"Footage captured by cinephotographer George Sewell, showcasing the results achieved using Dufaycolor film stock." (EAFA Database)
"Chester Dale was aboard a boat somewhere on the Nile when a native elephant hunt happened along. He made a remarkable camera record of the exciting chase" The Baltimore Sun, June 17, 1934, 44.
"The dependence of all living things on water. The physical properties of water; water as a habitat for such creatures as insects, birds, beavers, frogs; use and abuse of water resources by man." (BC Archives)
"In December 2006, scientific researchers announced that a species of dolphin which had existed for millions of years in the Yangtze River in China had become extinct. This documentary includes scenes of the last living, captive specimen of the Chinese River Dolphin, filmed in Wuhan, China, on a 1985 trip by Dr. Robbins Barstow, of Wethersfield, Connecticut, USA." Archive.org
"Using animated puppets and hand painted water color backgrounds, Charles H. Benjamin, in Fantasy in Toyland, takes a curious dog through the horrors usually reserved for white knights, to save a fabulous female canine in distress. The story is old but the treatment is new. The puppets were manipulated from below stage level and filmed frame by frame with a remotely controlled camera. The star of the piece meets cows, dragons and various beasts made of pine cones and other strange raw materials. The film ends on the accepted romantic note." Movie Makers, Dec. 1947, 536-537.
"In Fluffy, the Kitten, a kitten tells her own story about herself — the things that she likes to do, the way she spends her day, the things she eats and the way in which her mistress takes care of her, to make her a happy companion. In designing and filming this continuity, Grayce and Kenneth Space have created the most natural and expressive movie of a pet that we have yet seen. Interpreted with titles, written in the first person, as if the kitten were speaking, this film presents interior lighting and camera work without blemish. The cutting is masterly, and the whole unit is as smooth as Fluffy's silky fur. The intention of the filmer was to create a new, direct and simple type of teaching film that would convey its message efficiently and entertainingly to children. This purpose was completely achieved; you cannot look at Fluffy, the Kitten without learning important things about cats and you cannot look at it without being delighted. Most amazing of all qualities in this film is the uncanny success of the producers in controlling the kitten actor. Fluffy appears to play each scene like a trouper. Unlimited patience and extraordinary skill were involved in making this picture. Movie Makers, Dec. 1940, 577, 599.
"Well known for its attainments in the commercial film field, the T. W. Willard Motion Picture Company sets a new high in its publicity productions with Follow the Plow. To technical excellence they have added sound sequencing; into a record of vocational education, they have instilled beauty and human interest. The subject matter concerns the training given to selected city boys in the fundamentals of farming at the Bowdoin Farm, operated by the Children's Aid Society of New York City. Tracing the course of these boys from the sidewalks and streets to the fields, at New Hamburg, N. Y., the location of the farm, the film expands with the glorious color of the autumn country and becomes a living essay of the pleasures of farm life. Constantly changing angles and intelligent titling lend pace to the production. Despite the limited interest in the specific subject of plows and cows, the appeal is made universal through magnificent color scenes and competent treatment." Movie Makers, Dec. 1938, 618.
"Fowl is Fare is a documentary showing how Long Island ducks are prepared for market. Unusual angles and tight editing keep the film moving" PSA Journal, Aug. 1967, 37.
"Butterflies are John Larson's subject in this carefully planned and filmed record of the life cycle of the lepidoptera which are the Frail Children of the Sun. We are shown the beauty of the highly colored flower visitors and their varied and geometrically startling decorativeness, in footage of comforable length which fixes our interest on the movie's main topic. This is then elaborated in sequences that are not only excellently recorded in Kodachrome, but that give real information about the brief but eventful existence of the butterfly through its various incarnations. The film ends with more footage of the beauty of the summer and of the butterflies that add to that beauty." Movie Makers, Dec. 1943, 477-478.
Total Pages: 18
Amateur Cinema