"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 documentary film of sand and its use in two of the most important elements that constantly surround the life of man: glass and concrete.
"In the process of viewing Around Lot 34, one is reminded of the gag in old comedies where an impossible number of persons emerge from an automobile. Only in this case it is the incredible amount and variety of produce and flowers grown in the area of a trailer plot. Henry J. Auger has made a "dawn to dusk" film of trailer life, but he has lifted it above a humdrum record by occasional inserts of humor that are wisely not belabored. Mr. Auger makes life in a trailer park seem relaxed and pleasant indeed — with Mother doing all the chores. The result is a film of warmth, refreshingly portrayed." Movie Makers, Dec. 1951, 411.
"Young evacuees from London wait in the centre of Welwyn Garden City" (EAFA Database).
"Ralph E. Gray has once again turned his inquiring and sympathetic camera upon the people and places of Mexico. The result is Arts and Crafts in Mexico, an authentic and altogether admirable record of that country's hereditary handicrafts. Here, in almost lavish detail, is an intent family of woodworkers, fascinating in their casual skills with hands and feet. Here are senoritas who both weave and wear the lovely silken rebozo, which shares honors only with the serape as the mantle of Mexico. One sees with equal clarity and charm the fashioning of pottery, the firing of copper vessels and the fine crafting of Mexico's soft and gleaming silver. Even the great Diego Rivera, pictured at work in a sequence which is a genuine "'beat," is engagingly included within the family of Mexico's artisans. Mr. Gray has compiled a cinematic document of great beauty, genuine human interest and authentic social value." Movie Makers, Dec. 1945, 494.
Film on Puri leper potters and their methods. Japan. Calcutta. Pegu, Burma; Kuala Lumpur, Bienhoa, French Indochina; Annam.
Todos los miércoles en Villafranca de Ordizia se celebra una singular feria que, en muchos aspectos, marca la tendencia de los precios y estimación de los productos del campo, ganado, etc.
Every Wednesday in Villafranca de Ordizia, there's a singular fair that, in many ways, marks the trend for prices and estimation of country goods and cattle.
"Antonio Cernuda has created a pictorial mood, a feeling of being there, and a desire to live it again. His choice of music has contributed a great deal to this delightful picture. It begins in the early fall and we move quickly to the gathering of apples, processing, and the bottling of cider. There are celebrations of the gathering of the harvest, girls and boys in native Spanish dress, with the frolic of the occasion and the solemnity of the religious spirit. The first snow of winter, as the leaves are about gone, and on into the heavier snows and ice of winder as the people go about their daily travels—afoot, by horse-drawn vehicle, and train. The transition to spring is so skillfully set forth with the melting snow and turbulent streams that we are hardly aware of the passing of winter. Soon there is a burst of spring everywhere and then summer with its crops, vacation activities, boating, fishing, tug-of-war, and outdoor Mass. The picture opens and closes with artistic views of the mountainous country. We might think of this as the four seasons. Asturias, with its deep canyons and mountains, with scars of its heroic history, that have the darkness of coal in its womb, the whiteness of snow on its head, and the pink of apple blossoms on its body. Asturias lets her men go out into the world with the certainty that the homesickness for her beauty will always make them return." PSA Journal, Nov. 1957, 31.
"At the Old Berkeley for the Point to Point race for hunting horses, crowds have gathered, some people stand whilst others sit on carts to watch the event. The entertainment includes marching Scottish bagpipers. There is a line of tote stands for betting. The riders mount up and line up at the starting point. The race begins, the horses and jockeys complete the course. Many of the jockeys are seen following the race, and the horses are wiped down. The second film is of another Berkeley Hunt, a fox is in the bushes, panting heavily. The fox hounds are exercised and returned to their kennel. Fox hound puppies, the next generation, come out of their kennel to feed. At Solesbridge the riders and hounds gather for the hunt. The hunt progresses across the land until the bugle is blown, the fox has gone to ground and the men dig up the earth in search of the fox. The fox hounds suddenly surround the hole, the fox has been caught. A rider taunts the hounds with the foxes head. Several other hunts are featured, the riders and hounds crossing the countryside attempting to track down the foxes. Crowds, riders and hounds gather outside Latimer House, awaiting the start of a November hunt and there are similar scenes at Bovington. At Scatterdell youngsters are blooded as is the tradition for novice riders. A race is about to begin at Amersham Broadway, as the riders and hounds make there way through the streets and into the nearby countryside. At Great Hampden crowds and riders and hounds gather, similarly at Hartwell House, crowds, hounds and riders meet before setting off. The film ends with the cutting up of a fox, the body is tossed up in the air for the hounds leaving a young boy left holding the fox's tail" (EAFA Database).
"At the Sandpits is perhaps Crawley's first completed work, produced when he was a teenager; Crawley went on to make many award-winning amateur films before turning professional in the 1940s as a producer of industrial films. Employing rapid cutting, trick photography, and imaginative scenarios, At the Sandpits conveys a strong sense of dynamic action in a short film about a family picnic. The film begins by showing the preparation of sandwiches for a picnic; after showing the meal in a few deft shots, the adults are seen relaxing, while the kids and pets, shot from extreme low angle in slow motion, run toward the sandpits. The film continues with short but carefully constructed sequences of the kids pretending to be buried alive in the sand, having a baseball game, and then returning home, tired. Finally, the film concludes with a strange dream sequence, employing trick photography, in which three girls appear decapitated behind a sheet" Tepperman, 173.
Total Pages: 58