"A compilation film documenting the many Augustas--streets, storefronts and cities from Montana to Maine--that Scott Nixon encountered as a traveling salesman based in Augusta, GA." Moving Image Research Collection, University of South Carolina
"Take a movie camera and a sense of humor on a camping trip, and you may be able to produce something like Auntie in Moccasins. If you do as well as Joseph J. Harley has done, you will have a picture that will be a welcome surprise to any home movie audience. Auntie (played by a young man in the Charley's Aunt vein) is a maiden lady of early vintage who has been invited to go on a camping trip with her nephew and his girl friend. Her misadventures in the woods and on the water make up the body of the film. But, in spite of mosquitoes, in spite of falling out of a canoe and nearly dying of pneumonia. Auntie becomes a convert of the out of doors and, in the last shots, safely back home, she is seen treasuring a bottle of mosquito lotion. Auntie will try it again. The sequence of Auntie's rescue from the lake by the two youngsters is beautifully handled. The acting is convincing and the camera work outstanding throughout." Movie Makers, Dec. 1941, 541.
"Short film recording a wreath laying ceremony at the Cenotaph from a high vantage point in Parliament Street" (EAFA Database).
"documentario scientifico"/scientific documentary
"Autumn, filmed by Bernard Van H. Schultz, successfully demonstrates that Kodacolor can be used for long shots of landscapes and similar subjects. This record of a New England autumn, with its accompanying riot of color, leaves very little to be desired as a representation of the spirit of the season. Of particular note was the evident care used in choosing appropriate viewpoints, not only with relation to the framing principle but also from the point of view of both color and motion. The continuity was rather static which was appropriate to the subject. The film was bound together remarkably well by the choice of successive scenes which followed a time sequence, starting with shots taken in the bright light of midday and ending with sunset shots. However, Mr. Schultz's principal achievement lay in the selection of the proper neutral density filters, yielding uniformly excellent color results which are all the more remarkable because of the preponderance of long shots." Movie Makers, Dec. 1930, 759.
"Autumn, by Robert P. Kehoe, now takes the lead in an ever lengthening series of exquisite natural miniatures, recorded by this engineer with art at his finger tips. Having reported earlier on the bluster of a late, unfriendly fall, Mr. Kehoe turns in this film to the warm beauty and haunting sadness of autumn's Indian summer. Life is drifting toward death, to be sure, yet it moves in peace down the placid stream, with loveliness through the golden air. But one cannot describe the incredible imagery of a Kehoe study. As well put under the intellectual microscope a Wordsworth sonnet or a Keatsian ode. Autumn, as brief as it is poignant, is his best work to date. As long as color film can still be had, we see no reason why the good Lord's handiwork should go unsung." Movie Makers, Dec. 1942, 489.
"In Autumn, Martin E. Drayson extends brilliant camera handling to embrace a quality ordinarily associated with painting, raising his film several notches above the usual autumnal study. Call this quality expressionism, a term we are familiar with in the paintings of Manet, Cezanne, Gauguin or Vlaminck. Literally painting with light the shades and hues of the season, sheer poetry is produced by their reflections in the shimmering surface of a pond, which unique camera viewpoint was used for the climax of the footage. The film escapes the static quality often noted in nature studies by the dexterous changing of camera position; added to this are the natural movements created by the wind brushing softly through the dry leaves, or, again, by gentle ripples momentarily disturbing the water's glassy surface." Movie Makers, Dec. 1948, 475.
"John R. Kibar has taken the subject of recording the hues of a fall countryside and has lifted it above the familiar medley of garish color. With an interesting variety of viewpoints and an artist's eye for compositions, he has achieved the flowing, rhythmic mood of nature in her most popular season for color filmers. Particularly in shots of trees reflected in streams and the sprightly dancing of golden leaves in the wind has Mr. Kibar surpassed the usual run of nature studies. Autumn Glory is replete with movement, but closeups of a colorful branch of berries or stocks of thistle against the sky serve as punctuation for the longer sequences. A human touch is added by including an artist in occasional shots, as he sketches the scenes shown in the major part of the film." Movie Makers, Dec. 1946, 486.
"Autumn...Frost Country and Dunes both films made by David Adams of Santa Monica, Calif. rated high in the Class "C" list of winners. Both in color with optical sound. "Autumn...Frost Country" is an 8-minute film of changing leaves narrated with a poem written and recited by Robert Frost. "Dunes" is a 7-minute film depicting the vastness of the desert at Death Valley. The film does an excellent job of conveying the fact that, in spite of the soltitude of the desert, there is plenty of life to be observed there if one has patience," PSA Journal, Mar. 1970, 43.
Total Pages: 299
Amateur Cinema