"Among the ten best, Century of Progress, in Kodacolor, by Herbert H. Johnson, ACL, is a striking illustration of the degree of perfection that color motion picture photography has attained. Its studied angles and dignified composition are augmented by excellent photography. Mr. Johnson paid careful attention to the very important point of exact exposure in relation to color value and, as a result, brought a new version of the Fair to the one who had never seen it in color before. By taking plenty of time he was able to single out the best camera positions and wait for the lighting that was most favorable. The excellent handling of the camera brought a sense of intimacy to each scene. The film's only fault is an excessive use of lap dissolves which detracted somewhat from the smoothness of the continuity." Movie Makers, Dec. 1933, 499.
"A Century of Progress, the one reel record of the Fair in Kodacolor, by Edmund Zacher, II, ACL, is distinguished by the freshness of its dramatic treatment rather than by the faultless excellence of technique. In this latter field, Mr. Zacher, choosing to experiment along relatively unblazed color trails (slow motion, night photography, dissolves, etc.) has on occasion made slight errors, a fact which he himself is the first to admit. Dramatically, however, his film is a joy and a delight, replete with human interest, unhurried but unflagging in its presentation of the Fair from ever fresh viewpoints." Movie Makers, Dec. 1933, 523.
"Ceramics, by Kenneth V. Bloomer, ACL, and Elizabeth Sansom, ACL, is probably the most ambitious amateur film ever attempted on this particular subject and perhaps stands alone in its field. The makers of the film were fortunate in having the cooperation of a famous ceramic artist, Leon Volkmar, who maintains his atelier at Bedford Village, N. Y. It was here that the entire film was produced, its makers having imbibed the spirit of the artist craftsmen so thoroughly that every deft touch, every careful step in the process of making a lovely vase are recorded. The interior lighting and closeup technique are especially good, particularly in those parts where only the delicate focusing of a closeup will reveal the nuances of the artist's touch as he models. The sequences which show the firing of the pottery are unusually well handled and the whole is outstanding in its clarity of continuity. Such a film might be described as a "glorified industrial" but, more than that, it is an educational film in the best sense of the word." Movie Makers, Dec. 1933, 499-500.
"The production of components for chairs is compared and contrasted at three locations in the Chiltern Hills" (EAFA Database).
"In the tradition of Carl Akeley and the late Martin Johnson is the humorously titled but essentially serious film, Charlie, the Zulu Game Guard, by Esther and Vincent Vermooten. Stalking rhinos, both black and white, in the Hluhluwe Reserve of British South Africa, Dr. and Mrs. Vermooten, accompanied by the game guard Charlie, managed to capture on film a series of incomparable studies of the beasts in their native habitat. The circumstances must have been difficult, the pursuit undoubtedly dangerous, but Dr. Vermooten used a tripod throughout and succeeded, despite obvious trials of climate and heat, in getting perfect color rendition. This fact, added to the well planned continuity of the film, makes it an outstanding accomplishment of its kind." Movie Makers, Dec. 1940, 602.
Film showing Charlotte Laverents on a balloon ride. The film shows the balloon's flight through still photographs that Charlotte took while on the balloon.
"'Chicago the Vacation Center of the Nation,' which was awarded the honors in the Documentary class, was photographed in 16mm. color by Theodore D. Shaw of the Metro Movie Club of Chicago. Mr. Shaw has been making movies for eight years, which fact perhaps explains why he was able to accomplish what he did without the use of filters or other effects. The film gives an excellent portrayal of life in a big town, starting with the day as Chicago appears at sunrise. Perhaps it would be difficult to name a city which possesses so varied a background in its lake and river and bridges. Certainly educational authorities searching for subjects that portray with authenticity life in metropolitan centers could not go wrong in seeking this fine picture of Chicago. The subject rates in all departments as a finished film." American Cinematographer, Jan. 1939, 17.
"A “city symphony” film, produced to encourage Photographic Society of America members to attend their 1963 conference in Chicago, City to See is a surprising film. It combines footage of Chicago with a deadpan commentary that pokes fun commercial travel films: “Chicago is my town,” the narrator says wryly, “and no other town will do.”" Chicago Film Archives
"Interior shots of a woman with a young child sat on her knee. Cuts to a shot of a woman and child playing in a field. The child sits on an adult's bicycle and the woman pushes it across the field towards the camera. A dog follows on behind" (NWFA Online Database).
Total Pages: 203
Amateur Cinema