"Un-staged documentary footage shot and edited by Sallie Wagner. Sallie's description of the film: 'Shorty Boys, Little Shorty building a hogan, Crip Chee and his hogan, grandson in doorway. Blackrock in front of hogan, Tchindi, Rose Martin doing laundry, cooking shelter at squaw dance, Hosteen Glish getting water, Bent Knee getting wood, Hosteen Glish making a canoe out of a log, Hosteen Glish's granddaughter weaving, digging yucca root for soap, Navajo washing her hair, Hosteen Glish making a cradle board'." New Mexico State Archives.
"As We Forgive, produced by the Religious Motion Picture Foundation and filmed by Kenneth F. Space, with the technical assistance of Dan Lindsay, is a fine example of weaving the theme of the picture into the very warp and woof of its photographic material. The makers of this photoplay had a sincere and simple theme to present, and the excellence of their presentation lay in the fact that every detail of the handling, both in technique and continuity, was done sincerely and simply. It is this carefully worked out unity of treatment with theme that enables the film to serve as a model for producers of photoplays with a message. The filmers particularly are to be congratulated on their handling of child actors, one of the most difficult problems to be solved successfully in any field of the drama. From the technical point of view, we may remark the well exposed interiors, in which the lighting was carefully planned to give the effect of normal illumination; the fine photographic quality displayed in the closeups and camera angles and the smooth unity of the entire technical handling." Movie Makers, Dec. 1936, 542.
"Antonio Cernuda has created a pictorial mood, a feeling of being there, and a desire to live it again. His choice of music has contributed a great deal to this delightful picture. It begins in the early fall and we move quickly to the gathering of apples, processing, and the bottling of cider. There are celebrations of the gathering of the harvest, girls and boys in native Spanish dress, with the frolic of the occasion and the solemnity of the religious spirit. The first snow of winter, as the leaves are about gone, and on into the heavier snows and ice of winder as the people go about their daily travels—afoot, by horse-drawn vehicle, and train. The transition to spring is so skillfully set forth with the melting snow and turbulent streams that we are hardly aware of the passing of winter. Soon there is a burst of spring everywhere and then summer with its crops, vacation activities, boating, fishing, tug-of-war, and outdoor Mass. The picture opens and closes with artistic views of the mountainous country. We might think of this as the four seasons. Asturias, with its deep canyons and mountains, with scars of its heroic history, that have the darkness of coal in its womb, the whiteness of snow on its head, and the pink of apple blossoms on its body. Asturias lets her men go out into the world with the certainty that the homesickness for her beauty will always make them return." PSA Journal, Nov. 1957, 31.
"At the Sandpits is perhaps Crawley's first completed work, produced when he was a teenager; Crawley went on to make many award-winning amateur films before turning professional in the 1940s as a producer of industrial films. Employing rapid cutting, trick photography, and imaginative scenarios, At the Sandpits conveys a strong sense of dynamic action in a short film about a family picnic. The film begins by showing the preparation of sandwiches for a picnic; after showing the meal in a few deft shots, the adults are seen relaxing, while the kids and pets, shot from extreme low angle in slow motion, run toward the sandpits. The film continues with short but carefully constructed sequences of the kids pretending to be buried alive in the sand, having a baseball game, and then returning home, tired. Finally, the film concludes with a strange dream sequence, employing trick photography, in which three girls appear decapitated behind a sheet" Tepperman, 173.
"Average Is a Tiger Named Clyde is a clever animated film which pokes fun through its satire on many events and customs common to us all" PSA Journal, Sept. 1966, 34.
"Item is a production of Dr. Willinsky's cruise and trip to Argentina with his wife, Sadie. In the form of a travelogue, footage of cruise activities and entertainment, beaches, landmarks, and the local population is interspersed with captions and maps that were added in by Dr. Willinsky to provide context. Featured cities include Santos, Montevideo, Buenos Aires and Rio De Janero. Sadie is ocassionally spotted in the footage site-seeing and interacting with the locals." Ontario Jewish Archives.
"Various family members are seen in the garden of a large house, possibly The Beeches. A woman and baby sit on a blanket in the middle of the lawn. A uniformed nanny joins them with another baby. Concludes with a shot of the two babies together on the blanket" (NWFA Online Database).
"Nine times a place winner in seven years of Ten Best competition, Frank E. Gunnell has probably done his best work to date in Baie St. Paul. The film is a bright and sunny visit to the little French Canadian parish of that name, nestling in parochial contentment along the St. Lawrence. Central in this existence stands the baroque and inevitable church, while about it one finds the familiar family names of the village butcher and baker, doctor and dressmaker, recurrent along the cobbled highways. Here too is an intent, sharp featured little woodcarver, a housewife coolly competent about her embroidery and an aloof mademoiselle who presides with dazzling beauty over an ancient spinning wheel. Packed with this essential human interest, Baie St. Paul was filmed with the sparkling competence that one has for years expected from a Gunnell production. Its editing fits shrewdly into the pastoral mood of the subject matter, while its titles, both in their wording and execution, are colorful and in good taste. Baie St. Paul should take a high and honored place in the Gunnell catalog of fine films." Movie Makers, Dec. 1944, 477.
"Travel through the Balkans." UC San Diego Library.
"An amateur film made by and starring the husband and wife duo, John & Evelyn Kibar. Title cards with dialogue are dispersed throughout the film." Chicago Film Archives
Total Pages: 38
Amateur Cinema