"America, among the three films given special mention, is an ambitious scenic epic being compiled by William H. Barlow. The plan is to cover all of the prominent beauty spots of this country, building the sequences of them into a monumental film document. Yet each reel is so planned and titled that it can be separately screened. The reels that have already been completed present a combination of beautiful photography, intelligent planning and editing and skillful titling that has not been surpassed in similar professional work." Movie Makers, Dec. 1930, 788.
"The present fate and possible future of the southern share-cropping farmer have been pictured in dramatic and authentic detail by Alan S. Hacker, ACL, in a five reel, 16mm. film recently completed under the sponsorship of the Sharecropper Film Committee, New York City. Made to aid the Southern Tenant Farmers' Union, the production illustrates the agricultural despotism and destitution which have resulted in the formation of that group bargaining organization. Farms and families of Arkansas, Tennessee and Mississippi appear in this documentary record, which kept Mr. Hacker three months in the field. Lee R. Hays. an Arkansan, served him as liaison officer with the union and its supporters, while Gardner Jackson, of the film committee, contributed to the production's planning. Narrative comment and a musical background are scheduled additions to the pictured story, in preparation for screenings before school and civic groups interested in the success of the Southern Tenant Farmers' Union." - "Practical Films," Movie Makers, March 1937, 128.
"Frances Christeson and Harry Merrick have shown in their film, Architecture and Fine Arts, what can be done with the motion picture camera by sensitive, yet systematic, movie makers. Produced under the supervision of A. C. Weatherland, dean of the College of Architecture and Fine Arts at the University of Southern California, the picture shows students at work and gives glimpses of class room technique in teaching most of the fine arts. Although no section of the film is long or detailed enough to serve the purpose of teaching, the film, as a whole, gives a very clear and concise picture of the scope of the work of the architecture and fine arts college of the University of Southern California. Technically and cinematically, this record is superb; beautiful compositions, carefully selected and composed scenes, combined with titles of distinction, make it a truly outstanding production. Included in the picture, that is for the most part in black and white, are color sequences of stained glass windows." Movie Makers, Dec. 1936, 542.
"A two-part lecture travelogue film on the state of Arizona. The film would have been originally presented with live narration by the filmmaker, Robert Davis. Part one includes footage of desert landscapes, ranches, pre-historic artifacts, Native American art production & industry (wigs, textiles, etc), saloons, regional industry (logging, agricultural, and dams). Part two also includes footage of desert landscapes, cacti and dams as well as scenes from Phoenix and the surrounding area. Highlights from part two include a tour of a trailer park and footage of people skiing and sledding down a snowy hill." Chicago Film Archives.
"Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Shorty Boys, Little Shorty building a hogan, Crip Chee and his hogan, grandson in doorway. Blackrock in front of hogan, Tchindi, Rose Martin doing laundry, cooking shelter at squaw dance, Hosteen Glish getting water, Bent Knee getting wood, Hosteen Glish making a canoe out of a log, Hosteen Glish's granddaughter weaving, digging yucca root for soap, Navajo washing her hair, Hosteen Glish making a cradle board'." New Mexico State Archives.
"In May-June 1988, Robbins Barstow and his wife Meg, of Wethersfield, Connecticut, USA, made a six-week trip around the world. Places visited include Hawaii, Austrailia, New Zealand, Singapore, Thailand, India, and London, England." Archive.org
"Educational film surveying the instruction of the fine and performing arts at leading African American institutions, including Calhoun, Dillard, Fisk, Hampton, and Howard. The film argues that exposure to theater, music, dance, and the fine arts produces well-rounded students and enriches their lives." National Film Preservation Foundation.
"An anti-war film which portrays the effect of war on its participants by presenting a dramatization in which a Vietnam veteran attempts to assassinate the President" via WorldCat.
"Autumn, filmed by Bernard Van H. Schultz, successfully demonstrates that Kodacolor can be used for long shots of landscapes and similar subjects. This record of a New England autumn, with its accompanying riot of color, leaves very little to be desired as a representation of the spirit of the season. Of particular note was the evident care used in choosing appropriate viewpoints, not only with relation to the framing principle but also from the point of view of both color and motion. The continuity was rather static which was appropriate to the subject. The film was bound together remarkably well by the choice of successive scenes which followed a time sequence, starting with shots taken in the bright light of midday and ending with sunset shots. However, Mr. Schultz's principal achievement lay in the selection of the proper neutral density filters, yielding uniformly excellent color results which are all the more remarkable because of the preponderance of long shots." Movie Makers, Dec. 1930, 759.
"Trim, tightly knit and altogether engaging, Backyard Birding presents, with affectionate attention to detail, a nature-loving father and his small son searching out the common and uncommon birds of their New England neighborhood. The film's pleasant music and informed but unassuming narrative are in sympathetic harmony with the pictorial whole. In it, with apparent purpose, Herbert D. Shumway has employed a cloudy-bright lighting throughout. Thus, the countless closeups of his bird neighbors, as they build their nests and rear their young, are in soft, true and unshadowed color — as so befits the film's gentle theme. And, just in case you're wondering, these superb scenes (on 8mm. film, remember) are beautifully sharp, despite the wider lens apertures which must have been used." Movie Makers, Dec. 1952, 324, 337.
Total Pages: 22
Amateur Cinema