"One rarely thinks of a portrait of a place; but Bermudiana is in essence just that. Helen C. Welsh has a perceptive eye for beauty, an affection for her subject and a trained, technical knowledge of her craft. This triple-threat combination has recorded not only the justifiably famous surface aspects of these enchanting islands, but it has revealed as well much of their inner spirit. The film has all the attractions of a first rate travelog and the informative qualities of an honest documentary. Its accompanying narrative complements perfectly the flow of pictorial material, providing supplementary information without piling up facts and figures simply for their own sake. A happy choice of musical background furnishes the final touch to a rich and well rounded presentation." Movie Makers, Dec. 1951, 410.
"Four of the boys gathered for their monthly poker game. To get even with the winner, a different kind of bet was offered and accepted by the winner. He was fitted with ghost-like attire, presented with a sword and sent to do battle with old McDonald, deceased. Chilling and spooky to the end" PSA Journal, Nov. 1959, 49.
“Beyoğlu 68 Üzerine Beyoğlu’nu filme çekmeye karar verdik. Artun yönetecek, ben kamerayı kullanacaktım. Güç bela birkaç kutu pelikülle 16 mm.lik bir kamera edindik ve Mayıs 68’de Beyoğlu’na çıktık. Artun bana kaydedilmesini istediği şeyleri gösteriyor, ben çekiyordum. Amaç tüketim toplumunu eleştirmekti ama senaryo yoktu. İşin kurguda bağlanacağını biliyorduk […].” Jak Şalom, sinematek.tv: http://sinematek.tv/beyoglu-68/ (25 October 2019).
“On Beyoğlu 68: ‘We decided to film Beyoğlu. Artun had to direct it and I was responsible for the camera operations. We hardly found a box of unexposed film as well as a 16mm camera and started wandering around Beyoğlu. Artun was telling me what to shoot and I was recording. The purpose was to critique consumer society, but there was no script. We knew that we need to deal with it during the process of montage’ […].” Jak Şalom, sinematek.tv: http://sinematek.tv/beyoglu-68/ (25 October 2019).
"Like the title, it is really 'Beyond Manila.' It takes the follower into a country that has been little photographed, one part of that territory being the land of the Igorrote, in Northern Luzon. There is much to be seen of the people, the way they dress and live and work. There's abundant scenic beauty in the Philippines. We see many evidences of it in the pictures here shown of mountain and plain—of stream and waterfall. The natives, too, are real workers, women as well as men." American Cinematographer, Jan. 1939, 16.
"Excellent films have been made that show by more or less indirection what adults believe boys should do in camp. But what would boys like to do? Henry E. Hird, in The Big Adventure, seems almost to have thought with a boy's mind — a very real accomplishment for a busy executive — in producing this dramatic tale of boys in the woods. Two youngsters of about twelve years, armed with bows and arrows, are taken by their father on an island camping trip. Resigned, as most boys are under the instruction of their elders, they watch Father show them camp life in detail — and how he enjoys it! Suddenly he leaves for a war conference in Washington, and the two adventurers are alone for the night. A tramp appears, captures them, is outwitted by them and is seized by a helpful farmer. To bed and fears of invading bears go our heroes — when Dad returns, the conference deferred. It is a safe bet that young boys will approve Mr. Hird's dramatic movie as more realistic than some of the "approved solutions" offered to youthful campers." Movie Makers, Dec. 1945, 496.
"Attempting to film a large city with its huge skyscrapers and teeming population through the lens of an 8mm. camera would seem to be an almost overwhelming task. However, boldly tackling such a gigantic project, Richard Guetl in his entry, The Big City, proves it can be done. This competent photographic work presents a good, clear coverage of Chicago, where Mr. Guetl resides. His angles are interesting and compositions pleasing. His street shots around the Loop and his camera treatment of the human derelicts on Skid Row are worthy of special commendation. While The Big City is not an epic, it is a capable, factual presentation with just enough skyscraper shots to make it authentic, enough stores and people to give it pulsating life, and enough pathos to arouse the emotion." Movie Makers, Dec. 1952, 340-341.
"A most pleasant day with a little girl, her four kittens, and collie dog. The kittens do so many things that set them apart from other animals. They seem to enjoy their various playful activies before the flood lights and camera. While all this is going on, the collie feels just a little bit left out of things. Finally, all return to the barn for some fresh milk and a good night" PSA Journal, Nov. 1960, 39.
"An experimental film about a boy owning a bicycle and learning the proper safety rules on the road." Wisconsin Center for Film and Theater Research
"Scenes at Billinge Scar (near Blackburn), the Birtwistle family home, including some rather dark interior shots" (NWFA Online Database).
"Billy Joe's Art Studio, a black and white film, was winner of the Best Student Film Award by Stan Feingold of Lansdale, Pa. It's a "doing-your-thing" film. In nine minutes, Billy Joe tells (and shows) us why he is no longer a construction worker and why he feels that his "life" is in his art studio. A real example of positive thinking. The film is a little slow in spots, but is quite convincing about "doing-your-own-thing"," PSA Journal, Mar. 1970, 43.
Total Pages: 203
Amateur Cinema