"We Are All Artists, traces our experience of the aesthetic in the everyday; it begins by considering the related categories of beauty, art, and craftwork before moving on to suggest some of the many ways that modern art and design have made our world more beautiful. Offering a broad definition of art as any "skillful or purposeful endeavor," the film suggests that we are all artists to the extent that we exercise aesthetic judgement through a range of quotidian activities. The film presents a montage sequence showing a woman cleaning, men painting a wall, a letter being typed, and activities in gardening and pottery and then concludes by proposing that even "exercising the powers of selection" —as in purchasing a hat—makes use of some attributes of the artist" (Tepperman, 237-238).
We Were Two is a black-and-white film done by a serious student of the film and a pretty consistent winner in film festivals, Larry Klubukowski of Stevens Point, Wis. Larry classifies his film as experimental and that it definitely is not a story film. And yet, it's not really an underground film. The filming technique is excellent and you have any choice of conclusions about what the film is about after you've seen it. Perhaps, that was Larry's intention—to get us to think," PSA Journal, Mar. 1970, 44.
Educational short film showing farming in California, and several mines and ghost towns in Nevada.
"Film is a mostly animated cartoon featuring an animated woman and men. The film backdrop often features life images of an old house in winter. The film begins by showing a few pages from the Dec. 7, 1867 'The Milkspur Beacon' newspaper. The woman is in the middle of getting married when she decides to run away. After going back and forth between at least two men, she gets married again" Archives of Ontario.
"Footage of a boating trip on the Great Salt Lake. Views of the shoreline, passengers, raising and lowering of sails, sunset, the galley, dinner and sleeping accommodations. Also, views of the boat from the shore and unloading the boat at dock." University of Utah Marriott Library.
"To capture the spirit of a day-long welcome to homecoming Korean veterans is not an easy task. But Pete Delaurenti has managed it in a remarkably complete coverage in true newsreel style. Cutting from shots of the great troopship edging up to the dock in Seattle, to the crowds waiting to embrace returning veterans - the genuine and touching family reunions, the slightly bewildered beauty queens, the governors' paternal reception of a chosen native of each state and the inevitable parades - Mr. Delaurenti seems to have been endowed with multiple hands, feet and even cameras. Welcome Lane is a moving record of a difficult subject, accomplished with good taste" PSA Journal, Jan. 1955, 51.
"Welcome San Francisco Movie Makers opens with a montage of classic San Francisco sights, setting the backdrop for the first meeting of the San Francisco Movie Makers Club. After an introduction of the club’s members and its activities, filmmaker Dr. Frank S. Zach, along with his wife Helga, proceeds to demonstrate the proper use of 8mm and 16mm cameras and film sound recording techniques. Shot, scripted, edited, hand titled and over dubbed with music by Dr. Zach, this film seeks to encourage, teach, and recruit image makers." centerforhomemovies.org
"... a view of the tourist side of the city through the eyes of Captain Vancouver, brought to life from the golden figure atop the legislature buildings." Captain Vancouver was played by Victoria entertainer Jerry Gosley. The process of shooting, editing and post-production is described in Margaret Sharcott's Daily Colonist article.
"Film record of a journey from Oxford to South West Wales and northwards through Wales, comprising shots of local beauty spots, visitor attractions and the activities of locals." (EAFA Database)
Total Pages: 203
Amateur Cinema