5 are fairly
standard in non-theatrical production. The communications
method begins to deviate in Step 6, specifically by insert-
ing an element such as X5 (relevant research findings) into
the design process. Step 10 is far from standard procedure;
generally, a film contract is considered fulfilled with
delivery of a specified number of release prints to the
sponsor. ‘

In one sense it is not possible to produce a suc-
cessful message without feedback because success, by def-
inition, implies knowledge of results. Feedback in this
narrow sense, however, is no guarantor of success. It is
only when knowledge of results and other relevant research
findings are inserted into the design and utilization proc-

esses that uncertainty can be reduced, i.e., successful

performance can be assured.

STRATEGY OF THE DEMONSTRATION
Since element X5 (relevant research findings) of
Step 6, and elements fAP, fSP' fPS which represent feedback
from the audience to the producer, feedback from the spon-
sor to the producer, and feedback from the producer to the
sponsor, of Step 10 are the key components which differen-
tiate this method from standard production procedures, the
burden of demonstration will fall on them. The design of
the film will be discussed, its use situations described,

SC

26

evaluation techniques for each use situation will be dis-
cussed, the method will be evaluated on the basis of anal-
ysis of data from the several criterion instruments (see
Appendices II, III, IV and V), and implications of the method
for university film producers will be discussed.

The criteria for determining successful message
design will be a positive effect of the film on the spon-
soring film committee as determined by its responses to a
criterion instrument, and a positive effect on the target
audience as determined by its responses to a criterion in-

strument.

SUMMARY

The communications method of non-theatrical film
production developed, described and demonstrated for this
study is an attempt to solve the basic problem of the uni-
versity film producer--how to produce effective films more
efficiently.

Essentially the method provides for a mode of oper-
ation that ensures successful performance. It accomplishes
this objective in four specific ways: (1) it calls for
the use of relevant research findings as aids to film de-
sign; (2) it provides for evaluation of actual performance
with the sponsor and selected audience members; (3) it calls
for analysis and interpretation of results by the producer
who (4) gives the information to the sponsor along with

recommendations for supplementing the film with spoken or

27

printed material if it is felt that this action is neces-
sary on the basis of analysis and interpretation of test

results.

CHAPTER III

THE FILM

To demonstrate a communications method of non—
theatrical film production, a film was planned, produced
and evaluated. The film selected represents a typical
assignment handed to a university film producer. It was
chosen because it happened to be the first such assignment

received after this study was undertaken.

DESCRIPTION OF THE FILM

The film, A,Second.£pgk, was produced for the Em-
ploy the Handicapped Committee, a subcommittee of the Co-
ordinating Committee for the Handicapped, of the Lansing
Community Services Council, and the Special Education De-
partment of the Michigan State University. The producer
was the Michigan State University Audiovisual Center. The
target audiences were service clubs of Lansing such as the
Lions and Kiwanis. The operational objective of the film
was to gain acceptance for the film's message. The implied
objective was to persuade potential employers in Lansing
to hire handicapped workers. The central theme of the film
stressed social responsibility. The techniques employed
in the film were use of cognitive and affective arguments,

literal illustration and symbolism, narration by peers,

28

29

and familiar settings. (For a more detailed, sequence

script of the film see Appendix VI.)

RATIONALE OF FILM SEQUENCES

Selections from the writings of some 18 authors
(see Appendix VII) were used as aids in the process of mes-
sage design to enhance achievement of the film's operational
objective, i.e., acceptance for the film's message by both
the sponsor and the target audience. From these writings
a rationale was develOped for each of the film's 15 sequences.
(See Discussion, Chapter VI.)

The following analysis of individual sequences rep-
resents a review of the literature in communications and
film research, the procedure called for in Step 6 of the
communications method and designated symbolically as ele-

ment x5 (see Chapter II).

Sequence One The basic problem of an introduction is to
gain the attention of an audience. The message must be

pleasing for them to attend to. "Since no communication
is effective unless it is attended to, attending behavior
must be reinforced.”24

And, if they are to attend, they must not be antag-

onized too early. ' . . . when your objective is to persuade

 

24Frank R. Hartman, "A Behavioristic Approach to
Cknmmunications: A Selective Review of Learning Theory and
a Derivation of Postulates,” fl Communication Review, XI
(1963), p. 183.

30

or motivate an audience, be it a group or a single individ-
ual . . . too direct an approach may arouse resistance and
antagonism, where a less direct beginning may later put

you in a position to make your point."25

The film begins leisurely with a slow, sweeping
look at storefronts of downtown Lansing during the Christmas
season. The audience hears the tinkling, 'Christmasy' sound
of a music box and an elderly voice combined to cajole them
into a state of readiness.

This pattern of stimuli would seem to fit Berlyne's
category of relative novelty, i.e., it " . . . would pos-
sess familiar elements or qualities in a combination or
arrangement that had not been met with in the past."26

The reason for the novel introduction is to gain
audience interest at the outset of a communication. Rela-
tive, rather than absolute novelty, i.e., ” . . . one with
some quality that had never been perceived before”27 is
employed since, according to Berlyne:

. . . some of the effects proper to novel stimuli,

including their ability to influence stimulus se-
lection, are apparently not at their strongest with

 

25A. A. Lumsdaine, ”A Basis for Decisions in Plan-
ning Communications,” Ball, John, and Byrnes, Francis C.
(eds.), Research, Principles, and Practices ip,Visual Com-
munication (The Department of Audiovisual Instruction of
Efie National Education Association, 1960), p. 81.

26
D. E. Berlyne, Conflict, Arousal, and Curiosity
(New York: McGraw-Hill, 1965), p. I9.

27Ibid.

31

maximum novelty. They seem rather to be most
strongly elicited by an intermediate degree of
novelty, with a stimulus that is rather like some-
thing well known but just distinct enough for it
to be 'interesting'. We are indifferent to things
that are either too remote from our experience or
too familiar. A relatively slight variation in
a familiar pattern has a unique piquancy.28
The heart of downtown Lansing was selected as the
setting in order to involve the audience immediately. Ac-
cording to Baker, empathy, the imaginative projection of
one's own consciousness into another human being, is aroused
by a familiar scene.29
Since the film is primarily emotional and not in-
formational, the music box was selected to establish a mood.
"Music might provide an emotional tone or excitement to

the learning experience."30

It is to be expected that the
Christmas theme will arouse positive emotions in business—
men since Christmas is one Of the best business seasons

of the year.

Sequence Two The purpose of this sequence is to introduce

some key elements, i.e., the narrator, his bookstore, ob-

jects in the window display, the main musical composition.
Selection of a narrator, his relationship to the

[other film elements, his right to speak to the audience,

 

28Ibid., p. 21.

29Stephen Baker, Visual Persuasion (New York: McGraw-
Hill, 1961), Chapter 6.

30Kendall, 22, cit., p. 435.

32

all are troublesome problems for the film maker. "From a
production point of view, the effectiveness of a film de-
signed to change audience attitudes will depend on the
selection of a main character who is suitable for 'hero-
worship' or 'identification mechanisms' set up in the in-
tended audience."31

It was decided that since the target audience was
Lansing service clubs with their heavy representation of
businessmen and industrialists, the narrator ideally should
be a noncontroversial peer of this group. When conferences
with the film committee failed to turn up such a candidate,
the burden fell upon the film maker to create one. The
end product was patterned after a local bookseller; a rough
approximation of his shop was constructed in the film studio
for reasons of convenience.

In this sequence the audience is given its first
exposure to a bust of Beethoven, Milton's book, Paradise
Eggp, and a Renoir picture from his later years. These
objects will be used several times throughout the film and
will ultimately become symbols of handicapped workers.
Hartman provides the theoretical justification for this
technique:

. . . repeated usage is necessary for any new (and
therefore meaningless) stimulus items which the

communicator wishes to use . . . one can create
some measure of meaning simply through repeated

 

31Ibid., p. 434.

33

usage . . . the need for selection of items mean-
ingful to the recipients of a communication hardly
needs emphasis or explanation.32
The objects were selected for several reasons.
First, they represent the three major classifications of
handicaps, i.e., blind, deaf, crippled. Second, they were
objects which legitimately would be found in a store sell-
ing books, sheet music, and art prints. Third, while rec-
ognizable as creative geniuses, their handicaps are not
generally known, thus providing an element of surprise later
in the film.
Berlyne, in discussing the element of surprise as
a supplementary variable of novelty, says, “It implies the
existence of an expectation with which the stimulus dis-
agrees.”33. The expectation assumed in the case of the ob-
jects in the display is that the artists were not handicapped,
that their works, i.e., sheet music, a book, a painting,
are simply items displayed for sale during the Christmas
season.
The implications of the association of Beethoven,
Milton and Renoir with handicapped workers will be discussed
in Sequence 15.
Sequence 2 also introduces the audience to the pri-
mary musical element, Beethoven's Ninth Symphony, the

”Choral.” This work was selected for several reasons:

 

32Hartman, pp, cit., p. 172.

33Berlyne, pp, cit., p. 23.

34

it was written during Beethoven's later years when he was
totally deaf; it is a powerful work; its theme is stated
in several interesting variations which make it more useful
to the film maker, one such use being as a motif for handi-
capped workers. It is not expected of the audience members
that they realize the composer was deaf when he wrote the
Ninth. Indeed, there is never an obvious connection between
composer and symphony until it is revealed in the credit
titles at the end of the film.
Tannenbaum, in discussing the effect music can have

on an audience, said:

Music background, then, can be considered to have

an influence on the rating of the drama, with this

influence being most pronounced on the connotative

dimensions of potency and activity, but not to a

significant degree in terms of changing the eval-

uation of the play. There may, of course, be other

ways in which the presence of music background can

operate on the judgment of the drama, but these

were not investigated in the present research.34
Sequence Three In an attempt to strengthen the credibility
of the narrator, the bookseller is represented as an elderly
Lansing businessman who exhibits an interest in and know-
ledge about his town.

A photograph album, narration and nostalgic music

are combined to arouse a feeling of community pride in the

viewer to make the issue salient.

 

34Percy H. Tannenbaum, “Music Background in the
Judgment of Stage and Television Drama,“ AX,Communication
Review, IV (1956), p. 99.

35

It is felt that the viewer will be more receptive
to the very biased persuasion of the next sixteen minutes
if the argument is couched in a noncontroversial context.
In other words, it will be difficult to reject the argument
because it is imbedded in a complex, socially acceptable
theme.
This strategy is suggested by Sarnoff and Katz.
" . . . to change attitudes in a predictable manner, it
appears to be necessary to devise influence procedures which
are aimed at the different underlying motivations."35
The people-and-their-industry theme will be treated
further in Sequences 4 and S. It develops into the social

responsibility theme of sequences 6, 7, 8, 11, 13 and 14.

Sequence Four The pride-in-community, people-and-their-
industry theme is continued and expanded. The implication
is that Lansing is a successful business and industrial
community today because of a symbiotic relationship between
people and industry.

The ponderous, majestic musical theme stated in
low pitched instruments will be used henceforth as an in-
dustrial motif. It is the same theme which will be used
as a motif for handicapped workers with one exception; their

theme will be stated with stringed instruments in a warmer,

 

351. Sarnoff and D. Katz, ”The Motivational Bases
of Attitude Change,” Journal prAbnormal Ps cholo , XLIX
(1954), p. 124.

36

more emotional tone.
Kendall reports on a finding of the Instructional
Film Research Project which supports the technique:
Music might be used as a clue suggesting associa-
tion by inference with a new experience not previ-
ously related to familiar ones. In the same way,
the function of music, used as a clue, mi ht aid
in pointing toward a problem's solution.3
The industrial and handicapped workers motifs will
merge into a social responsibility motif when the theme
is stated powerfully and dramatically in sequences 14 and

15 by both human voices and instruments of the orchestra.

Sequence Five Hartman notes that, ”The first step is to
accomplish familiarity with all the stimulus units in the
communication. The second step is to establish relations
among units using illustrative materials asmediators when
there is a lack of meaningful relation among the units to
be associated."37
In this sequence an attempt is made to nail down
the symbiotic relationship between people-and-their-industry
and begin the transition to the social responsibility theme
by including the handicapped worker in the 'people' half
of the relationship.

As recommended by Gropper,38 animation is used to

 

36Kendall, pp, cit., p. 435.

37Hartman, 92. cit.

38George L. Gropper, “Why Ipia Picture Worth a
Thousand Words?" AX,Communication Review, XI (1963), p. 80.

foc
no:
the

59‘

Hi

qr
.n

re

37

focus attention by isolating the objects of concern, i.e.,
normal and handicapped workers. As the last picture of
the sequence, and through the device of an animated line,
special attention is directed to the handicapped worker.
Three of the seven workers pictured in this sequence
will be featured as handicapped workers in later sequences.
Their exposure in this sequence should cue responses when
they are seen later; they should be remembered as people
needed by and contributing to the success of their community.
It is intended that their use both here and later will es-
tablish them as being representative of Lansing's handicapped

work force.

Sequence Six This is the first of four live sequences
featuring handicapped workers. Essentially, the four se-
quences are the same, i.e., a handicapped worker is shown
performing a job, a peer of the audience members speaks
favorably of the worker and advances the general argument,
each handicapped worker is introduced with his appropriate
motif, the heavy industry is associated with its appropri-
ate motif.

If the message designer exposes the pertinent ele-
ments of his message frequently and avoids any association
with elements of negative value, these elements should in-
crease in value and acceptance. Hartman suggests that,

" . . . we become accustomed to things through meeting them

repeatedly and . . . we value the things to which we have

38

grown accustomed."39

Mr. Lundberg, a Lansing industrialist used as one
of the film's narrators, said what may be the first dis-
sonance producing line for the initially opposed: I THINK
IT'S SORT OF A RESPONSIBILITY OF INDUSTRY TO HIRE THE HANDI-
CAPPED WHERE IT DOESN'T HANDICAP THE BUSINESS ITSELF.
Festinger, in his theory of cognitive dissonance,
suggests that the existence of dissonance (imbalance), being
psychologically uncomfortable, will motivate the person
to try to reduce the dissonance and achieve consonance (bal-
ance, or homeostasis).40 For the initially opposed, Mr.
Lundberg's implication of responsibility may stimulate co-
vert argument. His qualifier, WHERE IT DOESN'T HANDICAP
THE BUSINESS ITSELF, may be taken as part of the defensive
argument. At this point the magnitude of dissonance is
probably not high although there may be a cumulative effect
from the very mention of 'handicapped workers' in scene 43
of the previous sequence. The magnitude of dissonance may
rise throughout the sequence as the following points are
made: handicapped workers are compatible, skilled, flex-
ible, punctual and regular. The film argument is that,
in this case, the handicapped worker has not handicapped

the business. A one-sided argument plus a few opposing

 

39Hartman, pp, cit., p. 173.

4oLeon Festinger, A_Theory of Cogpitive Dissonance
(Evanston, 111.: Row, Peterson, 1957).

39

points made early but not explicated is generally thought
to be more effective than just a one-sided argument, and
better than listing major opposing arguments and refuting
them.41
It is unlikely at this point that the initially
opposed can tune out the message since he is a captive aud-
ience. He can distort the message, or simply accept the
dissonance and as a business executive he has probably learned
how to do this quite well. Then again, he may decide to
receive the remainder of the message positively. It can
be expected that no behavior changes will occur at this
point other than a decision to listen.
Osgood and Tannenbaum suggest that a feeling of
incongruity can be expected among the initially opposed
since two objects of judgment (handicapped workers, business
and industry) have been connected with an assertion, “they
can do a good job." Stated another way, “Business and in-
dustry (positive for them) should hire handicapped workers
(less positive for them). It is to be hoped that, as a
result of this sequence, the handicapped worker will be
considered a little more positive than he may have orig-
inally been.42

Newcomb is concerned with symmetry between two

 

41H. I. Abelson, Persuasion (New York: Springer,

1959).

42C. E. Osgood and P. H. Tannenbaum, "The Principle
of Congruity in the Prediction of Attitude Change," Psycho-
logical Review, LXII (1955), pp. 42-55.

40

persons (A and B) toward an object of judgment (x).43 In
the case of the film argument, the initially opposed could
be substituted for 'A,' Mr. Lundberg (a peer of the audi-
ence member) for 'B,' and handicapped workers for 'x.'
Assuming that (1) the initially opposed doesn't like handi-
capped workers, (2) that the initially opposed likes Mr.
Lundberg, (3) the initially opposed perceives that Mr.
Lundberg likes handicapped workers, and (4) the initially
opposed perceives that Mr. Lundberg likes him, then there
is perceived asymmetry.

The initially opposed could achieve symmetry by
(l) continuing to dislike handicapped workers, and (2) chang-
ing his attitude toward Mr. Lundberg from one of like to
one of dislike. Or, he could achieve symmetry by changing
his attitude toward handicapped workers from one of dislike
to one of like.

Figure 2 illustrates the conditions of asymmetry
and alternative methods of achieving symmetry.

Of course, if the initially opposed feels no strain
toward symmetry he will simply tolerate the asymmetry or
perceive none. Strain toward symmetry would be more likely
if the initially opposed considers his peer, Mr. Lundberg,

a highly credible source.

 

43Theodore M. Newcomb, “An Approach to the Study
of Communicative Acts,” Psychological Review, LX (1953),
pp. 393-404.

41

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42

Hovland, Janis and Kelley44

indicate that source
credibility has maximal effects on acceptance when the source
and content are such that there would be considerable dis-
crepancy between the attitudinal responses to each of them
alone. In other words, if the initially opposed feel posi-
tive toward Mr. Lundberg but negative toward handicapped
workers we could expect his persuasion to have a good ef-
fect. On the other hand, Osgood's congruity principle would
predict that there would be a greater chance of acceptance
if the initial attitudinal 'distance' between the source
and object was not great.45

Heider's theory of balance would pose this condi-
tion: When high credibility is attributed to a person but
not to what he communicates, attitudes related to him are
in an 'unbalanced' state.46

The unbalanced state tends to be resolved in any
of three ways: (1) change in attitude toward the communi-
cation (which would include either accepting it or reject-
ing it); (2) change in attitudes toward the communicator;

and (3) change in perception of the communicator's role

in originating the communication. To counteract the third

 

44Carl I. Hovland, Irving L. Janis and Harold H.
Kelley, Communication and Persuasion. Ps cholo ical Studies
pp'O inion Chan e (New—Haven and LOndon: Yale UniverSity
Press, 1 3).

45Osgood and Tannenbaum,|pp, cit.

46F. Heider, ”Attitudes and Cognitive Organization,"
Journal pf’Ps cholo , XXI (1946), pp. 107-112.

43

alternative, the sequence was filmed in the Lundberg plant;
Mr. Lundberg delivers his own lines and appears in two scenes.

In Sherif and Cantril47

is found justification for
presenting handicapped workers in positive work situations,
i.e., judgment of stimuli shift according to the background
furnished by a related series of stimuli.

In addition to showing them performing skilled jobs,
a strong musical motif is used when handicapped people are
seen. Further contribution to a positive ground is the

narrative track which carefully depicts the featured workers

as dependable, compatible, skilled, flexible and punctual.

Sequence Seven Christmas is used again since it is the
best business season of the year and thus should command
the receiver's attention as well as arouse positive emotions
in him. But, rather than reinforcing him for attending,

a negative note is introduced by stating a variation of

the social responsibility theme. The images, pictorially
rich but ambiguous in the early scenes, become more literal
toward the end. The narration follows the same scheme.
This technique is suggested by Gropper. ' . . . inter-
mediary sequences are therefore likely to be needed to
transfer control from the indirect visual examples to the

verbal propositions they are intended to represent."48

 

47Muzafer Sherif and Hadley Cantril, "The Psychol-
ogy of Attitudes,“ Psychological Review, LII (1945), pp.
295-319.

48Gropper, pp, cit., p. 92.

44

The verbal implication of unmet social responsibil-
ity can be anxiety producing. Hovland, Janis and Kelley
make the assumption that a threat appeal is most likely
to induce an audience to accept the communicator's conclu-
sions if: (a) the emotional tension aroused during the
communication is sufficiently intense to constitute a drive
state; and (b) silent rehearsal of the recommended belief
or attitude is immediately followed by reduction of tension,
i.e., Content Cues:C.....Emotional Reaction:E.....Reassur-

ing Recommendations:R.49

Sequence Eight Following Hovland, Janis and Kelley's pre-
scription for audience acceptance of the communicator's
conclusion, the sequence of Content Cues:C.....Emotional
Reaction:E (dissonance).....Reassuring Recommendations:R,
is completed by offering the reassuring information that
this community is organized to assist employers in finding
qualified handicapped workers. Thus, if employers find
implied social disapproval to be dissonance producing they
are likely to accept the recommendation of seeking assist~

ance as a way to reduce dissonance and restore balance.

Sequence Nine Another peer of the audience assures them
that handicapped workers, when properly placed, can perform
as well as non-handicapped workers. This technique is sup-

ported by another Instructional Film Research Program

 

49Hovland, Janis and Kelley, pp, cit., pp. 56-96.

45

principle as reported by Kendall. A "slow rate of develop-
ment and the use of built-in repetition are important con-

tributors to effectiveness."so

Seguence Ten The third case study, as did the ones pre-
ceding it, illustrates a handicapped person's ability to
do a job when properly placed. While the repetition may
seem redundant, there is some analogy between this communi-
cation problem and the one stated by Weaver:

If the transmission is sent via a channel with

noise, then elimination of redundancy is bad for

redundancy combats noise. If the channel is noise

free then a coding process which eliminates re-

dundancy is good. 1

It could be said that, in this case, the noise to
combat is the resistance of the initially Opposed which
could take the extreme form of perceptual restructuring
of the message. Thus repetition is used to “ . . . pene-
trate into a communication and storage apparatus suffici-
ently to serve as the trigger for action."52
Wiener concludes:

Semantically significant information in the machine

as well as in man is information which gets through

to our activating mechanism in the system that re-

ceives it, despite man's and/or nature's attempts
to subvert it. 3

 

50Kendall, pp, cit., p. 433.

51C. E. Shannon and W. Weaver, The Mathematical
Theory of Communication (Urbana: University of Iiiinois
Press, i949}, p. 112.

52

saIbid.

Wiener, pp, cit., p. 94.

46

Sequence Eleven Gropper advises that when film designers
wish to condition audience response to some criterion sit-
uation,they employ ' . . . criterion visuals, or visual
which are similar to them along some relevant dimension . . .
to provide an occasion for student practice of appropriate
responses to them.”54

As Jerry Van Liew (the handicapped worker featured
in sequence 12) said quite revealingly in a pre-production
interview, "They (fellow workers and superiors) expected
to find somebody who'd be kind of a freak at first." One
purpose of this sequence is to allow the viewer to see a
variety of handicaps in a situation non—threatening to him.
The responses he is expected to practice are cued by the
narrator. It is hoped that these practiced responses will
carry over into criterion situations when he is face-to-
face with a handicapped applicant.

Bob Stone (a Lansing industrialist) has, in effect,
become the principal narrator. The bookseller, a contrived
character, was useful in the introductory sequences to de-
velop a general social responsibility theme. As an elderly
gentleman who loves Lansing, its people and industry, he
could establish an emotional tone. He is withdrawn now
in favor of an audience peer who is willing to be quite
specific, one who slugs it out with the audience on its

own terms and thus may be more recognizable to them. To

 

54Gropper, pp, cit., p. 78.

47

introduce Bob Stone earlier in the film would have been
to risk antagonizing and alienating the audience before
they had developed an emotional readiness for his forth-

right persuasion.

Seguence Twelve This is the fourth and final case study.
Jerry, as a pathetic looking figure, could have been used
earlier to shock the viewer, but this would have been of
dubious value. It is felt that his appearance at this time
will be more memorable. The audience has been prepared

for him for thirteen minutes. They have seen the deaf,

the blind and the halt. Now they see a tiny, pathetically
disfigured human being lifted into a chair, yet courageously
wheeling himself into confrontation with the hard realities
of the world of private enterprise. Jerryadmits to his
very human weaknesses of fear and frustration. But, essen-
tially, this sequence repeats the theme of the other case
studies, i.e., placed in a job where their handicap makes
no difference, these people can perform as well as non-

handicapped workers.

Sequence Thirteen As in Sequence 7, visuals are used which
by themselves bear little or no relationship to the prob-
lem at hand. There is a dependence on sound effects, music,
and narration to make the visuals meaningful. And because
of this combination of ambiguous elements, more gets said
than if a literal interpretation had been employed.

GrOpper's statement used in theoretical justification

48

of sequence 7 is appropriate here. ” . . . where the verbal-
ly described referent is unobservable, a generalization,
or abstract, indirect visual representation can be used."55
At this point in the film it is not felt that inter-
mediary sequences are necessary to make the connection be-
tween indirect visual examples and the verbal propositions
they are intended to represent. Fifteen minutes have been
devoted to the development of all of the elements required
to make this symbolism work, i.e., the voice of Bob Stone
should cue perception of a peer of the viewer, the voice
of Jerry Van Liew should cue the perception of a multiply
handicapped worker succeeding against great odds, the music
box should cue Lansing during the Christmas season.
There is a feeling that opposition to the hiring

of handicapped workers goes beyond logic for some people.
It penetrates deep into value-belief systems, emotions,
religion. G. W. Allport sums it up well:

Whenever a pre-existing attitude is so strong and

inflexible that it seriously distorts perception

and judgment, rendering them inappropriate to the

demands of the objective situation, the social psy—

chologist usually designates this tenacious atti-

tude as a stereotype, a prejudice, or sometimes,

more loosely, as a logic-tight compartment.56

Use has been made of logic, illustration, direct

 

551b1d., p. 92.

566. W. Allport, "Attitudes,“ C. A. Murchison (ed.),
5 Handbook p§_Socia1 Psychology (Worcester: Clark Univer-
sity Press, 1935), . 814.

49

and indirect persuasion. Audience peers have argued and
handicapped workers shown by performance that they are de-
pendable, compatible, flexible, skilled, mobile, attractive,
competent, safe, responsible, human.

Called upon now is the cumulation of experience
the viewer has had in the previous fifteen minutes to help
the film help him penetrate the 'logic-tight' compartment.
Jerry Van Liew, the most physically unattractive example,
calls a Spade a spade by using the word 'freak' as applied
to himself. And Bob Stone, peer of the audience, tells
them that this very real social problem won't go away simply
by pretending it isn't there.

Once more, as in sequence 7, the film employs the
Hovland, Janis and Kelley theory that a threat appeal is
most likely to induce an audience to accept the communicat-
or's conclusion if: (a) the emotional tension aroused dur-
ing the communication is sufficiently intense to constitute
a drive state; and (b) silent rehearsal of the recommended
belief or attitude is immediately followed by reduction
of tension, i.e., Content Cues:C.....Emotional Reaction:
E.....Reassuring Recommendation:R.57

In this sequence, scenes 110-117 are used as con-
tent cues to arouse emotional tension. Scene 118 permits
several seconds for silent rehearsal of the recommended

attitude, i.e., this is a real problem demanding a solution.

 

57Hovland, Janis and Kelley, pp, cit.

50

The Reassuring Recommendation:R which, if accepted, can
lead to reduction of tension, follows immediately in the

next sequence.

Sequence Fourteen Bob Stone offers the reassuring recom—
mendation: The only way you're gonna' solve it is by work-
ing with the people who are trying to get jobs for the handi-
capped. This completes the Hovland, Janis and Kelley chain
of responses. This was the same theory used in Sequence 7
and Sequence 8, the reassuring recommendation was identical:
WOrk with the people who are trying to get jobs for the
handicapped. If the theory is correct and was applied well,
the initially opposed will seek to reduce the dissonance
aroused by implication of social disapproval by accepting
the reassuring recommendation. I
Allport stated it another way. "An attitude is
retained as long as it satisfies the individual, but it
is likely to be modified under the provocation of serious
affective disorganization."58
In an important sense there is ambiguity in this
sequence. Sherif and Cantril note:
If the stimulus situation is ambiguous and there
are no established frames to which it can be re-

lated, new norms will be readily accepted and will
effectively structure people's thinking.59

 

58Allport, pp, cit., p. 814.

59muza£er Sherif and Hadley Cantril, "The Psychol-
ogy of Attitudes," Psychological Review, LIII (1946), p. 20.

51

It is for the film designer to create an unstable
situation in which he can establish a frame of reference
more advantageous to his objective.

At first glance, outrageous liberties seem to have
been taken with the audience and the design of the film.
After touching down briefly with the bookseller, who is
listening to disembodied voices of Bob Stone and Jerry
Van Liew and then glances toward the bust of Beethoven,
the viewer is quite abruptly confronted with a rather start-
ling closeup of an eye reflecting despair and horror. As
the camera pulls back to reveal a distraught character,
the voice of Mr. Lundberg talks abstractly about a 'human
junkheap' and connects the hiring of handicapped workers
with social responsibility as did Bob Stone in the preced-
ing paragraph. The relationship between picture and nar-
ration could be tenuous indeed except for several factors
which should help the audience member make the connection
desired of him. In almost every sequence since the begin-
ning of the film, the social responsibility theme has been
developed. And at least five times the point has been made
that an economically healthy town will use all of its people.
Too, a musical motif for handicapped people, which had been
established earlier, carried throughout this sequence.

The implication is that either employers exercise their
social responsibility and strengthen their town by extend-
ing employment opportunity to all qualified applicants or

they will create a rather sorry social problem which will

52

be a drain on their tax dollars.
Hartman sums up the theoretical justification of
this technique :

If stimuli generalize on the basis of their emo-
tional responses, contiguity is sufficient to es-
tablish a generalization of their meaning. Since
contiguity alone is necessary for meaning to be
transferred from one communication unit to another,
repeated pairing of two units results in meaning-
ful shifts of each toward the other. . . . The
communicator can produce emotional reactions and
attitudes to some units in his message by associ-
ating them with other units producing emotional
reactions . . . connotative meaning theory implies
that when strong emotional reactions are involved,
the associations will be established without con-
scious practice being necessary.60

Thus, at this point in the film, the audience should
be able to take its cues quickly and generalize almost any
visual to the film's argument; "Since generalization among
emotional reactions is nonverbal, meaning Can be attached
to items which are not at all verbalizable."61

Emotion and ambiguity have been allied here because
logic can be carried just so far in an argument such as
the one undertaken in the film. At some point in persua-
sion if the argument is to be effective it must be internal-
ized, it must be accepted by the receiver into his value
system. Hartman suggests that this can be done by a judic-

ious pairing of stimuli. And, if the film designer is suc-

cessful, ”Interference is unlikely from any source, including

 

60Hartman, pp, cit., p. 177.
61Ibid.

 

53

the recipient's critical thinking processes. . . . Resist-
ance to forgetting is high. Generality is high."62

Emotions must be aroused slowly but, "the knowledge
that an emotional reaction will occur and persist allows
the communicator to introduce a communication that will
profit from the aftermath of the emotion."63

At this point seventeen minutes of the film have
gone by. There will be no more real situations or literal
cases. It is the intent of this sequence that emotional
reactions will place the argument beyond the reach of the
receiver's critical thinking processes. This procedure
could raise the specter of means and ends, i.e., should
film makers ever undertake to becloud their audiences' crit-
ical thinking processes on any issue?

Certainly not if moral rectitude is attached to
critical thinking, and emotional reaction is considered
as a lesser and separate process. But hopefully it is more
than rationalization to assume that values arrived at through
a lengthy and continuous process involving a gradual transi-
tion from definition of terms to the ideas they imply, have
been openly arrived at without doing violence to ethical
procedure. For purposes of this analysis the dichotomy

between critical thinking processes and emotional reaction

is an ad hoc expediency to explain an extremely subtle point

 

62Ibid., p. 178.

63Ibid.

54

in the learning process at which time the transition from
externalization to internalization takes place.
In any case, the metaphor between picture and sound
is continued since, “The purpose of metaphor is to enrich
a symbol or object through the variety of its associates
and to provide more opportunity for two or more people in
communication to achieve symbols whose meanings they share."64
The purpose of the ambiguity, then, was to impose
a frame of reference from which the viewer could restructure

his way of perceiving the entire issue and establish a more

positive way of evaluating handicapped people.65

Sequence Fifteen Asch challenges the basic proposition
that an unchanged object of judgment (handicapped worker)
undergoes a change of evaluation. He contends that there
occur apparent changes in evaluation which are due to a
” . . . change in the object of judgment, rather than in
the judgment of the object."66

The bookseller places a new card over Beethoven's
identification card revealing that the composer was deaf.
Similarly, he reveals Milton's blindness and Renoir's arth-

ritic hands. Asch's point is valid; although these displays

 

64Ibid., p. 165.

65Sherif and Cantril, pp, cit.

665. E. Asch, “The Doctrine of Suggestion, Prestige,
and Imitation in Social Psychology," Psychological Review,
LV (1948), p. 256.

55

have been seen several times, they are seen now in a dif-

ferent light because suddenly they have been invested with
new meaning. If they are judged differently it is because
they have changed. They symbolize the object of judgment

of this film--handicapped workers.

It is the intention of the film that the receiver
will change his evaluation of the handicapped workers of
Lansing because now he sees them in a different perspective.
They have changed for him. They have risen above their
handicap, as did the artistic geniuses of the window dis-
play, and have shown the prospective employer that they
are not the pitiful tax burdens they once were. They have
become trained, skilled and reliable workers for the viewer
who has made the metaphorical extension.

Other than in Sequence 8, which identifies the Em-
ploy the Handicapped Committee by name and its members visu-
ally, the audience will see no credit titles until Sequence
15 when the credits will be superimposed over the film's
final scene. Until this time the identity of the source
of the communication has been withheld. This element of
design made it appear that the bookseller, Mr. Lundberg,

Mr. Stone, Mr. Rathbun, Mr. Mullin, and the other on-screen
actors were the collective source. What effect the credit
titles will have on the perceived trustworthiness of the
multiple source as it is now revealed is not clear. Hovland,
Janis and Kelley believe that, “ . . . where the audience

has little or no prior basis for judging the trustworthiness

56

of the communicator, expectations of manipulative intent
would be highly dependent upon the content of the message."67
In other words, perceived trustworthiness would be highest
if the viewer doesn't think the source is trying to persuade
him for personal gain.

It would be most difficult for a receiver to infer
any but altruistic motives from the source, collectively
or individually. There can be no question of the film's
intent to manipulate, but, if the receiver considers the
source trustworthy it is to be hoped that he will consider
the attempt to persuade him to be out of concern for, and

in the best interests of, the business and industrial com-

plex of Lansing and its people.

SUMMARY

A contention of this study is that university film
producers can benefit from the research conducted in film
and communications over the past half century. To demon—
strate the use that can be made of the largely untapped
findings of this research, a film was developed in which
relevant findings were used as key elements in the design
process. The film selected for the demonstration is typ-
ical of a university producer's assignments.

To find material apprOpriate to the nature and pur-

pose of this film it was necessary to conduct a review of

 

67Hovland, Janis and Kelley, pp, cit., p. 296.

57

relevant literature. Since the nature of the film is emo—
tional and its purpose is to persuade, psychological studies
were found to be helpful. Readings in dissonance theory,
attitudes, visual persuasion, and related communications
theories were analyzed for ideas which were then used to
construct rationales for the film's sequences.

Once the rationales were constructed it was neces-
sary to operationalize such concepts as empathy, reinforce-
ment, motivations, social approval, redundancy, dissonance,
source credibility and ambiguity.

In the experimental film, empathy emerged as scenes
of downtown Lansing familiar to the audience, source cred-
ibility as peers of the audience used as actors and nar-
rators, ambiguity as art objects which were developed into
symbols of handicapped workers.

This is at once a challenge and an opportunity for
the film maker. There is no pat formula for converting
theory into screen images. It remains for the producer,
script writer, director, cameraman, editor and soundman
to apply individual and collective creativity to the task.
It must be remembered that a film script is a blueprint,

a plan of action. Film design is never truly consumated
until the film has been screened, evaluated and modified
within the limitations of budget, personnel and time.

It is an unjustified fear that creativity will suffer
when combined with research. They are compatible. They

are symbiotic. One gives form to the other. One finds

realization in the other.

CHAPTER IV
EVALUATION OF THE FILM

Now that the film has been designed and produced,
the demonstration of a communications method of non-theat-
rical film production continues with Step 10 (feedback from
the audience to the producer and from the Sponsor to the
producer). The purpose of this evaluation is fourfold:

(l) to determine actual performance of the film; (2) to

use this knowledge of results to modify the film (if nec-
essary and feasible) or to modify the way in which it is
used; (3) to use the knowledge of results to modify the
method if necessary; and (4) to accumulate information which
may be analyzed, interpreted and used in future productions.

It is the purpose of this chapter to describe the
groups on which the film was tested and the situations in
which they were tested as well as give a general descrip-
tion of the instruments used to collect the data, the hy—
pothesis to be tested and the models used to test the hy-

pothesis.

THE GROUPS TESTED
The operational objective of the experimental film,

p.5econd Look, was to gain acceptance for the film's mes-

 

sage by the sponsor and the target audience. While it would

58

 

ma:

was

53.:
Set
unc‘

at

0f

59

be convenient to have just one person as the sponsor and
one group as the target audience such is not the case with
all films. Such was not the case with the film chosen for
demonstration in this study. It was necessary to test the
film with five groups, using four evaluative devices to
collect enough data for a meaningful interpretation to be

made.

Group One, The Sponsor This was the committee of the whole,
the Coordinating Committee for the Handicapped of the Lan—
sing Community Services Council, which included its sub-
committee, the Employ the Handicapped Committee and its
special interest group, the film committee. This committee

of the whole is designated as the sponsor.

Testing Situation The film was shown at a luncheon banquet
meeting celebrating the 10th anniversary of this group and
marking the premiere of the experimental film. The meeting
was attended by 118 members.

The test, Criterion Instrument A (see Appendix II)
was folded in half, then inserted in a small 10th anniver-
sary report program and distributed as part of the place
settings before the members arrived. When the meeting was
underway the program chairman asked the members not to look
at the evaluation form until after the film had been shown.

Immediately before the showing, the chairman of
the Employ the Handicapped Committee gave a brief history

of how the film came to be produced.

6O

Immediately after the showing, the members were
requested to fill the forms out quickly, refold them, then
place them in a box by the exit as they left the room.

Of the 118 members in attendance, 86 complied.

Group Two, The Employ the Handicapped Committee The 16
members of this volunteer committee meet for breakfast on
the second Tuesday of each month. While they saw the film
at least twice and presumably participated in the evalua-
tion as part of the Coordinating Committee, they were asked

to complete another form to predict audience responses.

Testing Situation The test, Criterion Instrument B (see

Appendix III), was folded and distributed at the place set-
tings on the breakfast table. The film was not shown. All
10 members present that morning completed the form as they

arrived. The forms were refolded by them before collection.

Group_Three, Service Club A This organization meets once

a month for lunch. The members are professional men of
Lansing; both employers and employees are represented. As

a group they lend support to selected civic and social proj-
ects. Service Club A was one of any number of Similar or-

ganizations designated by the sponsor as target audiences.

Testing Situation Criterion Instrument A was administered
to this group and in the same manner in which it was admin-
istered to the sponsor. Of the 90 members in attendance,

46 completed and returned the form.

61

Group Four,_Service Club B This civic organization is
similar in makeup to Service Club A in that its members

are professional men of Lansing; both employers and employees
are represented. Its 30 members meet once a month for dinner.
As a group they lend support to selected civic and social
projects. Service Club B was one of any number of similar

organizations designated by the sponsor as target audiences.

Testing Situation Criterion Instrument C (see Appendix
IV) was administered to Group Four in a pre-post sequence
immediately preceding and following the Showing.

After the club's business was concluded and intro-
ductions made, the folded pre-test was distributed to the
21 members present. As soon as all members had completed
and refolded the form, it was collected. The film was shown.
Immediately after the showing, the post-test was distributed,
completed and collected, using the same procedures that

were followed for the pre-test.

Group Five, SmalégGroup Interview This group was composed
of an owner of a small clothing store, a manager of a res-
taurant-motel chain, an assistant employment manager from

a large automotive industry, a personnel director from a
large motor company, and an assistant personnel director
from a large university. All of the small group members
were from the greater Lansing area and all were in a posi-
tion to hire or not hire. The group members were selected

on the basis of their positions, availability and willingness

62
to cooperate.

Testing Situation The group was invited to preview the
experimental film at the Michigan State University Audio-
visual Center and join in a post film critique which would
be taped. The members were assured that the source of any
responses would not be revealed.
As soon as the group was assembled the film was

shown. After the showing a series of questions was asked
(see Criterion Instrument D, Appendix V) and the responses

tape recorded.

THE TESTS

Four tests were developed and administered to demon-
strate Step 10 (feedback) of the communications method.
As noted earlier, the evaluation served the purposes of
collecting data to achieve a Short range objective of en-
suring successful performance of the experimental film,
and a long range objective of providing information useful
to future productions.

Successful performance of the experimental film
was operationalized as positive responses made to items
on the tests. While four different tests were used, they
all covered pretty much the same ground. This was done to

illustrate different techniques of obtaining information.

Criterion Instrument.A This test was used with two groups,

one of which (the sponsor) should have been biased toward

63

the message. The second group (Service Club A) represented
a target audience selected by the sponsor. It is a paper
and pencil test eliciting multiple choice responses on such
dimensions as the subjects' positions on hiring handicapped
workers, emotional effect of the film, and liking for the
film.

The subjects' before and after film positions were
both determined after the film Showing. This procedure
requires that the pre-film position be called a 'perceived
position.' This variation of a pre-post design was done
in order to determine how the subjects thought the film
affected them. It represents an attempt to gather infor-
mation simply and inexpensively to help the producer decide
whether or not his message was accepted by both the sponsor
and the target audience.

The instructions stressed that this was a secret
ballot. The members were asked not to write their personal
or company's name on the form. They were asked to refold
the completed form and place it in a collection box. This
procedure is suggested by Edwards:

It would seem that, despite the limitations of the
method of direct questioning, verbal behavior, under
many circumstances, would provide a better, that

is, more accurate, indication of the feelings or
attitudes of individuals than observations of their
non-verbal behavior. This, as we have pointed out
earlier, is most apt to be the case when the social
atmosphere is free from pressure so that feelings
can be verbally expressed without fear of social
disapproval. Some assurance of anonymity, as pro-

vided for in secret ballots, may result in individ-
uals giving verbal expression to attitudes that

64

they might otherwise deny or attempt to conceal.68

Criterion Instrument B This test can be looked at in two
ways. First, it represents the Employ the Handicapped Com-
mittee's ability to empathize with a target audience by
predicting responses to Criterion Instrument A. Second,
it represents another check on the committee's estimate
of the film.

It is a paper and pencil test eliciting responses
on the same dimensions as those of Criterion Instrument A
with the exception that the members were asked to predict
target audience responses. And, similarly, the instructions

stressed that this was a secret ballot.

Criterion Instrument C This test contained pretty much
the same items as Criterion Instrument A but added the di-
mension of social distance, how the members of Service Club
B feel about the issue of hiring handicapped workers on a
continuum from abstraction to reality demanding immediate
action. This test was presented in a pre-film showing and

a post-film showing sequence.

Criterion Instrument D This test contained items basic
to the other forms but capitalized on the informality of

a small group by probing the responses in depth through

 

68Allen Edwards, Technigpes p£.Attitude Scale Con-
struction (New York: Appleton-Century-Crofts, Inc., 1957),

p. .

65

free discussion. It also sought information on additional
dimensions such as source credibility, representativeness
of actors, effect of Specific design elements, suggested
use situations, and why some people do not cooperate in

evaluations.

RELIABILITY
The use of four criterion instruments represents
an attempt to determine the reliability of the items by
eliciting responses on pretty much the same dimensions over
five groups of subjects. A degree of consistency of responses

was noted. (See Table A.l, Appendix VIII.)

VALIDITY

The use of Criterion Instrument A with a supposedly
biased group, the sponsor, and with Service Club A, a group
assumed to possess less bias toward the message, represents
an attempt to determine validity of the items. Differences
reflected by test responses between these two groups were
noted. (See Table A.2, Appendix IX.)

Differences reflected by test responses between
the sponsor and Service Club B were also noted. (See Table
A.3, Appendix X.)

When the total item mean scores of the sponsor were
compared with the averaged total item mean scores of Serv-
ice Clubs A and B, it was noted that the sponsoring group
responded more favorably to the test items than did both

target audience groups. (See Table A.4, Appendix XI.)

66

THE HYPOTHESIS TESTED
The theoretic hypothesis was that the film had a
positive effect. The null hypothesis tested with the spon-
sor and the target audience was that the film had no effect.
This statistical analysis was made on the dimension of the

subjects' pre and post positions on hiring the handicapped.

THE MODELS USED

The McNemar Test for the significance of changes
was used to analyze data collected from the administration
of Criterion Instrument A Since it is applicable to ”before
and after" designs in which each person is used as his own
control.

The Sign Test was used to analyze data collected
from the administration of Criterion Instrument C since
it is appropriate for the analysis of subjects who can be

ranked with respect to each other.

SUMMARY

It is standard procedure for university film pro-
ducers to consider a contract terminated upon delivery of
a specified number of release prints. The sponsor's per-
mission to have the prints made is interpreted as adequate
evaluation of the production. This is very probably the
only evaluation the producer will get unless audiences com-
Plain so bitterly that the sponsor feels compelled to reg-
ister these complaints with the producer. The producer's

0&1)! defense is a signed contract. Legally he is on safe

67

ground; professionally he has been remiss in executing the
sponsor's message to the audience.

The communications method of non-theatrical film
production guards against such an eventuality by providing
for an evaluation which determines the film's acceptance
by both sponsor and target audience.

To demonstrate how feedback can be accomplished,
the film experimentally designed for this study was tested
with the sponsoring committee of the whole, a subcommittee,
two target audiences selected by the sponsor, and one small
group representing business, industry and education.

The tests developed for the study were tailored
for the film and the groups who would see it. Four differ-
ent tests were used to collect information on similar di-
mensions from five groups of subjects.

The information will be analyzed and interpreted
to (1) determine actual performance of the film, (2) to
modify the film if necessary and feasible, or to modify
the way in which it is used, (3) to modify the communica-
tions method if necessary, and (4) to be stored as 'memory
components' of the method where they may serve useful pur-

poses in future productions.

CHAPTER V
ANALYSIS OF RESULTS

It is the purpose of this study to demonstrate a
method of film production which uses research findings to
help design a film and provides for evaluation by both spon-
sor and target audience.

Chapter I explored the reasons why such a study
was considered important to university film producers.
Chapter II described the method to be demonstrated. The
method is called a communications method of non-theatrical
film production because it adapted a communications model
to describe its procedures, and because the method concerns
itself with the educational and documentary productions
of university film units. Chapter III described the ap-
plication of selected research findings to the design of
film sequences. Chapter IV described the groups on which
the film was tested, the testing situations and the various
tests. For an exhibit of tests see Appendices II, III,

IV and V.

This chapter presents the findings of the informa-
tion collected in the various testing Situations. It will
be remembered that the purpose of the evaluation was to
demonstrate Step 10 of the communications method which calls

68

69

for feedback from the audience to the producer and from
the sponsor to the producer. To do this, two groups rep-
resenting the sponsor and two groups representing audiences
selected by the sponsor were tested. A fifth group was
selected by the sponsor and the producer for an informal
critique of the film.
FINDINGS FROM GROUP 1,
THE SPONSOR

The first testing situation was with the sponsor,
the Coordinating Committee for the Handicapped. Of the
118 members present at the showing, 86 cooperated in the

evaluation.

Position on Hiring_the Handicapped To determine whether
or not the film had an effect, a hypothesis of no-effect
was tested. Analysis was made of the subjects' perceived
pre-film positions on hiring handicapped workers and their
postpfilm positions. Of the 86 subjects who participated
in the evaluation, 27 indicated positive changes; one indi-
cated a negative change. (See Table A.S, Appendix XII,
for a summary of the data.)

To determine the Significance of the changed posi-
tions, the data were analyzed using the McNemar Test for
the significance of changes. (The perceived pre-film and
post-film changes are summarized grossly in Table A.6,
Appendix XIII.)

The null hypothesis stated that the film had no

7O

effect: of the subjects changing from a perceived pre-film
position on hiring the handicapped, to a post-film position,
just as many are likely to change to a less favorable posi-
tion as there are subjects who change to a more favorable
position.

The significance level was set at a = .01. N = 86,
the total number of sponsor subjects.

A Chi Square of 22.3214 was observed; the probabil-
ity of this occurring under a null hypothesis of no differ—
ences is p S: .001. Since this is less than the previously
set level of significance, a = .01, the null hypothesis is
rejected at that significance level. It was concluded that
the subjects showed a significant tendency to change to a

perceived more favorable position toward hiring the handi—

capped.

EmotionalyEffect To determine the sponsor's acceptance

of the film, analysis was made of the degree of emotional
effect the film had for sponsor subjects. Of the 85 members
responding to the question, 79 (93%) indicated a positive

to strongly positive emotional effect.

Liking for the Film A second question designed to deter-
mine the sponsor's acceptance of the film asked the subjects
to indicate their degree of liking for the film. Of the

86 members responding to the question, 84 (98%) indicated

a '1ike' to 'strongly like' position.

71

éggeement with Statement on Social Responsibility Since
the central theme of the film stressed social responsibil-
ity, an analysis was made of the subjects' agreement with

a statement expressing the social responsibility of business
and industry to hire handicapped workers. Of the 86 members
responding to the question, 85 (98%) indicated an 'agree'

to 'strongly agree' position.

Conclusions On the basis of analysis of the data collected
from the Coordinating Committee for the Handicapped, it is
concluded that (1) for the sponsor, the film had a positive
effect, and (2) that the film was accepted by the sponsor.
FINDINGS FROM GROUP 2,
A SPONSOR SUBCOMMITTEE
A second testing situation was with the Employ the
Handicapped Committee, a subcommittee of the Coordinating
Committee for the Handicapped. This group worked more
closely with the production than did the committee of the
whole. All of the subcommittee's 10 members cooperated
in the testing.
They were asked to predict responses typical target

audience members would give to test questions.

Predicted Position on Hiring Handicapped Wbrkers 0f the
10 members, nine predicted that the typical target audience
member would favorably change his position after seeing

the film.

72

Predicted Emotional Effect Of the 10 members, nine pre-
dicted that the film would have a positive to strongly pos-

itive emotional effect on the typical target audience member.

Predicted Liking, Of the 10 members, nine predicted that
the typical target audience member would like to strongly
like the film.

Predicted Post-FilmgAggeement with Statement on Social Re-
sponsibility» All of the six members responding to this
item predicted that the typical target audience member would
agree to strongly agree with the statement after seeing

the film. Six of 10 had predicted that the typical target
audience member would agree with the statement before seeing

the film.

Predicted_Agreement with Statement on Attributes The mem-
bers were asked to predict how typical target audience mem-
bers would respond to the following statement before seeing
the film: Handicapped workers are loyal, skilled, able

to grow on the job, punctual, dependable, accepted by their
fellow workers, productive, flexible, and safe. Of the 10
members, seven predicted agreement on the Loyalty attribute,
five predicted agreement to strong agreement on Skill, four
predicted agreement on Ability to Grow on the Job, six pre-
dicted agreement to strong agreement on Punctuality, six
predicted agreement on Dependability, two predicted agree-
ment on Acceptability, three predicted agreement on

73

Productivity, one predicted agreement on Flexibility, and
seven predicted agreement on Safety.

Of those attributes which the subjects predicted
the typical target audience member would rate handicapped
workers higher on after seeing the film, two of the subjects
predicted a higher rating on Loyalty, one predicted a higher
rating on Skill, four predicted a higher rating on Ability
to Grow on the Job, one predicted a higher rating on Punc-
tuality, three predicted a higher rating on Dependability,
three predicted a higher rating on Acceptability, five pre-
dicted a higher rating on Productivity, one predicted a
higher rating on Flexibility, and one predicted a higher

rating on Safety.

Conclusions On the basis of the analysis of the informa-
tion collected from the Employ the Handicapped Committee,
it is concluded that this sponsor subcommittee predicted
that (l) the film would have a positive effect on the typ-
ical target audience member, but that (2) there would be
little change on the attribute scale, and that (3) the film
would be accepted by the typical audience member.
FINDINGS FROM GROUP 3,
SERVICE CLUB A

A third testing situation was with Service Club A,
selected by the sponsor as any one of a number of Similar
groups to be designated as target audiences. Of the 90
members present for the showing, 46 members participated

74

in the evaluation (see Suggestions for Future Research,
Chapter VI).

gppition on Hiring the Handicapppg, To determine whether

or not the film had an effect, a hypothesis of no-effect

was tested. Analysis was made of the subjects' perceived
pre-film positions on hiring the handicapped and their post-
film positions. Of the 46 subjects who participated in

the evaluation, 20 indicated positive changes; two indi-
cated negative changes. (See Table A.7, Appendix XIV, for

a summary of the data.)

To determine the significance of the changed posi-
tions, the data were analyzed using the McNemar Test for
the significance of changes. (The perceived pre-film and
post-film changes are summarized grossly in Table A.8, Ap-
pendix XV.)

The null hypothesis stated that the film had no
effect: of the subjects changing from a perceived pre-film
position on hiring the handicapped, to a post-film position,
just as many are likely to change to a less favorable posi-
tion as there are subjects who change to a more favorable
position.

The Significance level was set at a a .01. N a 46,
the total number of Service Club A subjects.

A Chi Square of 13.1365 was observed; the probabil-
ity of this occurring under a null hypothesis of no differ-
ences is p ‘< .001. Since this is less than the previously

75

set level of significance, a a .01, the null hypothesis
is rejected at that Significance level. It was concluded
that the subjects showed a significant tendency to change
to a perceived more favorable position toward hiring the
handicapped.

Emotional Effect To determine Service Club A's acceptance
of the film, analysis was made of the degree of emotional
effect the film had for the target audience's subjects.

Of the 44 members responding to the question, 42 (95%) in-
dicated a positive to strongly positive emotional effect.

Liking for the Film A second question designed to deter-
mine acceptance of the film asked the subjects to indicate
their degree of liking for the film. Of the 46 members
responding to the question, 44 (96%) indicated a 'like'

to 'strongly like' position.

Agreement with Statement on Social Responsibility, Since
the central theme of the film stressed social responsibil-
ity, an analysis was made of the subjects' agreement with

a statement expressing the social responsibility of business
and industry to hire handicapped workers. Of the 45 members
responding to the question, 43 (96%) indicated an 'agree'

to 'strongly agree' position.

Conclusions As a result of the analysis of the data col-
1ected from Service Club A, it is concluded that (l) for
this target audience the film had a positive effect, and

76
(2) that the film was accepted by the target audience.
FINDINGS FROM GROUP 4,
SERVICE CLUB B
A fourth testing situation was with Service Club B,

selected by the Sponsor as any one of a number of similar
organizations designated as target audiences. All of the

21 members present for the showing participated in the eval-

uation.

Effect of the Film To determine if the film had an effect,
a hypothesis of no-effect was tested. Analysis was made

of the subjects' pre-film and post-film responses to items
on a social distance scale (see Items 1-10, Criterion In-
strument C, Appendix IV). The data are graphically repre-
sented in Figure 3 (see Table A.9, Appendix XVI, for a sum-
mary of the data).

To determine the significance of the difference
between mean scores of items before and after seeing the
film, the data were analyzed using the Sign Test.

The null hypothesis stated that the median of these
differences is zero.

The Significance level was set at a a .01. N a 9,
the total number of items on the social distance scale.

The null hypothesis of no differences will be re-
jected if a value is found whose associated probability

of occurrence under the null hypothesis is equal to or less

than a I 0010

77

Figure 3. Service Club B Subjects' Positions on Items of
Social Distance Scale Before Film and After Film

 

STRONGLY STRONGLY
Items‘ DISAGREE DISAGREE UNCERTAIN AGREE AGREE
(5) (4) (3) (2) (l)

3’F
I

 

 

u><é

 

‘In terms of social distance, Items 1 to 9 represent an
issue on a continuum from general, non-threatening distance
to specific and immediate personal involvement.

KEY: The dots represent mean scores of each item. The
weights given to the categories such as Strongly Disagree,
Disagree, are given underneath the category, i.e., Strongly
Disagree (5). The broken line connects the mean scores

of item on the Pre-Test. The solid line connects mean

scores of items on the Post-Test.

78

Since the probability of the value found in the
analysis was p = .254, and inasmuch as that probability
is larger than the previously set level of Significance,
a a .01, the null hypothesis cannot be rejected at that
level.

It will be noted that the bulk of the initial re-
sponses were near the top of the scale. This gave the sub-

jects very little room in which to move.

A second test of effect was made by analyzing the
subjects' responses to items on an attributes scale (see
Item 10 of Criterion Instrument C, Appendix IV). The data
are graphically represented in Figure 4 (see Table A.10,
.Appendix XVII, for a summary of the data).

To determine the Significance of the differences
between mean scores of items before and after seeing the
film, the data were analyzed using the Sign Test.

The null hypothesis stated that the median of these
differences is zero.

The significance level was set at a = .01. N = 9,
the total number of items on the attributes scale.

The null hypothesis of no differences will be re-
jected if a value is found whose associated probability
of occurrence under the null hypothesis is equal to or less
than a s .01.

Since the probability of the value found in the

analysis was p = .002, and inasmuch as that probability

79

Figure 4. Service Club B Subjects' Positions on Attributes
of Handicapped Workers Before and After Film

 

STRONGLY STRONGLY
Items DISAGREE DISAGREE UNCERTAIN AGREE AGREE
(5) (4) (3) (2) (l)

Loyal Pre " Post

’1
Skilled \/ \
Ability to \ /
Grow on Job ‘\

i’.

Punctual 4’ \\

I
Dependable j .///’

\
[Accepted 3 J
Productive i \

x’ /
Flexible ./ .
\

Safe \‘. ./

 

KEY: The dots represent mean scores of each item. The
weights given to the categories such as Strongly Disagree,
Disagree, are given underneath the category, i.e., Strongly
Disagree (5). The broken line connects the mean scores

of items on the Pre-Test. The solid line connects mean
scores of items on the Post-Test.

80

is smaller than the previously set level of significance,
a a .01, the null hypothesis is rejected at that level of

significance.

Emotional Effect To determine Service Club B's acceptance
of the film, analysis was made of the degree of emotional
effect the film had for this target audience's subjects.

Of the 17 members responding to this question, all 17 in-

dicated a positive emotional effect.

Liking for the Film A second question designed to deter-
mine Service Club B's acceptance of the film asked the sub-
jects to indicate their degree of liking for the film. Of
the 17 members responding to the question, 15 indicated a
liking for the film, and two indicated a strong liking.

Conclusions As a result of the data collected from Serv—
ice Club B, it is concluded that (l) a Significant change
in the members' positions on hiring handicapped workers
was not detected, (2) that the film had a positive effect
on responses made to items of the attributes scale, and
(3) that the film was accepted by this target audience.
COMPARISON OF PREDICTIONS
TO ACTUAL RESPONSES

It will be remembered that Group 2, a Sponsor sub-
committee who had worked closely with the film, predicted
responses typical target audience members would give to

test questions.

81

AS a result of the analysis it is concluded that
with Service Club B the predictions were close, only once
being as much as one mean score away from the target aud-
ience's mean score (see Table A.ll, Appendix XVIII, for
a summary of the data). With Service Club A the predictions
erred consistently on the conservative side but were never
more than half a mean score away from the target audience's
mean score (see Table A.12, Appendix XIX, for a summary
of the data).

FINDINGS FROM GROUP 5,
SMALL GROUP INTERVIEW

A fifth testing situation was with a small group

of five professional people involved in the hiring process

in the greater Lansing area.
Qpestion l asked: What did you like and dislike about the
film

The following responses were recorded.

1. I thought that on the whole the thing was very well
done. If it's going to be used to arouse enthusiasm
for hiring the handicapped...it did that for me.

2. I don't feel that the complements (credits) should be
pinpointed down to four or five organizations. I think
you've worked with numbers of them. I think they could
be more general because I think most manufacturing con-
cerns in Lansing are interested in it.

3. Well see, actually, Christmas time of the year most
industries in Lansing...your larger industries aren't
doing much hiring.

4. About the only field that might be adding additional
help then would be in the retailing field...on a tem-
porary basis.

82

Question 2 asked: How did the film affect you emotionally?

The

5.

following responses were recorded.

I was very moved by it...I am not in a position to
hire handicapped peOple although I would very likely
hire them if...I would have no objection to hiring
them if I had an opening for someone that could fill
the job, regardless of whether they were handicapped.
Putting myself in the position of someone who could
hire a handicapped person I think that I would have
through the efforts of the film.

It disturbs me to see a man around machinery who can't

see. You're not dealing in sentimentality. There

are things you can't have people do if there's danger.

Can you train someone to anticipate danger if something
goes haywire?

With the compensation law that's recently been signed
it's pretty rough.

gl_estion 3 asked: Who was the originator of the message?
Do you think they are reliable? Trustworthy? Sincere?
What do they have to gain? Do you believe them?

The following responses were recorded.

8.
9.

10.

The handicapped committee themselves.

I think we would all agree that they're fully behind...
in their efforts to help these people out. I think
all of us who've had experience in working with them
and in trying to place handicapped persons...at times
you reach a point you know where it's just...get off
my back, we're doing the best we can. I think this

is so, they're extremely dedicated to getting a job
done and their job is to help these people find gain-
ful employment. I think that when you realize that
this is the source of the message I think that it is
strongly emotionally oriented or aimed and with this
type of pitch I'd say, yes, that is the type you would
expect from them, as far as trusting them you have

to trust their sincerity and know that they are trying
to help these people out immensely.

I wouldn't think they're looking for any personal gain,
the gain they're looking for is to get these handicapped
people hired. They're probably going at it a little
bit harder than someone else might be who might want

to reach the same goal but, because this is their job
and this is what they're trained to do they're prob-
ably doing it a little bit harder than someone else

might be.

11.

83

...there probably...I'd say maybe (is) a job for every
person that he can do regardless of his particular
handicap. But on the particular job that he can do
then he is not handicapped...on that job, he's no
longer handicapped.

Question 4 asked: Were the actors typical? Did you believe
them? Which ones did you like best?

The following responses were recorded.

12.
13.

14.
15.

They looked pretty typical to me.

They were probably selected to a point but I think
that they were probably, well, average of those who
are handicapped and who are working, but probably se-
lected for the type of job they're doing and to Show
to the best of the film's ability the job they can

do with the handicap they have.

The blind.

The multiply handicapped.

Question 5 asked: What was the role of the narrator? Was
he convincing? Did he and his bookstore seem real or staged?
Was he necessary to the film?

The following responses were recorded.

16.

17.

18.
19.

20.

I don't personally care for the Christmas theme...I
think it's an unnecessary embellishment. There were
some very, very fine points, I mean moments, and there
were other kinda corny, syrupy or something.

Personally, I have known of Beethoven and then one

of the others and I surmised what would be coming at

the end of it. The one I'm not that well versed on,

well the painter. I could readily see what was going
to probably happen.

You know that's something that escaped me entirely!

Well...to see the film start out I wouldn't have thought
it but of course we know what this film was about...
was handicapped and we know Beethoven was deaf.

(Suggestions were made of other, more contemporary,
more well known handicapped people who could have been
cited: Roosevelt, Helen Keller. All subjects seemed
to know Beethoven, but Milton and Renoir were obscure.)

21.

22.

23.

24.

25.

84

Of course what are the alternatives available? You
want to soften this thing up slightly and this at least
this is a transitional thing...if they just came bounc-
ing out...a guarded reaction would come up quite a

bit quicker.

Yeah, it is a bit stagish, but on the other hand what
else are you going to do?

I thought the staging of the bookshop front meshed
very well with the showing of the downtown streets

and as the bus went by all of a sudden you had a close-
up of the bookshop...it could very likely have been

a bookshop on the street, it did look staged...you
could tell right away it wasn't an actual store.

I don't think the majority of the people...that would
see the film would notice too much difference about
it.

No, I had no idea that the bookstore was staged...I
thought it was the real thing.

.Question 6 asked: How important is the message?

The following responses were recorded.

26.
27.
28.

By all means (it is important).
Definitely.

I frankly was shocked when I got into personnel work,
and got into the recruitment end of it, at the total
numbers or the proportion of the total population that
had some handicap. It is important to try to find
some way to utilize all our wasted manpower.

gpestion 7 asked: Was the film convincing? Do you think

t w 1 nfluence behavior of Lansing employers?

The following responses were recorded.

29.
30.

31.

Probably very little.

Do you think people are really against? I think it
just isn't feasible in most businesses...to bring in
somebody that might be a burden. When they're doing
business it's bad enough.

...if an employer is definitely against handicapped,
I don't think that it would help...but in a case where

85

maybe the employer hasn't thought about some of the
particular jobs that a person who is physically im-
paired can do...if you can educate them that there

are jobs that these people can do I think it would

go over big.

Question 8 asked: What approach would have been better?

The following responses were recorded.

32.
33.

Question 9 asked: Do you feel it was a good idea, or nec—

(Show breadwinners.)

(Show how they progress educationally.)

 

essary, to produce a film in Lansing for Lansing audiences?

The following responses were recorded.

34.

35.

36.

It brings it down to localities and places in the area
that people are familiar with.

The thing that you did do though was identify the...
individual businesses downtown and you didn't go to,
well to industry or to education as far as possible.

Well, I noticed that they did have two or three or
four shots of the skyline...it might be better...to
Show some of your larger industries which can probably
do more than the Michigan National Bank or somebody
which is the outstanding building there. I think it
helps personalize. I think we're all a little bit
more interested in what happened to the people of
Lansing than we are in Philadelphia or Baltimore.

Question 10 asked: Do you think the social responsibility
theme was effective?

The following responses were recorded.

37.
38.
39.

(How will employers react to it?) Poorly.
I don't want someone to tell me I'm responsible.

...it's more of a thinking of what you can do for that
person's family which is not a responsibility. We
realize that naturally on welfare cases and so forth
that we are socially responsible where financially
you're gonna pay for it one way or the other, but I
think the point should be put across more that these

40.

86

people were human beings, they can do the job, they
can do it as well as anybody else if they're in a par-
ticular job. They have a family to support but we're
not responsible for them.

I didn't feel it, that social responsibility was stressed
too much...if you try to push it you might run into

a problem...but I think if it was being pushed in there
it was very subtle.

Question 11 askeg: How do you think the film should be
usea forIbest effect? V

The following responses were recorded. E

41.
42.

43.
44.
45.

46.

47.

48.

49.

(Handicapped Week best for TV.) ‘

(Needs someone to go along and 'talk it up' when shown
to organizations.)

(Show during hiring periods.)
(Show on individual basis to members of management.)

(Show to American Society of Personnel Directors, early
Nbvember.)

...it doesn't hurt—~general distribution, either...
you can condition people to see...it's good for people
to see this, you know they might wonder, 'Well, why

do they have somebody around like that...'

(Show to Lansing Industrial Personnel Association--
made up of personnel directors--in September.)

(Show to group of handicapped people who are not em-
ployed...might be of some help to them to realize that
they are employable.)

I do think that I would suggest that maybe there be

a little bit of backing and maybe a few remarks or
something added to the film by local labor unions.

And I have a reason for that. If you're experienced,
and many of these fellows are, in hiring handicapped,
the one problem that comes about is the fact...due

to a reduction...maybe that particular job is not
available for awhile and this person has acquired
seniority in the plant so naturally your labor unions
are interested in seniority more than ability or any-
thing else...so there's this person who is handicapped
and you're going to run yourself into a fight-what
are you going to do with him? I think the unions have

87

to be interested in this thing, be part of it, so that
it can be understood that if the particular job is
restricted and for some reason you have to take that
person off that job, it's not up to the company to

try to make another job for him. And that is one of
the large reasons for not putting on handicapped people.

.guestion 12 askeg: What do you think are the most signif-
cant arguments for or against hiring handicapped workers?
The following responses were recorded.

50. (Second injury clause of workmen's compensation law.)

51. (Seniority.)

 

 

 

Question 13 askeg: In one service club almost half of the
members did not fill out an evaluation form after being
requested to do so by their president, program chairman
and investigator. Why do you think they didn't fill out
the form? What was the Significance of their failure to
do so?

The following responses were recorded.

52. (Some who didn't fill it out may not have been employ-
ers.

53. (Fifty percent is a high percentage of returns even
in a captive group. People are just generally lazy.
They don't want to take time to stop and think about
what they might have to answer.) I think that you
get better response on a verbal thing such as we're
doing here tonight. Very frankly, I think if I were
in a group like that and given a questionnaire to fill
out or an evaluation sheet to fill out I might be in-
clined not to answer it or maybe answer some of the
questions that wouldn't take up too much time or go
into too much thought about it. But when you're sit-
ting around and just talking I think people are more
inclined to voice their opinions. Because when pos-
sibly one person is saying something it brings some-
thing to their mind and they'll come up with it and
say it rather than...sit there and think the whole
thing out for themselves.

54. They saved seven minutes...people don't like to commit
themselves.

55. (Could we assume that the half of the membership who
didn't fill it out didn't like the film?) No. (Unan-
imous.)

88
56. They wouldn't fill it out if you asked them if they
wanted a free beer. They probably didn't read it.

57. They may have had no opinion at all one way or the
other.

58. We've had that even in supervisory meetings...they
don't like to commit themselves.

59. (Luncheon meetings perhaps a bad place for evaluation
since people are pressed to get back to work.)

No analysis was made of the data; they will be dis-

cussed in Chapter V.

SUMMARY

Step 10 of the communications method demonstrated
in this study calls for feedback from the audience to the
producer and from the sponsor to the producer.

It is the intent of this method that the informa-
tion be used to: (1) determine actual performance of the
film; (2) to modify the film if necessary and feasible;
(3) to modify the way in which the film is to be used if
necessary; (4) to modify the method if necessary; and (5)
to accumulate 'memory components' (useful information) for
use in future productions.

To meet these demands, the film was tested on two
groups representing the sponsor, and two groups represent-
ing target audiences selected by the sponsor. A fifth group
was selected by the Sponsor and the producer for an infor-
mal critique of the film.

On the basis of analysis of the information col-

lected from these various testing situations, it was

 

“mm.”

89

concluded generally that (1) the film was accepted by both
sponsor and target audience groups, and (2) the film had

a positive effect on both sponsor and target audience groups.
The exception to a positive effect was found with Service
Club B, a target audience group. No significant change

was detected in this group's position on hiring handicapped
workers.

No analysis was made of the responses tape recorded
during the fifth group's critique session. This informa-
tion, as well as that collected from the more formal test-
ing situations, will be interpreted in Chapter VI.

As this demonstration of a method made practical
application of research findings to the design of a film,
so will it use the findings of the evaluation to make any
modifications necessary to ensure successful performance.
Interpretation of the data will also be applied to an eval-
uation of the method. Additionally, identification will
be made of any information recovered from the evaluation
of the film which may profitably be stored and shared with

other university film producers.

-. .Tv—_ Imp

“mm:-

CHAPTER VI
SUMMARY AND CONCLUSIONS

The demonstration of a communications method of
non-theatrical film production incorporates a review of
the study as a whole plus an illustration of the logical
consequences of Step 10 of the method. Step 10 calls for
the feeding back into the system, or method, the results
of the film's actual performance. These findings of the
evaluation are part of the feedback-control system. This
means that they can be used by the producer to make any
modifications he finds necessary and feasible. The deter-
mination of whether or not changes are to be made in the
film or the method will follow from an interpretation of
the results given in this chapter in the Discussion section.
The discussion will also serve the purpose of evaluating
the method and identifying useful information gleaned from
the evaluation which may be worth retaining and sharing
with others.

In the conduct of the demonstration, there arose
many questions which were beyond the nature and scope of
this study. Those of sufficient significance will be sug-

gested as questions for future investigations.

90

n 1. 5K}: h".mn_
'I
. .I

P.

91

SUMMARY OF THE STUDY

University film production units are faced with
the unique problem of serving the immediate film needs of
their respective universities while training future film
makers and acting as pace setters for the educational film
industry. They are expected to achieve these objectives
though operating with smaller budgets, fewer facilities
and less personnel than their counterparts in commercial
production.

Over the past 50 years there has developed a body
of research findings in film and communications which seems
to offer much needed help to the overburdened producer of
non-theatrical films. But, to date, there has been no sys-
tematic effort to coordinate these findings or develop a

system in which they can be applied.

Purppse It was the purpose of this study to develop and
describe through demonstration a method of planning, pro-
ducing and evaluating films which, recognizing the practical
considerations and limitations of university film units,
provides for application of research findings and techniques

in the critical areas of film design and evaluation.

The Method The communications method of non-theatrical
film production is so-called because a communications model
was adapted to describe its procedures, and because it is
concerned with the educational and documentary productions

of university film units.

1 . st e -wnun-P

92

Essentially, the method was developed to enhance
'the successful performance of university productions. It
accomplishes this objective in these specific ways: (1)
it calls for the use of relevant research findings as aids
to film design; (2) it provides for evaluation of actual
performance with the sponsor and selected audience members;
(3) it calls for analysis and interpretation of results
by the producer who (4) makes any modifications in the film
‘which.are necessary and feasible; (5) modifies the method
if necessary; (6) identifies any findings which may be of
subsequent use to himself and to others; and (7) shares
his findings with the sponsor to whom he makes recommenda-
tions for supplementary materials and other modifications
in use procedures which may have been indicated by inter-

pretation of the findings.

The Film Step 6 of the method calls for the use of research
findings to be used as aids in the design process. The

film selected for the demonstration was typical of a uni-
versity film producer's assignments. To demonstrate how
research findings could be adapted to a creative process,

a review of literature was conducted in communications and
film research to find materials appropriate to the nature

and purpose of the film. Selections from the writings of
some 18 authors were used to construct a rationale for each
of the film's sequences.

The film, §_Second Look, planned, produced and

93

evaluated for this study, can be obtained by contacting
the Lansing Community Services Council, Lansing, Michigan.

It is a 20 minute, sound, black and white, 16 mm production.

Evaluation of the Film The operational objective of the

 

film was to gain acceptance for the film's message by the
Sponsor and the target audience. The implied objective
was to persuade potential employers of Lansing to hire
handicapped workers.

Step 10 of the method calls for an evaluation which
determines the film's acceptance by both the sponsor and
the target audience.

To demonstrate how feedback can be obtained, the
film was tested with the sponsoring committee of the whole,
a subcommittee, two target audiences selected by the spon-
sor, and one small group representing business, industry
and education.

The tests developed for the study were tailored
for the film and for the groups who would see it. A cri-
terion of the evaluation was that it would provide useful
information to the producer but not be too lengthy or prove

too cumbersome to administer.

CONCLUSIONS
It is the intent of the communications method to
assist the university film producer in ways which will en-
hance the successful performance of his productions. The

ways in which the method can be of help to the producer

94

*were enumerated earlier in this chapter (see The Method,
jpp. 91-92). It was the intent of this study to develop
and describe the method by the process of demonstrating it.

Step 6, calling for the use of research findings
in.the design process, and Step 10, calling for feedback
from the audience to the producer, and from the sponsor to
the producer, bore the burden of the demonstration.

To assist the producer in making use of his evalu-

ations, an analysis of results was demonstrated.

Findipgs
1. As a result of the analysis of the information col-
lected from testing the Coordinating Committee for
the Handicapped, it was concluded that (l) for the
sponsor, the film had a positive effect, and (2)

that the film was accepted by the sponsor.

2. The Employ the Handicapped Committee, a sponsor
subcommittee that worked closely with the produc-
tion, was asked to predict typical target audience
member responses to various test items. It was
concluded that (1) they predicted the film would
have a positive effect on the typical target aud-
ience member, but that (2) there would be little
change on an attributes scale (see Item 10 of Cri-
terion Instrument C, Appendix IV), and that (3)
the film would be accepted by the typical target

audience member.

95

As a result of the analysis of the predictions of
this subcommittee as compared with actual responses
of target audiences, it was concluded that (l) with
Service Club B the predictions were close, and (2)
with Service Club A the predictions were close but

erred consistently on the conservative side.

As a result of the analysis of the data collected
from Service Club A, it was concluded that (l) for
this target audience the film had a positive effect,
and (2) the film was accepted by this target aud-

ience.

As a result of the analysis of the data collected
from Service Club B, it was concluded that (1) no
significant change was detected in this group's
position on hiring handicapped workers, (2) that
the film had a positive effect on responses made
to items of an attributes scale (see Item 10 of
Criterion Instrument C, Appendix IV), and that (3)

the film was accepted by this target audience.

No statistical analysis or description was made

of an informal critique by a small group of pro-
fessional people involved in the hiring process.
Their responses will be interpreted in the Discus-
sion section. A transcript of the responses will
be given to the sponsor along with a list of the

other findings.

96

7. In general, on the basis of the evidence collected
from five showings and the administration of four
evaluative devices, it is concluded that the ex-
perimental film, A Second.§ppk, designed and eval-
uated by the communications method described in
this study, achieved its operational objective,
i.e., acceptance of the film's message by the spon-

sor and target audience.

DISCUSSION
A communications method of non-theatrical film pro-
duction was developed to enhance the successful performance
of university produced films. To demonstrate the ways in
which the method can be of use to the producer, an inter-

pretation will be made of the findings of the study.

Aid to Film Desigp_ One claim made for the method is that
the findings of research can be applied successfully to

the creative process. For example, one theory applied in
the film stated that empathy is aroused by a familiar scene.
This was verified by verbal responses recorded during an
informal critique of the film.

Another applied theory was that an indirect approach
is best when persuasion or motivation is the object. Again,
responses supported the theory.

While some applications drew conflicting responses,
generally it can be said that the use of theory aided the

design process by (l) forcing the film designer to bring

97

the purpose of each sequence into Sharp focus and then (2)
provided him with well reasoned and tested arguments for
achieving those purposes.

There are problems associated with this technique
which need some discussion here and need a future investi-
gator to resolve them.

Some questions facing a film designer who wishes
to use the method described in this study are: (1) how
to go about reviewing the literature; (2) how to choose
one theory over another; and (3) what sources of help are
available to him?

All of the literature which may be useful to a film
maker was not necessarily written for him. There are three
broad categories into which relevant literature could be
cast: (1) behavioral science research; (2) message design
research; and (3) studies relating Specifically to film
production. A sample list of recommended readings will
be found in Appendix XX.

It would be helpful for a university producer to
have a background in psychology and communications. If
he does not, then he should take the steps necessary to
acquire one. This need stems from his choice of profession
and not from his selection of one method of production over
another.

A reading of the literature will reveal some con-
flicting findings. This does not mean that they cancel

each other out and that man's accumulation of knowledge

98

in that area recedes accordingly. On the contrary, man is
better off for having two or more reasoned positions on any
subject. And so is the film designer better off with two
or more alternatives to choose from. His decision will

be based on the analysis of the several arguments. What—
ever his judgment, it will be better for having been an
educated one.

If he has time and money he can test the conflict-
ing findings as variables of design. More likely, he will
arrive at a generalization and proceed to operationalize
it. Just what filmic form will be given to the theory de-
pends upon the creative and technical resources of the unit.

Just what sources of help are available to univer-
sity film units is a question worthy of future investiga-
tion, as is the related question of retrieval of relevant
information. Resources which come quickly to mind are:

(l) libraries; (2) computer centers; (3) on-campus research-

ers; and (4) interested faculty members.

Aid to Instruction The use of the method can serve an
instructive purpose in that the execution of its system-
atic procedures demands a keeping of records and an organi-
zation of materials. This information, being amenable to
analysis, can be of help to those teaching and learning

the processes involved in film production.

Aid to Experimentation The university film production

unit is looked to as the pace setter of the educational

99

film industry. This is as it should be Since these units
are located at the very dynamic centers of learning. But
the contemporary producer, with his limited resources, faces
a crowded schedule. There simply is not time for aimless
experimentation. The communications method offers a way

of production in which new things can be tried and evalu-
ated. The use of research findings in itself opens up un-
limited possibilities for using new ideas and techniques.
These need cost no more nor require more time to execute

than would normally be provided for in film contracts.

Aid to Film Modification The communications method pro-
vides for an evaluation of actual performance. Since films
designed by this method are amenable to analysis, and if
the analysis points to structural weaknesses, the producer
can quickly determine the need for, and feasibility of,
modifications.

For example, it was revealed in the informal cri-
tique that there might be resentment on the part of some
organizations because they were not included in the film's
credit titles. There are several constructive ways to handle
this problem. The most expensive way would be to re-make
the credit titles. A less expensive way would be to print
a list of organizations who had anything to do with the
production. Such a list could then be circulated with the

film. These organizations could be acknowledged by whoever

happens to be introducing the film.

 

 

‘12.;‘1-

100

Aid in Use Situations In addition to indicating a need
for supplementary materials, the evaluation might suggest
uses for the film which the sponsor and producer might have
overlooked. From the informal critique came suggestions
that the film should be shown during hiring periods, shown
on an individual basis to members of management, and Shown

to unemployed handicapped people to build their confidence.

Aid to Modification of the Method The communications method
provides for feedback which is defined as control based on
the determination of actual performance rather than expected
performance. Evaluation of the product implies evaluation
of the method. When needs are realized and acted upon to
modify the methods of production, a result will be more
successful films. The needs realized as a result of this
study are listed in this chapter under Suggestions for Future

Research.

Aid to Subsequent Productions If the analysis points to
a particularly successful technique, the film maker has
the advantage of being able to refer to a rationale, a map
of his strategy, for clues as to why the technique was suc-
cessful. The rationale of message construction is equally
useful to subsequent productions if the data indicate fail-
ure of some element of design.

An example of the first case is attention given to
development of source credibility by allowing peers of the

target audience to do much of the persuading. Responses

101

to the informal critique gave credence to the technique.

An example of a technique that could alienate a
segment of the audience was that of selecting certain loca-
tions to the exclusion of others. At best, this error of
omission was a misapplication of the theory of empathy.

A better relationship between the audience and scenes fa-
miliar to it should be attended to in future designs.

Such findings should be filed by the individual
film units doing the research, and shared with others through

the Journal of the University Film Producers Association.

Concluding_Statement The communications method of non-
theatrical film production described and demonstrated in
this study is recommended to university film producers as
a means of strengthening their film units.‘ Only through
an organized and rational system will the university film
makers be able to cope with the dynamics of American society
in general and university societies in particular. The
pressures resulting from having to do more things with fewer
resources make it necessary to tighten organizational struc-
tures and find more efficient ways of achieving objectives.
The communications method employs a much neglected
resource, research findings gleaned from over half a cen-
tury, as one means of helping the film designer without
increasing time or cost factors. It adds evaluation of
its product and of itself as a means of ensuring that the

energies of time, money and personnel were well used and

102

will continue to be well used.

The communications method takes cognizance of the
limitations of university film units in that the procedures
it requires of them are well within their capabilities.

It also recognizes the tremendous potential of such film
units to influence human behavior. It is toward this end

that the method is advanced.

SUGGESTIONS FOR FUTURE RESEARCH

The purpose of this study was to develop and describe
by demonstration a communications method of non-theatrical
film production. While there are a great many variables
which enter into the successful production of a film, this
study concerned itself with two, message design and eval-
uation. This oversimplification of a complex, creative
process was intended not to distort but rather to focus
attention on critical, neglected areas. The following re-
search needs became evident as the study uncovered questions

beyond its nature and scope.

1. Since the variable, 'use of research findings in
message design,‘ was not controlled, it cannot be
said that the film was successful because its de-
sign was based on the findings of relevant research.
A future investigator may establish this contribu-

tion.

2. If the investigator designs a study which tests

103

the effect of a research based design against one
which is non-research based, he may also make a
significant contribution by making a comparative

cost analysis of the two methods.

The subject of finance is related to film contracts,
another largely untouched aspect of production,

yet one which has ramifications for an organized
communications system. The contract evolves after
many consultations between sponsor and producer.

It represents definitive, summary agreement on what
shall be done and by whom within specified limits
of time and money. An organized production system
is imperative to the successful execution of legal
contracts. Not only can it execute contracts effi-
ciently, but also it can fashion them to the unit's
advantage.

The question of legal rights of actors, copy-
right infringement and distribution of the completed
film need definitive treatment. They are as much
a part of film making as is the question of effi-
ciency which implies conservation of the unit's

and the university's resources.

A study of contracts should include a section on
research proposals. The criteria for research to
be conducted cooperatively by Sponsor and producer

must include considerations of time and personnel.

104

Research resources available on college and univer-
sity campuses should be explored for their possible

help to university film producers.

5. One barrier standing between theory and its appli-
cation is a retrieval problem. It would be a serv-
ice to university film units if a future investi-
gator would undertake to compile a summary edition
of film research conducted over the past 50 years.
It should be prepared in such a way that film de-
signers can use it for practical help in the solu-

tion of their everyday design problems.

6. A future investigator could profitably examine those
target audience members who do not cooperate in
evaluations. An attempt Should be made to sample
opinions from such groups to determine in what re-
spects they may differ from their fellow members

who do cooperate.

7. Osgood, Suci and Tannenbaum theorize that, " . . . we
would expect the effect of one Sign upon another to
decrease as the time interval between them in-
creases. . . ."69 This has implications for film

producers and users. Since research indicates that

 

69Charles E. Osgood, George J. Suci and Percy H.
Tannenbaum, The Measurement pf.Meaning (Urbana: University
of Illinois Press, 1957), p. 207.

105

two showings of a film increases retention of factual
information,70 can it be assumed that this same
procedure would have the same positive effect on
attitudes? Osgood, Suci and Tannenbaum think that
this may be the case. They theorize that repeated
interaction between the two signs (evaluation of
source and concept connected by an assertion) will
reduce the difference between them until they share

a point of common intensity which is a point of max-

71 the effect would be much the same

imum congruity;
as that resulting from conditioning.

A future investigation could explore the valid—
ity of this theory and determine if keeping the
issue salient through the use of related materials
and other media is as effective as repeated show-

ings of the film which produced the original reac-

tion.

70William H. Allen, HAudio-Visual Communication,”

Chester W. Harris (ed.), Enc clo edia p£_Educational Research
(New York: The Macmillan Co., 1560), pp. 115—137.

71Osgood, Suci and Tannenbaum, pp, cit., pp. 208-
209.

 

 

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s,‘555bie3ay and Company, Inc., 1954.

APPENDICES

APPENDIX I

STANDARD EVALUATION FORM

 

2.

3.

4.

The film was of
material assistance in hEIping me achieve my teaching
objectives.

Yes No

 

The film arrived in good physical condition.

SOUND WAS GOOD POOR
PHOTOGRAPHY HAS GOOD POOR

Comment

 

I question this film because

 

 

 

 

I have seen a film that the Center does not have in its
library, but should have.

TITLE 16 mm sound
SOURCE

 

 

If this film is in GOOD CONDITION and served your ob-
jectives, please tell us, BUT....

If it didn't, or if it was in POOR CONDITION, it is
even more important that you TELL US!

 

111

APPENDIX II

CRITERION INSTRUMENT.A

Instructions: PLEASE GIVE US YOUR THOUGHTFUL AND VERY FRANK

I

IS FILM.AND THE SUBJECT OF HANDICAPPED WORKERS.

YOUR RESPONSES WILL BE ANONYMOUS AND CONFIDENTIAL SINCE wE
REGIEST THAT you DO NOT WRITE YOUR PERSONAL OR COMPANY'S
mum ON ms scum COMPLETION, PLEASE FOLD FORM TO
ENSURE SECRECY. THANK YOU.

1.

Please underline the word or words which most nearly
describe:

a) your position on hiring handicapped workers before

b)

c)

d)

e)

seeing this film
strongly against; against; no position; for; strongly
for.

your position on hiring handicapped workers after
seeing this film

strongly against; against; no position; for; strongly
for.

the influence this film had on your attitudes toward
handicapped workers

none; very little; uncertain; some; a great deal.
how the film affected you emotionally

strongly negative; negative; no effect; positive;
strongly positive.

your liking for the film

strongly dislike; dislike; uncertain; like; strongly
like.

112

2.

113

f) your agreement with this statement: I believe that
it is the social responsibility of business and in-
dustry to hire qualified handicapped applicants.
strongly disagree; disagree; uncertain; agree;
strongly agree.

g) your agreement with this statement: As a result
of this film I will hire handicapped workers.

strongly disagree; disagree; uncertain; agree;
strongly agree.

Please list your arguments for hiring the handicapped:
(one or two words are sufficient for each argument.)

a. f.
b. g.
c. h.
d. i.
e.

Please list your arguments for not hiring the handi-
capped: (one or two words are sufficient for each ar-

gument.)

a. f.
b. g.
c. h.
d. i.
e.

(Please use back for any additional comments on film.)

APPENDIX III
CRITERION INSTRUMENT B

PLEASE PUT YOURSELF "IN THE SHOES“ OF A TYPICAL MEMBER OF

THE TARGET AUDIENCE (MEMBER OF THE LIONS, KIWANIS, ETC.,

WHO REPRESENT THE PROFESSIONAL, BUSINESS AND INDUSTRIAL

COMMUNITY OF LANSING). ANSWER THE QUESTIONS THE WAY YOU

PREDICT HE WOULD ANSWER THEM. PLEASE ANSWER ALL QUESTIONS.

WE REQUEST THAT YOU DO NOT WRITE YOUR NAME OR YOUR COMPANY'S

NAME ON THIS FORM. THANK YOU VERY MUCH.

1. Please underline the word or words you predict a typ-
ical member of the target audience would select to
describe:

a) his position on hiring handicapped workers before
seeing the film “A Second Look"

strongly against; against; no position; for;
strongly for.

b) his position on hiring handicapped workers after
seeing the film

strongly against; against; no position; for;
strongly for.

c) how the film affected him emotionally
strongly negative; negative; no effect; positive;
strongly positive.

d) his liking for the film
strongly dislike; dislike; uncertain; like; strongly
like.

e) his agreement with this statement before seeing the
film: I believe it is the social responsibility

of business and industry to hire qualified handi-
capped applicants.

114

f)

g)

115

strongly disagree; disagree; uncertain; agree;
strongly agree.

his agreement with this statement: .As a result of
this film I will hire handicapped workers or would
if I were in a position to.

strongly disagree; disagree; uncertain; agree;
strongly agree.

his agreement with the following statements before
seeing film: Handicapped workers are

LOYAL
strongly disagree; disagree; uncertain; agree;
strongly agree
SKILLED
strongly disagree; disagree; uncertain; agree;
strongly agree
ABLE TO GROW ON JOB
strongly disagree; disagree; uncertain; agree;
strongly agree
PUNCTUAL
strongly disagree; disagree; uncertain; agree;
strongly agree
DEPENDABLE (ON THE JOB EVERY DAY)
strongly disagree; disagree; uncertain; agree;
strongly agree
ACCEPTED (BY FELLOW WORKERS)
strongly disagree; disagree; uncertain; agree;
strongly agree
PRODUCTIVE

116

strongly disagree; disagree; uncertain; agree;
strongly agree
FLEXIBLE
strongly disagree; disagree; uncertain; agree;
strongly agree
SAFE

strongly disagree; disagree; uncertain; agree;

strongly agree

Of these 9 attributes which ones, if any, do you
think the typical target audience member will rate handi-
capped workers higher on.p£ppp_seeing the film?
Loyal; skilled; able to grow on job; punctual; dependable
(on the job every day); accepted (by fellow workers); pro-
ductive; flexible; safe.

n) his agreement with this statement after seeing the
film: I believe that it is the sdEiEi‘Iesponsibil-

ity of business and industry to hire qualified handi-
capped applicants.

strongly disagree; disagree; uncertain; agree;

strongly agree.

APPENDIX IV

CRITERION INSTRUMENT C

PLEASE GIVE US YOUR THOUGHTFUL AND VERY FRANK ANSWERS TO
THESE QUESTIONS BY DRAWING A LINE UNDER THE WORD OR wORDS
WHICH MOST NEARLY DESCRIBE YOUR AGREEMENT WITH THE STATE-
MENTS. IT IS VERY IMPORTANT THAT YOU ANSWER ALL THE QUES-
TIONS. YOUR RESPONSES WILL BE ANONYMOUS AND CONFIDENTIAL
SINCE WE REQUEST THAT YOU DO NOT WRITE YOUR PERSONAL OR
COMPANY'S NAME ON THIS QUESTIONNAIRE. AFTER COMPLETION
PLEASE FOLD FORM TO ENSURE SECRECY. THANK YOU.

1. Communities would have stronger economies if all of
their citizens could be gainfully employed.

strongly disagree; disagree; uncertain; agree; strongly
agree.

2. Business and industry have certain responsibilities
for the economic and social welfare of their communi-
ties.
strongly disagree; disagree; uncertain; agree; strongly

agree.

3. I believe people should be given a chance to become
productive members of their communities.

strongly disagree; disagree; uncertain; agree; strongly
agree.

4. Handicapped workers Should be given a chance to con-
tribute tO the economy of their community.

strongly disagree; disagree; uncertain; agree; strongly
agree.

5. Handicapped workers should be hired if they are qual-
ified.

strongly disagree; disagree; uncertain; agree; strongly

agree.

117

 

10.

118
It is the social responsibility of business and indus-
try to hire handicapped workers.
strongly disagree; disagree; uncertain; agree; strongly
agree.

I will hire handicapped workers, or would if I were
in a position to.

strongly disagree; disagree; uncertain; agree; strongly
agree.

I will contact the Employ the Handicapped Committee
tomorrow to get more information about handicapped
workers.

strongly disagree; disagree; uncertain; agree; strongly

agree.

Before leaving this meeting I will make an appointment
with a member of the Employ the Handicapped Committee.

strongly disagree; disagree; uncertain; agree; strongly
agree.
PLEASE UNDERLINE THE WORD OR WORDS WHICH HOST NEARLY
DESCRIBE YOUR AGREEMENT WITH THE FOLLOWING STATEMENTS:
HANDICAPPED WORKERS ARE

LOIAL
strongly disagree; disagree; uncertain; agree; strongly
agree

SKILLED
strongly disagree; disagree; uncertain; agree; strongly
agree

ABLE TO GROW ON JOB

strongly disagree; disagree; uncertain; agree; strongly
agree

PUNCTUAL

11.

12.

119

strongly disagree; disagree; uncertain;

agree

agree;

DEPENDABLE (ON THE JOB EVERY DAY)

strongly disagree; disagree; uncertain;
agree
ACCEPTED (BY FELLOW WORKERS)

strongly disagree; disagree; uncertain;
agree

PRODUCTIVE
strongly disagree; disagree; uncertain;
agree

FLEXIBLE
strongly disagree; disagree; uncertain;
agree

SAFE

strongly disagree; disagree; uncertain;

agree

agree;

agree;

agree;

agree;

agree;

strongly

strongly

strongly

strongly

strongly

strongly

(Items 1 through 10 were administered in a pre-post
sequence. Items ll and 12 were administered post film

only.)

PLEASE UNDERLINE THE WORD OR WORDS WHICH MOST NEARLY

DESCRIBE
how the film affected you emotionally

strongly negative; negative; no effect; positive;

strongly positive.

PLEASE UNDERLINE THE WORD OR WORDS WHICH MOST NEARLY

DESCRIBE:
your liking for the film

120

strongly dislike; dislike; uncertain; like; strongly
like.

Additional comments :

1.
2.
3.

6.
7.

8.
9.

10.

11.

12.

13.

APPENDIX V
CRITERION INSTRUMENT D

What did you like and dislike about the film?
HOw did the film affect you emotionally?

Who would you say was the originator of the filmed
message (who was the source, sponsor)? Do you think
they are reliable, trustworthy? What do they have
to gain? Are they sincere? Can you believe them?

‘Were the actors typical? Did you believe them? Which
ones did you like best?

What was the role of the narrator? Was he convincing?
Did he and his bookstore seem real or staged? Was
he necessary to the film?

How important is the message?

Was the film convincing? Do you think it will influ-
ence behavior of Lansing employers?

What approach would have been better?

Do you feel it was a good idea, or necessary, to pro-
duce a film in Lansing for Lansing audiences?

Do you think the social responsibility theme was ef-
fective?

How do you think the film should be used for best
effect?

What do you think is the most significant argument
for or against hiring handicapped workers?

In one service club almost half of the members did

not fill out an evaluation form after being requested
to by their president, program chairman and investi-
gator. Why do you think they didn't fill out the fOrm?
What was the significance of their failure to do so?

121

APPENDIX VI

SEQUENCE SCRIPT OP EXPERIMENTAL PILM
é. SECOND LOOK

Seggence 1: Live scenes l-S; Cumulative time 0:21 to 1:25.

Visual: Pan business district Lansing. Snowfall. Store
windows decorated for Christmas. No people in
evidence.

Narration: (Bookseller) MEN MAY SEEK AND NEVER FIND, THE
EYE MAY LOOK AND NEVER SEE, AND EVEN SEEING MAY BE BLIND.
HOW OUIET.A TOWN SEEMS WHEN ITS HEARTBEAT ISN'T HEARD, HOW
PEACEFUL WHEN ITS PEOPLE AREN'T SEEN. WE CAN CHOOSE THE
SERENITY OF THE DEAF AND BLIND, OR TAKE THE DISCOMFORT THAT
AWARENESS BRINGS TO THOSE WHO LISTEN...AND HEAR, TO THOSE
WHO LOOK..:AND SEE.

Music: Music box.

Effects: No traffic sounds until cued by narrator's
"...AND HEAR."

Super: Head title, A;SECOND LOOK, wipes on as bus drives
through scene; cuea by narrator's ”...AND SEE.“

Seggence 2: Live scenes 6-8; Cumulative time 1:25 to 2:37.

Visual: Bookstore window and interior. Elderly bookseller
approaches window display, places cards in front
of Renoir picture, Milton book, bust of Beethoven.
Cards identify Beethoven, Milton, and Renoir.
Bookseller walks toward office, stops, looks at
photo album, picks it up, sits down.

Narration: (Rene)

Music: Music box fades out; it is replaced with slow choral
section from Beethoven's Ninth symphony.

Effects: Traffic fades out near head of scene 6.

Super: Head title fades out near head of scene 6.

122

123

Seg%ence 3: Still, live scenes 9-19; Cumulative time 2:37
0 z 0

.Visual: Bookseller opens album, looks at aerial view of
Lansing. Dissolve to old map of Michigan. Book-
seller turns page. Sees four historical stills
featuring people, on next page sees four histor-
ical stills featuring people and their industry.

Narration: (Bookseller) LANSING, THE HEART OF MICHIGAN.
WE'RE HERE BECAUSE WE'RE HALFWAY FROM HERE TO THERE (Points
out east-west borders with finger)...ALMOST. BECAUSE A
LEGISLATURE DECREED (other voice) THAT THE SEAT OF GOVERNB
MENT OF THIS STATE SHALL BE IN THE TOWNSHIP OF LANSING,

IN THE COUNTY OF INGHAM. (Bookseller) FROM THE BEGINNING,
TWO THINGS MARKED THIS COMMUNITY; PEOPLE, PIONEER STOCK,
THEY SAW THE FUTURE IN FORESTS AND RIVERS. PEOPLE, AND
THEIR INDUSTRY. UPSTART, CONTEMPTUOUS OF THE EACT THAT
THEY WERE IN THE MIDDLE OF NOWHERE, DETERMINED WITH MID-
WESTERN STUBBORNNESS TO GO SOMEWHERE.

Music: Harmonica and banjo.

Effects: Crowd reaction to announcement of location of
capitol; gavel.

Seggence 4: Still, live scenes 20-30; Cumulative time
4: - :

Visual: Industrial montage. Still aerial picture of Lan-
sing followed by a series of exterior industrial
scenes.

Super: Faces from historical still pictures are superim-
posed over industrial scenes.

Narration: (Bookseller) AND NOW THAT WE'VE ARRIVED...A
HUNDRED YEARS AND A HUNDRED THOUSAND PEOPLE LATER...WHAT
DO WE SEE WHEN WE BACK OFF AND TAKE A SECOND LOOK? SOME-
TIMES THE SIMPLE IDEA OF A TOWN CAN GET LOST IN THE VERY
ACT OF ITS GROWING UP. MACHINERY NEEDS POWER AND POWER
MAKES NOISE AND SMOKE. IT COULD OBSCURE THE NEEDS OF THE
PEOPLE WHO STARTED ITIALL. MORE THAN A CENTURY AGO THESE
PEOPLE WORKED TOGETHER, DEPENDED ON EACH OTHER TO CARVE
THEIR FUTURE OUT OF A FOREST ON A RIVERBANK. IN.A SENSE
WE'RE HERE TODAY BECAUSE THEY BOTHERED TO GIVE THIS PLACE
A SECOND LOOK. OH, WE'VE CHANGED IN’A HUNDRED YEARS. BUT
THERE'S A QUALITY ABOUT PEOPLE AND THEIR INDUSTRY THAT
DOESN'T CHANGE. THERE'S A NEED FOR EACH OTHER THAT TRANS-
CENDS TIME.

Music: Beethoven's Ninth. Slow, heavy instrumental.

124
Effects: Whistle blast, drop forge.

Seggence 5: Still, animation scenes 32-43; Cumulative time

Visual: A series of work situations showing drop forge
(one of Lansing's oldest industries), power-shovel,
office, welding machine, store, hospital room,
with the worker in each case covered by a gray
silhouette. The series is repeated but this time
the worker emerges through the silhouette to be-
come visible. The rhythm is interrupted in the
last picture when part of the worker, rather than
appearing like the others, is outlined by an ani-
mated white line; at the conclusion of the outlin-
ing procedure, the worker becomes visible.

Narration: (Bookseller) A TOWN CAN'T GET ALONG WITHOUT
ALL OF ITS HUMAN SKILLS: TYPISTS, WELDERS, CLERKS, NURSES.
WE'VE TRIED, I'ERE IN LANSING, TO USE ALL OF OUR PEOPLE;
WE'VE COME A LONG WAY. FOR EXAMPLE, IF A JOB CALLS FOR
JUST TWO ARMS, ONE LEG, STRONG BACK, AVERAGE IQ, No SPEECH,
NO HEARING, IT COULD BE DONE BY’A SO-CALLED HANDICAPPED
PERSON¥qLIKE BOB SWAGGART, DEAF MUTE.

Music: (NOne until Handicapped WOrker's theme when deaf
mute still picture appears.) ‘

Effects: (None)

Seggence 6: Live scenes 44-57; Cumulative time 6:08-8:07.

Visual: Bob Swaggart at work; discussing work with fore-
man through friend who speaks sign language. Mr.
Lundberg, Bob's employer, seated at office desk.
Fellow workers at machines. Machined product.
Bob and fellow worker leaving shop. Light bulb
alarm click burns out.

Narration: (Mr. Lundberg) BOB'S BEEN A VERY DEPENDABLE
WORKER—-BEEN‘WITH‘US 10-12 YEARS. IT so HAPPENED THAT THERE
WAS A YOUNG FELLOW WORKED BESIDE HIM WHO WANTED TO HELP

HIM OUT BECAUSE HE WAS HAVING TROUBLE COMMUNICATING WITH

THE POREMAN, so HE LEARNED SIGN LANGUAGE ALL ON HIS OWN.
SINCE THAT TIME THESE TWO MEN HAVE BECOME VERY CLOSE FRIENDS.
(Bookseller) HIS EMPLOYER, MR. LUNDBERG, OP LUNDBERG SCREW
PRODUCTS COMPANY. (Mr. Lundberg) I THINK IT'S SORT OF

A RESPONSIBILITY OP INDUSTRY To HIRE THE HANDICAPPED-aWHERE
IT DOESN'T HANDICAP THE BUSINESS ITSELF. (Bookseller)' THE
OTHER SHOP PEOPLE? YOU CAN'T SAY How THEY ALL PEEL ABOUT
IT. THEY'RE SKILLED MEN...DOING.A JOB...THEY RESPECT GOOD

125

WORK...AND THE MAN WHO CAN DO IT. (Mr. Lundberg) WE'RE

A JOB SHOP AND HAVE To HAVE MEN WHO CAN ADAPT To DIFFERENT
JOBS. THEY HAVE To BE ABLE To ADAPT VERY QUICKLY, SOMETIMES
SEVERAL TIMES A DAY. AT FIRST WE WONDERED WHETHER BOB COULD
DO THIS. . .OR WHETHER ANY HANDICAPPED PERSON COULD. . .BUT

BOB HAS BEEN ABLE To Do THIS PERFECTLY OK. (Bookseller)

BOB SWAGGART, DEAF MUTE, LATE To WORK ONCE IN 12 YEARS...
WHEN HIS LIGHT BULB ALARM CLOCK BURNED OUT.

Music: Handicapped WOrkers' motif. Industrial motif.

Effects: Machine shop. Clock ticking. Silence and dark-
ness.

Se ence 7: Still, live scenes 58-65; Cumulative time

3 "' 3 e

Visual: Night scene of capitol and a few buildings during
the Christmas season. Start on dark area. Pan
right to out-of-focus star on light standard.
Resolve focus. Pull back to reveal deserted
street and sidewalk. Window displays: bells
twirling, mechanical dolls dancing. Downtown
shopping area, people and cars at intersection.
Group of people, including woman on crutches,
enter store .

Narration: (Bookseller) I WONDER IF LANSING OR ANY OTHER
COMMUNITY IS SO RICH THAT IT CAN.AFFORD TO THROW AWAY ITS
HUMAN RESOURCES. A TOWN HAS MANY PROBLEMS THAT CAN'T BE
SOLVED BY TURNING AWAY. WE'VE GOT‘A HUNDRED THOUSAND PEOPLE-
ONE OUT OF FIVE WITH SOME DISABILITYb-ONE OUT OF FIVE.

MUSic: Music box.

Effects: (Rene)

Seggence 8: Still scene 66; Cumulative time 9:06-9:39.

Visual: Three still pictures of the Employ the Handicapped
Committee in session. Pan left to right.

Narration: (Bookseller) THIS COMMUNITY HAS ORGANIZED A
LOCAL EMPLOY THE HANDICAPPED COMMITTEE. ITS JOB IS TO BREAK
DOWN THE BARRIERS STANDING IN THE WAY OF DISABLED BUT QUAL-
IFIED WORKERS. AND THERE ARE THREE MEMBER ORGANIZATIONS
READY TO HELP EMPLOYERS MATCH SKILLS TO JOBS: THE MICHIGAN
EMPLOYMENT SECURITY COMMISSION; DIVISION OF VOCATIONAL RE-
HABILITATION OF THE DEPARTMENT OF PUBLIC INSTRUCTION; AND
THE DEPARTMENT OF SOCIAL WELFARE'S DIVISION OF SERVICES

TO THE BLIND.

126

MUsic: (None)

Effects: (NOne)

Seggence 9: Live scenes 67-70; Cumulative time 9:39-10:19.

Visual: Crippled girl gets out of her car. Typing at of-
fice desk. Her employer at his desk. Girl takes
notes at her desk.

Narration: (Bookseller) THEY SAY THEY DON'T ASK FOR SPEC»
IAL FAVORS OR SYMPATHY. JUST A LONG, HARD SECOND LOOK TO
DETERMINE A HUMAN BEING'S REAL WORTH. THIS IS CAROL LA BELLE,
RECEPTIONIST AT THE RATHBUN INSURANCE AGENCY. (Mr. Rathbun)

I DON'T SEE THAT IT MAKES ANY DIFFERENCE IN OUR CASE, SHE'S
DOING THE SAME JOB ANY GIRL WOULD DO WHETHER SHE WAS HANDI-
CAPPED OR NOT HANDICAPPED. (Bookseller) THIS IS MR. RATHBUN,
CAROL'S EMPLOYER. (Mr. Rathbun) JUST TO GIVE YOU AN EX-
AMPLE, ONE FELLOW WALKED IN THIS MORNING...HE WORKS UPSTAIRS
I BELIEVE...SHE WAS WALKING TO THE FILE OR SOMETHING, USING
HER CRUTCHES, AND HE SAID, 'CAROL, ARE YOU HANDICAPPED?

I DIDN'T KNOW THAT!'

Music: Handicapped workers' motif.

Effects: (None)

Seggence 10: Live scenes 71-83; Cumulative time 10:19-12:01.

Visual: Blind worker Operating welding machine, learning
new job, walking on company street, being inter-
viewed by a representative of the Department of
Social Welfare, Division of Services for the Blind.
Bob Stone, Safety Director at Oldsmobile, at desk
and walking with blind worker.

Narration: (Bookseller) THIS IS JOHN MULLIN. (John Mullin)
TODAY IN THE FACTORY PRODUCTION IS HIGHIAND YOU CAN'T EXP
PECT TO BE ASSIGNED TO ONE JOB AND STAY THERE. YOU HAVE

TO BE FLEXIBLE, ABLE TO MOVE AROUND. WHITEY HAS TAUGHT

ME LOTS OF JOBS, LIKE MY NORMAL ONE WHICH IS RUNNING THE
WELDER, OR HE MAY COME UP TO ME AND SAY, 'JOHN, HOW'D YOU
LIKE TO LEARN A NEW JOB?‘ I'LL SAY, 'I'LL GO LOOK.AT IT
AND IF I CAN DO IT, OK.' HE'LL HAVE ME DOING ANYTHING FROM
GLOVE BOX LIGHT ASSEMBLY TO-AWELL, LIKE THIS ONE HERE-LOWER
BEARING ASSEMBLY. (Bob Stone) OF COURSE, WE DO NOT ATTEMPT
TO SELECT THESE PEOPLE OURSELVES...WE DON'T JUST TAKE THESE
PEOPLE IN OFF THE STREET...WE HAVE THE DEPARTMENT OF SOCIAL
WELFARE, DIVISION OF SERVICES FOR THE BLIND, SELECT THEM

FOR US. WE KNOW THEY KNOW THESE PEOPLE AS WELL AS THEY

127

KNOW THEMSELVES BECAUSE THEY WORK WITH THEM, SOME OF THEM
RIGHT THROUGH SCHOOL...TAKE AL WICHNER, FOR EXAMPLE...
(Bookseller) BOB STONE, SAFETY DIRECTOR.AT OLDSMOBILE.
(Bob Stone) THE TRAVEL IS NO PROBLEM AT ALL. GIVE THESE
BLIND PEOPLE A COUPLE OF DAYS AND THEY CAN GET AROUND AS
WELL AS YOU OR I...OUR PROBLEM IS TO FIND A JOB THAT IS
ALREADY ESTABLISHED THAT YOU CAN DO WITH YOUR EYES CLOSED.
THAT'S THE WHOLE PROBLEM. I DON'T THINK.WE'VE EVER HAD A
LOST TIME ACCIDENT‘WITHnA BLIND PERSON.

Music: Handicapped workers' motif. Industrial motif.
Effects: Welder, traffic.

Seggence ll: ,Live, still scenes 84-98; Cumulative time
12: 1" :1 0

Visual: Bookseller looks at twelve still pictures of per-
sons with various handicaps. Six are in working
situations. Six are in job seeking situations.

Narration: (Bob Stone) THE HANDICAPPED PERSON...AND RE-
MEMBER, THEIR HANDICAP IS NOT ALWAYS SOMETHING YOU CAN SEE...
IS USUALLY A VERY DESIRABLE PERSON...ON THE JOB EVERYDAY...
GETTING ALONG WITH PEOPLE...GETTING THE JOB DONE. HERE'S
MY ARGUMENT: I THINK THAT THERE IS JOB OPPORTUNITY WITHIN
ANY GIVEN AREA, ESPECIALLY AN INDUSTRIAL AREA LIKE LANSING,
TO ABSORB ALL THE HANDICAPPED PEOPLE WHO ARE EMPLOYABLE.
THIS IS A LOCAL PROBLEM. YOU SHOULD SAY, 'ALL RIGHT, THESE
PEOPLE ARE PART OF OUR LOCAL GROUP. WE'VE GOT TO TAKE CARE
OF THEM AND WE CAN IF WE JUST ORGANIZE OURSELVES RIGHT.'
THE FIRST THING WE HAVE TO DO IS TO RID OURSELVES OF THIS
IDEA THAT IF A MAN ISN'T 100% PHYSICALLY PERFECT FROM HIS
HEAD TO HIS TOES THAT WE CAN'T USE HIM. WE CAN! THERE

IS A HUMANITARIAN ASPECT: I DON'T THINK WE HAVE THE RIGHT
TO TELL OUR HANDICAPPED NEIGHBORS THAT THEY DON'T FIT INTO
THE EMPLOYMENT PICTURE OF OUR COMMUNITY.

Music: Handicapped workers' motif.
Effects: (NOne)

Seggence 12: Live scenes 99-109; Cumulative time 13:16-
1 : 4.

Visual: Basket case being lifted from car into wheelchair.
Wheels self into shop. A fellow worker lifts him
from wheelchair to office chair where he performs
his job of service controller for an automobile
repair shop. He is shown interacting with fellow
workers via an intercom system.

128

Narration: (Bob Stone) THERE'S A PLACE FOR ALL OF THEM
SOMEWHERE. I KNOW THERE IS IF YOU GO OUT AND LOOK FOR IT.
ONCE YOU FIND THE PLACE, THEN WHO IS STANDING IN THE WAY?
THE MAN WHO SAYS YES OR NO To WHETHER OR NOT HE IS HIRED.
(Jerry Van Liew) YEAH, IT WAS A DIFFERENT JOB. THE FIRST
ONE I EVER HAD. I REALLY DIDN'T KNOW WHAT TO EXPECT WHEN
I FIRST CAME HERE. I WAS MOSTLY SCARED THAN ANYTHING ELSE.
(Bookseller) JERRY VAN LIEW, SERVICE CONTROLLER AT STORY
OLDSMOBILE. (Jerry) I GUESS YOU COULD SAY I WAS AFRAID.
AFRAID I COULDN'T HANDLE THE JOB, THAT THE MECHANICS MIGHT
NOT LIKE ME. THAT I MIGHT NOT BE ACCEPTED. I'M RESPONSIBLE
FOR THE SERVICE DEPARTMENT OUT THERE, ROUTING THE CARS TO
THE DIFFERENT DEPARTMENTS, SEEING THAT THE TIME SCHEDULE
IS MET AND THE CUSTOMER GETS HIS CAR ON TIME. WE SERVICE
BETWEEN 125 AND 300 CARS A DAY. IT WAS QUITE DIFFICULT

AT FIRST BEING UP IN THE TOWER AND BEING COOPED UP SO LONG
AND FOR SUCH A LONG PERIOD OF TIME. I FELT AS IF THE WALLS
WERE PRESSING AGAINST ME. (Bob Stone) WE DON'T HAVE To
WORRY ABOUT THEM GETTING ALONG WITH THEIR FELLOW WORKERS.
HUMAN BEINGS ARE A LOT MORE COMPATIBLE THAN WE GIVE THEM
CREDIT FOR BEING...AND THEY'RE A LOT MORE COMPASSIONATE
THAN WE GIVE THEM CREDIT FOR BEING.

Music: Handicapped workers' motif.

Effects: Intercom.
Seg%ence 13: Live scenes 110-118; Cumulative time 15:04-

Visual: Cars going by snowmen in Christmas Lawn Decoration
display. Cars reflected in store window as doll
peers out. Shelf of toy trucks in store window.
Little boy points to window display. Mechanical
boy-doll shakes Christmas package close to ear.
Mechanical fairy doll waves wand. Wand touches
down on a scene of sun reflected through silhou-
etted star decoration on light standard.

Narration: (Jerry) FOR ABOUT TWO OR THREE WEEKS, EVERY
TIME I'D GO HOME AT NIGHT ALL I COULD SEE WAS CARS, LICENSE
NUMBERS AND PEOPLE YELLING AT ME. I'D HEARD ABOUT PEOPLE
SEEING THINGS IN THEIR SLEEP...BUT IT'S THE FIRST TIME THAT
IT EVER HAPPENED TO ME. IT WAS KIND OF ROUGH. I GUESS
THEY EXPECTED TO FIND SOMEBODY WHO'D BE KIND OF A.FREAK

AT FIRST. SO, FOR A WHILE, I FELT LIKE SOMETHING ON DIS-
PLAY IN.A WINDOW. (Bob Stone) THIS IS.A REAL PROBLEM.

YOU WON'T SOLVE IT BY WAVING.A MAGIC WAND OR SOMETHING LIKE
THAT...IT WON'T JUST DISAPPEAR.

unsic: Music box.

129

Effects: Traffic, silver bell tinkling as wand touches
scene.

Seg%ence 14: Live, still scenes 119-126; Cumulative time
1 : - :

Visual: Bookseller looking at album. He looks up as if
listening to the voice on the sound track. As
the camera moves closer to the bookstore, the book-
seller glances over toward the bust of Beethoven.
Close shot bust of Beethoven. ’Close Shot Michael-
angelo's Condemned Sinner-start on eye, pull back
to full figure. Cut to still drawing Michaelangelo's
Eve rising up from.Adam's body as God beckons to
her. Eve has hands folded in prayerful manner.
Cut to Michaelangelo's Adam's hand stretched to-
ward God's hand. Cut to still drawing of Mary
adoring Christ child. Start close on Mary's crossed
hands, pull back. Cut to Jewish mother holding
child (live). Cut to group Shot: mother and child,
cantor, young girl. The family is celebrating
Channukah. Girl lights candle. Cantor places
candle in center of candelabrum.

Narration: (Bob Stone) THE ONLY WAY YOU'RE GONNA SOLVE

IT IS BY WORKING WITH THE PEOPLE WHO ARE TRYING TO GET JOBS
FOR THE HANDICAPPED. (Jerry) THEY DIDN'T KNOW WHAT TO
EXPECT, EITHER. THEY WERE AFRAID THEY'D FIND SOMEBODY WHO
WOULDN'T LIVE UP TO THE CAPABILITIES OF DOING THE JOB AND
WOULDN'T LAST LONG IN THE FIRST PLACE BECAUSE OF THEIR BEING
HANDICAPPED. BUT I DID! (Bob Stone) WHEN YOU GET RIGHT
DOWN TO IT, YOU HAVE TO HAVE A LITTLE FAITH IN THESE PEOPLE.
WORKER OR EMPLOYER, I DON'T THINK YOU CAN IGNORE YOUR RE-
SPONSIBILITY ONE NEIGHBOR TO ANOTHER. (Hr. Lundberg) I
DON'T SEE HOW WE CAN SIT HERE AND SAY, 'WELL, IF A PERSON
IS HANDICAPPED, PUT HIM ON.A HUMAN JUNKHEAP AND WE'LL CONA
TRIBUTE SO MUCH IN TAXES TO KEEP HIM OVER ON SOME FARM OR
SOMETHING LIKE THAT. I JUST DON'T BELIEVE THAT. I BELIEVE
IT'S A RESPONSIBILITY OF BUSINESS AND INDUSTRY TO MAKE USE
OF HANDICAPPED PEOPLE WHEREVER POSSIBLE. (Jerry) THE WAY
I LOOK AT IT, I DON'T THINK I SHOULD EXPECT ANY MORE THAN
A NORMAL PERSON WOULD, JUST A GOOD WAGE AND A DECENT PLACE
TO WORK. I DON'T EXPECT.ANY SPECIAL FAVORS AND I DON'T
FEEL I RECEIVE ANY EITHER, AND I DON'T WANT ANY BECAUSE
THERE'S NO USE IN WANTING SOMETHING YOU DON'T NEED...NO,
REALLY, THERE'S NO SENSE IN WANTING SOMETHING YOU DON'T
NEED. (Bob Stone) YOU HAVE TO HAVE A LITTLE COMPASSION
IN THIS THING. YOU'VE GOT TO BE WILLING TO REACH OUT AND
GIVE THESE PEOPLE A HAND. THEY CALL LANSING THE HEART OF
MICHIGAN; YOU KNOW.AS WELL AS I DO THAT THEY MEAN SOMETHING
MORE THAN GEOGRAPHICAL LOCATION. NOW, I KNOW IT MAY SOUND

130

CORNY, BUT WHAT'S WRONG WITH HAVING A HEART? (Bookseller)
A HUNDRED YEARS...OR MORE...SINCE IT STARTED. A HUNDRED
THOUSAND PEOPLE LATER, AND THE FIRE OF HUMANITY STILL GLOWS
IN OUR TOWN.

Music: Handicapped workers' motif.

Effects: VOiceS are filtered as if bookseller might be
recalling them.

Se ence 15: Live scenes 127-133; Cumulative time 18:02-
51:§1.

Visual: Start on aerial of Lansing (still picture). Pull
back to an over-the-Shoulder shot of bookseller.
He closes album. Cut to long shot of bookstore.
Bookseller gets up, puts album on table by Office
door, walks to window display. Cut to close shot.
Bookseller places card by Beethoven bust, identi-
fying composer as being deaf. Places card by
Milton's book, Paradise Lost, identifying the
author as being ElInd. Places card by Renoir's
painting, identifying the artist as having arth-
ritic hands. Cut to full Shot of store. Bookseller
walks to door, looks out. Cut to exterior street
scene of Lansing at night. Cut to close shot of
window display. Pan across HArthritic Hands“ Sign
to "Blind“ Sign to "Deaf" Sign. Come to rest on
Beethoven bust. Cut to full shot of store. ‘Book-
seller looks at clock. Turns lights out. Prepares
to go home. The credit titles begin a slow crawl
from top to bottom of darkened store.

Narration: (Jerry, on exterior street scene) I WAS SCARED...
AFRAID I WOULDN'T LAST...BECAUSE OF MY HANDICAP. (Jerry,
on 'Arthritic Hands" Sign) BUT I DID. (Jerry, on “Blind“
Sign) I DID. (Jerry, on "Deaf” Sign) I DID. ’
Music: Handicapped workers' motif and Industrial motif
restated chorally. Concludes soon after lights
are switched off. HUSic box is background music
for credit titles.
Effects: Traffic, Jerry's voice in echo chamber.
Super: Credit titles.
Employ the Handicapped Committee:

Tbm Hurley, Chairman Oscar Wade, Secretary

131

Arthur Brokenshire W. C. Collins
Robert Combs, M.D. Carl Cook
Richard Crable John Davis
Richard A. Gerst Robert Gutshall
Larry LaLone Jane Potts

Bob Sheldon Harold Spengler
Clyde Stephens Glenn A. Stockton

Special thanks to:

Lundberg Screw Products Co. Oldsmobile Division,
General Motors Corporation

Ransom Fidelity Co.

Story Oldsmobile, Inc.

Historical Photos:
Michigan Historical Commission Archives

Album, ”Music Box Christmas":
Columbia Records

Rita Ford, Incorporated
American Federation of Musicians

Beethoven Symphony No. 9:

Epic Records

For Appearing and Speaking in the Film Our Thanks to:

Carol LaBelle John Mullin

Bob Swaggart Jerry Van Liew
...and their employers and fellow workers.

Motion Picture Photographers:

G. William Hughes Jack J. Leonard
F. L. McConkey Gunter Pfaff

Still Photographer and Animator: Tom Tryon
Set Designer: William Gilmore
Sound Engineer: Ron LaMothe
Production Assistant: Harry Heward

132

Writer, Director, Editor: F. L. McConkey
Producer: Ed MCCoy

This Film is a Cooperative Effort of:

The Lansing Community Services Council, Employ the Handi-
capped Committee, The Department of Special Education, and
the Audiovisual Center, Michigan State University.

APPENDIX VII

SOURCES USED IN
CONSTRUCTING RATIONALES

FOR FILM SEOUENCES

Abelson, H. I. Persuasion. New YOrk: Springer, l959.

Allport, G. W. 9Attitudes,” C. A. Murchison (ed.), A,Hand-
book of Social PS cholo . WOrcester: Clark UnI—
versiEy'Press, l§§5, pp. 798-844. '

Asch, S. E. "The Doctrine of Suggestion, Prestige, and

Imitation in Social Psychology," Psychological 32:
view, LV, 1948, pp. 250-276.

Baker, Stephen. Visual Persuasion. New York: MCGraw-Hill
Book Co., IHC., .

Berlyne, D. E. Conflict, Arousal, and Curiosity. New York:
MCGr aw-HIf—TI Boo Co__I_'. , nc . , 'Ts's‘fi .

Festinger, Leon. é;Theo of Co nitive Dissonance. Evans-
ton, 111.: Row HeEErson, I§37.

Gropper, George L. "Why Is a Picture WOrth a Thousand
Words?" 5!.CommuHICation Review, XI, 1963, pp.
75-95.

Hartman, Frank R. "A Behavioristic Approach to Communica-
tion: A Selective Review of Learning Theory and
a Derivation of Postulates," 5!,Communication‘ggr
view, XI, 1963, pp. 155-190.

Heider, F. "Attitudes and Cognitive Organization,” Journal
2£,Psychology, XXI, 1946, pp. 107-112.

HOVland, Carl I., Janis, Irving L., Kelley, Harold H. Com-
munication and Persuasion. Psychological Studies

of O inion han e. New Haven an London: Yale
UfiiversIEy Press, 1953.
Kendall, Ken. “Film Production Principles-~the Subject

of Research," Journal g§_the SMPTE, LVIII, May,

133

134

Lumsdaine, A. A.) ”A Basis for Decisions in Planning Com-
munications," Ball, John, and Byrnes, Francis C.
(eds. ), Research, PrinciEles, and Practices in
Visual Communication. e Department of Audio-
visual Instruction of the National Education Asso-
ciation, 1960. .

Newcomb, Theodore M. "An Approach to the Study of Commu-
nicative Acts,” Psychological Review, LX, 1953, pp.

Osgood, C. E., and Tannenbaum, P. H. "The Principle of
Congruity in the Prediction of Attitude Change,"
Psychological Review, LXII, 1955, pp. 42-55.

Sarnoff, I., and Katz, D. “The Motivational Bases of At-
titude Change,” Journal of Abnormal PS cholo
XLIX, 1954, pp. 115-l23.—

Shannon, C. E., and Weaver, W. The Mathematical Theoiy
of Communication. Urbana: UniversIty of 11 nois
PEess, l 9.

Sherif, Muzafer, and Cantril, Hadley. “The Psychology of
Attitudes,“ Part I, Psychological Review, LII, 1945,
pp. 295-319.

Sherif, Muzafer, and Cantril, Hadley. "The Psychology of
Attitudes,“ Part II, Psychological Review, LIII,
1946, pp. l-25.

Tannenbaum, Percy H. ”Music Background in the Judgment
of Stage and Television Drama," A!_Communication
Review, IV, 1956, pp. 92-101.

APPENDIX VIII

TABLE A.l. Summary of Item Mean Scores of the Sponsor,
Service Club A and Service Club B

W
MEAN SCORES‘

SPONSOR CLUB A CLUB B

ITEMS:
Emotional Effect
of Film 1.7 1.8 2.0
Liking for Film 1.5 1.8 1.9
Before Film Position
on Hiring Handicapped
workers 1.6 2.1 2.0
After Film Position
on Hiring Handicapped
workers 1.2 1.6 2.0
Acceptance of Social
Responsibility State-
ment 1.4 1.8 2.1

TOTAL 7.4 9.1 10.0

‘Where the mean score was determined by assigning arbitrary
weights to the five categories of responses in the follow-
in order: Strongly Disagree (5), Disagree (4), Uncertain
(3 , Agree (2), and Strongly Agree (1). Consequently, the
smaller the mean score the more favorable the position.

 

135

APPENDIX XII

TABLE A.5. Summary of Sponsor Changes from Perceived Before-
Pilm Positions on Hiring the Handicapped, to After-Film Posi-
tions 0 N - 28 o

 

 

Positive Number of
Changes Subjects
Against to Strongly For 1
No Position to For 3
No Position to Strongly For 5
For to Strongly For 18
Negative
Changes
Strongly For to For 1
TOTAL 28

 

139

APPENDIX XIII

TABLE A.6. Summary of Gross Changes for All Sponsor Sub-
jects in Positions on Hiring the Handicapped. N a 86.

 

Number of Subjects Number of Subjects

 

 

 

Positions Pre-Film Post-Film
Strongly Against 0 0
Against 1 0
No Position 8 0
For 31 17
Strongly For 46 69
TOTAL 86 86

 

140

APPENDIX XIV

TABLE A.7. Summary of Service Club A Subjects' Changes
from Perceived Before-Film Positions on Hiring the Handi-
capped to After-Film Positions. N = 22.

 

 

Positive Number of
Changes Subjects
Against to For 2

No Position to For 8
No Position to Strongly For 2
8

For to Strongly For

Negative

Changes
Strongly For to For 2
TOTAL 22

 

141

APPENDIX XV

TABLE A.8. Summary of Gross Changes for all Service Club
A Subjects in Positions on Hiring the Handicapped. N . 46.

 

Number of Subjects Number of Subjects

 

 

 

Positions Pre-Film Post-Film
Strongly Against 0 0
Against 2 0
No Position 11 1
For 21 25
Strongly For 12 20
TOTAL 46 46

 

142

TIBLE.A.9.

APPENDIX XVI

Summary of Service Club B's Before-Film and

After-Film Responses to Items of a Social Distance Scale.

Before-Film N a 21.

 

Item 1:
Before
After

Item 2:

Before
After

Item 3:
Before
After

Item 4:
Before
After

Item 5:
Before
After

Item 6:

Before
After

STRONGLY STRONGLY
DISAGREE DISAGREE UNCERTAIN'AGREE AGREE
(S) (4) (3) (2) (l)

MEAN'
Communities would have stronger economies if all
of their citizens could be gainfully employed.

2.0
1.8

1 1 2 11 6
O 1 1 10 7

Business and industry have certain responsibili-
ties for the economic and social welfare of their
communities.

0 0 0 15 6 1.7
0 l 0 12 6 1.8
I believe people should be given a chance to be-
come productive members of their communities.

1.6
1.6

0 O 0 13 8
O O 0 11 8

Handicapped workers should be given a chance to
contribute to the economy of their community.

1.6
1.6

o o o ’13 3
o o o 12 7

Handicapped workers should be hired if they are
qualified.

1.9
1.8

O 1 1 13 6
0 0 2 11 6

It is the social responsibility of business and
industry to hire handicapped workers.

2.4
2.1

0 S 4 7 5
0 3 O 11 5

143

144

TABLE A.9 (continued)

Item 7: I will hire handicapped workers, or would if I
were in a position to.

Before 0 1 2 15 3 2.0
After 0 1 4 8 6 2.0

Item 8: I will contact the Employ the Handicapped Commit-
tee tomorrow'to get more information about handi-
capped workers.

Before 0 6 10 4 l 3.0
After 0 6 9 l 3 2.9

Item 9: Before leaving this meeting, I will make an ap-
pointment with a member of the Employ the Handi-
capped Committee.

Before 0 9 12 0 0 3.4
After 0 7 9 1 2 3.1

‘The means were determined by assigning arbitrary weights
to the five categories of responses, i.e., Strongly Dis-
agree (5), Disagree (4).

 

APPENDIX XVII

TABLE A.10. Summary of Service Club B's Before-Film and
After-Film Responses to Items of an Attributes Scale.
Before-Film N u 20. After—Film N a 19.

 

STRONGLY STRONGLY
DISAGREE DISAGREE UNCERTAIN AGREE AGREE MEAN‘
(5) (4) (3) (2) (1)

Item 10: Please underline the word or words which most
nearly describe your agreement with the follow-
ing statements: Handicapped workers are

LOYAL
Before 0 0 6 12 2 2.2
After 0 1 3 12 3 2.1
SKILLED
Before 0 0 13 6 1 2.6
After 0 0 3 11 5 1.9
ABLE TO GROW ON JOB
Before 0 l 2 15 2 2.1
After 0 0 2 l4 3 2.0
PUNCTUAL
Before 0 0 9 9 2 2.4
After 0 0 4 10 5 1.9
DEPENDABLE (ON THE JOB EVERY DAY)
Before 0 l 9 9 1 2.5
After 1 0 4 10 4 2.2
ACCEPTED (BY FELLOW WORKERS)
Before 0 1 6 12' 1 2.4
After 0 1 ' 3 13 2 2.2

145

146

TABLE A.10 (continued)

STRONGLY STRONGLY
DISAGREE DISAGREE UNCERTAIN AGREE AGREE MEAN‘
(S) (4) (3) (2) (l)

PRODUCTIVE
Before 0 1 7 11 1 2.4
After 0 1 2 l4 2 2.1
FLEXIBLE
Before 0 2 13 4 1 2.8
After 0 2 3 13 l 2.3
SAFE
Before 1 l 9 8 1 2.7
After 0 l 6 11 1 2.4

‘The means were determined by assigning arbitrary weights
to the five categories of responses, i.e., Strongly Dis-
agree (5), Disagree (4).

 

 

APPENDIX XVIII

TABLE A.11. Comparison of Mean Scores of Predictions by
a Sponsor Subcommittee with Mean Scores of Actual Responses
of Service Club B

MEAN SCORES‘

SPONSOR SERVICE
SUBCOMMITTEE CLUB B
ITEMS: PREDICTIONS RESPONSES DIFFERENCES
Emotional Effect
of Film 2.0 2.0 .0
Liking for Film 2.0 1.9 + .1
Before-Film Position
on Hiring Handicapped 3.0 2.0 + 1.0
After-Film Position
on Hiring Handicapped 2.1 2.0 + .1
Before-Film Acceptance
of Social Responsibility
Statement 2.5 2.4 + .1
After-Film Acceptance
of Social Responsibility
Statement 1.8 2.1 - .2

Attributes of Handi-

capped WOrkers (Before-Film ReSPOHSGS)

LOYALTY 2.3 2.2 + .1
SKILL 2.4 2.6 - .2
ABILITY TO GROW ON JOB 2.6 2.1 + .5
PUNCTUALITY 2.3 2.4 - .1
DEPENDABILITY 2.4 2.5 - .1
ACCEPTABILITY 3.0 2.4 + .6

147

 

148

TABLE A.11 (continued)

MEAN SCORES‘

SPONSOR SERVICE
SUBCOMMITTEE CLUB B
PREDICTIONS RESPONSES DIFFERENCES

Attributes of Handi-
capped Workers

(continued)

PRODUCTIVITY 2.9 2.4 + .5
FLEXIBILITY 2.3 2.8 - .5
SAFETY 2.4 2.7 - .3

‘Where mean scores were determined by assigning arbitrary

weights to the five categories of responses, i.e., Strongly
Disagree (5), Disagree (4).

 

APPENDIX XIX

TABLE A.12. Comparison of Mean Scores of Predictions by
a Sponsor Subcommittee with Mean Scores of Actual Responses

of Service Club A

W
MEAN SCORES‘

SPONSOR SERVICE
SUBCOMMITTEE CLUB A
ITEMS: PREDICTIONS RESPONSES DIFFERENCES
Emotional Effect
of Film 2.0 1.8 .2
Liking for Film 2.0 1.8 .2
Before-Film Position
on Hiring Handicapped
Workers 3.0 2.1 .9
After-Film Position
on Hiring Handicapped
workers 2.1 1.6 .5
After-Film.Acceptance
of Social Responsibility
Statement 1.8 1.8 .0

‘Where mean scores were determined

Disagree (5), Disagree (4).

by assigning arbitrary
weights to the five categories of responses, i.e., Strongly

 

149

APPENDIX XX

A SAMPLE BIBLIOGRAPHY OF
READINGS RELATED TO FILM PRODUCTION

Allen, William H. "Readability of Instructional Film Com-

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Allen, William H. "Audio-Visual Communication Research,“
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’ pp. 3 - 0
Allison, Sarah G., and Ash, Philip. Relationship of Anxi-

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Allport, Floyd D. Theories 9;,Percefition and the Concept
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i§35’ ’65 PPO

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1953.

Arnheim, Rudolf. Art and Visual Perception: ‘A.Ps§chology
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Arnspiger, V. C. Measurin the Effectiveness g; Sound
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Asch, S. E. “Effects of Group Pressures Upon the Modifi-
cation and Distortion of Judgments,“ Swanson, Newt
comb, and Hartley (eds.), Readin s in Social Ps -

1552.

chology. New York: Henry 1t andICbmpany,

150

151

Bakon, Paul. ”Current Theoretical Approaches to Percep-
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Barlow, H. B. "Possible Principles Underlying the Trans-
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Bartley, Samuel H. Princi les of Perception. New York:
Harper and BroEEers, I958}

Becker, Sam L. “Exploratory Studies in the Evaluation of
Educational Telecasts," Proceedin s of the Iowa
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Berelson, Bernard, and Janowitz, Morris (eds.). Reader i2,
Public 0 inion and Communication. Glencoe, III.:
Free Press, 1550, 553 pp.

Blain, Beryl B. Effects g£_Film Narration £ypg.and.g§DLis-
tenability LeveI gg.LearnIng 2;.Fac ual IfiformaEIon.
Doctor's Thesis. Bloom ng n: Inaiana UnIversIEy,
1956, 297 pp.

Brandt, Herman F. The P5 cholo of Seein . New York:
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Brembeck, W. L., and Howell, W. S. Persuasion. New York:
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Bretz, Rudy. “Television Cutting Technique,“ Journal g;_
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Broadbent, D. E. "Attention and the Perception of Speech,"
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Brogden, W. T. "Sensory Pre-Conditioning,” Journal of’Ezr
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Bruner, J. 8., Goodnow, Jacqueline J., and Austin, A. A
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Bruner, J. S., and Postman, L. "Perception, Cognition
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Perce tion and Personalit : ‘A_Sygpgsium. Durham:
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Buswell Guy T. How PeoEle Look g§.Pictures. Chicago:
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152

Carpenter, Clarence R., director. A Biblio ra h of Pro-
duction Utilization and Researcfi on Ifist¥uEEional
Films. TechnIcal Report SDC 26947245, Instructional
FIlm Research Program, Pennsylvania State Univer-
sity. Port Washington, Long Island, N.Y.: Special
Devices Center, NOvember, 1953, 145 pp.

 

Carpenter, Clarence R. "Recent Progress at the Instruc-
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versi Film Producers AssociatIon, VI, spEIHg,
1954, pp. 13415.

Carpenter, Clarence R. RA Theoretical Orientation for In-
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tion Review, I, Winter, 1953, pp. 38-52.

Cartwright, D. "Some Principles of Mass Persuasion,” Human
Relations, II, 1949, pp. 253-267.

Chall, Jeanne S., and Dial, Harold E. "Predicting Listener
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Cherry, Colin. On Human Communication. New York: Wiley,
1957, 333—pp.

Church, Joseph. _A_ Survey 9_f_ Literature Bearing pg Perce
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to Change," Swanson, Newcomb and Hartley (eds. ),

Readin s in Social Ps cholo . New York: Henry
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Cooper, Eunice, and Dinerman, Helen. "Analysis of the Film,
'Don't Be a Sucker': A Study in Communication,“

Public Opinion Qparterly, XV, Summer, 1951, pp.

Day, W. P., and Beach, B. R. ASurvey of the Research Lite
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tract’ No. W33—539-ac-21269, E. 0. No. 694-37, Novem-
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Driscoll, John P. The Com arative Effectiveness Lf High
and Low mgrees Lf Visual Reinforcement of _Concepts
Ifi—a— Survey Course in Education‘UtIlizIn— Two Class
Sizes. Doctor's thesis. Univers arm-PEA
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153

Edgerton, Harold A., and Fryer, Douglas H. The Develo ment
of an Evaluation Procedure for TrainIH-'XIas‘pp§
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June, 1950, 7 pp.

Faison, E. W. J., Rose, N., and Podell, J. E. “A Technique
for Measuring Observable Audience Reactions to Train-
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French, John E. ”Children's Preferences for Pictures of
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Gibson, James J. (ed.). Motion Picture Testin ‘ppg.Research.
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154

Gladstone, Arthur. ”The Readability of the Commentary,"
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Goldstein, Kurt. "Some Experimental Observations Concerning
the Influence of Colors on the Function of the Or-

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Goodman-Malnuth, II, L. "An Experimental Study of the Ef-
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Greenhill, Leslie P. The Evaluation.9;.Instructional Films
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Greenhill, Leslie P., and MCNiven, Malcolm. "Relationship
Between Learning and the Perceived Usefulness of
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Guss, Carolyn. l§_Study gg'Film Evaluation and Selection
Practices in Twelve EniversItIes and—Colle es, with
Recommendations for Improvement, Doctor's thesis.
Bloomington: Indiana Un vers ty, 1952, 465 pp.

 

Hansen, J. E. ”The Effect of Educational Motion Pictures
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