Picture Australia is a pictorial database of Australiana that serves as a clearinghouse for the collections of over 50 institutions throughout Australia and New Zealand. The items available for viewing include paintings, photographs, drawings, prints, posters, sculpture, costume, and weapons drawn from the databases of national and regional libraries, archives, museums, and universities.

While a handful of Aboriginal rock painting images are accessible, primarily the collections focus on post-contact Australia's development as a nation. This self-titled digital "discovery" service yields thousands of images of children and youth of Australia in formal portraits, parades, sporting events, picnics, and just playing from a myriad of sources.

Browsing is presented through fixed tours called "Picture Trails." These are arranged under the headings of Art & Culture, Sports & Physical Education, Geography & Environment, and History & Society on a varied range of topics from advertising to ballet and indigenous dance. Most of the featured historical content focuses on Australian contributions to war efforts abroad. None feature children and as they are not searchable, they are not very useful for teaching children's history.

However, most Trails include an "Educational Value Statement," like this one from "Advertising in Australia." These provides discussion points that teachers might find useful in using a Picture Trail as a launching point to look at what is missing.

Teachers and Students provides basic ideas for lessons and ways to use the database. "My Favorite" images allows you to check images and retrieve them later where you can download selections. This includes a thumbnail and the database text in a simple user-friendly format.

The favorites are per session and cannot be saved, but could still be made into study guides for teaching. For example, there are 1,177 returns for "boy scouts," but only 310 with the added search term "jamboree." Thus there is a base of research material for an investigation of Boy Scout activities around Australia.

Picture Australia is overseen by the National Library of Australia and there in no attempt to define the number of entries included. The weight of this encyclopedic database, the sheer number of returns, can be overwhelming.

Alongside the catalogued historical images within institutions, Picture Australia allows the general public to contribute images to the database via Flickr. Thus a free text keyword search for "children" yields an unmanageable 38,725 images. However, when the advanced search function to exclude Flickr is used, there are 2,735 returns, which then seems low.

A search using the keyword "child" brings 9,155 results and 8,913 with Flickr excluded, still an large number to sift through. Scholars looking to use Picture Australia for research would find searching for usable data frustrating due to the limited advanced search options and the lack of standardization within the data.

The information attached to the images varies widely in usefulness and depth. Due to the absence of standards for data entry and arrangement within records, there is another problem with the free text search. Searching with the keyword "girl" yields 8,222 images (excluding Flickr). Yet this will include all of the instances that "girl" is mentioned in the entry description section.

This can lead to false returns, particularly with results from the State Library of South Australia, which describes all of the items in a particular collection on each associated record, presumably to keep them together "virtually." For example, the "all word" search for "girls playing" has 176 hits, include 43 photographs of the Vardon family album. Yet only three of these pictures show "girls playing" because each family album image contains the same data.

The best way to use this database for children and youth research that yields viable results is to search each institution's database one at a time. This may beg the question, why use it at all. Having all the materials in a central location, though, does simplify the process and can help users identify select institutions to explore more carefully.

A useful site for the study of children in the Pacific Basin is The South Seas, a resource database dedicated to European voyages from 1760 to 1800. Currently in its first phase of development, the site makes accessible online for singular or comparative research the full manuscripts of the journals of James Cook, John Banks, and Sydney Parkinson from the Endeavor voyxage of 1768-1771. Also available are all three volumes of John Hawkesworth's Account of the Voyages undertaken. . . in the Southern Hemisphere. . . (1773). While this is currently a literary resource database only, there are links for future access to the National Library of Australia's (NLA) collections of historical images, rare maps and drawings from this period.

Easily navigable for browsing, the site has all the key headings intuitively placed. It is well indexed and, while basic, functions adequately with manageable returns. Although not part of the historical collection, there are a few maps presented that are particularly interesting as they chart the day-by-day progress of Cook's Endeavor. The South Seas Companion is the main searching page from which you can browse such topics as: Concepts, Parties, Cultural Artifacts, Natural Phenomena, People, Places, Repositories, and Functions. Unfortunately, these are not clickable and one must browse alphabetically within each heading. Thus it is not really browsing and is actually quite time consuming to achieve a real overview using this method. There are four different search menus catering to different research needs, Keyword, Structured, Bibliography and Archival Sources.

South Seas provides primary sources for research on the people encountered on Cook's voyages, by himself, Banks and Parkinson. From the home page keyword search for "child," for example, there are 78 results that include original sketches and journal descriptions of children, their place and function Tahiti and New Zealand. In James Morrison's Account of Tahiti, he describes the rituals associated with the birth of a new child, feeding and touching taboos, and filial obligations and rights.

Because of the way South Seas has designed the keyword search, "child" will also return other results such as, "child-like" and "childish," which typically refer to adult behavior not children's. As well, results for specific terms, such as "boy" actually include all words containing the consecutive letters, including "boys" and "boyer." With 63 returns under the keyword "girl or girls," there is an interesting variety of information indexed with topics ranging from tattooing to cannibalism and the "rites of Venus." Considering the character of these resources written by men on long sea voyages, it should come as no surprise that most of the references to girls are of a sexual nature. As with all texts describing first contact, what the men chose to write about, the judgments they made, and the situations they created is more revealing of their own characters and culture than the one they are "observing."

While South Seas is full of primary references and resources useful for research, it is not geared towards teaching. There are no tools, widgets, or favorites to assist in saving searches, returns or sharing the images or data. This is described as the first phase of a greater project that the NLA is undertaking to create a clearinghouse of resources related to European voyaging in the South Pacific and cross-cultural contact. Yet it is not quite complete as there are several pages in the "About" section still being built. The Cultural Atlas section has maps available to track the path of the voyages, the images section has this message on its homepage: "We aim also to have a multimedia-guide to using South Seas to discover historical images and rare maps online here in early 2004."

Much of the true functionality of this website has yet to be achieved. However, judging from the year of the last updates, a second phase may not be forthcoming.

The Gate of Heavenly Peace centers on a documentary about the events of Tiananmen Square in the spring of 1989. There are links to selections from the documentary, as well as a huge archive of primary and secondary source readings about the events. A chronology of major events in 20th century China has its own page, broken into two sections: events prior to 1989, and then a more detailed listing of the events in the spring of 1989, beginning with the death of Former Party General Secretary Hu Yaobang. The site is easy to navigate, with links at the top and bottom of most pages.

The clips from the documentary include some background on Tiananmen Square itself, the Cultural Revolution, and some basic history of the People's Republic of China. The majority of the clips are about the events of June 1989, including the dramatic footage of "The Man Against the Tanks," showing both the official Chinese government's version of the events as well as the version of events as seen by the rest of the world. Most of the documentary is original footage interspersed with interviews of participants at the demonstrations. Parents of deceased demonstrators are also interviewed. Unfortunately, the clips display on a relatively small portion of the screen and cannot be expanded. A word of caution for teachers planning on using the site in their classrooms: some students may find the images of violence and of wounded teenagers disturbing. The final excerpt includes, "Aftermath of June 4th" a Chinese rock video with English subtitles (including some inappropriate language).

In addition to the clips from the documentary, there is a gallery of images in the Media Library, but as with the video, many of the images are very small and difficult to see, and cannot be enlarged. In the gallery there is a selection of images on Chinese Youth. While some of the images have captions, several do not, which would make teaching with them somewhat problematic. Some images have captions that are in Chinese, and no translation is provided. However, these images are bigger and much easier to view than others. The images are mostly propaganda, which could be used for an excellent lesson on how Mao cultivated his relationship with the youth in China.

The remainder of the site is very text-heavy. There is a section on additional sources, some primary and others secondary. Perhaps the best source is "The Truth About the Beijing Turmoil," which is the official government account of the events, published in 1990. Teachers and students could use this source in a variety of ways: they could compare this version with what is portrayed in the video excerpts or discuss it as a piece of propaganda. The reading could also be used in conjunction with the official presentation of the "Man Against Tank," as mentioned above.

With older, more advanced learners, teachers may wish to use the site to teach about bias. For the most part, the site does not editorialize; however, the selection of governmental sources indicates a strong opinion about the events in Tiananmen. A discussion about the point of view of the creators of the site and the documentary would be a valuable one.

Search terms such as "boys" bring the viewer to a section on Chinese rock music. The article in this section is written by a scholar at the Australian National University in Canberra. The article discusses the role of pop and rock in Tiananmen. There are some lyrics posted, but the great weakness of this site is that there are no audio files of the songs discussed in the article. The search term "girls" is not useful, as it only leads to two results, both of which are parts of descriptions of the events at Tiananmen. Searching for "children" results in many pages filled with background information that could be useful for teachers.

The images and documents presented on this website consist of material on Das Bund Deutscher Maedel in der Hitlerjugend, or "League of German Girls in the Hitler Youth." This organization for girls and young women was founded in the 1920s and became part of the Hitler Youth in 1932. At that time, all other scouting and religious groups were disbanded and their membership amalgamated into the BDM. While members included girls as young as 10 years of age, the site states that "Most of the League's leaders were women with completed university degrees or vocational training who were between their mid-20s and their late 30s in age." Many remained in the League until they got married, pregnant, or went to work. Another organization, Das Werk Glaube und Schoenheit, or "the Belief and Beauty Society," that became affiliated with the BDM, emphasized aesthetic movement activities, arts and crafts, fashion, home economics, and childcare.

However spare, the BDM site design is consistent and the materials are easily accessed. There are hundreds of images, significant texts of the movement, printed illustrations and drawings, and photos of artifacts. The explanatory materials, in which historian Chris Crawford has taken on a leading role, include translated personal narratives, background, and descriptions of the structure and leadership of daily and family life.

The materials were posted by a group of historians who are also re-enactors of the BDM, and state that the site represents an under-researched aspect of the period. A prominently placed disclaimer clarifies that the site does not represent a neo-Nazi position, but is intended to be historical and non-political, for the use of re-enactors and historians. One of the motivations for constructing the site is to expand understanding of the BDM beyond its association with the Hitler Youth, and the photographs, booklets, magazines, and other evidence shows this multi-faceted function. It was the only organization available for German girls, and fulfilled many associative and recreational functions. The girls went on trips, camped out, played sports, and created theatrical productions, crafts, and fashions. The photographs indicate that like those in modern girls' organizations elsewhere, many girls bonded with each other and enjoyed BDM activities.

The website notes that it differed sharply from the Hitler Youth for boys in that it did not include paramilitary training, and only awarded medical badges. The organization began much like the Girl Scouts in terms of its focus on bodily exercise, life and outdoor skills, and community activities, justifying these as a response to more sedentary contemporary lifestyles for youth in contrast to the hard work imposed on children in earlier times. The difference is that membership and participation under the National Socialist government was not voluntary, but compulsory. This quotation from the 1940 Youth Leadership pamphlet is evidence of the tone of the organization: "You, too, belong to our leader. He asks of you, and of all within our community, that we grow up to become obedient, service-minded and dutiful, and live in comradeship with those in our community. This is why you join the Jungmaedel League at the age of 10. Aside from your duties at home and in school, service in the Jungmaedel now also asks you to do your part voluntarily and joyfully."

On one level, the site illustrates German Christian girlhood under the Nazis. The historical materials provide glimpses of girls' activities and appearance, and the primary source images and text illustrate the friendships among young women and girls. It also depicts the ways in which a modern state could appropriate girlhood. A quotation from the BDM Service Manual indicates the way in which the state regimented even the most personal motivations to be healthful, beyond what might be classified as public health concerns: "Sport should not become a goal in itself with us; we do not want to break records; we perform bodily exercises in order to become happy and healthy members of the national community. 'Community and homeland solidarity' should be the motto of our bodily exercise regimen." 1 A hand-written dedication in the book, which may have been the printed guidance of a high official, referred to the pleasure of selfless service to the nation. A section on the Ostdienst—work with resettled Germans in eastern Poland—as well as some images of war relief work shows the transition from relatively carefree beginnings to doing quite demanding work on behalf of the Reich. The materials are wide-ranging, from the most prosaic images of girls on outings to snapshots of girls thrust into situations that went beyond normal expectations of young womanhood, but were seen as necessary in the later years of the war.

Founded in 1897, the Kyoto National Museum holds a rich collection of pre-modern art and artifacts from Japan and East Asia. Offering an English-language website (also available in Chinese, Korean, French, and Spanish), the museum is accessible and user-friendly.

One can access images of the museum's holdings online through two databases. First, its "Online Database" offers a means to search and view over five thousand objects and sets within its holdings. The second means of searching is via the "KNM Gallery." This search engine allows online visitors to peruse selections from specific categories of the collection. One may, for example, browse chosen images from collections of textiles, ceramics, or ink paintings, amongst a total of 14 categories.

While students may enjoy browsing the "KNM Gallery" collections as open exploration, searches at the "Online Database" are more immediately productive for those interested in exploring objects or images related to childhood and family. The search engine can be utilized to search for keywords within a title as well as by a designated category (e.g. painting, calligraphy, sculpture, etc.) While title searches related to "child" or "children" produce relatively narrow results, broader searches and browsing can offer useful assemblies of images and objects.

A search for "child" in the title search category, for example, produces five objects while a search for "children" reveals 15. While these searches do produce interesting samples in porcelain and textiles, broader browsing strategies are more productive. For example, a path through the collection useful for information on children is "Textiles: Dolls," available as a drop-down "category" line in the search engine for the "Online Database." This search strategy offers 113 results that students could productively survey, study, and choose samples to comment upon. A teacher might find it productive to brainstorm along themes of the representation of children and family, the material composition of the dolls and imagined means of manufacture, as well as their potential uses within Japanese families and society for the historical periods represented here.

Image presentation is user-friendly and agile, including magnification that provides a closer look at detail of the objects, images, and figures. See, for example, the 19th century "Child with Fox Mask; Gosho Doll" from Japan's Edo Period that is housed under the category of textiles. The site provides basic details (country, time period, dimensions and more) and enlarging the image enables users to examine the doll's form, materials, and the particularly nice detail of its embroidered garb and puckered grin.

Image quality does vary, however, both in resolution and in the frequency of black-and-white photographs rather than color, yet with strategic use, this site offers valuable materials for classroom utilization.

The International Children's Digital Library (ICDL) is a bookmobile for the global age. The goal of the ICDL Foundation, housed at the University of Maryland, College Park, is to collect children's literature from as many world languages as possible and to make these available in digital form. The rationale supports the United Nations' Educational Scientific and Cultural Organization (UNESCO) concept that learning in the mother tongue is a human right. Its mission is also to support children (and with them, adults) reading for pleasure. The ICDL is a public project framed within a research project on the use and effects of literature on children as readers. The research and development team includes children who have helped form the criteria and interface of the project, and it also includes a longitudinal study of children readers from schools in New Zealand, Germany, Honduras, and the United States.

While the website has a very complex home page that is surprisingly cluttered for a digital interface laboratory, but it is attractively arranged, with bright colors and an appealing logo. The homepage is designed to announce and support the site's function as the research and collection portal. Most importantly, the homepage provides at least a dozen different ways to read books. In the left-hand corner, there is a link to "Read Books." Just below that, other links include a sign-in option and various instructions for searching, reviewing, and guidelines for use. Scattered all over the home page are thumbnail images of book covers and a selection of featured books in various languages, including a portal to download iPhone apps for portable reading pleasure.

The heart of the website is the reading interface. From the icon in the upper left corner, a colorful page opens with a pane for book covers. Buttons all around it allow readers to choose by age groupings, by cover color, by length of book, by topic (animals, fantasy, fairy tales, etc), and by collection, including recently added books and exhibitions. Pushing the button brings thumbnail covers into the pane or successive panes. Finally, clicking on the cover gives the inviting message "Read this Book" in a choice of languages. The whole book then appears in miniature. Clicking on each page opens a simple reading pane with just a few arrows and a "home" icon as well as access to the search page and a sign-in option for adults and children to create bookmarks and libraries, store searches and the like. Hyperlinks at the edge of the reading pane include author information, "about this book," and other books by the same author. The reading interface is very much like reading a book, and can easily be paged backwards or forwards by clicking any page. The art of children's book illustration finds ample support in the beautifully scanned and sized reading interface. The collection currently contains 4,346 books, both in copyright and in the public domain, written in 54 languages. About 40% of the collection consists of historical books, and the rest are contemporary works.

The International Children's Digital Library is a feast for children who are bookworms. It is also a treasure trove for teachers of reading, literature, science, social studies, and world cultures or geography. Scholarly researchers will find in its global collection a wealth of material for comparison, thematic exploration, historical studies of childhood and reading, and interdisciplinary studies of all kinds. The fact that the project serves the needs of both avid readers for pleasure and researchers makes it extremely valuable as a locus for learning about reading, cultures, and the stuff of stories and images. It will create a lot of synergy for a long time to come, not only as a repository, but as an engine for generating literature and grooming new connoisseurs of literature among young and old.

While the project invites publishers, authors, and others to submit books and grant permission for scanning and publication on the site, it is not possible to download or otherwise reproduce or alter the books. Moreover, books that ultimately appear on the site are selected by the project researchers based on collection development criteria. Currently, no "born digital" books are included, but the project may eventually include motion pictures and other media. The ICDL plans to incorporate biographies of authors and illustrators, annotations, reviews by readers (including children), as well as translations of works where permitted. It may in the future also include reading activities to supplement the experience of reading, or for pedagogical use. Beyond the primary function of making literature for children accessible wherever children live, and beyond the mere fun of reading the works, the collection is also a computer science project for the purpose of improving computer interfaces for children and the use of digital materials by a wide audience of users for various purposes.

I am a girl—American born and of Scotch descent. My grandparents came to America from Glasgow, Scotland, and grandfather became a minister (Presbyterian). Mother was the youngest of nine children and was born in New York. Dad came from New York also; his parents were of Scotch and English stock. I was born in Detroit, July 1, 1913. I have one brother. Stating us in order of birth, we are: Mary, 16, and Edward, 12.

My religious denominations have been varied. Mom put me in the cradle-roll of a Congregational Church, but I have been a member of the Lutheran, Presbyterian, Christian Science, and Methodist Episcopal churches. All of which indicates that either I'm very broad-minded religiously or unable to make up my mind. The latter is more plausible. Was a member of a Camp Fire Girls group for several years and was greatly interested in its activities. I reached the second rank in the organization.

My mother has no occupation. One calls her a housewife, I guess, but she isn't home enough for that. She travels in the winter and fall. Dad is a Lawyer. My real father is dead. He died when I was very young. His work was in the appraisal business. My clearest picture of him is playing his violin. He played beautifully. Mother plays the piano and when she accompanied him I used to listen for hours. I love music. . . .

I have tried to remember the first time that I went to a movie. It must have been when I was very young because I cannot recall the event. My real interest in motion pictures showed itself when I was in about fourth grade at grammar school. There was a theater on the route by which I went home from school and as the picture changed every other day I used to spend the majority of my time there. A gang of us little tots went regularly.

One day I went to see Viola Dana in "The Five Dollar Baby." The scenes which showed her as a baby fascinated me so that I stayed to see it over four times. I forgot home, dinner, and everything. About eight o'clock mother came after me—frantically searching the theater.

Next to pictures about children, I loved serials and pie-throwing comedies, not to say cowboy 'n' Indian stories. These kind I liked until I was twelve or thirteen; then I lost interest in that type, and the spectacular, beautifully decorated scenes took my eye. Stories of dancers and stage life I loved. Next, mystery plays thrilled me and one never slipped by me. At fifteen I liked stories of modern youth; the gorgeous clothes and settings fascinated me.

My first favorite was Norma Talmadge. I liked her because I saw her in a picture where she wore ruffly hoop-skirts which greatly attracted me. My favorites have always been among the women; the only men stars I've ever been interested in are Tom Mix, Doug Fairbanks and Thomas Meighan, also Doug McLean and Bill Haines. Colleen Moore I liked for a while, but now her haircut annoys me. My present favorites are rather numerous: Joan Crawford, Billie Dove, Sue Carol, Louise Brooks, and Norma Shearer. I nearly forgot about Barbara LaMar. I really worshiped her. I can remember how I diligently tried to draw every gown she wore on the screen and how broken-hearted I was when she died. You would have thought my best friend had passed away.

Why I like my favorites? I like Joan Crawford because she is so modern, so young, and so vivacious! Billie Dove is so beautifully beautiful that she just gets under your skin. She is the most beautiful woman on the screen! Sue Carol is cute 'n' peppy. Louise Brooks has her assets, those being legs ‘n' a clever hair-cut. Norma Shearer wears the kind of clothes I like and is a clever actress.

I nearly always have gone and yet go to the theater with someone. I hate to go alone as it is more enjoyable to have someone to discuss the picture with. Now I go with a bunch of girls or on a date with girls and boys or with one fellow.

The day-dreams instigated by the movies consist of clothes, ideas on furnishings, and manners. I don't day-dream much. I am more concerned with materialistic things and realisms. Nevertheless it is hard for any girl not to imagine herself cuddled up in some voluptuous ermine wrap, etc.

The influence of movies on my play as a child—all that I remember is that we immediately enacted the parts interesting us most. And for weeks I would attempt to do what that character would have done until we saw another movie and some other hero or heroine won us over.

I'm always at the mercy of the actor at a movie. I feel nearly every emotion he portrays and forget that anything else is on earth. I was so horrified during "The Phantom of the Opera" when Lon Chaney removed his mask, revealing that hideous face, that until my last day I shall never forget it.

I am deeply impressed, however, by pathos and pitifulness, if you understand. I remember one time seeing a movie about an awful fire. I was terrified by the reality of it and for several nights I was afraid to go to sleep for fear of a fire and even placed my hat and coat near by in case it was necessary to make a hasty exit. Pictures of robbery and floods have affected my behavior the same way. Have I ever cried at pictures? Cried! I've practically dissolved myself many a time. How people can witness a heart-rending picture and not weep buckets of tears is more than I can understand. "The Singing Fool," "The Iron Mask," "Seventh Heaven," "Our Dancing Daughters," and other pictures I saw when very young which centered about the death of someone's baby and showed how the big sister insisted on her jazz 'n' whoopee regardless of the baby or not - these nearly killed me. Something like that, anyway; and I hated that girl so I wanted to walk up to the screen and tear her up! As for liking to cry—why, I never thought of that. It isn't a matter of liking or not. Sometimes it just can't be helped. Movies do change my moods, but they never last long. I'm off on something else before I know it. If I see a dull or morose show, it sort of deadens me and the vim and vigor dies out 'til the movie is forgotten. For example, Mary Pickford's movie—"Sparrows"—gave me the blues for a week or so, as did li'l Sonny Boy in "The Singing Fool." The poor kid's a joke now.

This modern knee-jiggling, hand-clapping effect used for accompanying popular music has been imitated from the movies, I think. But unless I've unconsciously picked up little mannerisms, I can think of no one that I've tried to imitate.

Goodness knows, you learn plenty about love from the movies. That's their long run; you learn more from actual experience, though! You do see how the gold-digger systematically gets the poor fish in tow. You see how the sleek-haired, long-earringed, languid-eyed siren lands the men. You meet the flapper, the good girl, 'n' all the feminine types and their little tricks of the trade. We pick up their snappy comebacks which are most handy when dispensing with an unwanted suitor, a too ardent one, too backward one, etc. And believe me, they observe and remember, too.

I can remember when we all nudged one another and giggled at the last close-up in a movie. I recall when during the same sort of close-up when the boy friend squeezes your arm and looks soulfully at you. Oh, it's lotsa fun! No, I never fell in love with my movie idol. When I don't know a person really, when I know I'll never have a chance with 'em, I don't bother pining away over them and writing them idiotic letters as some girls I've known do. I have imagined playing with a movie hero many times though that is while I'm watching the picture. I forget about it when I'm outside the theater. Buddy Rogers and Rudy Valentino have kissed me oodles of times, but they don't know it. God bless 'em!

I am a girl—American born and of Scotch descent. My grandparents came to America from Glasgow, Scotland, and grandfather became a minister (Presbyterian). Mother was the youngest of nine children and was born in New York. Dad came from New York also; his parents were of Scotch and English stock. I was born in Detroit, July 1, 1913. I have one brother. Stating us in order of birth, we are: Mary, 16, and Edward, 12.

My religious denominations have been varied. Mom put me in the cradle-roll of a Congregational Church, but I have been a member of the Lutheran, Presbyterian, Christian Science, and Methodist Episcopal churches. All of which indicates that either I’m very broad-minded religiously or unable to make up my mind. The latter is more plausible. Was a member of a Camp Fire Girls group for several years and was greatly interested in its activities. I reached the second rank in the organization.

My mother has no occupation. One calls her a housewife, I guess, but she isn’t home enough for that. She travels in the winter and fall. Dad is a Lawyer. My real father is dead. He died when I was very young. His work was in the appraisal business. My clearest picture of him is playing his violin. He played beautifully. Mother plays the piano and when she accompanied him I used to listen for hours. I love music. . . .

I have tried to remember the first time that I went to a movie. It must have been when I was very young because I cannot recall the event. My real interest in motion pictures showed itself when I was in about fourth grade at grammar school. There was a theater on the route by which I went home from school and as the picture changed every other day I used to spend the majority of my time there. A gang of us little tots went regularly.

One day I went to see Viola Dana in “The Five Dollar Baby.” The scenes which showed her as a baby fascinated me so that I stayed to see it over four times. I forgot home, dinner, and everything. About eight o’clock mother came after me—frantically searching the theater.

Next to pictures about children, I loved serials and pie-throwing comedies, not to say cowboy ‘n’ Indian stories. These kind I liked until I was twelve or thirteen; then I lost interest in that type, and the spectacular, beautifully decorated scenes took my eye. Stories of dancers and stage life I loved. Next, mystery plays thrilled me and one never slipped by me. At fifteen I liked stories of modern youth; the gorgeous clothes and settings fascinated me.

My first favorite was Norma Talmadge. I liked her because I saw her in a picture where she wore ruffly hoop-skirts which greatly attracted me. My favorites have always been among the women; the only men stars I’ve ever been interested in are Tom Mix, Doug Fairbanks and Thomas Meighan, also Doug McLean and Bill Haines. Colleen Moore I liked for a while, but now her haircut annoys me. My present favorites are rather numerous: Joan Crawford, Billie Dove, Sue Carol, Louise Brooks, and Norma Shearer. I nearly forgot about Barbara LaMar. I really worshiped her. I can remember how I diligently tried to draw every gown she wore on the screen and how broken-hearted I was when she died. You would have thought my best friend had passed away.

Why I like my favorites? I like Joan Crawford because she is so modern, so young, and so vivacious! Billie Dove is so beautifully beautiful that she just gets under your skin. She is the most beautiful woman on the screen! Sue Carol is cute ‘n’ peppy. Louise Brooks has her assets, those being legs ‘n’ a clever hair-cut. Norma Shearer wears the kind of clothes I like and is a clever actress.

I nearly always have gone and yet go to the theater with someone. I hate to go alone as it is more enjoyable to have someone to discuss the picture with. Now I go with a bunch of girls or on a date with girls and boys or with one fellow.

The day-dreams instigated by the movies consist of clothes, ideas on furnishings, and manners. I don’t day-dream much. I am more concerned with materialistic things and realisms. Nevertheless it is hard for any girl not to imagine herself cuddled up in some voluptuous ermine wrap, etc.

The influence of movies on my play as a child—all that I remember is that we immediately enacted the parts interesting us most. And for weeks I would attempt to do what that character would have done until we saw another movie and some other hero or heroine won us over.

I’m always at the mercy of the actor at a movie. I feel nearly every emotion he portrays and forget that anything else is on earth. I was so horrified during “The Phantom of the Opera” when Lon Chaney removed his mask, revealing that hideous face, that until my last day I shall never forget it.

I am deeply impressed, however, by pathos and pitifulness, if you understand. I remember one time seeing a movie about an awful fire. I was terrified by the reality of it and for several nights I was afraid to go to sleep for fear of a fire and even placed my hat and coat near by in case it was necessary to make a hasty exit. Pictures of robbery and floods have affected my behavior the same way. Have I ever cried at pictures? Cried! I’ve practically dissolved myself many a time. How people can witness a heart-rending picture and not weep buckets of tears is more than I can understand. “The Singing Fool,” "The Iron Mask,“ "Seventh Heaven,” "Our Dancing Daughters,“ and other pictures I saw when very young which centered about the death of someone’s baby and showed how the big sister insisted on her jazz ‘n’ whoopee regardless of the baby or not - these nearly killed me. Something like that, anyway; and I hated that girl so I wanted to walk up to the screen and tear her up! As for liking to cry—why, I never thought of that. It isn’t a matter of liking or not. Sometimes it just can’t be helped. Movies do change my moods, but they never last long. I’m off on something else before I know it. If I see a dull or morose show, it sort of deadens me and the vim and vigor dies out 'til the movie is forgotten. For example, Mary Pickford’s movie—”Sparrows“—gave me the blues for a week or so, as did li’l Sonny Boy in ”The Singing Fool." The poor kid’s a joke now.

This modern knee-jiggling, hand-clapping effect used for accompanying popular music has been imitated from the movies, I think. But unless I’ve unconsciously picked up little mannerisms, I can think of no one that I’ve tried to imitate.

Goodness knows, you learn plenty about love from the movies. That’s their long run; you learn more from actual experience, though! You do see how the gold-digger systematically gets the poor fish in tow. You see how the sleek-haired, long-earringed, languid-eyed siren lands the men. You meet the flapper, the good girl, ‘n’ all the feminine types and their little tricks of the trade. We pick up their snappy comebacks which are most handy when dispensing with an unwanted suitor, a too ardent one, too backward one, etc. And believe me, they observe and remember, too.

I can remember when we all nudged one another and giggled at the last close-up in a movie. I recall when during the same sort of close-up when the boy friend squeezes your arm and looks soulfully at you. Oh, it’s lotsa fun! No, I never fell in love with my movie idol. When I don’t know a person really, when I know I’ll never have a chance with ‘em, I don’t bother pining away over them and writing them idiotic letters as some girls I’ve known do. I have imagined playing with a movie hero many times though that is while I’m watching the picture. I forget about it when I’m outside the theater. Buddy Rogers and Rudy Valentino have kissed me oodles of times, but they don’t know it. God bless ’em!