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Chapter 8
Experimental Design

Learning Objectives

• Define confounding variable, and describe how confounding variables are related to
internal validity.
• Describe the posttest-only design and the pretest-posttest design, including the advantages
and disadvantages of each design.
• Contrast an independent groups (between-subjects) design with a repeated measures
(within-subjects) design.
• Summarize the advantages and disadvantages of using a repeated measures design.
• Describe a matched pairs design, including reasons to use this design.

Brief Chapter Outline

I. Confounding and Internal Validity

II. Basic Experiments
A. Posttest-Only Design
B. Pretest-Posttest Design
C. Comparing Posttest-Only and Pretest-Posttest Designs
III. Assigning Participants to Experimental Conditions
IV. Independent Groups Design
V. Repeated Measures Design
A. Advantages and Disadvantages of Repeated Measures Design
B. Counterbalancing
Complete Counterbalancing
Latin Squares
C. Time Interval between Treatments
D. Choosing between Independent Groups and Repeated Measures Designs
VI. Matched Pairs Design

Extended Chapter Outline

Please note that much of this information is quoted from the text.

I. Confounding and Internal Validity

A confounding variable is a variable that varies along with the independent variable;
confounding occurs when the effects of the independent variable and an uncontrolled variable
are intertwined so one cannot determine which of the variables is responsible for the observed
effect.

Good experimental design requires eliminating possible confounding variables that could result
in alternative explanations. When the results of an experiment can confidently be attributed to
the effect of the independent variable, the experiment is said to have internal validity.

II. Basic Experiments

The simplest possible experimental design has two variables: the independent variable and the
dependent variable. The independent variable has a minimum of two levels, an experimental group
and a control group. Researchers must make every effort to ensure that the only difference between
the two groups is the manipulated (independent) variable.

A. Posttest-Only Design

A researcher using a posttest-only design must obtain two equivalent groups of participants,
introduce the independent variable, and measure the effect of the independent variable on
the dependent variable. The first step is to choose the participants and assign them to the two
groups. The procedures used must achieve equivalent groups to eliminate any potential
selection differences: The people selected to be in the conditions cannot differ in any
systematic way.

B. Pretest-Posttest Design

The only difference between the posttest-only design and the pretest-posttest design is that
in the latter a pretest is given before the experimental manipulation is introduced.

C. Comparing Posttest-Only and Pretest-Posttest Designs

A pretest is necessary whenever there is a possibility that participants will drop out of the
experiment; this is most likely to occur in a study that lasts over a long time period. The
dropout factor in experiments is called attrition or mortality.

One disadvantage of a pretest, however, is that it may be time-consuming and awkward to

administer in the context of the particular experimental procedures being used. Perhaps most
important, a pretest can sensitize participants to what one is studying, enabling them to
 figure out what is being studied and (potentially) why.

It is also possible to assess the impact of the pretest directly with a combination of both the
posttest-only and the pretest-posttest design. In this design, half the participants receive only
the posttest, and the other half receive both the pretest and the posttest. This is formally
called a Solomon four-group design.

III. Assigning Participants to Experimental Conditions

In one procedure, participants are randomly assigned to the various conditions so that each
participates in only one group. This is called an independent groups design. It is also known as
a between-subjects design because comparisons are made between different groups of
participants. In an experiment with two conditions, for example, each participant is assigned to
both levels of the independent variable. This is called a repeated measures design, because each
participant is measured after receiving each level of the independent variable. This is also called
a within-subjects design; in this design, comparisons are made within the same group of
participants (subjects).

IV. .Independent Groups Design

In an independent groups design, different participants are assigned to each of the conditions
using random assignment. This means that the decision to assign an individual to a particular
condition is completely random and beyond the control of the researcher.

V. Repeated Measures Design

In a repeated measures design, participants are repeatedly measured on the dependent variable
after being in each condition of the experiment.

A. Advantages and Disadvantages of Repeated Measures Design

The repeated measures design has several advantages. An obvious one is that fewer research
participants are needed, because each individual participates in all conditions. An additional
advantage of repeated measures designs is that they are extremely sensitive to finding
statistically significant differences between groups.

The major problem with a repeated measures design stems from the fact that the different
conditions must be presented in a particular sequence. Suppose that there is greater recall in
the high-meaningful condition. Although this result could be caused by the manipulation of
the meaningfulness variable, the result could also simply be an order effect—the order of
 presenting the treatments affects the dependent variable. Performance on the second task
might improve merely because of the practice gained on the first task. This improvement is
in fact called a practice effect, or learning effect. It is also possible that a fatigue effect
could result in a deterioration in performance from the first to the second condition as the
research participant becomes tired, bored, or distracted. It is also possible for the effect of
the first treatment to carry over to influence the response to the second treatment—this is
known as a carryover effect.

B. Counterbalancing

Complete Counterbalancing

In a repeated measures design, it is very important to counterbalance the order of the

conditions. With complete counterbalancing, all possible orders of presentation are
included in the experiment.

Latin Squares

A technique to control for order effects without having all possible orders is to construct
a Latin square—a limited set of orders constructed to ensure that each condition
appears at each ordinal position, and each condition precedes and follows each
condition one time.

C. Time Interval between Treatments

In addition to counterbalancing the order of treatments, researchers need to carefully

determine the time interval between presentation of treatments and possible activities
between them.

D. Choosing Between Independent Groups and Repeated Measures Designs

Repeated measures designs have two major advantages over independent groups designs—a
reduction in the number of participants required to complete the experiment, and greater
control over participant differences and thus greater ability to detect an effect of the
independent variable.

VI. Matched Pairs Design

A somewhat more complicated method of assigning participants to conditions in an experiment

is called a matched pairs design. Instead of simply randomly assigning participants to groups,
the goal is to first match people on a participant variable such as age or personality trait. The
matching variable will be either the dependent measure or a variable that is strongly related to
the dependent variable.

Innovative Instruction

Sample Answers for Activities

1. Design an experiment to test the hypothesis that single-gender math classes are beneficial to
adolescent females. Construct operational definitions of both the independent and dependent
variables. Your experiment should have two groups and use the matched pairs procedure.
Make a good case for your selection of the matching variable. In addition, defend your
choice of either a posttest-only design or a pretest-posttest design.

Students’ answers will vary. The following is an example of a posttest-only design using the
matched random assignment procedure. The first step is to select a sample of females from a
particular grade and give them a math test that is appropriate for the grade level. Employing
a matched random assignment procedure, place one group in a single-gender math class
while the other group is placed in a coed math class. After several weeks, the girls would be
tested again to see if there have been improvements. A pretest-posttest design would not be
necessary because initially the two groups should be equal due to the use of the matched
random assignment procedure.

2. Design a repeated measures experiment that investigates the effect of report presentation
style on the grade received for the report. Use two levels of the independent variable: a
“professional style” presentation (high-quality paper, consistent use of margins and fonts,
carefully constructed tables and charts) and a “nonprofessional style” (average-quality
paper, frequent changes in the margins and fonts, tables and charts lacking proper labels).
Discuss the necessity for using counterbalancing. Create a table illustrating the experimental
design.

Students’ answers will vary. An example of a repeated measures design might have two
levels of presentation style (professional style or nonprofessional style) as the independent
variable and the grade received for the report is the dependent variable. The participants can
be separated into two groups in order to allow a researcher to employ counterbalancing. One
group will first evaluate the “nonprofessional style” and then evaluate the “professional style
report.” The second group will evaluate the papers in the opposite order. The grades
assigned by the two groups can then be compared. Counterbalancing is necessary to rule out
the influence of order effects such as fatigue, practice, or a contrast effect.
3. Professor Foley conducted a cola taste test. Each participant in the experiment first tasted 2
ounces of Coca-Cola, then 2 ounces of Pepsi, and finally 2 ounces of Sam’s Choice Cola. A
rating of the cola’s favor was made after each taste. What are the potential problems with
this experimental design and the procedures used? Revise the design and procedures to
address these problems. You may wish to consider several alternatives and think about the
advantages and disadvantages of each.

A good answer will address the possibility of an order and carryover effect as a potential
problem with this design. The rating of the cola’s flavors may be influenced by the taste of
the previous cola. Thus, the differences in ratings may be a result of a contrast effect.
Professor Foley should include counterbalancing techniques and lengthen the interval of
time between taste tests in order to minimize the influence of order effects. Another
suggestion is to use a Latin square design. This controls the order effects without having to
use all of the combinations of order of presentation.

Laboratory Demonstration: Hemispheric Specialization

Students can gain a concrete understanding of the difference between an independent groups
design and a repeated measures design by participating as participants in related experiments
utilizing these approaches. The two experiments outlined below are based on the concept of brain
lateralization. The organization of the brain is such that certain activities are primarily the function
of the left hemisphere while others are primarily the function of the right (see Springer and
Deutsch, 1985). For example, such cognitive tasks as speaking, reading, logical analysis, or doing
high-level math calculations take place in the left hemisphere for most right-handed individuals. In
contrast, such tasks as musical performance, face recognition, or spatial relations take place in the
right hemisphere. Those who are right-handed tend to show more complete lateralization of
function than those who are left-handed; the brains of left-handed individuals are often organized
such that language is a function shared by both hemispheres (Gloringen, Gloringen, Haub, &
Quatember, 1969).

Because of the inconsistent lateralization found in left-handed individuals, we recommend that

only right-handed students be used as participants for this demonstration. Pair each student
participant with a student experimenter. The experimenter/participant pairs should be as separate
from each other as possible. Randomly assign participants to two groups. One group completes a
tapping task while saying aloud the Pledge of Allegiance (Tap + Talk condition). The second
group completes the tapping task alone (Tap Alone condition). The tapping task is the same for
both groups: With eyes averted, each participant taps on a piece of plain paper with a felt tip pen as
rapidly as possible for 15 seconds. In addition, each participant does this twice-once with his or her
right hand and once with his or her left hand. The order should be counterbalanced so that half the
participants in each group use their right hands first while the remaining participants use their left
hands first. Count the number of dots each participant made during the 15-second period. Create a
single score for each participant by subtracting the number of dots made by the left hand from the
number of dots made by the right hand. The group means can be compared using an independent
groups t-test.

According to Kee, Bathurst, and Hellige (1983), there should be slightly positive scores in the Tap
Alone condition as right-handed participants are generally faster at tapping with the right as
compared to the left hand. It is predicted that the difference scores in the Tap + Talk condition
should be lower due to the interference of the talking activity with right-hand tapping. This
prediction will probably not be confirmed, however, because of the inappropriate use of a between-
groups design. Encourage the students to recognize that the individual differences in tapping rate
can easily mask the interference effects we are trying to measure. Discuss with the class how a
repeated measures design enhances the chance of seeing the effect.

Repeat the experiment using a repeated measures design. All participants tap the pen on the paper
for 15 seconds under each condition: Tap Alone and Tap + Talk. Again, each participant taps using
the right hand as well as the left hand. (Counterbalance the order of right- and left-hand tapping as
well as the order of tapping condition.) This results in a total of four measurements per participant.
As before, subtract the tapping score with the left hand from the tapping score with the right hand.
Do this for each participant under each condition so there are two scores for each participant.
Analyze these scores using a correlated groups t-test.

This effect is small, but it is reliable. If instructors do not wish to take the time to statistically
analyze the results, be sure to point out that in the between-groups design instructors must compare
means across groups while in the within-groups design we compare the individual scores across
conditions, looking for consistent differences. These differences may then be summarized as a
mean difference. In studies of this nature, the mean difference used in a repeated measures design
is a more sensitive measure than the difference between two means calculated in a between-groups
design.

Gloning, I., Gloning, K., Haub, G., & Quatember, R. (1969). Comparison of verbal behavior in
right handed and non-right handed patients with anatomically verified lesions of one hemisphere.
Cortex, 5, 43-52.

Kee, D. W., Bathurst, K., & Hellige, J. B. (1983). Lateralized interference of repetitive finger
tapping: Influence of familial handedness, cognitive load and verbal production.
Neuropsychologia, 21, 617-624.

Springer, S. P., & Deutsch, G. (1985). Left brain, right brain (2nd ed.). New York: Freeman.
Laboratory Demonstration: Taste Test

Conduct a taste test or “Pepsi challenge” to demonstrate independent groups and repeated
measures (between-participants, within-participants) designs. Half the class can design and conduct
a taste-test using an independent groups design and the rest of the class can use a repeated
measures design. Instructors can use this activity to point out many facets of the decision to use
one or the other design.

Activity: Confounding

Practice in identifying confounds will sensitize students to the importance of controlling all, even
seemingly trivial, extraneous variables and will aid them in designing their own experiments.
Handout 3 in this manual describes experiments with confounding problems and questions for
students to address. These can be used as homework, discussion items in class, or exam questions.

Additional Discussion Topics

Discussion: Pretest vs. Posttest

An important distinction when performing an experiment is whether there is a pretest or not.

Remind students that to some extent the area of psychology that is being studied may influence this
answer. For example, if one is looking at the development of something then one may as well want
a pretest to measure time one-time two differences. Ask students to generate examples of things
that could be studied and discuss the advantages and disadvantages of including a pretest to the
design.

Discussion: Attrition

A good way to introduce the concept of attrition is by taking the class, which the students are in, as
an example. How many of the students who were signed up on day 1 are still in the class? How
many are still registered but have “dropped out” in terms of attendance. Does this effect test scores?
What if one was collecting other types of data?

Suggested Readings

Articles in the Handbook for Teaching Statistics and Research Methods (2nd ed.)

Kohn, A. Defying intuition: Demonstrating the importance of empirical technique. Pp. 179-181.

Polyson, J. A., & Blick, K. A. Basketball game as psychology experiment. Pp. 185-186.
Stallings, W. M. Return to our roots: Raising radishes to teach experimental design. Pp. 220-222.

Also recommended:

Christopher, A. N., & Marek, P. (2002). A sweet tasting demonstration of random occurrences.
Teaching of Psychology, 29, 122–125.

Enders, C.K., Laurenceau, J.P., & Stuetzle, R. (2006). Teaching random assignment: A
classroom demonstration using a deck of playing cards. Teaching of Psychology, 33, 239-242.
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Company, Inc. 1 reel. © 17Apr47; M2060. Universal Pictures (PWH);
5Jun74; R578377.

R578378.
Universal newsreel. Vol. 20, no. 29. By Universal Pictures
Company, Inc. 1 reel. © 15Apr47; M2059. Universal Pictures (PWH);
5Jun74; R578378.
R578379.
Universal newsreel. Vol. 20, no. 28. By Universal Pictures
Company, Inc. 1 reel. © 10Apr47; M2058. Universal Pictures
(PWH); 5Jun74; R578379.

R578380.
Universal newsreel. Vol. 20, no. 27. By Universal Pictures
Company, Inc. 1 reel. © 8Apr47; M2057. Universal Pictures (PWH);
5Jun74; R578380.

R578381.
Universal newsreel. Vol. 20, no. 26. By Universal Pictures
Company, Inc. 1 reel. © 3Apr47; M1998. Universal Pictures (PWH);
5Jun74; R578381.

R578382.
Universal newsreel. Vol. 20, no. 25. By Universal Pictures
Company, Inc. 1 reel. © 1Apr47; M1997. Universal Pictures (PWH);
5Jun74; R578382.

R578383.
Welcome stranger. By Paramount Pictures, Inc. 11 reels. ©
9May47; L1172. EMKA, division of Universal City Studios, Inc.
(PWH); 5Jun74; R578383.

R578384.
Record party. By Universal Pictures Company, Inc. 2 reels. ©
27May47; L1048. Universal Pictures (PWH); 5Jun74; R578384.

R578385.
Charlie Spivak and his orchestra. By Universal Pictures Company,
Inc. 2 reels. © 1Apr47; L1043. Universal Pictures (PWH); 5Jun74;
R578385.

R578386.
Charlie Barnet and his orchestra. By Universal Pictures Company,
Inc. 2 reels. © 1Apr47; L1042. Universal Pictures (PWH); 5Jun74;
R578386.

R578387.
Tommy Tucker and his orchestra. By Universal Pictures Company,
Inc. 2 reels. © 1Apr47; L1041. Universal Pictures (PWH); 5Jun74;
R578387.

R578388.
The Egg and I. By Universal Pictures Company, Inc. 12 reels. ©
1Apr47; L1040. Universal Pictures (PWH); 5Jun74; R578388.

R578389.
Jitterumba. By Universal Pictures Company, Inc. 2 reels. ©
1Apr47; L1039. Universal Pictures (PWH); 5Jun74; R578389.

R578390.
Calcutta. By Paramount Pictures, Inc. 9 reels. © 30May47; L1026.
EMKA, division of Universal City Studios, Inc. (PWH); 5Jun74;
R578390.

R578391.
Desert fury. By Hal Wallis Productions, Inc. 10 reels. © 15May47;
L998. EMKA, division of Universal City Studios, Inc. (PWH);
5Jun74; R578391.

R578392.
 Imperfect lady. By Paramount Pictures, Inc. 10 reels. © 6Mar47;
L984. EMKA, division of Universal City Studios, Inc. (PWH);
5Jun74; R578392.

R578395.
Hard boiled Mahoney. By Monogram Pictures Corporation. 7 reels.
© 28Mar47; L939. Allied Artists Pictures Corporation, formerly
known as Monogram Pictures Corporation (PWH); 31May74;
R578395.

R578396.
Mister Hex. By Monogram Pictures Corporation. 7 reels. ©
7Dec46; L749. Allied Artists Pictures Corporation, formerly known
as Monogram Pictures Corporation (PWH); 31May74; R578396.

R578416.
Paramount news. No. 76. By Paramount Pictures, Inc. 1 reel. ©
21May47; M2110. Major News Library (PWH); 29May74; R578416.

R578417.
Paramount news. No. 75. By Paramount Pictures, Inc. 1 reel. ©
17May47; M2109. Major News Library (PWH); 29May74; R578417.

R578418.
Dangerous venture. By Hopalong Cassidy Productions, Inc. 6 reels.
© 23May47; L1013. Grace Bradley Boyd, surviving trustee under the
Declaration of Trust by William L. Boyd and Grace Bradley Boyd
(PWH); 29May74; R578418.

R578420.
Goofy golf. By Columbia Pictures Corporation. 1 reel. (The World
of sports) © 24Apr47; M2091. Columbia Pictures Industries, Inc.
(PWH); 4Jun74; R578420.
R578421.
Community sing. Ser. 11, no. 8. By Columbia Pictures Corporation.
1 reel. © 17Apr47; M1992. Columbia Pictures Industries, Inc.
(PWH); 4Jun74; R578421.

R578422.
Screen snapshots. Ser. 26, no. 8. By Columbia Pictures
Corporation. 1 reel. © 10Apr47; M1944. Columbia Pictures
Industries, Inc. (PWH); 4Jun74; R578422.

R578423.
Law of the canyon. By Columbia Pictures Corporation. 6 reels. ©
24Apr47; L1045. Columbia Pictures Industries, Inc. (PWH); 4Jun74;
R578423.

R578424.
The Grotto of greed. By Columbia Pictures Corporation. 2 reels.
(Jack Armstrong, chap. no. 12) © 24Apr47; L1002. Columbia
Pictures Industries, Inc. (PWH); 4Jun74; R578424.

R578425.
Cosmic annihilator. By Columbia Pictures Corporation. 2 reels.
(Jack Armstrong, chap. no. 11) © 17Apr47; L992. Columbia Pictures
Industries, Inc. (PWH); 4Jun74; R578425.

R578426.
Cupid goes nuts. By Columbia Pictures Corporation. 2 reels. ©
14Apr47; L978. Columbia Pictures Industries, Inc. (PWH); 4Jun74;
R578426.

R578427.
 Battle of the warriors. By Columbia Pictures Corporation. 2 reels.
(Jack Armstrong, chap. no. 10) © 10Apr47; L977. Columbia Pictures
Industries, Inc. (PWH); 4Jun74; R578427.

R578428.
Out West. By Columbia Pictures Corporation. 2 reels. © 24Apr47;
L958. Columbia Pictures Industries, Inc. (PWH); 4Jun74; R578428.

R578429.
Human targets. By Columbia Pictures Corporation. 2 reels. (Jack
Armstrong, chap. no. 9) © 3Apr47; L957. Columbia Pictures
Industries, Inc. (PWH); 4Jun74; R578429.

R578430.
Two Jills and a Jack. By Columbia Pictures Corporation. 2 reels. ©
14Apr47; L946. Columbia Pictures Industries, Inc. (PWH); 4Jun74;
R578430.

R578431.
Bulldog Drummond at bay. By Columbia Pictures Corporation. 7
reels. © 7Apr47; L910. Columbia Pictures Industries, Inc. (PWH);
4Jun74; R578431.

R578549.
Mail dog. 1 reel. © 6May47; L1371. Walt Disney Productions
(PWH); 3Jun74; R578549.

R578550.
Foul hunting. 1 reel. © 7May47; L1373. Walt Disney Productions
(PWH); 3Jun74; R578550.

R578551.
 The Big wash. 1 reel. © 21May47; L1422. Walt Disney Productions
(PWH); 3Jun74; R578551.

R578604.
Dear murderer. By Gainsborough Pictures (1928), Ltd. © 5Jun47;
L411. Rank Film Distributors, Ltd. (PWH); 6Jun74; R578604.

R578605.
A Lady surrenders. By Universal Pictures Company, Inc. 11 reels.
© 11Dec47 (in notice: 1946); L1980. Rank Film Distributors, Ltd.
(PWH); 6Jun74; R578605.

R578731.
News of the day. Vol. 18, issue no. 268. By Hearst Metrotone
News, Inc. 1 reel. © 2May47; M2069. Hearst Metrotone News, a
division of the Hearst Corporation (PWH); 10Jun74; R578731.

R578732.
News of the day. Vol. 18, issue no. 269. By Hearst Metrotone
News, Inc. 1 reel. © 7May47; M2121. Hearst Metrotone News, a
division of the Hearst Corporation (PWH); 10Jun74; R578732.

R578733.
News of the day. Vol. 18, issue no. 270. By Hearst Metrotone News,
Inc. 1 reel. © 9May47; M2122. Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 10Jun74; R578733.

R578734.
News of the day. Vol. 18, issue no. 271. By Hearst Metrotone News,
Inc. 1 reel. © 14May47; M2123. Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 10Jun74; R578734.
R578735.
News of the day. Vol. 18, issue no. 272. By Hearst Metrotone News,
Inc. 1 reel. © 16May47; M2124. Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 10Jun74; R578735.

R578736.
News of the day. Vol. 18, issue no. 273. By Hearst Metrotone News,
Inc. 1 reel. © 21May47; M2125. Hearst Metrotone News, a division of
the Hearst Corporation (PWH); 10Jun74; R578736.

R578737.
News of the day. Vol. 18, issue no. 274. By Hearst Metrotone News,
Inc. 1 reel. © 23May47; M2126. Hearst Metrotone News, a division
of the Hearst Corporation (PWH); 10Jun74; R578737.

R578738.
News of the day. Vol. 18, issue no. 275. By Hearst Metrotone News,
Inc. 1 reel. © 28May47; M2203. Hearst Metrotone News, a division
of the Hearst Corporation (PWH); 10Jun74; R578738.

R578739.
News of the day. Vol. 18, issue no. 276. By Hearst Metrotone News,
Inc. 1 reel. © 30May47; M2204. Hearst Metrotone News, a division
of the Hearst Corporation (PWH); 10Jun74; R578739.

R578896.
Journey into space. By Columbia Pictures Corporation. 2 reels.
(Jack Armstrong, chap. no. 14) © 8May47; L1022. Columbia Pictures
Industries, Inc. (PWH); 11Jun74; R578896.

R578897.
 For the love of Rusty. By Columbia Pictures Corporation. 7 reels.
© 1May47; L1030. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578897.

R578898.
Retribution. By Columbia Pictures Corporation. 2 reels. (Jack
Armstrong, chap. no. 15) © 15May47; L1035. Columbia Pictures
Industries, Inc. (PWH); 11Jun74; R578898.

R578899.
Prairie raiders. By Columbia Pictures Corporation. 6 reels. ©
29May47; L1037. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578899.

R578900.
The Millerson case. By Columbia Pictures Corporation. 8 reels. ©
29May47; L1049. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578900.

R578901.
Training for trouble. By Columbia Pictures Corporation. 2 reels. ©
14May47; L1078. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578901.

R578902.
Hold that lion! By Columbia Pictures Corporation. 2 reels. ©
22May47; L1079. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578902.

R578903.
The Vigilante rides again. By Columbia Pictures Corporation. 3
reels. (The Vigilante, chap. no. 1) © 22May47; L1265. Columbia
Pictures Industries, Inc. (PWH); 11Jun74; R578903.
R578904.
Mystery of the white horses. By Columbia Pictures Corporation. 2
reels. (The Vigilante, chap. no. 2) © 29May47; L1266. Columbia
Pictures Industries, Inc. (PWH); 11Jun74; R578904.

R578905.
Screen snapshots. Ser. 26, no. 9. By Columbia Pictures
Corporation. 1 reel. © 1May47; M2031. Columbia Pictures
Industries, Inc. (PWH); 11Jun74; R578905.

R578906.
Thrills of music. Ser. 1, no. 8. By Columbia Pictures Corporation.
© 22May47; M2074. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578906.

R578907.
Community sing. Ser. 11, no. 9. By Columbia Pictures Corporation.
© 22May47; M2160. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578907.

R578908.
Grappling groaners. By Columbia Pictures Corporation. 1 reel. ©
29May47; M2166. Columbia Pictures Industries, Inc. (PWH);
11Jun74; R578908.

R578942.
Doctor Jekyll and Mister Mouse. By Loew’s, Inc. 1 reel. © 4Jun47;
L1038. Metro Goldwyn Mayer, Inc. (PWH); 10Jun74; R578942.

R578943.
Living in a big way. By Loew’s, Inc. 11 reels. © 7Jun47; L1063.
Metro Goldwyn Mayer, Inc. (PWH); 10Jun74; R578943.
R578944.
Fiesta. By Loew’s, Inc. 11 reels. © 11Jun47; L1099. Metro Goldwyn
Mayer, Inc. (PWH); 17Jun74; R578944.

R578945.
On the shores of Nova Scotia. By Loew’s, Inc. 1 reel. © 11Jun47;
M2200. Metro Goldwyn Mayer, Inc. (PWH); 17Jun74; R578945.

R579136.
Paramount news. No. 79. By Paramount Pictures, Inc. 1 reel. ©
31May47; M2141. Major News Library (PWH); 17Jun74; R579136.

R579137.
Paramount news. No. 80. By Paramount Pictures, Inc. 1 reel. ©
4Jun47; M2142. Major News Library (PWH); 17Jun74; R579137.

R579138.
Paramount news. No. 81. By Paramount Pictures, Inc. 1 reel. ©
7Jun47; M2156. Major News Library (PWH); 17Jun74; R579138.

R579139.
Paramount news. No. 82. By Paramount Pictures, Inc. 1 reel. ©
11Jun47; M2157. Major News Library (PWH); 17Jun74; R579139.

R579724.
Paramount news. No. 84. By Paramount Pictures, Inc. 1 reel. ©
18Jun47; M2162. Major News Library (PWH); 20Jun74; R579724.

R579725.
Paramount news. No. 83. By Paramount Pictures, Inc. 1 reel. ©
14Jun47; M2161. Major News Library (PWH); 20Jun74; R579725.
R579842.
Rainbow over the Rockies. By Monogram Pictures Corporation. 6
reels. © 11Nov46; L694. Allied Artists Pictures Corporation, formerly
known as Monogram Pictures Corporation (PWH); 24Jun74;
R579842.

R579843.
The Trap. By Monogram Pictures Corporation. 7 reels. ©
26Nov46; L728. Allied Artists Pictures Corporation, formerly known
as Monogram Pictures Corporation (PWH); 24Jun74; R579843.

R579895.
Paramount news. No. 85. By Paramount Pictures, Inc. 1 reel. ©
21Jun47; M2190. Major News Library (PWH); 25Jun74; R579895.

R579896.
Paramount news. No. 86. By Paramount Pictures, Inc. 1 reel. ©
25Jun47; M2191. Major News Library (PWH); 27Jun74; R579896.

R579955.
Pet peeves. By Loew’s, Inc. 9 min. © 17Jun47; L1156. Metro
Goldwyn Mayer, Inc. (PWH); 24Jun74; R579955.

R579967.
Mighty Mouse in the Dead end cats. By TerryToons, Inc. 1 reel. ©
14Feb47; L953. Viacom International, Inc. (PWH); 8Jul74; R579967.

R579968.
Heckle and Jeckle, the talking magpies, in McDougal’s Rest Farm.
By TerryToons, Inc. 1 reel. © 31Jan47; L970. Viacom International,
Inc. (PWH); 8Ju174; R579968.