"The Ages of Manby Dr. Wallace Shaw, a consistent winner, of Jamaica, N.Y. In 26 minutes of color, make-up and fine filming technique we see the phases of a man's life unfold...and fold. Being a doctor, Wally had access to some unusual location shots that "hook" you right from the start and carry you to a very revealing ending. The film gives food for thought with its philosophy and its unusual approach," PSA Journal, Mar. 1970, 43.
Un recorrido por el Monasterio de Piedra y por las cascadas cercanas retratado mediante un juego de música y agua que cae por las cascadas.
A tour by the Stone Monastery and the nearby waterfalls through a game between music and water falling from the waterfalls.
" Ah, verda'? planteaba una extraña combinación entre la militancia política y la contracultural. Jugaba con el ataque a los símbolos del orden nacional y estatal (la bomba en el Monumento a la Revolución y en el PRI, los judiciales persecutores), la crítica a la sociedad de consumo representada por la huida de la pareja de jóvenes entre los espectaculares, la liberación sexual (la combi zarandeada porque dentro hacen el amor, o la urgente calentura de los monjes una vez que han probado el LSD y cruzado las puertas de la percepción), y la representación de la fantasía jipiteca de que el mundo sería más alivianado si todos probaran las drogas duras" (Vázquez Mantecón, 2012).
" Ah, verda' [Ah, right?] was a strange combination between political and countercultural militancy. It played with the attack to symbols of state and national order (a bomb in the Monument to the Revolution and in PRI offices [Revolutionary Institutional Party], the chasing police men), a critique to a consumer society represented by a young couple running away in between billboards, the sexual liberation (a truck shaken because someone is making love inside, the sex desire of monks once they have tried LSD and crossed the gates of perception), and the representation of the mexican hippies' fantasy in which the world would be cooler if everyone tried hard drugs" (Vázquez Mantecón, 2012).
"Ah! Wilderness: The stark beauty of remote mountain and plain areas, as yet untouched by the unrelenting surge of modern civilization, has been caught by Charles Benjamin's camera and Kodachrome film. Adapted from the book Stone Dust, by Frank Ernest Hill, Benjamin's film opens with scenes of mountain peaks and passes in winter- peaks mantled in snow, and trickling brooks that somehow have evaded the wintry grip of Jack Frost. The picture progresses in a like manner through Spring, Summer and Autumn, rendering a pictorial account of the ever-changing seasons in one of the few remaining wilderness areas of America. The picture discloses skillful camera handling as well as a talent for building interesting continuity through artful editing and titling." American Cinematographer, May 1951, 189
El filme comienza con un hombre vagando por el campo. Encuentra a una mujer vestida de blanco y comienzan a besarse, hasta que eventualmente caen sobre el pasto. El hombre lleva a la mujer vestida de blanco a conocer a una mujer mayor que la rechaza y la hace huir. El hombre va en su búsqueda y nota que ella tiene patas de pato, él cae al suelo y muera mientras ella coloca un pequeño costal café cerca de su pecho. La película muestra después a un grupo de hombres cargando su cuerpo hacia su ceremonia fúnebre mientras la mujer mayor llora detrás de la procesión y la mujer de blanco observa escondida en una esquina. Cuando el cuerpo es dejado solo, la mujer de blanco se aproxima para tomar el costal café y desaparece.
The film begins with a man wandering in the country. He finds a woman dressed in white and they begin to kiss, eventually falling on the grass. The man takes the woman dressed in white to meet an older woman who rejects her and makes her leave. He goes looking for the woman in white and sees that she has duck legs, he falls and dies while she places a small brown sack by his chest. The film then shows men carrying his body to his burial while the older woman cries behind the funeral procession and the woman in white watches hiding in a corner. When the body is left alone, the woman in white approaches him and takes the brown sack back and leaves.
"Ahead, Inc. depicts the movement in Flint, Michigan, to assist the handicapped in earning their own way in the world" PSA Journal, Sept. 1966, 34.
"Mimae edited together a sequence of her husband and their small son at home (the boy pretending to be riding his war-horse father), with a scene capturing a crowd of people offering silent prayers, which Mimae shot on location in Ginza. This topic and narrative structure demonstrate how her film visualized the social and political sentiments in a way to promote the war efforts, even though the film itself also appeared as a family film." - Noriko Morisue, "Filming the Everyday: History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan" (Yale University: PhD Dissertation, 2020): 203.
"“The Air Evac Story, or: Better You Should Walk?” is a humorous amateur film that spoofs the United States Air Force’s medical evacuation services. Starring members of the 14th Aeromedical Transport Squadron, the film begins at squadron headquarters at Brooks Air Force Base in San Antonio. It then follows crew members on their daily mission to transport patients, making stops in El Paso and Brackettville. While the voiceover narration commends the squadron for their professionalism, their comedic actions throughout the film tell a different story. Of particular note is a cameo by none other than John Wayne. Charles F. Curtis, a cinematography engineer with the Air Force, made the spoof with his crew around the same time that Wayne was in Brackettville shooting The Alamo (1960). Curtis helped design a working camera track system for the blockbuster film, and Wayne agreed to make a brief appearance in the Air Evac Story as thanks" Texas Archive of the Moving Image.
"Activity at Croydon Airport in 1936, with focus on Imperial Airways' international flights. Original film was 33 minutes in length. This is possibly the only surviving representative of the very first Ten Best competition organised by 'Amateur Cine World' magazine." (EAFA Database)
"Kawakita’s Akogare was based on the film footage that he shot on 8mm reversal film at the locations where Gosho Heinosuke was filming his own commercial studio film titled Akogare... his film was not a behind-the-scenes footage of Gosho’s commercial production but rather a stand-alone narrative film that Kawakita himself shot and edited." - Noriko Morisue, "Filming the Everyday: History, Theory, and Aesthetics of Amateur Cinema in Interwar and Wartime Japan" (Yale University: PhD Dissertation, 2020): 158.
Total Pages: 295
Amateur Cinema