"a soggetto"/fiction
"documentario industriale"/industrial documentary
"Down the Colorado River from Hite to the junction of the San Juan River in Colorado, via a power boat. This is a camping, sightseeing adventure in the deep canyons of the river. We are acquainted with the preparations for this trip Along the scenic canyon way of picturesque land and rock formations we stop to search out some of the birds, lizards, flora, and other life of interest to the nature lover. The placid and rugged beauty of this area contains some of the old Indian caves. From one of the campsites we go by foot to the famous Rainbow Bridge, a natural arch span of more than 300 feet. Canyons unlimited is an inspiration to those who love adventure" PSA Journal, Oct. 1962, 34.
El filme comienza con una mujer lavando sus manos y arreglando su cabello, después pone plantas en una canasta y camina felizmente por un sendero en el que recoge algunas flores. Un hombre (el cineasta) prepara su cámara en medio del campo, cuando de repente ve a la mujer y empieza a filmarla a la distancia. Después de varias tomas, el hombre se acerca a la mujer y habla con ella, para después irse juntos a un lugar más poblado. Cuando el cineasta deja su cámara y equipo en una banca, un grupo de gente sale de un edificio para perseguirlo con palos y horcas.
The film begins with a woman washing her hands and fixing her hair, she then takes some plants and a basket and walks happily through a path where she picks up some flowers. A man (the filmmaker) in the middle of the countryside is preparing his camera, when suddenly he sees the woman and starts making shots from a distance. After several shots the man approaches the woman talks to her and they leave together towards a more populated place. While the filmmaker leaves his camera and equipment on a bench, a group of people step out of a building to chase him with sticks and pitchforks.
"Once again Harry W. Atwood has used the desert locales of the Southwest and his mastery of outdoor color filming to mount a dramatic and exciting action picture. Although The Carabi Incident is truly an incident rather than a full-fledged photoplay, it does manage to include an abandoned mine, a lost prospector, a worried young girl and her companion — and both a happy and a tragic ending! The production is enriched with Mr. Atwood's usually fine selection of camera angles and suspenseful editing. For these reviewers, however, an excess of dialog subtitles was a drag on the film's development." Movie Makers, Dec. 1952, 341.
"Fifty-odd owners of small Cessna planes take off from Milwaukee in the dead of winter to pay a flying visit to the principal points of interest in Guatemala. Dr. Herman A. Heise has made a competent and consistently interesting record film of the journey, while his wife furnishes a bright, informal commentary. The capable filming is happily complemented by well-paced editing and a suitable scoring of native Guatemalan music. On occasion, however, a too matter-of-fact pictorial approach and a few over-precious details in the narrative detract slightly from the overall excellence of Caravan to Guatemala as a record film." Movie Makers, Dec. 1950, 466.
"documentario a fantasia"/avant-garde documentary
"Carbone, realizzato da Galeazzo Biadene con la collaborazione tecnica di Dino Jarach. E' un documentario industriale di una grande fabbrica di « Coke ». In questo film il regista si propone, a prescindere dallo spirito del contenuto necessariamente documentario, di mettere in atto problemi formali di stilistica cinematografica, frutto di esperienze teoriche, secondo i valori del cinema ortodosso. II film rivela tuttavia in qualche punto degli errori di ritmo, convulso e poco persuasivo. Il montaggio ha, nella colata del carbone, la parte più conveniente. Ottima la scelta del materiale plastico e il taglio delle inquadrature a cui si aggiunge una fotografia altrettanto felice. Il film è tutto a inquadrature fisse."
—Il ventuno 29 (Review of the G.U.F. of Venice), June 1935, p. 16
"Carbon (Carbone), made by Galeazzo Biadene with the technical collaboration of Dino Jarach. This is an industrial documentary about a large Coke factory. In this film, the director proposes, regardless of the spirit of the necessarily documentary content, to implement formal problems of film stylistics, the result of theoretical experience, according to the values of orthodox cinema. The film reveals, however, in some points some errors of rhythm, convulsive and not very persuasive. The editing plays its most suitable part in the sequence of the casting of the coal. The choice of plastic material is excellent, as is the size of the shots, to which is added an equally successful photography. The film is made up entirely of fixed shots."
—Il ventuno 29 (Review of the G.U.F. of Venice), June 1935, p. 16
"An experimental abstraction of dancing patterns of a kaleidoscope. The colors, patterns, and designs change to the tempo of accompanying music. The mechanics of the kaleidoscope patterns appear to come from a triangular tunnel formed by three mirrors, with the camera at one end and the subject material at the other. At one point there appears either a glass rod or a bottle neck which adds to the fantasy of designs" PSA Journal, Oct. 1962, 34-35.
Total Pages: 299
Amateur Cinema