*Homepage 
 carta da navigare 
 *libri consigliati 2010-2006 
 libri consigliati 2005-2004 
 libri consigliati 2002-2003 
 *saggi: Alberto M. Cirese 
 saggi: Nicola Lalli 
 poesia psicoanalisi antropologia 
 poesia psicoanalisi antropologia 
 *kinoglaz-doc: visioni scelte 
 arcoiris tv: cinema 1914-1956 
 arcoiris tv: cinema 1931-1978 
 *Franco Costabile 
 Giuseppe Impastato 
 Franco Scataglini 
 Salvatore Toma 
 *ensayos: Marķa Zambrano 
 ensayos: P. Mora 
 ensayos: P. Mora O. Portela 
 sobre la guerra 
 poemas: P. Mora E. Dalter 
 poemas: J. Falcone O. Portela 
 *antropologi narranti 
 scrittori medici 
 *Silvana Baroni 
 Vivian Lamarque 
 Anne Sexton 
 *webmater E. De Simoni: 
 immagini: Molise 
 beni immateriali 
 scritture di antropologia 
 poesie terapie 
 analisi urbane 
 di sguardi di luoghi 
 sconfinamenti 
 poesie musei 
 poesie terra 
 poesie ali 
 *silloge: M. Agostinacchio 
 silloge: F. Alborghetti 
 silloge: R. Astremo 
 silloge: N. Bidoia 
 silloge: P. Fichera 
 silloge: F. Franzin 
 silloge: C. Grattacaso 
 silloge: R. Ibba 
 silloge: G. Impaglione 
 silloge: C. Pagelli 
 silloge: M. Corsi 
 silloge: M. Pizzi 
 silloge: L. Rocco 
 silloge: M. Saya 
 silloge: A. Spagnuolo 
 silloge: N. Stramucci 
 contributi poetici 
 contributi poetici 
 *risorse web 
 *contatto 
 
 
Thanks to
Rick Prelinger - Prelinger Archives
Tom Davenport - Folkstreams.net
Kenneth Goldsmith - UbuWeb
selezioni cinematografiche a partire da Dziga Vertov
con collegamenti per la visione dei film






Dziga Vertov, nome d'arte di Denis Arkadevic Kaufman, regista e teorico del cinema, di famiglia ebrea, nato a Bialystok (od. Polonia) il 2 gennaio 1896 e morto a Mosca il 12 febbraio 1954. Fu l'ideatore di una delle più rilevanti concezioni politiche del cinema, inteso in senso rigorosamente non finzionale. Il suo progetto complessivo si caratterizzò in primo luogo per il fatto di prospettare un'alternativa radicale e intransigente al cinema di finzione (che rifiutava prospettando un cinema non recitato, neigrovaja kinematografija ), alternativa da non confondere con l'idea della pura e semplice riproduzione di una ‘realtà' pronta per essere ‘documentata'. Nella concezione di V., al contrario, ‘riproduttivo' è proprio il cinema di finzione, da respingere e combattere perché il suo modo di rappresentazione non è originario ma derivato, non si fonda sull'autonoma formatività del nuovo strumento tecnico ma dipende da altre forme – il teatro, le arti figurative e soprattutto la letteratura – di cui si limita essenzialmente a riprodurre i modi di rappresentazione. Figlio di un bibliotecario e scrittore, nel 1915, durante la Prima guerra mondiale, si trasferì a Mosca insieme ai genitori e ai fratelli (anch'essi destinati a una carriera nell'ambito del cinema, come direttore della fotografia Boris A. Kaufman, e come operatore Michail, che avrebbe attivamente collaborato con V.). In questa città si dedicò agli studi musicali e si interessò di neuropsichiatria. La sua prima esperienza nel campo delle ‘arti' risale agli anni 1916-17, quando organizzò un ‘laboratorio dell'udito' lavorando al montaggio di suoni e rumori (per es. quelli di una stazione ferroviaria) registrati con un rudimentale fonografo. Fu un esordio significativo, in cui già compaiono tutti i termini essenziali del contributo originale di V. a una teoria della comunicazione audiovisiva: la valorizzazione delle autonome potenzialità della riproduzione tecnica, la relazione tra forme espressive e mondo della vita, il rapporto tra il carattere testimoniale della registrazione meccanica e quello creativo e costruttivo del montaggio (v.). Nel 1918 cominciò a lavorare nel cinema come montatore della Kinonedelja (Cinesettimana), il primo cinegiornale sovietico. Tra il 1919 e il 1921, durante la guerra civile, diresse la sezione cinematografica del treno di propaganda del Comitato esecutivo centrale e realizzò alcuni film di montaggio di materiali documentari. Nel 1922, con un ridottissimo numero di collaboratori, fondò la Kinopravda (Cineverità o «Pravda» cinematografica), un cinegiornale autonomo e fortemente innovativo di cui uscirono, a intervalli irregolari, 23 numeri (1922-1925). Il presupposto rivoluzionario della Kinopravda consisteva nell'idea di una «cinematizzazione delle masse»: un'effettiva «alfabetizzazione» cinematografica, volta a prospettare uno scambio sempre più ampio e capillare tra interlocutori attivi e interagenti. È in questa chiave che va inteso il progetto politico più ambizioso di V.: il Kinoglaz (Cineocchio), inizialmente pensato come un complesso manifesto visivo della «cinematizzazione» che doveva comportare sei ‘serie' successive e interconnesse di cui il gruppo coordinato da V., i Kinoki (Cineocchi), riuscì a realizzare solo la prima nel 1924 (La vita colta sul fatto) a causa dell'incomprensione o, più verosimilmente, del consapevole sabotaggio dell'ente cinematografico preposto alla produzione, che interruppe i finanziamenti. La linea pluralista e spregiudicata di V. risultava infatti incompatibile con la politica culturale dello Stato sovietico, già in quegli anni, e poi sempre più decisamente, orientata verso un uso strumentale e propagandistico del cinema. Questo conflitto segnò l'intera produzione successiva di V., che conta film del tutto notevoli e almeno un ‘capolavoro' (Celovek s kinoapparatom, 1929, L'uomo con la macchina da presa) ma coincise con l'impossibilità di dare corso al progetto del Kinoglaz e con una progressiva, implacabile marginalizzazione di cui il contributo di V. sconta ancora oggi pesanti conseguenze, attestate dal travisamento pressoché sistematico con cui la vulgata storiografica continua a presentarlo come un episodio pionieristico del cosiddetto cinema documentario...

(Voce di Pietro Montani tratta dall' Enciclopedia del cinema Treccani, vol. 5°)



Kino Eye (Kinoglaz)
URSS 1924 - bn, 78'
Director: Dziga Vertov
This documentary promoting the joys of life in a Soviet village centers around the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to "buy from the cooperative" as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread. Edited into Chelovek s kino-apparatom (1929).


L'uomo con la macchina da presa (Celovek s kinoapparatom)
URSS 1929 - bn, 64'
regia: Dziga Vertov; produzione: VUFKU; fotografia: Michail Kaufman; montaggio: Elizaveta Svilova, Dziga Vertov; musica: A. Gran, M. Veisbein, V. Endrziewski (su indicazioni di Dziga Vertov) 
Alcuni spettatori entrano in una sala cinematografica. Ha inizio la proiezione del film. La città dorme ancora. L'uomo con la macchina da presa si mette al lavoro e riprende un treno in corsa verso di lui. Una donna si sveglia. L'operatore riprende il risveglio della città. I mezzi di trasporto, gli esseri viventi, le industrie, tutto si mette in movimento. Alla stazione l'uomo con la macchina da presa segue alcune donne che salgono in vettura. L'immagine si blocca, siamo in sala di montaggio. L'operatore segue la vita della comunità: matrimoni, divorzi, funerali. Un'ambulanza corre per prestare soccorso sul luogo di un incidente. Alcune donne oziano, altre lavorano. Le industrie, le fonti di energia delle fabbriche, le centrali elettriche, le macchine... tra le quali la cinepresa. Le macchine si fermano, la giornata di lavoro è finita, è ora di divertirsi: eventi sportivi, un illusionista cinese che incanta i bambini, il vizio del cinema e quello dell'alcool, ma anche le chiese trasformate in circoli leninisti. Siamo di nuovo in una sala cinematografica, dove vediamo come funziona il cinema: esso coglie l'attimo, riproduce la vita. L'uomo con la macchina da presa ha infine conquistato il controllo del tempo e dello spazio. Privo di qualsiasi spiegazione verbale, Celovek s kinoapparatom è un abbagliante fuoco d'artificio del ‘montaggio sovietico', giunto alla sua autentica perfezione alla fine degli anni Venti. La sua particolarità è quella di essere sia un film che un manifesto teorico. Dziga Vertov lo comunica nell'insolito e programmatico appello allo spettatore nei titoli di testa: «Questo film rappresenta un'esperienza di comunicazione cinematografica di avvenimenti visibili senza ricorrere all'aiuto di didascalie, di una sceneggiatura o di elementi teatrali (scenografie, attori, ecc.). Lo scopo di questa opera sperimentale è quello di creare un linguaggio cinematografico assoluto e universale, completamente libero dal linguaggio del teatro e della letteratura». Ambizione notevole, visto che si oppone a tutte le convenzioni del linguaggio cinematografico allo scopo di eliminarle. A prima vista risulta difficile trovare un filo conduttore. Le numerose allusioni agli automatismi della vita quotidiana offrivano certamente dei riferimenti al pubblico sovietico del 1929; e paradossalmente questo è l'aspetto del film che richiede oggi alcune spiegazioni verbali. Lo spettatore contemporaneo, a cui questa vita è completamente estranea, in compenso è più preparato ad affrontare la forma complessa del film. Per Vertov il film non ha un solo soggetto, ma un'infinità, tutti provenienti dalla vita: «La vita più emozionante, quella che passa accanto all'operatore, ma che egli è in grado di arrestare e di fissare sulla pellicola». A partire da questi avvenimenti vissuti, è possibile costruire un'opera musicale, con «una corrente, ripetizioni, crescendo, una melodia di base e un accompagnamento». Nel film non vi è un solo tema, ma molteplici motivi che si intrecciano. Secondo la maggioranza degli storici del cinema, si tratta della giornata di una grande città. Ma questo ‘racconto' s'inserisce anche nella proiezione di un film intitolato Celovek s kinoapparatom , che ci mostra il lavoro dell'operatore all'inseguimento della vita. Un altro filo conduttore è quello della montatrice che «controlla questa vita, ne arresta il corso, la registra, la classifica, ecc.». A partire da questi motivi, si possono poi individuare diverse configurazioni: per esempio la vita di un uomo, dalla nascita alla morte. La forza di Celovek s kinoapparatom consiste nella sua capacità di suscitare molteplici letture conservando un discorso coerente, a vari livelli... 
vai al testo completo 
(Voce di Bernard Eisenschitz tratta dal Dizionario critico dei film Treccani/Cineteca di Bologna)



Three Songs About Lenin (Tri pesni o Lenine)
1934 - bn, 57'
regia: Dziga Vertov
"Tre canti su Lenin" (Tri pesni o Lenine) è un documentario del 1934, diretto dal regista sovietico Dziga Vertov. Rientra nel "genere" cinematografico del documentario di propaganda e sancì l'apogeo ufficiale del regista sovietico, insieme al suo progressivo isolamento da parte del regime. Il film è scandito da tre canti popolari dell'Uzbekistan che ne caratterizzano le tre parti: la prima - "Il mio volto era in una buia prigione" - è dedicata al tema della liberazione, la seconda - "Noi l'amavamo" - su Lenin stesso e la terza è incentrata sui propagandistici progressi dell'URSS,con la presenza di interviste ad un operaia,un colcosiano e una contadina.Lenin viene spesso evocato come il Messia di una rivoluzione mondiale. Tre canti su Lenin è un documentario "lirico", per il particolare trattamento musicale del materiale d'archivio. A lungo gli studiosi di cinema hanno considerato quest'ultimo film il migliore della produzione vertoviana, anche per il suo immediato successo sia in patria che all'estero. Il regista con quest'opera sembra snaturare tutta la propria attività cinematografica precedente, incentrata su uno sperimentalismo originale ma anche inviso a un regime che sta imponendo, proprio a partire dal 1934, il "realismo socialista". In realtà Vertov cerca sempre nuove sperimentazioni nel campo documentaristico, e Tre canti su Lenin è in coerenza con questo progetto: per la prima volta il regista ha voluto produrre un'opera d'arte,seguendo intenti puramente estetici; a conferma di quest'ultima considerazione,da ricordare la straordinaria qualità della partitura musicale, orchestrata da Saporin. Vertov vuole realizzare un progetto di celebrazione politica,vuoto di qualsiasi facile retorica: ciò viene realizzato recuperando una traccia inedita di Lenin, culturamente determinata dalla musica di commento (basata principalmente su canti popolari orientali).
( fonte:
http://it.wikipedia.org/wiki/Tre_canti_su_Lenin )


The Cinematic Orchestra was asked by the organisers of the Porto European City of Culture 2000 festival to write a new score to the classic 1929 Dziga Vertov Russian silent film Man with a Movie Camera, to be performed live in accompaniment with a showing of the film. The work differed from the band's usual compositions due to its live performance, ruling out the post production work that was present on Motion.





Nanook of the North is a silent documentary film by Robert J. Flaherty. In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuit Nanook and his family in the Canadian arctic. The film is considered the first feature-length documentary, though Flaherty has been criticized for staging several sequences and thereby distorting the reality of his subjects' lives. The film was shot near Inukjuak, on Hudson Bay in Arctic Quebec, Canada. Having worked as a prospector and explorer in Arctic Canada among the Inuit, Flaherty was familiar with his subjects and set out to document their lifestyle. Flaherty had shot film in the region prior to this period, but that footage was destroyed in a fire started when Flaherty dropped a cigarette onto the original camera negative (which was highly flammable nitrate stock). Flaherty therefore made Nanook of the North in its place. Funded by French fur company Revillon Freres, the film was shot from August 1920 to August 1921.






Interamente realizzato da Joris Ivens (George Henri Anton Ivens). Produzione: CAPI, Amsterdam. Ivens si stacca dall’insoddisfacente esperienza del materiale girato in un bar nel cuore di Amsterdam rivolgendosi allo studio del movimento e del ritmo: il soggetto più vicino allo scopo è il ponte ferroviario di Rotterdam (vicino anche al luogo di lavoro di Ivens, che una volta staccato poteva riprenderne per qualche metro di pellicola i ripetuti movimenti, giorno dopo giorno). Rispetto all’intenzione iniziale quasi di rilevamento della resa degli strumenti che si muovono ritmicamente nella zona ferroviaria e portuale, il materiale girato e montato costituisce invece un cortometraggio compiuto, il primo film di Ivens: “De Brug”. Realizza il montaggio da solo coi modi di produzione del cinema d’avanguardia: le serrate inquadrature analitiche riprendono tutti gli effetti dinamici permessi dall’oggetto. Rimane così vivo il rapporto tra autore e opera con la memoria al manifesto del Bauhaus: creare una comunità di artefici senza alcuna distinzione di classe che alzi un’arrogante barriera tra artigiano e artista. Il ponte è rappresentazione del vettore dei valori moderni della società, macchina tecnologicamente raffinata, simbolo della società industriale, visione progressista della contemporaneità. Per Ivens, un precursore, è opportuno parlare di sensibilità alla macchina e all’arte meccanica quali valori del momento in un vasto e articolato clima europeo. In “De Brug” le tre dimensioni sono vettori dinamici sui quali si basa il movimento interno dell’inquadratura: del cinema astratto però Ivens accoglie solo il gusto antinaturalistico senza rinunciare alla riconoscibilità dell’oggetto. Secondo lo stesso regista, “De Brug” consente di stabilire un parallelo tra musiche e cinema in una sinfonia visiva che ripete lo stacco e la fuga.
(fonte:
www.univ.trieste.it/news/?id=2217 )


Regia e soggetto: Mannus Franken e Joris Ivens. Fotografia e montaggio: Joris Ivens. Prod.: CAPI, Amsterdam. Nel 1932 Helen Van Dongen curò un’edizione sonorizzate con musiche di Lou Lichtveld. Il successo di “De Brug”, studio lirico e astratto di un ponte, è subito seguito da “Regen”, che è una breve esplorazione dei cambiamenti di Amsterdam nell’attesa lo svolgersi e l’esaurirsi di un acquazzone. Ivens cattura la lucentezza dell’acqua sulla città e il ritmico movimento delle gocce che cadono nei canali e nelle pozze. Mannus Franken legato anch’egli alla Filmliga elabora il soggetto di “Regen”. Muto e senza didascalie il film si snoda agevolmente attraverso l’esile filo conduttore delle riprese di un temporale. I suoi effetti sono puramente visivi, la trama essenziale si fonda sulle coordinate temporali senza una continuità spaziale che viene riformulata a partire dal contenuto formale delle immagini. È una ricerca che punta sulla natura e sul paesaggio al di sopra di ogni convenzione. L’accostamento di immagini con angoli di riprese contrapposti, il montaggio ritmico basato sulla lunghezza relativa delle inquadrature, i cambi di campo sono le articolazioni che determinano il piano ritmico del film che è ancora antinaturalista, dove un succedersi di frammenti origina la propria interpretazione di un comune fenomeno meteorologico. Assieme a “De Brug”, “Regen” procura a Ivens grande notorietà anche al di fuori dell’Olanda con la presentazione al Primo Congresso Internazionale del Cinema Indipendente di La Serraz.





 



To Hear Your Banjo Play 1  2
I. Lerner, W. Van Dyke, Alan Lomax
1947 - 16'05'', Black and White
Written by Alan Lomax, narrated by Pete Seeger, with appearances by Woody Guthrie, Brownee McGhee, Sonny Terry, Baldwin Hawes, and Texas Gladden. A series of loving portraits of country folk and their musical traditions. Along the way, we learn that the banjo was invented by slaves, that Appalachian ballads have their roots in Scottish folk songs, and that exchanges across the racial divide have long played a significant role in the formation of American folk music. The whole thing ends with the off-screen audience of proto-teeny boppers taking to the stage for a lively square dance.
 
The Land Where the Blues Began 
John M. Bishop, Alan Lomax, Worth W. Long
1979, 3/4 tape - 58 minutes, Color
In the late 1970s Alan Lomax traveled to Mississippi with filmmaker John Bishop and folklorist Worth Long and made this film about the African American music he found there.
Featuring: Othar Turner, Napoleon Strickland, Lonnie Pitchford, Clyde Maxwell, Lucius Smith, Bud Spires, Jack Owens, Beatrice Maxwell, Walter Brown, Eugene "Sonny Boy Nelson" Powell, Sam Chatmon, Wilbert Puckett, J.T. Tucker, George Johnson, Joe Savage, William Hart, Bill Gordon, Belton Sutherland, Caeser Smith, James Hall, Johnny Brooks
Copyright: 1979 Alan Lomax
Produced by: The Mississippi Authority for Eduational Television & Alan Lomax
Cinematography: John M. Bishop. Additional photography Ludwig Goon.
Editing: John M. Bishop. Videotape editor Ike Touchstone
Sound: Steve Darsey, Kenneth Gates, Jacqueline Mack, Paul Burt
Acknowledgements: Written and directed by Alan Lomax. Researched and developed by Worth Long. Project coordinator Paula Tadlock. Script consultant Jeanne Luckett. Field recording unit Eddie Bunkley, Gil Cook, Herb Jolly, Clifford Tobias. Technical directors Wendell Breland, Bob Garner. Switchers Mike Jackson, Jim Robinson. Video Bob Bracey, Don Clark. VTR operators Lee Harrison, Fred Wilkinson. Mississippi Educational Television acknowledges the assistance of: Greenville Levee Board, Mississippi Department of Archives and History, Illinois Central Railroad Vicksburg Office, St. James Baptist Church, Rev. E.H. Hart, Old Courthouse Museum, Documentary Educational Resources, G.D. Young, Othar Turner and the Gravel Springs Fife and Drum Band, Mira's Cafe, William Alexander Percy Memorial Library. Choreometrics Project Columbia University. Rockefeller Foundation Humanities Division. "Shake it in the Bed" composed by Sam Chatmon.
Funding: Mississippi Authority for Educational Television
Awards: Blue Ribbon, American Film Festival.

Jazz Parades: Feet Don't Fail Me Now 
Alan Lomax
1990, 3/4 tape - 58 minutes, Color
Alan Lomax's overview of the Jazz scene in New Orleans with interviews and performances by Majestic Band, the Preservation Hall Band (Willie Humphrey, James "Sing" Miller, Emmanuel Sayles, Alonzo Stewart, Kid Thomas Valentine and Chester Zardis) and the Dirty Dozen Brass Band (Greg Davis, Charles Joseph, Kirk Joseph, Roger Lewis, Jenell Marshall and Ephrem Townes) at the Glass House and participating in a funeral parade.
Featuring: Preservation Hall Jazz Band, Willie Humphrey, James "Sing" Miller, Emanuel Sayles, Alonzo Stewart, Kid Thomas Valentine, Chester Zardis, Dirty Dozen Brass Band, Gregory Davis, Kirk Joseph, Charles Joseph, Roger Lewis, Jenell Marshall, Efrem Towns, Zulu Social Aid & Pleasure Club
Copyright: 1990, Association for Cultural Equity
Produced by: Alan Lomax
Cinematography: Jim Brown
Editing: Alison Ellwood assisted by Mark Tobin
Sound: Kenny Delbert, Gary Olsen
Acknowledgements: American Patchwork Series developed by the Association for Cultural Equity at Columbia University and Hunter College. Associate Producer, Jaime Barrios. Additional Camera by Toby Armstrong, Bruce Conque, and Larry Davis. Consultants: Bill Russell, Allan Jaffe, Michael P. Smith, Andrew Kaslow, Al Rose, Kurt Jerde, Forrestine Paulay

Appalachian Journey 
Alan Lomax
1991, 3/4 tape - 58 minutes, Color
Alan Lomax travels through the Southern Appalachians investigating the songs, dances, and religious rituals of the descendents of the Scotch-Irish frontiers people who have made the mountains their home for centuries.
Featuring: Tommy Jarrell, Ray Hicks, Stanley Hicks, Bob Eller, Laurence Eller, Joe and Odell Thompson, Frank Proffitt Jr., Raymond Fairchild, Sheila Kay Adams, Dellie Norton, John Dee Holeman, Algia Mae Hinton, Harvey Watson
Copyright: 1991, Association for Cultural Equity
Produced by: Mike Dibb, Penny Forster
Cinematography: Jim Brown, Nicholas Echeverria
Editing: Mark Tobin, Howard Sharp with Jenny Campbell
Sound: Jack Gordeon, Robert Zieniewicz
Acknowledgements: Channel Four production directed by Mike Dibb and Mark Kidel. Executive Editor Alan Lomax. The American Patchwork Series was developed by the Association for Cultural Equity at Columbia University and Hunter College.

Cajun Country 
Alan Lomax
1991, 3/4 tape - 56 minutes, Color
Alan Lomax's wonderful documentary about the bayous of Louisiana which have combined French, German, West Indian, native American and hillbilly ingredients into a unique cultural gumbo.
Featuring: Dennis McGee, Canray Fontenot, Alphonse "Bois Sec" Ardoin, Michael Doucet, Deo Langley, Wade Fruge, Michael Reed, Barry Ancelet, Dewey Balfa, Dorestine Fontenot, Clinvin Jones, Hubert Reed, Gerard Sellars, Adolis Montoucet, Hackberry Ramblers, Lula Landry, Amadie Ardoin, Iry LeJeune, Walter Mouton, Felix Richard, Phoebe Trotter, Revon Reed, Laurence Billiott, Sady Courville, John Delafosse, Amanda LaFleur, Percy Dardar, Joe Billiott
Copyright: 1991, Association for Cultural Equity
Produced by: Alan Lomax
Cinematography: Nicholas Echeverria, Bruce Conque
Editing: Nick Doob
Sound: Robert Zieniewicz
Acknowledgements: Special thanks to: The Mamou Mardi Gras, The Kinder Mardi Gras, Fred's Lounge, Mulatt's, The Acadian Village, Marc Savoy, Fred Tate, Jasper Manuel. Secretary: Tamara Bonillla. Production Coordinators: Matthew Barton, Andrew Kaye, Christine Krause. Production Assistants: Noel McClanahan. Project Accountant: Dean Drummond. Series Producer: Elisabeth Fink Benjamin. Research Consultant: Barry Ancelet. Studio Camera: Nick Doob. Associate Producer: Jaime Barrios. Consulting Producer: G. Haines Styles. Additional Camera: Toby Armstrong, Michael Doucet, John Bishop. Online Editor: Alan Miller, Susan Eldridge. Sound Mix: Stefan Bruck. Assistant Editor: Anna Pivarnik. Animation Camera: Mark Spada. Post-production Facilities: Rebo Studio, NVI, Kopel Films. Engravings: Fred Sonnier. Photographic Research: Ann Savoy. Graphics: Carol Kulig. Consultants: Carl Brasseaux, Nicholas Spitzer, William Sturdevant, Glen Pitre, Michael Doucet, Dewey Blafa. Translations: Barry Ancelet.
Funding: The American Patchwork Series was developed by the Association for Cultural Equity at Columbia University and Hunter College.
 
1991, 3/4 tape - 58 minutes, Color
Alan Lomax's examination of the talents and wisdom of elderly musicians, singers, and story-tellers, who perform not for fame or fortune but to preserve and share their culture.
Featuring: Sam Chatmon, Janie Hunter, Chester Wootten, Tommy Jarrell, Nimrod Woodman, Jack Owens
Copyright: 1991, Association for Cultural Equity
Produced by: Mark Dibb, Penny Forster, Alan Lomax, Jaime Barrios
Cinematography: Jim Brown, John Bishop, Nicholas Echeverria
Editing: Mark Tobin with Howard Sharp, Jenny Campbell
Acknowledgements: Produced by Dibb Directions for Channel Four. Associate Producers Mark Kidel, Howard Sharp. Directed by Mark Dibb and Mark Kidel.






 
 
Prelinger Archives was founded in 1983 by Rick Prelinger in New York City. Over the next twenty years, it grew into a collection of over 60,000 "ephemeral" (advertising, educational, industrial, and amateur) films. In 2002, the film collection was acquired by the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division. Prelinger Archives remains in existence, holding approximately 4,000 titles on videotape and a smaller collection of film materials acquired subsequent to the Library of Congress transaction. Its goal remains to collect, preserve, and facilitate access to films of historic significance that haven't been collected elsewhere. Included are films produced by and for many hundreds of important US corporations, nonprofit organizations, trade associations, community and interest groups, and educational institutions. Getty Images represents the collection for stock footage sale, and almost 2,000 key titles are available here. As a whole, the collection currently contains over 10% of the total production of ephemeral films between 1927 and 1987, and it may be the most complete and varied collection in existence of films from these poorly preserved genres.
 
 
To see the flash videos your browser needs to have javascript enabled and the Flash browser plugin from Adobe

This Is Prelinger Archives
Sd, B&W/C 11'01''


Official Prelinger Archives corporate video, describing its contents and mission. With excerpts of many films in the collection and rare scenes shot inside the New York vaults.


Prelinger Archives: selezione di film 1905-1969



Pictures San Francisco's main thoroughfare as seen from the front window of a moving Market Street cable car, before the downtown area was destroyed in the 1906 earthquake and fire. This unusual record has been called the first "structural film" because it follows exactly the externally imposed structure of the car ride.
This item is part of the collection: Prelinger Archives
Producer: Unknown


A Corner in Wheat is a 1909 short film which tells of a greedy tycoon who tries to corner the world market on wheat, destroying the lives of the people who can no longer afford to buy bread. It was directed by D. W. Griffith and adapted by Griffith and Frank E. Woods from the novel The Pit (1903) by Frank Norris. Intercutting (cross-cutting) between still tableaux of the poor in the bread line and the lavish, active parties of the wealthy speculator somewhat anticipates the collision montage which became a hallmark of the politically-charged Soviet cinema a decade or so later. In 1994, A Corner in Wheat was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". This is the first film in which D.W. Griffith attempts social commentary. The scenario parallels the problems of a poor farmer and the dealings of an ill-fated "wheat king." Based on the novel "The Pit" by Frank Norris.
IMDb Profile:
http://www.imdb.com/title/tt0000832/
This item is part of the collection: Feature Films
Producer: D.W. Griffith


The Immigrant (also called Broke) starring the Charlie Chaplin Tramp character as an immigrant coming to the United States who is accused of theft on the voyage across the Atlantic Ocean, and befriends a young woman along the way. It also stars Edna Purviance and Eric Campbell. The movie was written and directed by Chaplin. According to Kevin Brownlow and David Gill's documentary series Unknown Chaplin, the first scenes to be written and filmed take place in what became the movie's second half, in which the penniless Tramp finds a coin and goes for a meal in a restaurant, not realising that the coin has fallen out of his pocket. It was not until later that Chaplin decided the reason the Tramp was penniless was that he had just arrived on a boat from Europe, and used this notion as the basis for the first half. Purviance reportedly was required to eat so many plates of beans during the many takes to complete the restaurant sequence (in character as another immigrant who falls in love with Charlie) that she became physically ill. The scene in which Chaplin's character kicks an immigration officer was cited later as evidence of his anti-Americanism when he was forced to leave the United States in the 1950s. The film has been selected for preservation in the United States National Film Registry.
http://www.imdb.com/title/tt0008133/
This item is part of the collection: Feature Films


A strike begins at the Union Iron Works at the foot of Potrero Hill in 1917.
This item is part of the collection: Shaping San Francisco
Production Company: Prelinger Archive


Visionary 1920s film containing imaginative astrophysical visualizations.
This item is part of the collection: Prelinger Archives
Producer: Unknown


Goodyear's own film about its rubber plantations on the island of Sumatra, depicting Sumatra's culture in a highly patronizing and racist fashion.
This item is part of the collection: Prelinger Archives
Producer: Goodyear Tire and Rubber Co., Inc., Motion Picture Division


Bok Kai Festival crowds, games, parade and fireworks.
This item is part of the collection: Prelinger Archives


Typical newsreel from the silent era, featuring Jack Dempsey, a balloon race, women dancing in chilly breezes, a juggler, and opium being confiscated and burned in Shanghai.
This item is part of the collection: Prelinger Archives
Producer: Kinograms


Scenes shot in Martinez, Contra Costa County, California, on San Pablo Bay, apparently in the late 1920s. Images include: pans over the waterfront; workers at the Bay Specialty Company; the erection of the American Plywood factory; white-collar men exiting a meeting, greeting the camera and tipping their hats; workers at the Martinez Steam Laundry posing; flappers outside another business; entrance to Alhambra Union High School and students leaving; high-school girls in typing class; Martinez Elementary School students passing by the camera; and children involved in a Charlie Chaplin dressalike contest.
This item is part of the collection: Prelinger Archives
Producer: Unknown


Demonstration in Griffith Park, Los Angeles, California, "against city and city officials which caused murder of 100 relief workers in Griffith Park Fire." Shows crowds, speakers and placards. Title at end of story promotes "The Camera in the Class Struggle."
This item is part of the collection: Prelinger Archives
Producer: Unknown


Portrait of the readers of McCall's magazine (housewives) and their lives and desires.
This item is part of the collection: Prelinger Archives
Producer: Loucks & Norling Studios


Touristic view of Damascus and Jerusalem, showing the Church of the Holy Sepulcher, Haram-esh-Sherif, Mount of Olives, the Wailing Wall, the Jaffa Gate in the old west wall of the city and the dome of the rock.
This item is part of the collection: Prelinger Archives
Producer: Andre de la Varre


Classic documentary history of the exploitation of the resources of the Mississippi River Valley and the work being done to rehabilitate and reclaim the area. Director and writer: Pare Lorentz. Narrator: Thomas Chalmers. Photography: Willard Van Dyke, Stacey Woodard and Floyd Crosby. Editor: Leo Zochling. Music: Virgil Thomson.
This item is part of the collection: Prelinger Archives
Producer: U.S. Department of Agriculture, Resettlement Administration


Considered THE archetypal sensationalized anti-drug movie, but it's really an exploitation film made to capitalize on the hot taboo subject of marijuana use. Like many exploitation films of the time, "Reefer Madness" tried to make a quick buck off of a forbidden subject while skirting the Motion Picture Production Code of 1930. The Code forbade the portrayal of immoral acts like drug use. (The illegal drug traffic must not be portrayed in such a way as to stimulate curiosity concerning the use of, or traffic in, such drugs; nor shall scenes be approved which show the use of illegal drugs, or their effects, in detail.) The film toured around the country for many years - often being re-edited and re-titled ("Tell Your Children", "Dope Addict", "Doped Youth", "Love Madness", "The Burning Question"). It was re-discovered in the early 1970s by NORML (National Organization for the Reform of Marijuana Laws) and screened again as an example of the government's demonization of marijuana. NORML may have been confused about the film's sponsorship since one of the film's distributors, Dwain Esper, testified to the Arizona Supreme Court that "Reefer Madness" was not a trashy exploitation film but was actually sponsored by the U.S. Government - a convincing lie, but a lie nonetheless.
This item is part of the collection: Feature Films
Director: Louis J. Gasnier
Producer: George A. Hirliman

Production Company: G and H Production.


The Regional Planning Association of America's plea for community chaotic cities and urban sprawl.
Directors: Ralph Steiner and Willard Van Dyke. Script: Henwar Rodakiewicz, from an outline by Pare Lorentz. Commentary written by Lewis Mumford. Narrator: Morris Carnovsky. Photography: Ralph Steiner, Willard Van Dyke, Jules V.D. Bucher, Edward Anhalt, Roger Barlow and Rudolph Bretz. Editor: Theodore Lawrence. Music: Aaron Copland.
This item is part of the collection: Prelinger Archives
Producer: American Documentary Films, Inc.


An amazing short by an "orchestra" of vibraphone players. Some viewers have noted that this film seems to be a mirror image of how things are supposed to be. This is because original Soundie films were printed backwards so that they could appear correct when played in the Panoram machine (an early film jukebox).
This item is part of the collection: Prelinger Archives


<
Shows masked mental patients enacting various schizophrenic symptoms as they were understood at the time. A disturbing film that raises questions about the condition and treatment of its subjects.
This item is part of the collection: Prelinger Archives
Producer: Pathescope Productions


Shows home, work and school activities of a middle-class Japanese family.
This item is part of the collection: Prelinger Archives
Producer: ERPI Classroom Films, Inc.


Mardi Gras: Parade of Nor.
This item is part of the collection: Prelinger Archives
Producer: Unknown


Impressionistic film promoting total war mobilization, showing only human hands.
This item is part of the collection: Prelinger Archives
Producer: U.S. Army Signal Corps


The Battle of San Pietro is a documentary film directed by John Huston about the Battle of San Pietro Infine during World War II. The film is unflinching in its realism (showing people dying on the field) and was held up from being shown to the public by the United States Army. Huston quickly became unpopular with the Army, not only for the film but also for his response to the accusation that the film was anti-war. Huston responded that if he ever made a pro-war film, he should be shot. General George Marshall came to the film's defense, stating that because of the film's gritty realism, it would make a good training film; subsequently the film was used for that purpose. Huston was no longer considered a pariah; he was decorated and made an honorary major. In 1991, The Battle of San Pietro was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
This item is part of the collection: Feature Films
Director: John Huston


Thelma White and Her All-Girl Orchestra
This item is part of the collection: Prelinger Archives


How the atomic bomb destroyed the people and cities of Hiroshima and Nagasaki, Japan.
This item is part of the collection: Prelinger Archives
Producer: U.S. War Department


Reviews the history of immigration to the United States up to the restrictive law passed in 1924. A dramatized scene in a European steamship office is used to show the economic, political and religious motives for immigration. Contains scenes of Ellis Island and New York City in the early 20th century.
This item is part of the collection: Prelinger Archives
Producer: Encyclopaedia Britannica Films, Inc.


Union recruitment film criticizing monopoly control of the U.S. economy and advocating union membership as a defense against corporate power.
This item is part of the collection: Prelinger Archives
Producer: Union Films


Hard times in 1950s St. Louis and the social services that aimed to alleviate them.
This item is part of the collection: Prelinger Archives
Producer: Hardcastle Films


Made for home economics class, this is a primer on sensible food shopping. We learn to read canned food labels and get a glimpse at the mysterious grading system for various foods. Many of this film’s messages are still poignant today, especially since supermarkets are designed to encourage “impulse buying”.
This item is part of the collection: A/V Geeks
Production Company: Centron


Typical activities of Alaskan Eskimo life throughout a long winter.
This item is part of the collection: Prelinger Archives
Producer: Machetanz (Frederick and Sara)


Documents the case of a mental patient who is treated for schizophrenia (paranoid type) at the Oklahoma State Hospital. Summarizes the treatment of a patient from admission to the hospital to the time of discharge. Explains the methods used in the treatment of mental diseases and stresses the value of occupational therapy in rehabilitating patients and the need for an atmosphere of calm and security.
This item is part of the collection: Prelinger Archives
Director: Mabrey, Layton
Producer: University of Oklahoma
Production Company: University of Oklahoma


Shows, in the imaginative form of a "report from outer space," how the ways of mankind might appear to visitors from another planet.
This item is part of the collection: Prelinger Archives
Producer: Encyclopaedia Britannica Films


How patterns of family living have changed from the 1880s to the 1950s, shown in dramatized sequences.
This item is part of the collection: Prelinger Archives
Producer: Knickerbocker Productions


Fascinating documentary made to train police officers in the assistance and management of mentally ill and confused persons, produced in New Orleans by eminent filmmaker George C. Stoney using real New Orleans police officers as actors. A little-known ethnographic classic that is strongly rooted in the place where it was made.
This item is part of the collection: Prelinger Archives
Producer: Stoney Associates


Documentary on the Columbia University student strike and takeover in 1969.
This item is part of the collection: Prelinger Archives
Producer: Newsreel




Compiled by the Folklorists Daniel and Beverly Patterson "Selected Films" represents 137 titles:
some of these titles are streaming on Folkstreams



Afro-American Work Songs in a Texas Prison 
Bruce Jackson, Toshi Seeger, Peter Seeger, Daniel Seeger. 1966. (Black and White, 29 minutes)
Pete and Toshi Seeger, their son Daniel, and folklorist Bruce Jackson visited a Texas prison in Huntsville in March of 1966 and produced this rare document of of work songs by inmates of the Ellis Unit.
 
Almeda Riddle: Now Let's Talk About Singing 
George West. 1985. (Color, 28 minutes)
This video tells how and where Arkansas ballad singer Almeda Riddle began her 10 year stint of singing old ballads all over the country. In an informal manner, folk musician Starr Mitchell chats with Riddle about her singing tours and her commitment to preserving the past for the future.
 
The Angel That Stands By Me: Minnie Evans' Paintings 
Allie Light, Irving Saraf. 1983. (Color, 29 minutes)
A portrait of the African-American visionary artist Minnie Evans from Wilmington, N.C., by Academy Award winning filmmakers Irving Saraf and Allie Light.
 
The Ballad of Frankie Silver 
Tom Davenport. 1996. (Color, 47 minutes)
In 1833 Mrs. Frances Silver was hanged in Morganton, North Carolina, for the ax murder of her husband Charles. Tom Davenport's film explores the case through the singing and stories of Bobby McMillon and the comments of North Carolina Assistant Attorney General Jeffrey Gray and others.
 
Battle of the Guitars 
Alan Govenar. 1985. (Color, 16 minutes)
This is one of three short films in the Living Texas Blues series. Battle of the Guitars shows the influence of Aaron "T-Bone" Walker through the performance of Pete Mayes and Joe Hughes at the Doll House Club in Houston.
 
Being A Joines: A Life in the Brushy Mountains 
Tom Davenport, Allen Tullos, Joyce Joines Newman, Daniel Patterson. 1981. (Color, 55 minutes)
John E. "Frail" Joines was a master tale teller from Wilkes County, N. C., on the eastern slope of the Blue Ridge Mountains. His hunting tales, stories from World War II, and religious narratives, and the life stories of Frail Joines and his wife Blanche mirror changes that swept away much of the traditional culture of his Appalachian rural community in a single generation and show the character and values with which his family met these circumstances. A joint production of Tom Davenport Films and the Curriculum in Folklore of UNC-Chapel Hill.
 
Black Delta Religion 
Bill Ferris, Josette Ferris. 1973. (Black and White, 14 minutes)
This film was made from b/w Super 8mm footage that William Ferris gathered in rural Mississippi in 1968. The film includes footage from rural church services and a full immersion baptism.
 
Black on White, White and Black 
Alan Govenar, Bruce "Pacho" Lane. 1990. (Color, 26 minutes)
An intimate and humorous look at the life and career of the legendary blues pianist Alex Moore, a native of Dallas, was the first African American Texan to receive a National Heritage Fellowship from the National Endowment for the Arts. The film shows his mastery of the piano at a tribute held in his honor at the famous Majestic Theater - his last public performance.
 
Les Blues de Balfa 
Yasha Aginsky. 1983. (Color, 26 minutes)
A portait of Southwestern Louisana's Balfa Brothers, ambassadors of traditional Cajun music to the world. Filmed in Louisiana between 1978 and 1981, the film focuses on the surviving brother fiddler Dewey Balfa and his efforts to continue playing and performing his family's traditional music after the sudden death of his brothers and bandmembers in a traffic accident.
 
Born for Hard Luck: Peg Leg Sam Jackson 
Tom Davenport. 1976. (Color, 29 minutes)
A film portrait of the last Black medicine-show performer, Arthur "Peg Leg Sam" Jackson, with harmonica songs, tales of hoboing, buckdances, and a live medicine-show performance. A joint production of Tom Davenport Films and the Curriculum in Folklore at UNC-Chapel Hill.
 
Buck Season at Bear Meadow Sunset 
George Hornbein, Kenneth Thigpen. 1984. (Color, 26 minutes)
A portrait of a hunting camp in northern Appalachia, the men who hunt there, and the traditions they keep alive. The men hunt the old way: they drive the deer. They keep the traditions of their grandfathers' camp alive in the stories they tell and the way they hunt.
 
Cajun Visits: Visites Cajuns 
Yasha Aginsky. 1983. (Color, 28 minutes)
A series of five musical portraits of traditional Cajun master musicians at home in rural southwestern Louisana. The film, where the language spoken is an ever shifting mix of English and Cajun French, is a loving tribute to these musicians and their unique musical culture.
 
The Cameraman Has Visited Our Town 
Tom Whiteside. 1989. (Color, 19 minutes)
An introduction to H. Lee Waters and his Movies of Local People 1936 to 1942. A film by Tom Whiteside.
 
Catching the Music 
Jackson Frost, Stephen Wade. 1987. (Color, 54 minutes)
An hour-long WETA-TV documentary on musician Stephen Wade. Catching the Music describes the passing of the banjo from one player to the next. The film includes footage of Kirk McGee, Hobart Smith, Fleming Brown, Doc Hopkins, Roscoe Holcomb, Pete Steele, Uncle Dave Macon, and Virgil Anderson.
 
Cigarette Blues 
Les Blank, Alan Govenar. 1985. (Color, 04 minutes)
This is one of three short films in the Living Texas Blues series. Cigarette Blues features Sonny Rhodes and the Texas Twisters performing at Eli's Mile High Club in Oakland, California.
 
Cowboy Poets 
 Kim Shelton. 1988. (Color, 53 minutes)
American cowboys have been writing poetry for more than a century. Cowboy Poets profiles three cowboy reciters--Waddie Mitchell, Slim Kite and Wally McRae--representing three different aspects of the cowboy-poetry tradition. A Kim Shelton film.
 
Dance for a Chicken: The Cajun Mardi Gras 
Pat Mire. 1993. (Color, 56 minutes)
This award-winning film brims over with stunning images of carnival play and a rich soundtrack of hot Cajun music. Cajun filmmaker Pat Mire gives us an inside look at the colorful, rural Cajun Mardi Gras.
 
Deep Ellum Blues 
Alan Govenar. 1985. (Color, 10 minutes)
This film is one of three short films in the Living Texas Blues series which explores the 1920's and 1930's night life in Dallas through the music of Bill Neely.
 
Dreadful Memories: The Life of Sarah Ogan Gunning, 1910-1983 
Mimi Pickering. 1988. (Color, 38 minutes)
Born in the coalfields of eastern Kentucky, Gunning suffered a life of bitter poverty which became the fuel for dozens of moving songs about working people, the mines, and the great coal strikes of the twenties and thirties. Gunning's a cappella roots music is intercut throughout the interviews and archival footage. 
 
Dry Wood 
Les Blank, Maureen Gosling. 1973. (Color, 37 minutes)
A glimpse into the life, food, and Mardi Gras celebrations of black Creoles in French Louisiana, featuring the stories and music of "Bois Sec" Ardoin and Canray Fontenot. Dry Wood is one of a number of Les Blank's critically acclaimed films on Lousiana life and culture. Hot Pepper, a film on zydeco great Clifton Chenier, is a companion to Dry Wood.
 
Every Island has its Own Songs: The Tsimouris Family of Tarpon Springs 
Peggy Bulger. 1988. (Color, 27 minutes)
Nikitas Tsimouris (1924 - 2001) brought the complex music of the tsabouna, a type of Greek bagpipe, to Tarpon Springs. In 1991, Tsimouris became the first Floridian to receive a National Heritage Fellowship.
 
Fannie Bell Chapman: Gospel Singer 
Bill Ferris, Judy Peiser, Bobby Taylor. 1975. (Color, 42 minutes)
Film of the singer/faith healer and folk artist Fannie Bell Chapman from Centreville, Mississippi. Footage includes Chapman and her family singing and praying during church services and at home, a healing service at the Chapman home, and Chapman "speaking in tongues" after healing.
 
Final Marks: The Art of the Carved Letter 
Frank Muhly, Jr., Peter O'Neill. 1979. (Color, 49 minutes)
A documentary about lettercutting, in both monumental inscriptions and on gravestones. The filmmakers were given complete access over a two year period to the work of the craftsmen of the John Stevens Shop in Newport, Rhode Island, the oldest business in the United States still in continuous operation in the same colonial building. It chronicles the work of John ‘Fud’ Benson, then the owner and principal designer, and, arguably, one of the most accomplished letter cutters in the world.
 
Finnish American Lives 
Michael Loukinen. 1982. (Color, 45 minutes)
A 1982 portrait of traditional Finnish American culture in the Upper Peninsula of Michigan, highlighting the fragile community of memory connecting one with parents and grandparents. A Michael Loukinen production from Up North Films.
 
Fishing All My Days: Florida Shrimping Traditions 
Peggy Bulger, Alan Saperstein. 1986. (Color, 29 minutes)
A 1986 film about open sea sprimp fishing in Florida, showing the techniques, rituals, and superstitions of the African American, Anglo, and Mediterranean fishermen.
 
Four Corners of Earth 
Peggy Bulger, Mike Dunn. 1984. (Color, 27 minutes)
Seminole Indian women maintain the traditions of language, crafts, cooking, medicine, and song. These native Americans live on reservations in the vast swamp and waterways of the Everglade area in South Florida.
 
Free Show Tonight 
Paul Wagner, Steven Zeitlin. 1983. (Color, 58 minutes)
Presents a nostalgic tribute to the American medicine shows of the nineteenth and early twentieth centuries. Shows a re-creation of a typical medicine show by veteran performers, as well as archival stills and film footage.
 
Gandy Dancers 
Barry Dornfeld, Maggie Holtzberg-Call. 1994. (Color, 30 minutes)
Musical traditions and recollections of eight retired African-American railroad track laborers whose occupational folk songs were once heard on railroads that crisscross the South.
 
Gathering Up Again: Fiesta in Santa Fe 
Jeanette DeBouzek, Diane Reyna. 1992. (Color, 46 minutes)
The three day pageant celebrates the reconquest of New Mexico in 1692 by the Spanish over the Pueblo Indians. Interviews and scenes of Fiesta preparation, ultimately, raised issues that needed to be opened up for both Native Americans and Hispano specifically related to the portrayal of the Native Americans in the Fiesta.
 
Give My Poor Heart Ease: Mississippi Delta Bluesmen 
Bill Ferris. 1975. (Color, 21 minutes)
A 1975 account of the blues experience through the recollections and performances of B.B. King, James "Son" Thomas, Shelby "Poppa Jazz" Brown, James "Blood" Shelby, Cleveland "Broom Man" Jones, and inmates from Parchman prison.
 
The Grand Generation 
Marjorie Hunt, Paul Wagner, Steven Zeitlin. 1993. (Color, 27 minutes)
A portrait of six older Americans, each with their roots in a unique cultural heritage and each with a powerful perspective on the nature of aging.
 
Grandma's Bottle Village: The Art of Tressa Prisbrey 
Allie Light, Irving Saraf. 1982. (Color, 28 minutes)
At 84, Grandma Prisbrey is a vivacious guide to her brilliant houses crammed with objects scavenged from the county dump.
 
Gravel Springs Fife and Drum 
David Evans, Bill Ferris, Judy Peiser. 1972. (Color, 10 minutes)
Othar Turner, a fife-maker and musician, owns his farm in the Gravel Springs community in northwest Mississippi. The rhythmical music he and his friends play is called "fife and drum." A 1971 film by Bill Ferris, Judy Peiser, and David Evans from the Center for Southern Folklore.
 
Hello Columbus: with Mal Sharpe 
Frank Zamacona. 1986. (Color, 26 minutes)
Popular media personality Mal Sharpe guides viewers through an Italian-American Columbus Day celebration in San Francisco where we meet Joe Cervetto, a legend in the city for his commitment to and portrayal of Christopher Columbus.
 
Home Across the Water 
Benjamin Shapiro. 1992. (Color, 27 minutes)
A film about the efforts of Sea Islanders in South Carolina and Georgia to preserve their cultural identity and cope with the development of the islands as exclusive resorts.
 
Home Movie: An American Folk Art 
Ernst Edward Star, Steven Zeitlin. 1975. (Color, 19 minutes)
This 1974 documentary produced in the era before video cameras chronicles the tradition of home movies in American family folklore. It explores the common themes in family films, and features three individual families as they watch their home movies, suggesting how these documents structure family memory.
 
Home of the Double Headed Eagle 
Brian Graves, Ali Colleen Neff. 2006. (Color, 15 minutes)
The home of the Double-Headed Eagle is a kaleidoscopic work of visionary architecture created by the Reverend H. D. Dennis and his wife, Margaret Dennis. A 2006 film made by folklore graduate student Ali Colleen Neff and filmmaker Brian Graves.
 
Homemade American Music 
Yasha Aginsky, Carrie Aginsky. 1980. (Color, 40 minutes)
A history of rural southeastern traditional American music, as told and played by Mike Seeger and Alice Gerrard. Mike and Alice recount their own involvment with this music, and briefly trace its history as we meet their mentors: the late Tommy Jarrell, Lily May Ledford, Roscoe Holcomb and Elizabeth Cotten
 
Hundred and Two Mature: The Art of Harry Lieberman 
Allie Light, Irving Saraf. 1980. (Color, 28 minutes)
Harry Lieberman, at age 102, shares with wit and wisdom his art, which celebrates Talmudic lore and Jewish life in long-ago Eastern Europe, in this documentary which describes his transformation from retired businessman to artist who, in his old age, is "living on the top of the world."
 
I Ain't Lying: Folktales from Mississippi 
Bill Ferris. 1975. (Color, 22 minutes)
16mm color documentary based on fieldwork William Ferris conducted with African American storytellers and bluesmen in the communities of Leland and Rose Hill, Mississippi. The stories include include folk and religious tales, jokes, toast telling sessions, and characters from African American oral tradition.
 
It Ain't City Music 
Tom Davenport. 1973. (Color, 15 minutes)
A light-hearted celebration of grass-roots America and its music filmed at the National Country Music Contest at Lake Whippoorwill in Warrenton, Virginia, in 1972. "Any country song you hear nowadays, the guy's either in jail or just got divorced," notes a man who continues, "but it's their lives and they write songs about it." A Tom Davenport film.
 
Joy Unspeakable 
Elaine Lawless, Elizabeth Peterson, John Winninger. 1981. (Color, 59 minutes)
Joy Unspeakable examines the question, what does it mean to be Pentecostal, through the documentation of three types of Oneness Pentecostal services in Southern Indiana: a gospel-rock concert, a regular Sunday service, and a camp meeting. Religious behavior, doctrine, and social values are discussed by several Oneness Pentecostal church members and ministers in interviews interspersed with footage of the various services. A film by John Winninger and folklorists Elaine Lawless and Betsy Peterson.
 
Jumpin' Night in the Garden of Eden 
Michal Goldman. 1987. (Black and White, 01 hours, 15 minutes)
A Jumpin' Night in the Garden of Eden was the first film to document the klezmer revival, tracing the efforts of two founding groups, Kapelye and Boston's Klezmer Conservatory Band, to recover the lost history of klezmer music. A Michal Goldman film.
 
Kathleen Ware, Quiltmaker 
Sharon R. Sherman. 1979. (Color, 32 minutes)
From the placing of an order to the completion of the last stitch, the film details the entire process of creating a traditional Lone Star quilt. As the quilt grows, so does our knowledge of Kathleen Ware's vibrant spirit as quiltmaker, wife, mother, and grandmother. A film by Sharon Sherman.
 
Learned it in Back Days and Kept It: A Portrait of Lucreaty 
Peggy Bulger, Dan Kossoff. 1981. (Color, 28 minutes)
Portrait of Lucreaty Clark (1903 - 1986), an African American oak basket maker from rural Florida. Clark embraced a wide repertoire of traditional African American songs, games and folk knowledge essential to rural life. She was a remarkable representative of an era that seems very far away today.
 
Let the World Listen Right 
Brian Graves, Ali Colleen Neff, Jerome Williams. 2006. (Color, 29 minutes)
Hip-hop and Blues in Clarksdale, Mississippi. Top Notch and Da Fam as well as performances by blues artist Terry "Big T" Williams and gospel singer Martha Raybon.
 
Lige: Portrait of a Rawhide Braider 
Gwendolyn Clancy. 1985. (Color, 29 minutes)
Henry Elijah "Lige" Langston was born in 1908 in the Great Basin outback on a homestead. He worked his entire life as a wrangler and rawhide braider in the region known as the Sagebrush Corner of northeastern California and northwestern Nevada.
 
Made in Mississippi: Black Folk Art and Crafts 
Bill Ferris. 1975. (Color, 18 minutes)
A 1975 Bill Ferris film that features artists from a number of different craft traditions discussing and demonstrating their work, including quilting, sculpting, house building, and basketmaking. Artists in the film include James "Son" Thomas, Shelby "Poppa Jazz" Brown, Richard Foster, Othar Turner, Louise Williams, Esther Criss, Leon Clark, Amanda Gordon, Mary Gordon, Lester Willis.
 
Madison County Project: Documenting the Sound 
Martha King, Rob Roberts. 2005. (Color, 24 minutes)
Madison County Project: Documenting the Sound examines the tradition of unaccompanied ballad singing in Madison County, North Carolina and how both documentary work and the power of family and community have influenced that tradition.
 
The Men Who Dance the Giglio 
Jeff Porter. 1995. (Color, 28 minutes)
A documentary on the Brooklyn St. Paulinus Festival. This film explores ethnicity, cultural traditions, and religious devotion as the performers, participants, and community members explain the significance of the festival.
 
The Monument of Chief Rolling Mountain Thunder 
Allie Light, Irving Saraf. 1983. (Color, 28 minutes)
Chief Thunder's artistry is the testament of a great American folk artist.The film captures the tragedy of his life, his painful isolation, the beauty of his work, and his creative process.
 
Mosquitoes and High Water: El Mosco y el Aqua Alta 
Louis Alvarez, Andrew Kolker. 1983. (Color, 23 minutes)
A video examining the unique history and culture of one of America's least known ethnic groups, the Spanish-speaking "Islenos" who live in the bayous east of New Orleans and are celebrated for their tradition of decimas -- long, descriptive ballads about events in their lives or notorious local characters. A film by Louis Alvarez and Andrew Kolker.
 
Moving Mountains: The Story of the Yiu Mien 
Elaine Velazquez. 1989. (Color, 58 minutes)
High in the mountains of Laos the Yiu Mien lived as they had for centuries until the Vietnam War forced them to leave their homeland and come to America....catapulted from one century into another. MOVING MOUNTAINS is the story of these refugees caught between two worlds.
 
The Music District 
Susan Levitas. 1996. (Color, 56 minutes)
The Music District is a one-hour documentary profiling four African American traditional music groups practicing and performing for fans and congregants in the neighborhood churches and nightclubs of Washington, D.C. The film features the Orioles (r&b quartet); Junk Yard Band (go-go); The Kings of Harmony (United House of Prayer shout band); and The Four Echoes (jubilee quartet). A film by Susan Levitas from California Newsreel.
 
My Town: Mio Paese 
Katherine Gulla. 1986. (Color, 26 minutes)
Shot on location in Palermiti and the Boston area of Massachusetts, MY TOWN/MIO PAESE shows the family, cultural and religious ties between immigrants and their paesani in Southern Italy. The documentary features La Festa della Madonna della Luce (the feast of the Madonna of Light) in both countries and the story of the patron saint’s legendary miracles as told by three generations of Italians and Italian-Americans.
 
New England Fiddles 
John M. Bishop. 1983. (Color, 28 minutes)
This 1984 film by John Bishop presents seven of the finest traditional musicians as they play in their homes and at dances and contests, passing their styles to younger fiddlers, and commenting on their music. Featured are Ron West (Yankee), Paddy Cronnin (Irish), Ben Guillemette(Quebecois), Wilfred Guillette (Quebecois), Harold Luce (Yankee), Gerry Robichaud (Maritime), and the Cape Breton style of Joe Cormier
 
Old Believers 
Margaret Hixon. 1981. (Black and White, 29 minutes)
Hixon's film documents a real-life wedding in the Old Believer settlements of Marion County, Oregon, in the years 1979 and 1980. The film briefly touches on a wealth of traditional arts (embroidery, clothing construction, weaving, vernacular architecture, folk song and foodways) and beautifully presents a whole series of rituals -- the "devichnik" (engagement party), "selling" the bride and her braid, the wedding feast, the bargaining over the dowry, and the ceremony of bestowing gifts and advice to the newlyweds. In English and Russian with subtitles or voice-over translations.
 
Our Lives in Our Hands 
Karen Carter, Harald Prins. 1986. (Color, 49 minutes)
This 1986 film examines the traditional Native American craft of split ash basketmaking as a means of economic and cultural survival for Aroostook Micmac Indians of northern Maine. This documentary of rural off-reservation Indian artisans aims to break down stereotypical images. Basketmakers are filmed at their craft in their homes, at work on local potato farms and at business meetings of the Basket Bank, a cooperative formed by the Aroostook Micmac Council. First person commentaries are augmented by authentic 17th century Micmac music.
 
Painted Bride 
Amanda Dargan, Susan Slyomovics. 1990. (Color, 25 minutes)
This 1990 video features the exquisite mehndi body painting tradition as it is practiced among Pakistani immigrants living in Queens, New York City. The film follows a mehndi artist, Shenaz Hooda, as she prepares a henna paste and paints intricate designs on the hands and feet of a bride-to-be, while the bride's friends sing humorous songs mocking the groom and the future in-laws.
 
Pilebutts: Working Under the Hammer 
Maria Brooks. 2003. (Color, 28 minutes)
A union-produced documentary about pile drivers, courageous men and women better known as "pilebutts," who secure structures like bridges and skyscrapers to the earth. Pilebutts weaves history and folklore into a modern story of individuals doing tough, often dangerous industrial work.
 
Pizza Pizza Daddy-O 
Bob Eberlein, Bess Lomax Hawes. 1968. (Color, 18 minutes)
PIZZA PIZZA DADDY-O (1967) looks at continuity and change in girl's playground games at a Los Angeles school.
 
The Popovich Brothers of South Chicago 
Jill Godmilow, Martin Koenig, Ethel Raim. 1978. (Color, 59 minutes)
Filmmaker Jill Godmilow (with folklorists Ethel Raim and Martin Koenig) made this film in 1977 when there was a community of 1100 Serbian-Americans families in South Chicago. They worked in steel mills, drove trucks, taught school, played tennis and golf, watched television, and went to church on Sunday. But what connected them to their family, church and community and provided the deepest expression of their identity was their traditional Serbian music and the Popovich Brothers were a constant source of that music.
 
Possum Trot: The Life and Work of Calvin Black, 1903-1972 
Allie Light, Irving Saraf. 1977. (Color, 28 minutes)
Calvin Black was a folk artist who lived in California's Mojave Desert and created more than 80 life-size female dolls, each with its own personality, function, and costume.
 
Powerhouse for God 
Barry Dornfeld, Tom Rankin, Jeff Titon. 1989. (Color, 57 minutes)
Powerhouse for God is a portrait of an old-fashioned Baptist preacher, his family, and their church in Virginia's northern Blue Ridge Mountains. Audiences who were born and raised among old-time southern Baptists say this film captures the fierce preaching, determined singing, autobiographical witnessing, and stern doctrine that characterizes these religious communities.
 
Quilts in Women's Lives 
Pat Ferrero. 1981. (Black and White, 28 minutes)
Quilts was a ground breaking film used by folklorists, anthropologists and historians of art and womens history that presented the lives, art, work and philosophy of ordinary women in the days when few documentaries came from women filmmakers. This deceptively simple film won most of the major awards for independent films during the years after its release in 1981, including Emily Grand Prize, American Film Festival; 1st Place Fine Arts, San Francisco International Film Festival; Best of Festival, National Educational Film and Video Festival, New York International Film Festival, Margaret Mead Film Festival.
 
Rattlesnakes: A Festival at Cross Forks, PA 
George Hornbein, Kenneth Thigpen. 1992. (Color, 24 minutes)
The annual rattlesnake bagging contest at this tiny Appalachian festival includes a parade, a fair, firefighters’ contests, and a greased pig chase. A George Hornbein/Ken Thigpen film.
 
Ray Lum: Mule Trader 
Bill Ferris, Judy Peiser, Bobby Taylor. 1972. (Color, 18 minutes)
Ray Lum (1891--1977) was a mule skinner, a livestock trader, an auctioneer, and an American original.
 
Rebuilding the Temple: Cambodians in America 
Lawrence R. Hott, Claudia Levin. 1991. (Color, 57 minutes)
After fleeing their country and the Khmer Rouge, this one hour documentary examines the Cambodian refugees' efforts to adjust to Western life and the significant role played by the Buddhist culture in this difficult process
 
Red Alexander: Shipwright and Folk Artist 
Chris Simon. 1998. (Color, 25 minutes)
This video documents the passions of 80 year old "Red" Alexander: building ships (both model and real), wood working, and story telling. Red was encouraged by the sale of one of his first model ships to one of his school teachers. In 1934 he joined the Shipwrights, Joiners, and Boat Builders Union - local 1149, in the San Francisco Bay Area. After 46 years of building real ships Red retired in 1980 as dockmaster at the Pacific Drydock in Alameda, Ca. Today his kitchen is a studio where he makes detailed models of all types of ships and boats.
 
Remembering Emmanuel Church 
Tom Davenport. 2000. (Color, 37 minutes)
An oral history of Emmanuel Episcopal Church in Fauquier County, Virginia. The storytellers are masters-all of them members of the congregation from the old farming community tradition of Fauquier County. The stories, funny, sad, and scandalous, are memories of friends and family who are dead and buried in the churchyard. A 2000 video by Tom Davenport.
 
Remembering The High Lonesome 
Tom Davenport, Barry Dornfeld. 2003. (Color, 27 minutes)
Profiles filmmaker, photographer, artist, and musician John Cohen. The film examines the birth of a new artistic ethic and counterculture through John Cohen's involvement with the Beat Generation, abstract expressionist painters, and the Folk Music Revival, and it explores the role of an outsider documenting the life and arts of an Appalachian community.
 
Sadobabies: Runaways in San Francisco 
Nancy Kalow. 1988. (Color, 30 minutes)
A 1988 8mm video documentary about the street children of San Francisco. The video documents the expressive traditions of a group of young runaways who formed an alternative family in an abandoned high school building near Golden Gate Park. Shot in an urban setting with a "one-person crew," Sadobabies demonstrates small-format, low-budget production.
 
Salamanders: A Night at the Phi Delt House 
George Hornbein, Marie Hornbein, Tom Keiter, Kenneth Thigpen. 1982. (Color, 12 minutes)
An annual, weekend party at a college fraternity, which includes swallowing live salamanders develops into a competition among coeds that has sexual overtones. A George Hornbein/Ken Thigpen film.
 
The Sea Bright Skiff: Working on the Jersey Shore 
Rita Moonsammy, Louis Presti. 1991. (Color, 28 minutes)
The Sea Bright-style skiff dates back to the mid 1800s along the North Jersey Shore. Charles Hankins still hand-crafts these boats of New Jersey cedar and green oak, though they no longer serve as fishing vessels. He demonstrates the process of building the skiff, step by step.
 
The Shakers 
Tom Davenport, Frank DeCola. 1974. (Color, 30 minutes)
THE SHAKERS traces the growth, decline, and continuing survival of this remarkable religious sect through the memories and songs of Shaker sisters in New Hampshire and Maine. A 1974 production by Tom Davenport, with assistance from Shaker scholar Daniel Patterson.
 
Singing Fishermen of Ghana 
Toshi Seeger, Peter Seeger. 1964. (Black and White, 13 minutes)
Pete and Toshi Seeger documented work songs of a fishing community in Ghana, the West-African roots of the work-song tradition shown in the films "Afro American Worksongs in a Texas Prison" and "Gandy Dancers".
 
A Singing Stream: A Black Family Chronicle 
Tom Davenport. 1986. (Color, 57 minutes)
The story of a gifted African American family from the rural South. With interviews and stories, and scenes from daily life, reunions, gospel concerts, and church services, the film traces the history of the Landis family of Granville County, North Carolina, over the lifetime of its oldest surviving member, 86-year-old Mrs. Bertha M. Landis.
 
Sonny Ford, Delta Artist 
Bill Ferris, Josette Ferris. 1969. (Color, 41 minutes)
B/w 16mm documentary film based on fieldwork Ferris conducted with Leland, Mississippi, bluesman and folk artist James "Son" Thomas. Included is footage of Thomas performing at juke houses, his wife preparing dinner, and Thomas making skulls out of clay.
 
Sonny Terry: Shoutin' the Blues 
Yasha Aginsky. 1969. (Color, 05 minutes)
Shot in 1969, SHOUTIN' THE BLUES is a one shot, one story and one song short film of harmonica great, Sonny Terry. Seated in a motel room on Broadway in Oakland, California where we filmed him while he was on tour with Brownie McGhee, Sonny, with one small harmonica in his hand, creates a complex and soulful blues solo out of his whooping and hollering, after telling us the story of the context that gave birth to that solo.
 
Sonny Terry: Whoopin the Blues 
Jack Agins, Rick Paup. 1969. (Color, 13 minutes)
Seated in a motel room on Broadway in Oakland, California where he was filmed while on tour with Brownie McGhee, Sonny, with one small harmonica in his hand, creates a complex and soulful blues solo out of his whooping and hollering, after telling the story of the context that gave birth to that solo
 
Spirits in the Wood: The Chainsaw Art of Skip Armstrong 
Sharon R. Sherman. 1991. (Color, 28 minutes)
An in-depth portrait of a man, his art, his philosophy, and his creative process, this work cuts across folk and fine art boundaries to explore the energized world and works of chainsaw artist J. Chester "Skip" Armstrong. Skip describes the forces that drive him: "The chainsaw allows you that moment of thinking translated immediately into the act of creating."
 
Steppin' 
M.J. Bowling, Jerald B. Harkness. 1992. (Color, 55 minutes)
Introduces viewers to the step show, an exciting dance style popular today among black fraternities and sororities. In addition to many rousing, crowd-pleasing performances, the program examines the cultural roots of steppin' in African dancing, military marching and hip-hop music, and discusses its contemporary social significance on college campuses.
 
Stoney Knows How 
Alan Govenar, Bruce "Pacho" Lane. 1981. (Color, 29 minutes)
Stoney Knows How is an extended interview with 'Stoney' St. Clair, an ebullient little man with the gift of gab of a circus tout and a fund of bizarre stories about tattooing and other matters. One of these is the tale of a Florida snake handler and tattoo artist who was squeezed to death by his own python. His widow made a fortune touring the South with the guilty snake. "After all," says Stoney, "how often do you get a chance to see a snake that's squeezed a man to death?" Not often, nor does one often have the opportunity to meet a man like Stoney. The filmmakers treat him with respect, fondness and appreciation, and he responds in kind. Vincent Canby, The New York Times.
 
Style Wars 
Henry Chalfant, Henry Chalfant, Tony Silver. 1983. (Color, 01 hours, 09 minutes)
New York's legendary Kings of Graffiti own a special place in the hip hop pantheon. Style Wars is regarded by many as the definitive document of the emerging hip hop culture, an emblem of the original, embracing spirit that burst forth to the world from underground tunnels, uptown streets, clubs and playgrounds.
 
Sweet Is the Day: A Sacred Harp Family Portrait 
Jim Carnes. 2001. (Color, 59 minutes)
The story of the Woottens of Sand Mountain, Alabama, one of the key singing families who have helped Sacred Harp music survive and flourish for more than 150 years. The video explores how Sacred Harp singing is about more than just music - it is a life-shaping force, reflected by tradition, deep spiritual belief, and the community that embraces it.
 
Tales of the Supernatural 
Sharon R. Sherman. 1970. (Black and White, 26 minutes)
This film documents a group of teenagers telling urban legends, ghost stories and horror tales. The film explores how teenagers transmit horror stories, what the functions of such stories are for teenagers and the connection between transmission and function in the telling of tales. The film also relates these legends to media images.
 
Talking Feet: Solo Southern Dance: Buck, Flatfoot and Tap 
Mike Seeger. 1987. (Color, 01 hours, 27 minutes)
Talking Feet is the first documentary to feature flatfoot, buck, hoedown, and rural tap dancing, the styles of solo Southern dancing which are a companion to traditional old-time music and on which modern clog dancing is based. A film by old time music master, Mike Seeger.
 
Texas Style 
Alan Govenar, Bruce "Pacho" Lane. 1986. (Color, 28 minutes)
"Texas Style" is an intimate look at rural Texas culture and the traditional fiddle music played on its back roads. With spirited rhythms and guitar accompaniment, Texas fiddling is a crowd pleaser that has influenced western swing and folk music across the country. This film centers on three generations of Westmoreland family fiddlers. From the elder H.D. Westmoreland to his grandson Wes III, already a state champion, we see the evolution of Texas fiddling.
 
This Is Our Slaughterhouse 
Matthew Broerman. 2000. (Color, 22 minutes)
This 22 minute documentary follows the ten workers of Broerman Poultry Processing, revealing their surprisingly close relationships, despite the gruesome nature of their job. The colorful interviews and raw supporting footage give new perspectives on family values, hard work, and what happens inside a slaughterhouse. The film was made by Matthew Broerman, a son of the owner of the slaughterhouse.
 
Tommie Bass: A LIfe in the Ridge and Valley Country 
Allen Tullos. 1993. (Color, 49 minutes)
At the time of his death in 1996, "Tommie" Bass, was probably the most well-known herbalist in the United States. The subject of scholarly and popular books, television features, a front-page essay in the Wall Street Journal, and numerous articles in newspapers and magazines, Tommie Bass lived his entire life in the Ridge and Valley region of Alabama where he devoted himself to "trying to give ease" to the many people who sought his advice.. "Tommie Bass" is a biographical portrait of Mr. Bass, told almost entirely in his own words.
 
Tough, Pretty, or Smart: A Portrait of the Patoka Valley Boys 
 Dillon Bustin, Richard Kane. 1981. (Color, 29 minutes)
The portrayal of rural Indiana group, The Patoka Valley Boys, a six-person string band comprising one of America's finest old-time and bluegrass musical groups.
 
Two Homes, One Heart: Sacramento Sikh Women and their Songs & Dances 
Joyce Middlebrook. 1992. (Color, 26 minutes)
Sikhs in Northern California celebrate special events with Giddha and Bhangra, songs and dances from their native land, Punjab, India.
 
Unbroken Tradition 
Joey Brackner, Erin Kellen, Herb Smith. 1986. (Color, 29 minutes)
Unbroken Tradition is a portrait of Jerry Brown, a ninth generation potter from Hamilton, Alabama. It looks at the continuation of this family tradition since Jerry's great-great-great grandfather set up his potter's wheel in Georgia around 1800.
 
The Urban Gospel Ministry of Robert and Lily Butler 
Nick Doob, Steven Zeitlin. 1998. (Color, 40 minutes)
Ms. Butler and her son, the Reverend Rober Butler, play at folk festivals and churches throughout New York City
 
Water From Another Time 
Dillon Bustin, Richard Kane. 1982. (Color, 28 minutes)
A film document of three elderly residents of Orange County, Indiana. Featured in the film are musician Lotus Dickey, clock builder and tinkerer Elmer Boyd, and self-taught artist Lois Doane.
 
When My Work Is Over: The Life and Stories of Miss Louise Anderson, 1921-1994 
Tom Davenport. 2000. (Color, 38 minutes)
The gifted African American storyteller Louise Anderson (1921-1994) tells her family stories and folk tales, and recites poetry in this film taped in Jacksonville, North Carolina, in the last years of her life. Her sisters Evelyn Anderson and Dorothy McLeod join Louise in recalling their experiences growing up in the South, working in restaurants and as domestics in white households, and struggling for civil rights in the early 1960s.
 
Woodsmen and River Drivers 
Michel Chalufour, Karan Sheldon, David Weiss. 1989. (Color, 28 minutes)
Men and women who worked for the Machias Lumber Company before 1930 share their recollections of the logging industry in Maine when they cut trees by hand, hauled logs to the river with horses, and floated them down to the mill. Remarkable documentary footage from the 1930's illustrate this dangerous and exhausting work. 



© 2003/2010 SÉ-SITO
webmater
I materiali presenti in questa pagina sono tratti da fonti pubbliche, se ne cita la fonte e l'individuazione mediante link.
 
pagina aggiornata il 5 marzo 2010