WEBVTT - Herk Harvey 0:00:01.440 --> 0:00:05.080 You know, you have to be careful about making a 0:00:05.160 --> 0:00:10.920 weird show or watching a weird show. It may come 0:00:10.960 --> 0:00:19.200 back to haunt you. Enjoy ephemeralist production of My Heart 0:00:19.280 --> 0:00:24.440 three D audio for full exposure. Listen with that phones. 0:00:30.600 --> 0:00:35.120 When I say filmmaker, who do you think of? Maybe 0:00:35.200 --> 0:00:45.120 someone who directs features or TV shows or documentaries. Perhaps 0:00:45.159 --> 0:00:51.680 they're employed by a studio or work independently. Of course, 0:00:52.080 --> 0:00:57.520 there's all kinds of other filmmakers, students, amateurs, people who 0:00:57.560 --> 0:01:01.600 make art films and short films and cut some video installations. 0:01:03.920 --> 0:01:07.640 And then there's folks like her Harvey. The lens of 0:01:07.680 --> 0:01:11.199 a motion picture projector is an eye that can help 0:01:11.240 --> 0:01:21.479 you stimulate, motivate, educate your students. I think the most 0:01:21.480 --> 0:01:23.920 partner thing when I was looking at Harvey was that 0:01:24.120 --> 0:01:27.360 he was a maker of industrial films, films that were 0:01:27.440 --> 0:01:32.080 largely made for distribution in high schools. In particular. I'm 0:01:32.080 --> 0:01:35.560 Bernie Murphy. I'm an associate professor in the School of 0:01:35.560 --> 0:01:40.080 English at Trinity College, Dublin. Films made for the classroom 0:01:40.200 --> 0:01:43.760 have several purposes. It helps when you're choosing a film 0:01:43.800 --> 0:01:46.880 to know that there is a connection between the purpose 0:01:46.920 --> 0:01:50.520 of that film and the techniques used to achieve that purpose. 0:01:51.280 --> 0:01:54.520 It's only when you dig into the whole concept of 0:01:54.800 --> 0:01:58.080 educational film and an educational film company then you realize 0:01:58.080 --> 0:02:02.639 that there's tu tours, there's real legitimate filmmakers who really 0:02:02.680 --> 0:02:07.160 did good ones from Skip Alzheimer and I'm the founder 0:02:07.200 --> 0:02:11.320 of the eighty Geeks Educational Film Archive in Raleigh, North Carolina. 0:02:13.400 --> 0:02:17.160 In an over three decade career, her Carvey directed likely 0:02:17.280 --> 0:02:21.960 hundreds of educational films, but best remembered it's his lone 0:02:22.000 --> 0:02:29.640 feature two. Carnival of Souls in a nut Challenge falls 0:02:29.680 --> 0:02:34.480 under that category of supernatural horror films. Carnival of Souls 0:02:34.480 --> 0:02:38.560 is about a young woman called Mary who is in 0:02:38.880 --> 0:02:44.280 uh drag race. At the very start of the film, 0:02:44.320 --> 0:02:47.400 she's writing in a car with some friends and these 0:02:47.440 --> 0:02:50.200 two guys pull up and the challenge on the show 0:02:50.200 --> 0:02:57.240 a drag race? Do you want to drive? But during 0:02:57.240 --> 0:03:07.600 the race, the women's car falls off the bridge and 0:03:07.680 --> 0:03:10.720 it seems like everyone said, but then Mary clambers up 0:03:10.760 --> 0:03:14.040 on the river bank and she's actually alive. Are you 0:03:14.080 --> 0:03:18.720 all right? How do you get out? But this one 0:03:18.720 --> 0:03:22.000 we better get you back to town. As the phone 0:03:22.000 --> 0:03:24.720 goes on, Mary starts a new job in a new city. 0:03:25.880 --> 0:03:29.720 She moves to Salt Lake City and becomes a church organist. 0:03:31.000 --> 0:03:33.560 It seems things are going okay for a while, but 0:03:33.639 --> 0:03:36.720 then gradually more and more spooky things start to happen. 0:03:38.320 --> 0:03:41.720 She's kind of being haunted by this ghostly creature that 0:03:41.800 --> 0:03:48.480 she sees, the Ghoule, as portrayed by director her Carvey, 0:03:49.240 --> 0:03:53.600 a mute in white face paint. She turns, she sees somebody, 0:03:53.600 --> 0:03:59.200 and then she turns around. It's not there anymore. She 0:03:59.280 --> 0:04:02.680 rents this room whom at this boarding house and meets 0:04:02.720 --> 0:04:05.480 another person who lives at the house. He's trying to 0:04:05.560 --> 0:04:09.640 make time with her, and she's not interested. I thought 0:04:09.680 --> 0:04:13.720 doing this at Elvis. Yeah yeah, when you ask me, 0:04:15.240 --> 0:04:17.240 I'm John Linden, I mean Neil right across the hall. 0:04:17.640 --> 0:04:20.440 Nice to meet, would you excuse me? Yeah, yeah, I'm 0:04:20.480 --> 0:04:27.080 just wondering. Stand right there the creepy neighborhood. Oh, good morning, 0:04:28.200 --> 0:04:30.080 I heard your love. I know you'd be up who 0:04:30.160 --> 0:04:33.880 was clearly a sex predator next door. I really appreciate 0:04:33.920 --> 0:04:36.800 you're taking me out to see me. I've had a 0:04:36.800 --> 0:04:41.760 miserable night. If you had all forget it, come on here, 0:04:42.000 --> 0:04:45.880 join a party drink up. At one point, she's driving 0:04:45.920 --> 0:04:48.960 past this pavilion that used to be at this lake, 0:04:49.080 --> 0:04:51.400 and she's told that they shouldn't go in there because 0:04:51.400 --> 0:04:54.119 it would be illegal. This used to be quiet of place. 0:04:55.080 --> 0:04:57.839 It's been deserted for a long time. Now will you 0:04:57.920 --> 0:05:01.360 take me in? My goodness, no, it isn't safe out 0:05:01.400 --> 0:05:04.719 there anymore. She's beginning to get kind of creeped out, 0:05:05.000 --> 0:05:08.680 and is also being very unsocial. Don't you want to 0:05:08.760 --> 0:05:10.839 join in the things that other people do, share the 0:05:10.880 --> 0:05:13.920 experiences of other people. I don't think capable of being 0:05:14.000 --> 0:05:17.799 very close to people. She's disconnected from her family, her community, 0:05:17.800 --> 0:05:20.320 her job. We'll have to have some sort of reception. 0:05:20.680 --> 0:05:23.800 Couldn't we just get that. I don't suppose it's an 0:05:23.839 --> 0:05:27.680 absolute necessity. I don't know what some of the ladies 0:05:27.760 --> 0:05:30.520 will say. If they say, I'm a fine organist. That 0:05:30.560 --> 0:05:35.680 should be enough, shouldn't it. Well, yeah, of course, we'll 0:05:35.760 --> 0:05:38.400 let it go at that for the time being. But 0:05:39.480 --> 0:05:44.240 my dear, you cannot live in isolation from the human race. 0:05:44.360 --> 0:05:49.640 You know. She goes and is playing for the minister, 0:05:51.600 --> 0:06:04.279 but then it kind of becomes creepy. Yeah, circrileg what 0:06:04.360 --> 0:06:08.360 are you playing in this church. Have you no respect? 0:06:09.160 --> 0:06:12.680 Do you feel no reverence? She feels like she's kind 0:06:12.680 --> 0:06:15.120 of losing her mind a little bit, but she's also 0:06:15.279 --> 0:06:17.880 not engaging with people and just feels like out of 0:06:17.960 --> 0:06:22.039 touch with everything. The department store, when she's going to 0:06:22.040 --> 0:06:25.480 buy address, suddenly she's muted and no one can hear 0:06:25.720 --> 0:06:32.840 or see her eye. But there's this very subtle kind 0:06:32.839 --> 0:06:35.960 of rippling effect, so you get the sense that something 0:06:36.000 --> 0:06:39.599 has changed, but you don't quite know why. She talks 0:06:39.600 --> 0:06:41.719 to the doctor, who tries to help her but kind 0:06:41.720 --> 0:06:44.960 of dismisses her concerns. Look, look, you've had a fright. 0:06:45.520 --> 0:06:50.280 Hysteria won't solve anything. Not control yourself. By the end 0:06:50.279 --> 0:06:52.920 of the film, Mary has been kind of pursued by 0:06:52.960 --> 0:06:58.200 a spectral figure and actually spectral figures. She keeps obsessing 0:06:58.240 --> 0:07:02.240 about the pavilion to go back there. He's trying to 0:07:02.279 --> 0:07:06.440 take me back somewhere, and she actually ends up there. 0:07:11.360 --> 0:07:15.560 Everybody there's ghouls, and there's this kind of dance that 0:07:15.640 --> 0:07:26.120 takes place at the pavilion. The following day, they go 0:07:26.200 --> 0:07:28.520 to the pavilion to look for Mary, and they find 0:07:28.520 --> 0:07:32.120 footprints and stand that just end. The cars get over 0:07:32.200 --> 0:07:35.640 there and no no foot them for leading up there 0:07:35.680 --> 0:07:43.120 here and then nothing do you have a return At 0:07:43.160 --> 0:07:45.080 the end of the film to the scene of the 0:07:45.120 --> 0:07:51.040 crash back in Kansas, the police pull the car that 0:07:51.120 --> 0:07:54.840 she was in from the river, and the spoiler alarge 0:07:55.520 --> 0:07:57.640 her body is in the front seat with the two women. 0:07:58.800 --> 0:08:02.440 It becomes clear that actually she has been dead all along. 0:08:03.480 --> 0:08:06.960 The film itself has been about someone who believes they're 0:08:07.000 --> 0:08:11.320 still alive but actually isn't. Well. It's about arguably about 0:08:11.320 --> 0:08:16.520 many different things, but the story beats alone don't really 0:08:16.520 --> 0:08:19.000 give a sense of what it's like to watch Carnival 0:08:19.000 --> 0:08:23.720 of Souls. If you explain the plot, it doesn't do 0:08:23.920 --> 0:08:27.880 justice to the atmosphere that the film has. It has 0:08:27.920 --> 0:08:31.600 a real feel of kind of a Twilight Zone episode, 0:08:32.679 --> 0:08:41.240 what's the matter with everyonehy don't they answer me? But 0:08:41.360 --> 0:08:45.160 it is much more impressionistic, So it's like someone saw 0:08:45.200 --> 0:08:47.679 a bunch of Italian or French cinema and then made 0:08:47.679 --> 0:08:52.880 this future length chiller that has the supernatural element trying 0:08:52.920 --> 0:08:57.800 to prevent me from living, trying to take me back somewhere. 0:08:59.840 --> 0:09:01.719 It's one of those films that if you've seen it 0:09:01.760 --> 0:09:04.040 and you sat through it, I think it stays with you. 0:09:04.840 --> 0:09:08.240 It's so intensely focused on Mary and her experience. I 0:09:08.320 --> 0:09:12.120 like being with you, really I do. I don't want 0:09:12.160 --> 0:09:15.319 to be alone tonight. I want to be near you 0:09:15.840 --> 0:09:18.200 that I think we end up, even if we don't 0:09:18.200 --> 0:09:22.079 necessarily initially intend to, becoming caught up in her plight 0:09:22.559 --> 0:09:26.280 and the sense that something is terribly wrong. Will you helping? 0:09:26.880 --> 0:09:29.080 I need to help, but we don't quite know what. 0:09:29.960 --> 0:09:33.439 There's that sense that things are somewhat askew in reality. 0:09:34.000 --> 0:09:40.400 I don't belong in the world. What it is, something 0:09:40.520 --> 0:09:44.560 separates me from other people. At first, it might perhaps 0:09:44.559 --> 0:09:50.640 seem a little bit hokey, fill it out, independence on maaker, 0:09:51.400 --> 0:09:55.200 little budget, not really a lot of professional actors. I 0:09:55.240 --> 0:09:57.800 didn't known any harm. I just stopped to get a drink. 0:09:58.480 --> 0:10:02.079 But the acting as a very raw kind of quality 0:10:02.120 --> 0:10:06.520 to it at times. I don't know what Some of 0:10:06.559 --> 0:10:08.920 the set pieces in the film we are absolutely superb. 0:10:10.160 --> 0:10:13.960 The extended highway driving scene at night, which is brilliantly staged. 0:10:15.000 --> 0:10:18.040 It is so unique in terms of its cinematography, and 0:10:18.600 --> 0:10:22.360 there's a visual and kind of editorial sophistication there that 0:10:22.440 --> 0:10:25.400 maybe you might necessarily be expecting from a film with 0:10:25.440 --> 0:10:30.800 that budget level. There's also one off culter quality about 0:10:30.800 --> 0:10:33.080 the film that maybe is in part because of its 0:10:33.080 --> 0:10:35.520 low budget nature, as is often the way in low 0:10:35.520 --> 0:10:39.480 budget horror filmmaking, when it's done well, actually adds to 0:10:39.559 --> 0:10:43.040 the unease that it generates. When is the next post leave? 0:10:43.080 --> 0:10:46.920 I must get on. It's not slick. It's not the 0:10:47.000 --> 0:10:49.760 usual kind of narrative grammar that maybe a more conventional 0:10:49.760 --> 0:10:52.440 film would have, but there's a sense that anything can happen. 0:10:53.840 --> 0:11:00.719 Came you doctor, my last hope. It has more in 0:11:00.840 --> 0:11:03.200 common in some ways with an art house film, and 0:11:03.240 --> 0:11:05.720 the ways in which often they will up end are 0:11:06.320 --> 0:11:10.560 sort of visual or narrative expectations. It's not your typical 0:11:11.280 --> 0:11:13.080 I don't want to slag off the horror genre, but 0:11:13.120 --> 0:11:17.200 I think it's unique and it remains unique. It has, 0:11:17.280 --> 0:11:21.040 I think, a genuine eeriness that really holds up even today. 0:11:22.880 --> 0:11:24.480 I think it has a real claim to be one 0:11:24.559 --> 0:11:27.760 of the most important American horror films actually of the 0:11:27.840 --> 0:11:31.200 nineteen sixties. I think it's been tremendously influential, but in 0:11:31.240 --> 0:11:35.480 ways that aren't always fully appreciated. But there's no getting 0:11:35.520 --> 0:11:37.760 away from the fact that it is a film about 0:11:38.160 --> 0:11:42.920 the human cost of the interest driving. It's one of 0:11:42.960 --> 0:11:47.360 those films that dramatizes the impact of road fatalities and 0:11:47.400 --> 0:11:51.000 the idea that travel by car and the highways actually 0:11:51.040 --> 0:11:55.280 have a very negative downside. Higas river is right now 0:11:55.320 --> 0:11:57.880 and with all the mud and sand it's carrying and 0:11:57.960 --> 0:12:00.959 may never find that car. I've first studied the film 0:12:01.200 --> 0:12:03.280 about six or seven years ago. I was working on 0:12:03.320 --> 0:12:07.080 a book called The Highway Horror Film, which is about 0:12:07.160 --> 0:12:12.400 the cultural ramifications of the interested highway system, the effect 0:12:12.520 --> 0:12:15.680 that the creation of this vast network of highways had 0:12:15.760 --> 0:12:21.079 upon the horror film. In particular, by ninety one, something 0:12:21.120 --> 0:12:24.079 like one million Americans had already died in car accidents. 0:12:24.800 --> 0:12:28.480 Today's heavy traffic and high speed cars make the odds 0:12:28.520 --> 0:12:32.440 heavy against the non drinking driver. You had an immense 0:12:32.559 --> 0:12:36.400 road building operation that was underway. Our highways are engineered 0:12:36.400 --> 0:12:39.600 for safety and convenience. It's sort of the dawn of 0:12:39.640 --> 0:12:43.400 American teenagers. Hey, how would you and very like to 0:12:43.440 --> 0:12:49.120 go out to the like tomorrow? What time? Early wealthier 0:12:49.120 --> 0:12:51.840 ones in the nineteen thirties and forties would have had cars, 0:12:51.880 --> 0:12:55.200 But you had kind of a more widespread introduction of 0:12:55.360 --> 0:12:59.400 mass automobility generally, but particularly amongst the younger age group. 0:13:00.280 --> 0:13:04.040 It became apparent with the statistics that they were disproportionately 0:13:04.040 --> 0:13:07.680 affecting young people in particular. A seventeen year old boy 0:13:08.120 --> 0:13:11.800 driving a red convertible comes over a hillcrest and rams 0:13:11.840 --> 0:13:14.720 into a red hardtop that came out of a side rope. 0:13:15.600 --> 0:13:19.680 Here is the young man critically injured, and this is 0:13:19.720 --> 0:13:23.719 his car. So you had in the nineteen fifties a 0:13:23.880 --> 0:13:27.800 raft of films that were essentially targeted towards a teenage audience, 0:13:27.840 --> 0:13:31.480 and there were cautionary films Signal thirty the code that 0:13:31.520 --> 0:13:33.560 has a morbid meeting of the men of the Ohio 0:13:33.600 --> 0:13:38.640 State Highway of Control. A good driver stacy film, a 0:13:38.640 --> 0:13:41.280 good drug film, a good alcohol film, a good VD 0:13:41.440 --> 0:13:45.760 film is scaring you. The lad may have been fast 0:13:45.840 --> 0:13:48.360 on the gridiron, but speed on the highway is at 0:13:48.440 --> 0:13:52.000 best a losing and deadly gay. There's a setup of 0:13:52.040 --> 0:13:55.839 the person who you were made to identify with. A 0:13:56.000 --> 0:13:59.320 young man speeds home after enjoying a rollicking state party. 0:13:59.760 --> 0:14:04.040 He goes through something tragic, and then this is why 0:14:04.080 --> 0:14:07.160 it was tragic, because of drugs, because of drinking, because 0:14:07.200 --> 0:14:10.640 they didn't drive safely. One, the damage to the car 0:14:10.760 --> 0:14:17.240 was slight a repair bill of would have covered it easily. Second, 0:14:17.640 --> 0:14:19.920 the man and his wife were planning a party for 0:14:19.960 --> 0:14:24.760 the next day, a party observing his young son's birthday. 0:14:25.320 --> 0:14:31.120 And then there's a reconciliation. If we educate ourselves to 0:14:31.160 --> 0:14:36.200 our dangers and our responsibilities, we can expect accident free highways, 0:14:36.840 --> 0:14:40.520 We can obey the law. We can use courtesy and consideration. 0:14:41.600 --> 0:14:44.200 Let's all of us regard the automobile as a useful 0:14:44.240 --> 0:14:48.040 servant and priceless necessity, not as a weapon to name 0:14:48.920 --> 0:14:52.680 and kill. I think you can see why the genre 0:14:52.880 --> 0:14:57.320 would have internalized, particularly since essentially several generations of American 0:14:57.360 --> 0:15:00.240 teenagers were forced to watch this kind of material real. 0:15:00.520 --> 0:15:03.440 Had the speeding truck driver observed the forty five mile 0:15:03.520 --> 0:15:06.320 per hour speed limit, there would have been a plus 0:15:06.480 --> 0:15:10.800 safety factor. I came to Carnival of Souls because it 0:15:10.960 --> 0:15:13.520 quickly became clear to me that it was really a 0:15:13.560 --> 0:15:17.320 foundational text in the highway horror film. I know, I'll 0:15:17.360 --> 0:15:21.600 tear your story about it. It wasn't our faults. Yeah, 0:15:22.200 --> 0:15:25.200 we were the first ones on the bridge and coming 0:15:25.800 --> 0:15:28.400 along following the tracks and they wanted to get around us, 0:15:28.400 --> 0:15:31.000 I guess, and if they lost control when they dropped 0:15:31.160 --> 0:15:34.320 carry it in crowd of them all. Her carve was 0:15:34.320 --> 0:15:37.680 obviously someone who in a previous filmmaking capacity, had made 0:15:37.680 --> 0:15:42.320 films about the dangers of reckless driving and young people 0:15:42.480 --> 0:15:46.480 misbehaving in cars nobody can afford to drive with alcohol 0:15:46.640 --> 0:15:50.880 present in the body. It makes complete sense to me 0:15:50.920 --> 0:15:54.080 that it would have filtered into popular culture in later years. 0:15:55.880 --> 0:15:58.640 Carnival of Souls literally begins with young people in a 0:15:58.760 --> 0:16:00.560 dry race that they shouldn't be in, and then a 0:16:00.640 --> 0:16:04.640 terrible accident unfolds. And that's a really really typical feature 0:16:04.760 --> 0:16:08.320 of the highway safety films of the nineteen sixties in particular. 0:16:10.560 --> 0:16:12.960 I don't know that it's explicitly saying, you know, kids 0:16:13.040 --> 0:16:16.600 drive carefully, which obviously the highway safety phones were very 0:16:16.600 --> 0:16:20.440 explicitly saying that all of these resulted from violations of 0:16:20.560 --> 0:16:25.520 simple traffic regulations. It's up to you and your own driving. Heavens, 0:16:26.920 --> 0:16:28.920 But there is a kind of a verity style to 0:16:29.040 --> 0:16:33.560 Carnival of Souls. That girl. It has an unusual sense 0:16:33.600 --> 0:16:36.280 of maybe realism for a low budget horror film of 0:16:36.320 --> 0:16:39.320 that era. David four yesterday she was the only one 0:16:39.360 --> 0:16:42.840 of three girls to survive an accident. It makes you 0:16:43.160 --> 0:16:48.000 feel a little of something like how granted? I think 0:16:48.000 --> 0:16:50.040 you could argue that some of that sense of maybe 0:16:50.160 --> 0:16:54.240 reality and one deity has come perhaps from the industrial films. 0:16:55.280 --> 0:16:58.800 What can we do and what can you do to 0:16:58.920 --> 0:17:19.959 prevent you've nod of lenquency? You tell us The demand 0:17:19.960 --> 0:17:25.040 for classroom films inspired childhood friends Arthur Wolfe and Russell 0:17:25.119 --> 0:17:30.960 Monster to found the Centron Corporation. What's interesting about them 0:17:31.040 --> 0:17:34.360 is that they were based in Lawrence, Kansas. Centron Films 0:17:34.520 --> 0:17:37.920 a firm in Lawrence, Kansas. Have you ever been there? No? 0:17:38.119 --> 0:17:41.720 And Emily always visited the family here. That's where University 0:17:41.720 --> 0:17:44.600 of Kansas is. They were pulling a lot of their 0:17:44.640 --> 0:17:51.080 talent from University of Kansas. That's where her card became from. 0:17:51.240 --> 0:17:54.199 I got started making films. Uh I was here at 0:17:54.240 --> 0:17:57.320 the university in the theatrical department, in the theater department 0:17:57.400 --> 0:18:01.639 up here as an instructor at that time, and uh 0:18:02.040 --> 0:18:03.560 I would come down to Centro on once in a 0:18:03.560 --> 0:18:05.959 while as an actor. And finally they asked me if 0:18:05.960 --> 0:18:08.240 I would like to direct for them, and I said sure. 0:18:08.280 --> 0:18:10.199 It would be kind of fun to try. So I 0:18:10.240 --> 0:18:12.280 came down full time as a director at that time, 0:18:12.840 --> 0:18:16.520 and that was twelve thirteen years before we did Carnival. 0:18:19.000 --> 0:18:23.280 After two in the Navy during World War Two and 0:18:23.400 --> 0:18:26.480 a decision not to pursue a career in chemical engineering, 0:18:28.600 --> 0:18:32.040 Herk Harvey enrolled in the University of Kansas to study 0:18:32.080 --> 0:18:38.359 theater while acting and directing school productions. Perk earned bachelor's 0:18:38.359 --> 0:18:42.600 and master's degrees from KU, and with a doctorate from 0:18:42.600 --> 0:18:46.680 the University of Colorado, came back to Kansas to teach 0:18:46.720 --> 0:18:52.200 acting and filmmaking. In nineteen fifty two. While continuing to teach, 0:18:52.760 --> 0:18:58.760 Harvey started working for the centro On Corporation, directing company 0:18:58.760 --> 0:19:03.680 productions for over three decades. What started out as a 0:19:03.720 --> 0:19:06.640 director and remained a director for thirty or five years 0:19:06.640 --> 0:19:10.159 at centro On. The interesting thing about it was that 0:19:11.680 --> 0:19:14.639 with each project, of course, the nature of the job change, 0:19:14.720 --> 0:19:19.400 because we were making educational industrials that included a variety 0:19:19.400 --> 0:19:22.159 of subjects, and also in some of the industrials we 0:19:22.240 --> 0:19:26.440 got into musicals and extensive travel and this sort of thing. 0:19:26.520 --> 0:19:29.879 So the job itself was very interesting and that it 0:19:29.960 --> 0:19:35.199 was always different, but across the Board of Industrial and 0:19:35.320 --> 0:19:41.240 Educational Films. Casting crew info can be difficult, sometimes impossible 0:19:41.359 --> 0:19:46.439 to track down because credits were rarely ever included, So 0:19:46.520 --> 0:19:48.120 you don't know who directed it, you don't know who 0:19:48.200 --> 0:19:50.520 live it, you don't know who photographed it, you don't 0:19:50.520 --> 0:19:55.080 know any of the actor's names. Accounts vary as to 0:19:55.160 --> 0:19:58.679 how many and which films Herk made for Centron, but 0:19:58.760 --> 0:20:02.600 it's well documented that he worked there from two until 0:20:04.560 --> 0:20:06.720 Here are some of the classics that we believe to 0:20:06.720 --> 0:20:11.120 bear his stamp. But couldn't you manage to arrange your 0:20:11.119 --> 0:20:14.399 time so you could have a little fun too. I 0:20:14.480 --> 0:20:16.680 have a certain amount of homework to do, and I 0:20:16.840 --> 0:20:18.960 like to get done on time, but you have a 0:20:19.000 --> 0:20:24.000 whole weekend cheating a snob? Those are ones that are 0:20:24.160 --> 0:20:27.240 open ended, with a student talking in the beginning and 0:20:27.280 --> 0:20:29.960 then telling the story about what's going to happen. Did 0:20:30.000 --> 0:20:32.480 you hear about John Taylor? They voted him out a 0:20:32.520 --> 0:20:36.600 student council representative because he was called cheating who John Taylor? 0:20:36.680 --> 0:20:46.840 Voted down John Taylor? And then you have to decide 0:20:46.840 --> 0:20:49.720 at the end, like what you're gonna do? Is the 0:20:49.800 --> 0:20:57.360 group justified in judging everything Sarah does as snobbery. What 0:20:57.400 --> 0:21:03.119 do you think? Why study Industrial Arts is part of 0:21:03.119 --> 0:21:07.360 a series. There's why study Latin? Why study science? Why 0:21:07.400 --> 0:21:10.720 study home economics? Here's an elective that you have in 0:21:10.800 --> 0:21:12.600 high school that you could take, and this is why 0:21:12.640 --> 0:21:15.280 you should take it. And Joe will need score as 0:21:15.320 --> 0:21:18.439 a man who can translate and build those ideas on 0:21:18.520 --> 0:21:22.720 paper into the actual homes, churches, schools, and factors of 0:21:22.800 --> 0:21:26.480 the future. Some of you may be spakesmen who must 0:21:26.600 --> 0:21:32.800 understand the impact and implications of science on society manners 0:21:32.800 --> 0:21:37.840 in school. This boy is acting up in class and 0:21:38.000 --> 0:21:40.280 is not allowed to take recess and see has to 0:21:40.280 --> 0:21:44.320 clean the chalkboards. Larry, I just wanted to remind you 0:21:44.440 --> 0:21:48.159 it's your boards, Thomas Rand. We're gonna play ball at 0:21:48.200 --> 0:21:55.560 recess honors. You better get somebody else, some girl and Chalky. Fine, Larry, 0:21:55.800 --> 0:21:58.679 my name is Chocky. I think he's a devil who's 0:21:58.720 --> 0:22:04.360 actually chopped. I think I can trust you, Larry. After all, 0:22:05.000 --> 0:22:08.280 I'm just trying to be your friend. Basically takes the 0:22:08.320 --> 0:22:10.840 boy to task on his behavior. I'm here for a 0:22:11.040 --> 0:22:15.160 purpose to do something about your manners. What do you mean, 0:22:16.000 --> 0:22:20.040 my man, I'm worried about you. Larry, Hey, hey, what 0:22:20.080 --> 0:22:23.200 are you doing? I'm gonna wipe you out, That's what 0:22:24.840 --> 0:22:28.920 my heavens. You are a bad mannered young man, aren't you, 0:22:29.200 --> 0:22:32.639 and teaches him a lesson. I'm ready to go, Larry, 0:22:33.000 --> 0:22:38.160 oh jee, No, Chalky, I can't do that. I need 0:22:38.200 --> 0:22:41.480 you to help me with my manners. No, Larry, you 0:22:41.600 --> 0:22:44.840 don't need me anymore. You can learn good manners yourself 0:22:45.160 --> 0:22:48.320 by watching the good manners of others, and he eventually 0:22:48.400 --> 0:22:53.399 learns from it. Larry, you've done an excellent job on 0:22:53.440 --> 0:22:58.840 the chalkboard. Thank you, Miss Ryan. What about prejudice is 0:22:58.880 --> 0:23:03.120 pretty good because it is high school students. I don't 0:23:03.119 --> 0:23:05.600 know about you, but I think the best party you've 0:23:05.640 --> 0:23:09.879 ever said North And there is one student who you 0:23:10.000 --> 0:23:13.880 never see. This is the story of Bruce Jones, who 0:23:13.880 --> 0:23:17.919 walked in a shadow of hate and suspicions. Who is 0:23:17.960 --> 0:23:21.680 being prejudiced against? You see the reconciliation. You see how 0:23:21.680 --> 0:23:25.439 they process that, and it's pretty great. The thing is, 0:23:25.680 --> 0:23:29.719 it wasn't Bruce at all. I was the one neatly 0:23:29.840 --> 0:23:33.040 fitting people into categories because of where they go to church, 0:23:33.640 --> 0:23:36.080 or what their fathers do, or what the color of 0:23:36.080 --> 0:23:40.920 their skin is. The Innocent Party is one of several 0:23:41.320 --> 0:23:45.399 venerial disease films that Centron did. The Quarkscrews. Things of 0:23:45.480 --> 0:23:49.639 the terms of these films talk about young adults and 0:23:49.760 --> 0:23:53.240 kids are having sex and they're getting venerial disease, and 0:23:53.320 --> 0:23:56.080 I'm talking about it and it's a problem. I'm not 0:23:56.160 --> 0:23:58.439 here to like a moral jud but you and I 0:23:58.560 --> 0:24:02.200 know that it was kindtracted sexual intercourse with an infected person. 0:24:03.280 --> 0:24:07.240 That that beat that only summer of love thing that 0:24:07.400 --> 0:24:11.800 was much later. Choosing a classroom film is kind of 0:24:11.800 --> 0:24:15.280 an ad Proper use of film heightens the importance of 0:24:15.280 --> 0:24:18.879 the teacher and makes his contribution all the more necessary. 0:24:19.000 --> 0:24:22.320 This is how you use an educational film. Such films 0:24:22.359 --> 0:24:25.880 provide common experiences through which your students can more easily 0:24:25.920 --> 0:24:29.480 gain a new appreciation of themselves and the factors which 0:24:29.520 --> 0:24:34.760 shape their lives. The narrator here seen on camera is 0:24:34.800 --> 0:24:38.600 her curvy himself. Let's take a look at some screen examples. 0:24:39.720 --> 0:24:42.439 They would probably give that away to a school system 0:24:42.640 --> 0:24:46.280 and say, but here, here's a film about choosing classroom films, 0:24:46.320 --> 0:24:48.160 and here's a catalog, and you get to go through 0:24:48.240 --> 0:24:50.760 and pick what fits and why you would pick a 0:24:50.840 --> 0:24:54.160 film for a given class. You will develop your own 0:24:54.160 --> 0:24:57.199 skill in evaluating films by learning to recognize some of 0:24:57.240 --> 0:25:01.119 the film techniques we have demonstrated here. Now, each of 0:25:01.119 --> 0:25:04.680 these serve an essential purpose, but remember too that any 0:25:04.720 --> 0:25:07.480 one of them may serve a secondary purpose, which may 0:25:07.520 --> 0:25:12.320 be very important in relation to your teaching goals. In 0:25:12.560 --> 0:25:16.280 an educational film, you have eleven minutes to tell what 0:25:16.320 --> 0:25:19.399 you need to tell, and so how do you relay 0:25:19.400 --> 0:25:23.000 that information? How do you break down the shots? You 0:25:23.080 --> 0:25:25.159 have to be very efficient, and you have to be 0:25:25.280 --> 0:25:29.960 very deliberate. I feel like that deliberateness and that efficiency 0:25:30.480 --> 0:25:34.600 helped Carnival of Souls. Thirty five millimeter was very expensive, 0:25:34.920 --> 0:25:37.560 and the fact that they had shot so many educational 0:25:37.640 --> 0:25:40.320 films was kind of a similar criteria of look and 0:25:40.400 --> 0:25:42.919 got to knock it out in the thoughtful way, in 0:25:42.920 --> 0:25:46.359 a smart way. I don't think shots were wasted in 0:25:46.440 --> 0:25:49.920 that film. The idea of doing a thirty five millimeter 0:25:50.240 --> 0:25:53.880 feature film for thirteen thousand dollars cache is a little 0:25:53.920 --> 0:25:57.560 staggering even then, but we did get the money and 0:25:57.600 --> 0:26:00.439 decided yes, we can do it, and start and shooting 0:26:00.480 --> 0:26:05.240 the film in order to make Carnival. Harvey relied heavily 0:26:05.600 --> 0:26:09.480 on his Centron rollo. Dex Carnival of Souls writer John 0:26:09.520 --> 0:26:13.640 Clifford was also on staff with Centron. The nice thing 0:26:13.640 --> 0:26:17.879 about working with her is that, over the years, to 0:26:18.000 --> 0:26:22.600 come up with something difficult, he always says, well, you're right, 0:26:22.960 --> 0:26:24.560 that's the way you think it ought to be, and 0:26:24.960 --> 0:26:30.440 I'll get it shut. I'll try to, so you know, 0:26:31.040 --> 0:26:33.800 writers appreciate it. He's asked me do the writing, and 0:26:33.920 --> 0:26:38.160 I stay out of his dre There's a lot of 0:26:38.359 --> 0:26:40.919 actors in there that show up in Centron films, and 0:26:40.960 --> 0:26:43.840 a lot of locations that show up in Centron films 0:26:43.840 --> 0:26:46.040 as well, So it's like, oh, I know that guy. 0:26:46.400 --> 0:26:48.800 Obviously that guy grow up like he was in this 0:26:49.000 --> 0:26:51.560 y study science film, and now he's a hot rotter. 0:26:52.400 --> 0:26:54.800 Larry Sneakers, the cut who began the drag race which 0:26:54.840 --> 0:26:58.000 started the film, Joe, drag your foot boy. Look what 0:26:58.040 --> 0:27:02.040 we got here? Now you wanted right? Uh. Sneagus was 0:27:02.119 --> 0:27:06.240 also the movie's production manager, so he borrowed pretty heavily 0:27:06.280 --> 0:27:08.640 from there, and he also borrowed pretty heavily from University 0:27:08.680 --> 0:27:12.600 of Kansas is Dramatic School. Come on, what do you 0:27:12.640 --> 0:27:15.760 I'm an alcoholic look. I just like the s thought 0:27:15.800 --> 0:27:18.000 that they often a good mood. That's all. You must 0:27:18.000 --> 0:27:23.360 be hilarious by noons. Lifelong theater teacher Sidney Burger, who 0:27:23.359 --> 0:27:28.560 played the creepy neighbor John Lindon was another k you alone. 0:27:28.280 --> 0:27:31.959 Wonderful time I was raving student here at KU when 0:27:32.000 --> 0:27:34.919