History Taught by Film.
It would be necessary for historians to collaborate very closely with the producers in the preparation of historical films. The mere fact of being called upon to provide a scene for a picture and a detailed explanation, however, would go far to arouse a new enthusiasm in their work among students and teachers of history. It might assist us to vision our forefathers out of their portrait frames and parish churches, which are, perhaps, their only extant monuments, and reveal them to us as they lived and moved.
In most cases the educative value was confined to actual performers, or those who took part in the preparation of costumes, and in general the action of a scene was too far removed from the audience for close observation and too quickly over for effective study.
Supposing one could produce a film, actually showing the scenes enacted during the life and times of the Romans; depicting their daily life, court ceremonial and ancient coronations, or their judicial proceedings, their tournaments,—we should add materially to our historical knowledge of the people; and one must not lose sight of the fact, that when we have passed to the “Great Beyond,” and the world still continues to be inhabited some thousands of years hence, populated with people actuated with the same ideas, the same aspirations as ourselves, our present period will stand exactly in a similar relationship,—in regard to time at least.
What could present a more magnificent visual panorama than the procession of events of the Elizabethan period to the eighteenth century, laying open to our view their lives, the arts and crafts of their time, and our progress is then made over the stepping-stones of the past? Imagine the royal events of history, the gorgeous scenes of the coronations of English kings, as they succeeded each other.
Supposing an authoritative film could have been produced of the Great War, showing the whole of Europe in conflict, from the invasion of Belgium to the Armistice. The whole of the incidents—the devastation of property by the mighty engines of war; refugees in flight from the oncoming enemy; the heroic attacks and defence by the British soldiers in spite of tremendous odds; the want, misery and suffering following in the train.
The scope of the cinematograph for educational purposes could be considerably widened by children and adults being shown how things have been and are being done. The use of colour films for explaining history would enable the teacher to demonstrate the growth of British Dominion in India—for instance, Bombay could be represented by a tiny red speck, which would expand in correct historical sequence until the whole of the peninsula was covered. The development of the colouring, as this or that successful campaign was completed, would explain to observers, more explicitly than any printed list, the political effects of history. The scenes would thus be indelibly impressed upon the minds of children. And the same idea might be extended to the other colonies, Canada, Australia, New Zealand, South Africa, etc., depicting their history from the first settlement to the complete establishment of the Overseas dominions and their activities of to-day. The film, in short, is a fine medium for political propaganda if wisely used.
The following subjects lend themselves to effective treatment as film productions for educational purposes: the growth of the European Colonies, the rise and fall of the Ottoman Empire, the decline and renaissance of Poland, the historical groupings of the various States of Europe in the wars of the eighteenth and nineteenth centuries, to name but a few.