In any special study or theme in physics, for instance, an entire course could be planned for an animated film. Some of the divisions of the theme could be actual photographs of the experimental apparatus in operation. But other matters would need to be moving diagrams, or progressively changing charts. Explanations on the titles and other wording, previously thought out with due regard to their educational value, would be combined with the film.
Could there be anything more interesting than screen drawings of machinery in operation? To draw the successive pictures required for work of this character would present no great difficulties to any one trained in mechanical drafting. It would be a great improvement on the diagrams and mechanical plans with their complicated markings to see the work of the draftsman projected on the screen and giving the appearance of motion. With vivid object-lessons of this kind, the eye can comprehend in a few moments that which it would take lengthy paragraphs to make clear.
A FEW OF THE DRAWINGS USED IN THE MAKING OF A FILM TO SHOW A GASOLENE-ENGINE IN OPERATION.
On this subject of animating machinery, it is an interesting fact to note that as early as 1860, Desvignes, who invented one form of the zootrope, is recorded as having made a series of pictures for his optical instrument that showed a steam-engine in motion.
The teaching of history could be made still more interesting than it is by series of changing maps. Such maps would show, as their outlines changed, the growth or modification of a country as affected by events of history. Historical battles could be illustrated with the usual reference marks and symbols. But they would not be still; instead, they would move about to illustrate the progress of the battle. This form of animated maps frequently has been used in connection with pictorial-news reels.
Physiology and anatomy are two studies that need good pictorial exposition in the classroom. Scientific moving pictures of the actual subjects are in many cases available and their photography is feasible. But for some details that cannot be taken with the camera, animated diagrams would have to be substituted. To suggest a very good theme in physiology, we may mention that of the circulation of the blood. Only a few particulars of this could be photographed. Most of the story of the blood circulation would have to be told by animated diagrams.
There would be at first, perhaps, a sectional view of the heart showing the auricles, and ventricles with the valves and their reciprocal action. The flow of the vital fluid, to be sure, would be indicated very clearly as it passes through the cavities. A striking animation of this film would be that of the blood flow in its course through the body. This would be represented by a schematic diagram like those usually set forth in the books. It would have an added interest if the fluid were colored—the arterial blood red and the venous blood blue. (This is the usual way, when printed in colors, in which they are distinguished in textbooks.) A film like this, it can be understood, must be planned well—a scenario practically would be written for it.
The manner in which the muscles move the bony frame of the body can be strikingly demonstrated by animated diagrams. Take as a simple case the bending of the arm. The two antagonist muscles of the front and the back of the upper arm can be made to show as swelling and lengthening, alternately, as they flex and extend the forearm.
