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A History of the Non-Fiction Film

Erik BarnoujAfe

MPoeutnentary A HISTORY OF THE NON-FICTION

Erik Barnouw

OXFORD UNIVERSITY PRESS London

Oxford

New York

FILM

OXFORD UNIVERSITY

PRESS

London Oxford New York Melbourne Wellington Cape Town Ibadan Nairobi Dar es Salaam Lusaka Addis Ababa Delhi Bombay Calcutta Madras Karachi Lahore Dacca Kuala Lumpur Singapore Hong Kong Tokyo Glasgow

Toronto

1974 by Erik Barnouw Copyright Library of Congress Catalogue Card Number: 74-79618 First published by Oxford University Press, New York, 1974 First issued as an Oxford University Press paperback, 1976 Printed in the United States of America

ACKNOWLEDGMENTS

Ideas for a history of documentary film have nudged at

through

years of film writing, producing, research, and teaching. But

hardly have carried through with

came

1971-72

to travel with

visiting film archives

made

wife to

some twenty

countries,

3rd Fund; to

knowledged. The names of

all,

by a commitment from OxColumbia University, and a grant

possible

ford University Press, a leave from

JDR

could

and studios and interviewing documentarists.

This unique odyssey was

from the

except for the opportunity that

a great debt of gratitude

many

found in the source notes. There

hereby ac-

of the artists interviewed will be

hardly any adequate

the countless archivists, projectionists, interpreters,

way

thank

and others with

whose help we viewed over 700 documentaries of diverse periods and places,

and scanned

stills,

scripts,

organizations they represented, viduals involved.

and other materials. In thanking the

we want

especially to thank the indi-

We hope the result will seem,

justified their patient

some

extent, to

have

help to two wanderers with an excessive docu-

mentary appetite.

The organizations— (Canada) Allan King

Associates,

Canadian

Broadcasting Corporation, Canadian Film Archive, National Film

Board of Canada, Potterton Productions; (Japan) Iwanami Productions, Japan Association of Cultural Film Producers, Japan Film Li-

NHK, Nippon AV Productions, Toho Company, Towa Company; (South Korea) Motion Picture Promotion Union, National Film Production Center; (Hong Kong) Broadcasting House, Farkas brary Council,

Acknowledgments

Studio, Filmo Depot, Zodiac Films; (India) Films Division of the

Ministry of Information and Broadcasting, Krishnaswamy Associates,

National Education and Information Films Ltd., National Film Ar-

Naya Sansar Productions; (Egypt) General Cinema Organiza-

chive, tion,

Higher

(Yugoslavia)

Institute of

Dunav

Cinema, Visual Images Technical Centre;

Film, Film and Television Academy, Jugoslo-

venska Kinoteka, Neoplanta Films, Zagreb Films; (U.S.S.R.) Association of

Film Makers of the U.S.S.R., Central Documentary Studio,

Gosfilmofond, Institute of Fine Arts; (Poland) Association of Polish

Film Makers, Krakow

Festival,

Film Polski, Filmoteka Polska, Wy-

twornia Filmow Dokumentalnych; (East Germany) Hochschule fur

Film und Fernsehen, Staatliches Filmarchiv, Zentrale Filmbibliothek;

(West Germany) den)

Institut fur

Film und Bild, Riefenstahl-Film; (Swe-

Film Centrum, Svensk Filmindustri, Svenska Filminstitutet,

Radio-TV

Filmmuseum; (NethFilmmuseum; (Belgium) Cinematheque Royale; (France) Cinematheque de la Cooperation, Cinematheque Francaise, Musee de l'Homme, Slon; (Italy) RAI; (Switzerland) Locarno Festival, Praesens Film; (Great Britain) Sveriges

Arkivet; (Denmark) Danske

erlands) Centrale Filmotheek, Nederlands

BBC-TV,

British

Film

Institute, British

Transport Film Unit, Film

Centre International, Granada TV, Imperial States)

(United

Contemporary Films, George Eastman House, International

Film Seminars, Library of Congress, tional Archives,

Agency.

War Museum;

all,

Museum

Modern

Time-Life Films, Tricontinental, U.

Art,

Na-

Information

our warmest thanks. Erik Barnouw

June 1974

New York

City

CONTENTS

Glimpse of Wonders Prophet

Images

Work

Explorer

Reporter Painter 3.

Sound and Fury

Advocate 85 Bugler 139 Prosecutor 172 4.

Clouded Lens Poet

Promoter

198 213

Sharp Focus

229

Chronicler

183

185

231 253 Catalyst 262 Guerrilla

Observer

Afterword 287 Source Notes 289 Bibliography

Index

313

297

1 GLIMPSE OF attacca subito

WONDERS

\^m

Workers Leaving the Lumiere Factory, 1895. Filmed by Louis Lumiere. Museum of Modern Art

Prophet The

inventors of cinema,

and others with scientists

who

felt

had prenatal

legion, included diverse

showmen,

from showmanship. Some of these were

a compelling need to document

or action, and contrived a film

who were

interests far

way

some phenomenon

In their work the documentary

it.

stirrings.

Thus the French astronomer Pierre Jules Cesar Janssen wanted a record of Venus passing across the sun, an event of 1874.

devel-

oped what he called a revolver photographique—a. cylinder-shaped

camera

which a photographic plate revolved. The camera auto-

matically took pictures at short intervals, each of the plate.

The

on a

different

yet a motion picture, but

was a step

in that direction,

For Janssen the important thing was:

ideas to others.

segment

Japan—was not

result—photographed by Janssen in

and

gave

documented

the event. 1

About

same time the English-born Eadweard Muybridge was doing experiments sponsored by Leland Stanford, former Governor the

of California. Stanford, a horse-breeder, sensed that the devices used

his trainers to

improve

gait

and speed were based on imprecise

knowledge of how a horse runs. Muybridge, already a celebrated photographer, undertook to provide data.

eras—at a track.

first

He placed a series of cammany— side by side along

twelve, later several times that

From

these cameras, parallel threads ran across the track.

horse galloping through them clicked the cameras in swift succes-

The photos gave information on each stage of the The study of animal motion became an obsession

sion.

By 1880 he had

gallop.

for Muybridge.

learned to project sequences of his photos with an

adaptation of the magic lantern, and thus to present a galloping horse on a screen— at various possible speeds. The results were eye-opening to many who saw them. Muybridge had foreshadowed a crucial aspect of the documentary film:

its

ability to

open our eyes

to worlds avail-

able to us but, for one reason or another, not perceived.

Muybridge

applied the technique to numerous animals and later to

women— athletes, lovely

men and

dancers, and others, sometimes photographed in

nude sequences. These often evoked the poetry of ordinary, woman stooping to pick up a jug. Such painters as

familiar actions: a

Muybridge sequences— from Animal Locomotion, published 1888.

Thomas Eakins and Jean Louis Ernest Meissonier began bridge's

work

to use

Muy-

as a guide in depicting figures in motion. 2

The celebrated French physiologist fitienne Jules Marey followed work of Janssen and Muybridge with intense interest. Having seen a Muybridge galloping-horse projection, Marey wanted to do similar work with bird-flight, but birds could hardly be made to trip a series of threads on a pre-selected route. So Marey followed Janssen's lead, the

devising a fusil photographique , a photographic gun, with which he

could follow a bird in

At the

flight

while "shooting" at split-second intervals.

as in Janssen's camera, the photos

first,

same

glass plate; but in

paper and the following year to celluloid

on one

strip.

cat falling

were successive images on

1887 he switched

Besides birds in

flight,

to strips of photographic

strips,

putting forty images

he "shot" such phenomena as a

backwards from a height and landing on

learned to project the results on a screen. tion picture technology, but his

its

feet.

too

He was approaching mo-

embryo documentaries were

scarcely

three or four seconds long.

Georges Demeny, who began as assistant to Marey, was especially interested in problems of the deaf.

taught to lip-read, perhaps to speak, the characteristic

1892, with his

He if

felt

deaf people could be

they could see over and over

mouth movements connected with sounds. So

own

adaptation of Marey's equipment, he began to

shoot and project close-ups of mouths articulating short phrases—

"Vive

France" or "Je vous aime." Again an experimenter with spe-

cial interests

provided intimations of things a documentary film might

be and do. 3

The achievements

AUU.

of these and other experimenters were widely

£*

heralded.

remained for protean professional inventors

Thomas

Alva Edison and Louis Lumiere— racing against scores of other

in-

ventors throughout the world— to develop the experiments into a

commercial

reality

and an industry. Edison began the process; Lu-

miere and others carried

To some

extent,

forward.

Edison shared the documentary ardor of the early

experimenters. Before he created his peep-show kinetoscope— launched

1894— he had met Muywork with them. He himself

with explosive but short-lived success in

Marey and discussed

bridge and

their

often spoke of the archival and instructional value of motion pictures

and sound recordings— in education and business. But

in practice his

work quickly took a "show business" direction. In the end it was Louis Lumiere who made the documentary film a reality— on a world-

film

wide

basis,

and with sensational suddenness.

The reason why Lumiere and not Edison played

this

key role

rooted in sharp contrasts between their technical inventions.

camera with which Edison began monster; several tent

men were needed

film production to

move

it.

The

was an unwieldy

Also, Edison was in-

integrating the invention with another Edison specialty, elec-

tricity, to

ensure an even speed of operation. For both these reasons,

the Edison

camera was

at first

anchored

dio called "the Black Maria," built at

in the tarpaper-covered stu-

West Orange, N.J. This camera

did not go out to examine the world; instead, items of the world were

brought before it— to perform. Thus Edison began with a vaudeville parade: dancers, jugglers, contortionists, magicians, strong men, boxers,

cowboy

rope-twirlers.

They appeared

at a fixed distance

from the

camera, usually against a black background, deprived of any context or environment. Library of Congress

Documentary

Serpentine

Dance— performed by Annabelle.

Black Maria show kinetoscope, 1894.

Filmed

for Edison's peep-

in the

Library of Congress

The Louis Lumiere camera, on launched in 1895— was totally

the other

different.

hand— the cinematographe, It

weighed only

grams; according to film historian Georges Sadoul,

this

five

kilo-

was about a

hundredth of the weight of the Edison camera. The cinematographe could be carried as easily as a small suitcase. Handcranked, not dependent on

was

The world outdoors— which offered no day— became its habitat. It was catching life on the run— "sur le vif," as Lu-

electricity.

lighting problems, at least during the

an ideal instrument for miere put it.

remarkable fact about

much elegance—was into a projector,

that

this

small

box— a

trim

hardwood item

could with easy adjustments be changed

and also into a printing machine. This meant that an

operateur with this equipment was a complete working unit

be sent to a foreign

capital, give showings, shoot

new

films

he could

by day,

develop them in a hotel room, and show them the same night. In a

sudden global eruption, Lumiere operators were soon doing precisely that throughout the world. 4 first magnate and major prophet of documentary was the son of Antoine Lumiere, a painter who had turned to

Louis Lumiere, film,

portrait photography, photographing well-to-do clients against back-

drops he had painted. Louis and his brother Auguste received a technical education, but Louis left school at an early age because of se-

vere headaches, and took up laboratory

a teenager he invented a plates,

which gave such

work

new procedure

for his father. While

still

for preparing photographic

startingly fine results that the

Lumieres be-

Prophet

gan to manufacture plates for others, using the new formula. Soon the family sold the photo studio

and on the outskirts of Lyon organ-

ized a factory to manufacture plates. Louis designed the equipment

and supervised every detail of the installation. By 1895 the factory had 300 workers, sold fifteen million dry plates a year, and was the leading European manufacturer of photographic products— surpassed

by the Eastman plant

internationally only

elder

Lumiere now

lived

in Rochester,

N.Y. The

painting landscapes.

semi-retirement,

Louis and Auguste produced further inventions, always patented in both their names, although

was the

in the case of the

sole inventor, having

worked out

all

cinematographe Louis

the problems during one

night of insomnia near the end of 1894.

In tries,

March 1895,

at a

meeting in Paris to promote French indus-

Louis Lumiere demonstrated his invention with the short film

Workers Leaving the Lumiere Factory {La Sortie des June he gave a demonstration

at a

Usines)

This time he photographed convention

members— they

included the

astronomer Janssen— as they arrived by river steamer; next day, the meeting, he let

them

photographic meeting in Lyon.

see themselves disembarking.

The

familiar,

seen anew in this way, brought astonishment. Other closed showings

were held for

scientists in Paris

and a photography assemblage

Brussels.

public unveiling was planned, but Louis Lumiere held this off

until late in

December 1895. Early

in the year

he had placed an or-

der with the engineer Jules Carpentier for twenty-five cinematographes.

Throughout the year Carpentier was

work, in constant consultation

with Louis Lumiere. Every secret of the apparatus was meanwhile

guarded: the only existing cinematographe was the one used at the demonstrations. All films

shown and shot during 1895 were made

with this equipment by the Lumiere brothers themselves— almost

all

by Louis.

The

films

made during

this

year numbered several dozen,

a minute long— at the moment, this was the

maximum

all

about

length of a

reel.

They included

One

of the most successful was Louis Lumiere's Arrival of a Train

several films that were soon to be world famous.

* In this volume titles will be translated into English where advisable for clarity, with the original title supplied in parentheses when the film is first mentioned. Many Lumiere films were shown under a number of different titles; the French titles here used are as they appeared in Lumiere catalogues.

Documentary

Lumiere's Arrival of the Conventioners, 1895. Leading the way, astronomer Janssen.

Cinematheque Franchise

(L'Arrivee d'un Train en Gare), filmed at

France— the

first

train approach,

many

such "arrival"

Ciotat in southern

this

from long-shot to close-up. The camera

the platform near the edge of the track. tually

films.

The

see

placed on

arrival of the train— vir-

"on camera"— made spectators scream and dodge. As we see

passengers leave the train,

unaware of

it.

The

some pass close to the camera, seemingly movement from a distance toward the

use of

viewer, and the surprising depth of field in the sequence, offered audi-

ences an experience quite foreign to the theater, and different from

anything in the Black Maria performances.

While a few of these early films involved deliberate performances for the camera, such as

Feeding the Baby (Le

Re pas de Bebe) and

Watering the Gardener (L'Arroseur Arrosee)* most were "actuality" items.

model

for

None used motion

actors; Louis

pictures.

Lumiere rejected the theater

as a

presented instead a panorama of

* In this renowned little film, a boy steps on a garden hose being used by a gardener. When the gardener examines the nozzle to see what is wrong, the boy withdraws his foot and the gardener is drenched. Some regard it as the first

fiction film.

Prophet

French

that grows

life

men and

fascinating as the years recede: fisher-

their nets; a boatride;

swimmers; firemen

work;

men sawdemo-

ing and selling firewood in a city street; a bicycle lesson; the lition

of a wall; children at the seaside; a blacksmith at work; a

potato-sack race at a Lumiere employees' picnic.

The

events are

small but vivid.

In mid-December of 1895 Carpentier began delivering to Lumiere the cinematographes ordered early in the year. Manufacturing meth-

ods had been developed, and Lumiere

now ordered 200 more.

world-wide offensive was in the making.

The

training of operateurs

was meanwhile beginning. In the

Workers Leaving the Lumiere Factory a youth with a cap leaving

on a

bicycle.

be one of the

first

He was

film

seen

Francis Doublier, and he was chosen to

of the Lumiere world travelers; soon he would film

the Tsar of Russia. Another

was Alexandre Promio,

to be sent to

Spain, Italy, and elsewhere. Another was Felix Mesguich, an Al-

gerian youth just completing military service with the Zouaves. visited the

Lumiere factory looking

for a job,

Louis Lumiere himself, and was hired.

He knew

raphy, but this did not seem to trouble Lumiere,

was interviewed by nothing of photog-

who

apparently

Mesguich had the proper personality and precision of mind. His ing,

and that of several dozen others, began promptly

felt

train-

Lyon.

With equipment and personnel for world exploitation assured, Louis Lumiere was

finally

ready for the premiere run in Paris.

began on December 28, 1895,

in the

Salon Indien— a room in the

basement of the Grand Cafe on the Boulevard des Capucines, with its

own

entrance from the

street.

Louis and Auguste did not attend.

They had delegated arrangements for this premiere to Antoine, who was glad to emerge-from semi-retirement

their father,

for the cere-

monial occasion. The brothers were busy with preparations for larger events.

The run began

quietly, with little

advance notice, but soon queues

The Salon

Indien, which seated 120 was soon giving twenty shows a day, at half-hour intervals. At one franc a ticket, receipts ran to 2500 francs a day. To meet the

waited at every performance. people,

overflowing tions.

demand

the Lumieres began showings at additional loca-

the end of April, four concurrent Lumiere programs were

running in Paris.

One developed

into a

permanent cinema.

LUMIfiRE FILMS OF

1895

Fishermen

Swimmers

Photos from Library of Congress

Prophet

Among those at He at once

the

Melies.

first

performance was the magician Georges

expressed ardent interest in buying a cinemato-

graphe but was put

by the elder Lumiere.

off with various excuses

Within two months the Lumieres had more than 100 purchase including

many from

offers,

They were answered with a form letter, sale of equipment had not been set. For the

abroad.

stating that a date for the

immediate future other plans were afoot. Starting in February in

London, an avalanche of foreign cinema-

tographe premieres began. Within six months after the Paris opening the cinematographe

was launched by

the

Lumiere organization

England, Belgium, Holland, Germany, Austria, Hungary, Switzerland, Spain, Italy, Serbia, Russia, Sweden, the United States— and

soon thereafter

in Algeria, Tunisia,

Egypt, Turkey, India, Australia,

Indochina, Japan, Mexico. Within two years Lumiere operators were

roaming on every continent except Antarctica. 5

triumphant opening

in a foreign metropolis

followed by a run of

weeks or months became a normal sequence. Foreign concessionaires shared in the revenue, but only Lumiere operators handled the equipment. Their instructions warned them to reveal

its

secrets to

no one,

not even kings and beautiful women. Invited to a banquet, a Lumiere operator took his cinematographe with him and kept feet.

Showings generally began

at a small theater

quick revenue. In a number of

cities,

between

his

or a hotel, earning

success prompted a

move

to a

larger location or additional screenings elsewhere.

Meanwhile— a spectacular feature— operators filmed new items and soon announced a "change of program" with local events. The filming of these

was done

as publicly as possible; the idea

was

to lure

people to the shows in hope of seeing themselves—which they sometimes did. In any event, the local items were often the high spot of the run: in Spain, Arrival of the Toreadors (Arrivee des Toreadors); in Russia,

Australia,

Coronation of Nicholas II (Couronnement du Tzar); in Melbourne Races (Les Courses)— all 1896 products. To

local audiences they

was no

seemed ultimate proof that the cinematographe

"trick."

At Lumiere headquarters

Lyon

the arrival of such material

from

abroad rapidly enriched the catalogue, so that operators went forth with increasingly international assortments.

The Lumiere program

Documentary

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Everyman, 1963. Nederlands Filmmuseum

more fascinating— than dogma was inclined to make them. Direct cinema had been made possible by developments ment—facilitating mobile synchronized-sound shooting on

in equip-

location.

The equipment had helped documentarists open new worlds, volving spontaneous communication. At first they had focused on famous, but the spotlight had shifted to the lowly, filmed

in-

the

at junctures

of stress. Such material, while dramatically compelling, could also

be revealing, reflecting stresses of society on the individual.

the equipment spread, the

same documentary trend appeared

had an

early start in Canada, as exempli-

throughout the world.

by Lonely Boy (1961), by Wolf Koenig and Ralph Kroitor, focusing on a teen-age idol and his following, and reached memorable fied

heights a few years later in Warrendale

filmed at a

home

(1967), by Allan King,

for disturbed children. In this film the sudden death

of a much-loved cook, and

its

impact on the troubled young, pro-

vided an extraordinary and deeply moving climactic sequence. In

Sweden, Jan Troell, schoolteacher turned documentarist, proved a brilliant

exponent of the genre with Portrait of Osa (Portrdtt av Asa,

1965), a close-up of the complex

life

of a four-year-old. In Holland,

Bert Haanstra varied the genre by working from concealed camera positions— a procedure adopted by few other observer-documentarists.

249

Observer

He had

explored

this

human

looking at

method with beguiling

results in

Zoo (1962),

beings from the point of view of caged animals;

combining the technique with synchronized sound, he provided a

panorama of Dutch life in Everyman (Alleman, 1963), winner of a top award at the Berlin festival. * In Japan, Kon Ichikawa filmed the 1964 Olympic games with innumerable cameras and recorders, but the oustanding feature of his Tokyo Olympiad was not its rich rich

spectacle, nor

its

competitive drama, but

wondrously minute ob-

its

servation of individuals— as in the preparatory rituals of a runner at the starting line, shown in extreme close-up. Also in Japan, Nagisa Oshima provided Nippon TV with powerful direct-cinema works including Forgotten Imperial Army (Wasurerareta Kogun, 1963), portraying a ragged group of maimed Korean veterans conscripted long

ago to

fight for the

Oshima shows us

Japanese Emperor, and

their destitution

and

Tokyo.

living in

still

their plight

Japan says Korea

should pension and support them; Korea, that they were wounded in service of Japan.

own

recruit in the its

Still

they hold annual reunions, and hobble in their

straggly, defiant parade. In India, direct

young

film

shortened version,

maker

Indian

Sukhdev;

cinema found an avid

his India

67 (1967) and

Day (1972), tapped

wells of popu-

humor seldom noted in Indian documentaries. The observer-documentary genre strongly influenced the French director Louis Malle. He gave up film directing to become a cultural

lar

became an

attache in India; confronted with the pageant of India, he

Phantom India (1968).

obsessed documentarist with film,

was

six-hour

product of half a year of spontaneous filming and recording, later

these,

broken into shorter

Calcutta was most widely shown. Malle

stretches of explanatory narration; to his

own

devices.

felt

films, especially for television use.

the need for

between these the viewer was

left

Far from drawing conclusions, Malle's comments

expressed his inability to reach any, and virtually invited viewers to share his helplessness over the contradictions in his vast canvas.

indeed presented a staggering pageant, filmed intimately, with love

and horror,

full of tantalizing

fragments. For

not a public-relations version of Indian the genre,

it.

somewhat

Released in English under the unfortunate

title

The

sympathy,

Like so

stirred indignation in officialdom,

guided efforts to suppress

all its

life.

many

was

films of

and brought forth mis-

similar project, Michel-

Human Dutch.

Documentary

250

Tokyo Olympiad-released

1965.

Toho

144-1.

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Tokyo Olympiad— photo

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finish.

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251

Observer

angelo Antonioni's China— made for Italian television— provoked a similar reaction in China.

The documentarist's conquest

of synchronized sound decisively in-

fluenced makers of ethnographic films. Until the 1960's, most such

films tended to

illustrated lectures.

pronouncement; pictures supplied footage began to talk and assumed

lems

much

commentary was

the

evidence,

seemed

that the material, with all

discussion. liberating

in the less

With

track was scholarly

human

dimensions,

way. Besides,

adequate.

in the

the field

raised prob-

presence of so

now seemed

preferable

to be seen as a limiting rather than a

sound, but without

full

When

ambiguities, be offered as a basis for

its

Commentary began factor.

The sound

illustrative support.

guidance,

official

filmed material seemed to offer a far greater diversity of vistas to

probe and

assess.

Such works

Bedamini of

Tidikawa and Friends (1971), made among the

New Guinea by

Jef and

Su Doring; Last of the Cuiva

(1971), made by Brian Moser in eastern Colombia; Kula (1971),

made by Yasuko Ichioka among the Trobriand islanders of the WestTo Live With Herds (1973), made in northern Uganda by David MacDougall, gave audiences— whether the lan-

ern Pacific; and

guage was understood or not— a sense of immersion they portrayed.

They made some use of

in the societies

narration, but modestly— for

essential information, not interpretation.

Synchronized sound affected editing tradition,

style.

The

silent-film editing

under which footage was fragmented and then reassembled,

creating "film time," began to lose

speech, "real time" reasserted

itself.

its

feasibility

Along with

this

and value. With

came

the feeling

that ethnographic film should in any case respect "the structural integrity of events," as anthropologist

Roger Sandall put

it.

This re-

sulted sometimes in long films depicting long rituals, as in Sandall's

Gunabibi (1971), made

Australia; sometimes in short episodic

Dedeheiwa Weeds His Garden (1971) and Dedeheiwa Washes His Children (1971), and numerous others of the same sort made by Napoleon Chagnon and Timothy Asch among the Yano-

films such as

mamo

Indians of southern Venezuela.

Some

of these fascinating real-

time sequences were curiously reminiscent of the very beginnings of film history.

Lumiere aspired

to catch life sur le

vif.

With sound, the

phrase was beginning to have a new, heightened meaning.

One

of the problems hanging over observer-documentarists

was

252

Documentary

An Indian

Day, 1972.

Films Division

director Yasuko Ichioka, proFilming Kula among the Trobriand islanders: 1971. Released Ushiyama. ducer Junichi Nippon AV

253

Catalyst the extent to which the presence of the

fore

Some

it.

practitioners— Leacock,

Others— Maysles,

Wiseman— tended

notably Jean Rouch, held

still

camera influenced events be-

Malle— worried about

another view.

camera made people act

the presence of the

this.

Some film makers, Rouch maintained that

minimize

it.

ways

truer to their

nature than might otherwise be the case. Thus he acknowledged the

impact of the camera but, instead of considering

liability,

looked

as a valuable catalytic agent, a revealer of inner truth. This idea

propelled documentarists into

still

another genre.

Catalyst

was disturbed

Jean Rouch,

liberal

many

disliked his early films. His concentration

them

friend of black Africans,

ligious practices— as in in

The Manic

dog— seemed

colonialist predilection,

of superiority.

The

available to film

re-

Priests (Les Mditres Fous, 1955),

which we see possessed Hauka adepts,

slaughter and eat a

that

on weird

mouths foaming,

their

to his African critics to exemplify a

by which white men buttressed assumptions

critics

asked whether weird practices were not

makers elsewhere— in Europe and America, for ex-

ample.* As for the scholarly voice-over explanations, punctiliously researched, was

Rouch

really so confident of their significance?

Rouch, stung by the While working on a

criticisms,

fiction film to

began be

titled

new approaches.

try

Jaguar, he showed the

footage to a black African, while recording his impromptu comments.

Their wit and penetration so delighted him that he used the material in his

sound

track,

and repeated the experiment

un Noir, 1958), a documentary on

a Black (Moi,

rootless, destitute,

semi-employed

workers of Abidjan, on the Ivory Coast. This time Rouch went further:

he got his main characters not only to lead him through their

daily lives, but also to improvise their fantasy

life

for the camera. In

Abidjan, places of business had names like Chicago, Hollywood, Pigalle; the

workers called each other Edward G. Robinson, Eddie

Constantine, Dorothy Lamour, Tarzan.

Rouch

felt

they survived the

near-catastrophe of their lives in part through a high-spirited fantasy

The

film

Mondo Cane

(1961), global compilation of strange practices, by the provided some documentation on this point.

Italian director Gualtiero Jacopetti,

254 life,

Documentary and he managed

infectious film in

to tap this in several scenes.

The

are bursting with "themselves."

and more: how can one

instigate

These ideas crystalized

Rouch began to ask himself more moments of revelation? 1

Chronicle of a

Summer (Chronique

Michel Brault, a veteran of synchronous-sound experiments ada. Chronicle of a into a

Summer

new world

Parisian

d'un

Edgar Morin, and photographed by

£te, 1961), co-produced with

them

was an

result

which one seldom senses a director; the characters

Can-

continued those experiments, but moved

of provoked action. 2

boulevards,

view of the camera, people were

stopped with a microphone and asked: "Tell us, are you happy?" curious question but, in the France of 1960, a meaningful one.

Algerian war that had sickened and

the nation— and

split

The

had ag-

gravated crises in economics, race relations, education— seemed at last to

be drawing to a

gloire. It

close,

a Withdrawal from old concepts of

was a moment with many personal meanings. Some

Pari-

sians brushed the question aside; others stopped to consider. In some,

mere consideration brought on an emotional crisis, even tears. Thus Rouch was embarking on a kind of hometown anthropology, a

the

study

"this

documentarists,

strange

tribe

living

Unlike

Paris."

Rouch and Morin were on-camera

the venture, and evolved procedures that

seemed

observer-

participants in

to serve as "psy-

choanalytic stimulants," enabling people to talk about things they

had previously been unable

to discuss.

The

film participants

eventually invited to see the footage in a screening cuss

it,

room and

and the discussion was filmed, and became part of the

as did a discussion

from the

between Rouch and Morin on

film experience. It all

seemed

were

to disfilm,

their deductions

have aspects of psycho-

drama. In

homage

to Vertov, the film

makers called

their technique

verite— translated from kino-pravda, film-truth.

of Vertov, particularly of

The

Man

was a compendium of experiments ple promptly applied the term

With the Movie Camera, in the pursuit of truth.

cinema

verite to

cinema

indeed had echoes in that

Some

what others

peo-

called di-

cinema— the cinema of the observer-documentarist. But the new approach was in fact a world away from direct cinema, although both had stemmed from synchronous-sound developments. The direct cinema documentarist took his camera to a situation of tension and waited hopefully for a crisis; the Rouch version of cinema

rect

255

Catalyst

The

verite tried to precipitate one. visibility; the

pant.

The

Rouch cinema

direct

cinema

artist

cinema

direct

verite artist

artist

aspired to in-

was often an avowed

partici-

played the role of uninvolved bystander;

the cinema verite artist espoused that of provocateur.

Direct cinema found

Cinema

verite

its

truth in events available to the camera.

was committed

to a

paradox: that

circum-

artificial

stances could bring hidden truth to the surface.

Summer was

Chronicle of a

But

distribution.

its

and ignited countless similar

The Lovely

May

of Paris, but

{Le

made

Joli

a difficult film, and received limited

was widely discussed

rationale

Echoes of

projects.

just after the

end of the Algerian war, and

Marker

(originally

Francois Bouche-Villeneuve) was an ex-journalist

nish

Mai, 1963), by Chris Marker— also a study

ing the optimism of the hour.

had done much of

in film journals

may be found

named

reflect-

Christian

who— like Rouch—

work abroad, having filmed the Fin1952 and later won attention with Sunday in

his early film

Olympic games

Peking (Dimanche a Pekin, 1955), Letter from Siberia (Lettre de Siberie,

1957), and Cuba

Si!

(1961). In his portrait of Paris, Le

Joli

Mai, he focused not on a limited group, as Rouch had done, but on a

broad social and

political spectrum. Portions of the film are in tradi-

tional voice-over style, with lyrical, statistical.

But

commentary

this is

brisk, probing, catalyst-film fashion.

tant to you?"

does

that

"Was

"Did anything happen to

money mean

you?" "Do you

The kaleidoscope of material the new catalyst genre. 3

in turn witty, ironic,

punctuated by numerous interviews

month of May imporyou during May?" "What the

feel

suggests a "city

live in

a democracy?"

symphony" adapted

Rouch-style projects erupted far and wide. The Russian director Grigori Chukrai,

who had made

the enormously successful fiction

film Ballad of a Soldier (Ballada o Soldate, 1959),

his studio to

make

a film

on the

himself had fought and been wounded.

important" for

fiction;

had been asked in which he

battle of Stalingrad

felt

the subject

was "too

on the other hand, he found the archival

age equally inadequate.

foot-

The Rouch experiment suggested an

ap-

proach. Chukrai took his cameras to the Place de Stalingrad in Paris; there passersby were confronted with a

"Excuse

me— could you

tell

me-what

it;

this

Stalingrad?

Why

some brushed the query most could not dredge up an answer. One thought

called Place de Stalingrad?" Again,

others pondered

microphone and the question aside,

Documentary

256 it

had a connection with Napoleon.

few knew precise dates and de-

tails.

Similar interviews were filmed in other countries. In the final

film,

Memory

Stalingrad

(Pamat, 1969), such sequences are alternated with

war footage so

that viewers are again

from the oblivious 1960's back

to the

drama

and again whisked

Some

of the 1940's.

war sequences are accompanied not by battle sounds but by Bachlike music, giving them an unearthly requiem feeling, and lending special poignancy to the transitions. The combination of old and new material yielded a classic among war films. 4 The film maker as catalyst began to tackle diverse projects. In Japan a broad tragedy was unfolding in the coastal town of Minamata. the

men began

Strong

to twitch

shaped creatures, some of

was traced

had found

their

mercury

way

sponsibility; so did

selves

and

their

were afraid

and drool;

whom

effluents

The

into the food chain.

government

gave birth to strange-

The "Minamata

from a factory;

authorities.

to serve

them

lest

disease"

these, eaten

fish,

factory disclaimed re-

Many

sufferers hid

misshapen offspring, sensing a pariah

them-

status; stores

they lose business. Thus efforts to or-

ganize the afflicted developed slowly.

moto began

women

survived.

The

film

to visit victims and, via film

maker Noriaki Tsuchitape, draw out their

and

The making of the film tended to unify and fortify the group. They raised funds, developed strategy. Each of several dozen victims bought a share of company stock, with the purpose of attending a company meeting and confronting the board of directors. The strategy and the film reached stories.

feature-length film took shape.

their climax simultaneously at this meeting, in

one of the most dra-

matic of filmed confrontations. In an auditorium, the twisted, twitching victims; facing them, in a line across the stage— in seemingly identical

business suits— the

company

The

directors.

president begins to

read a public-relations statement. The victims, under the impression the directors have agreed to hear their statement, begin to shout:

"Let the Minamata victims speak! Let them speak!" The president keeps reading, impassively. The victims begin to clamber onto the stage; security guards

merous.

A woman

suggested by the documentary Chil-

dren Without Love (Deti Bez Ldsky, 1964), by Kurt Goldberger. In the postwar years there

nurseries where even

had been a huge development

young

infants could

in creches,

day

be deposited by working

mothers, at minimal cost. The government wanted to offer strong incentives for

women,

including mothers, to go into industry, and the

The

creches effectively served this purpose. often well-equipped— day nurseries

was

validity of the large—

at first unquestioned.

the 1960's a large population of institution-raised children

But by

was grow-

ing into early adulthood. Kurt Goldberger, studying the rise of juvenile

delinquency and filming interviews with delinquents, was struck

by the number who were products of early

came convinced and emotionally"

institutional care.

had been "understimulated

that they

be-

intellectually

This became the theme of Chil-

in early childhood.

dren Without Love, a forty-five-minute film made in consultation with psychiatrists. Goldberger had a substantial reputation in scientific

films,

went its

and

his film

into theaters,

implications

was sent

where

became

to the Leipzig film festival,

was found

and also

to have unexpected impact.

came under sharp

clear, the film

elements in the Czechoslovak government. But

also

attack from

won

support,

and before long government

officials

with the film and

apparently contributed to a policy

Under new stay

home

its

views.

with her child for a substantial time after

The Czechoslovakian thaw ended saw Pact troops and totally silenced.

One

tanks.

Again the

silently attending his funeral.

its

1968 with the spirit

birth. 3

arrival of

War-

of protest could not be

Huge crowds made his act symThe documentary The Funeral

of Jan Palach (1969) placed these events

ment. Thousands watched subtle

shift.

student, Jan Palach, protested the military oc-

cupation by burning himself to death. bolic

tended to associate themselves

government paid the working mother

legislation, the

in silence. It

on the screen without comwas black film at its most

and eloquent.

In Yugoslavia black films distinguished themselves by geniality

Documentary

266 and

wit. Hard-hitting

film

became a

and

at the

same time good-natured,

special source of pride to the

the black

Yugoslav film industry. 4

It began to develop about 1963, when film makers found censors more permissive than they had been. A light tone was struck with enormous success by Dusan Makavejev in his film Parade {Parada,

May Day

1963). Assigned to cover the semisacred centrated

ing of officials, the disputes

cinema kaleidoscope. The

it.

film satirized bureaucracy

behind public spectacle rather than the event

and the apparatus

itself,

parade was never the same thereafter. Having seen Parada, bureaucracy veered toward simpler

Makavejev saw cinema as a everything that

defined,

fixed,

weapons

maker

"guerrilla

action in

against

dogmatic, eternal"— alike.

He saw

as having an infinite diversity of techniques

documentaries he moved into

repressible

May Day

itself in

operation

established,

at his disposal, including joie

historic context via

but the

rituals.

which meant, for him, Stalinism and the Pentagon guerrilla film

parade, he con-

The jockeying for position, the primpover protocol, became a hilarious direct-

on preparations for

fiction,

vivre.

the

and

After making several

usually putting his stories in

documentary sequences, and always showing

humor. His work was described by the

critic

ir-

David Rob-

inson as "joie de vivre at the barricades." 5

The combination

of gaiety

and purpose was carried on by other

documentarists in such works as The Rubber Stamp (Pecat, 1965),

by Branko Celovic, a mock-serious history of the rubber stamp from primitive days

(when mankind somehow had

them) to the present. In seal of approval

casses,

to get along without

montage we see the government

glittering

stamped onto everything from marriages

to beef car-

and learn the triumphant news that "today, everyone has

own stamp"— a

fingerprint

file

his

government bureaus. In high-

spirited fashion, the film gives a disturbing sense of the reach of gov-

ernment into Kolt 15 spirit. Its

all

aspects of

narrator, often

fanatic marxist.

the country needs. tions:

life.

Gap (1970), by Jovan

women, he

Jovanovic, had a similar antic

on camera, begins by proclaiming himself a

energetic application of marxism, he says,

sometimes carries

says, should

this

theme

is all

zany direc-

be nationalized, and the new Belgrade

500 women. But he is also deadly arm-waving fashion from place to place— like a

Lunging

hotel should have

serious.

socially aroused

Groucho Marx— he

identifies inequalities, injustices, failures— all,

)

< One More Day,

1971.

Dunav Film

needing more marxism.

says,

worked

says he himself has

at scores

of jobs for fifteen years and has often been unemployed, and eaten scrapings from the plates of the

vout marxist.

To show how

more prosperous, but he

diction that under socialism the state

says the hero,

is still

a de-

devout, he reminds us of the marxist pre-

already has. (The

would wither away. For him,

title is

an acronym that refers to his

fifteen years of eating scrapings.

Black films of more serious tone included Little Pioneers (Pioniri Maleni, 1968), intimate close-up of young slum groups living on

pickpocketing and prostitution, by Zelimir Zilnik— who describes his

work

as "self-critical realism"; Special Trains

(Specijalni Vlakovi,

1971), by Krsto Papic, on Yugoslavia's unemployment problem and the reluctant emigration of labor to factory jobs in

One More Day (Dan

Vise, 1971),

by Vlatko

Gilic,

West Germany;

poignant study of

a mud-bath spa where the desperate go for miracle cures.

Such

Each one

films

were produced by studios organized as cooperatives.

of Yugoslavia's republics and

studio. Part of

state subsidy; the

its

autonomous

funds— generally

less

districts

had

at least

than half— came from a

remainder was earned via revenue from theaters

Documentary

268 and

television, at

moted through

won

home and

abroad. Foreign distribution was pro-

where Yugoslavian short

film festivals,

Yugoslav views toward black

were interestingly

films

film about black films— Intersection (Cvor, 1969), film

films often

top honors.

maker

handsome one— and problems, which seem nu-

arrives at a railway station— a new,

starts to interview travelers

merous and overwhelming. proceeds to point out

its

about their

station official arrives to protest.

make

doesn't the documentarist

glass

The documentarist

Why

a film about the beautiful station?

and marble wonders. People are

of misery and poverty, he argues. It filmed.

reflected in a

by Krsto Papic.

skeptical.

tired

the beautiful that should be

The

film leaves their debate

unresolved.

But the

was not

station official

alone. Black films flourished in

wave of

goslavia for about a decade, but 1973 brought a

from government

officials against several

cluding Makavejev.

who had

Yu-

criticism

led the trend, in-

The springtime thaw showed

signs of abating—

at least temporarily.

The ups and downs suggest important

points.

The

essential role

played by criticism has been widely recognized. Policies cannot well

be evaluated without

it.

been established doctrine viet

The need

for organized self-criticism has

in the socialist countries, including the So-

Union. But disputes over allowable limits have been persistent,

medium, especially on telewelcome to officials because of its power and Embarrassments and challenges to officialdom have, sooner or

and seem

inevitable. Criticism via the film

vision, has

reach.

been

least

later, invited retaliation

and attempts

at repression.

Yet

critical films

have clearly contributed to public enlightenment and social

sanity.

Returning springtime thaws and winter frosts seem equally inevitable. All this has been no less true in capitalist countries, though the struggles have

been more complex— in that they have involved not

only governments but also corporations, some holding enormous international power.

The

vicissitudes of dissident films

and of

efforts to

them have been dramatithe Vietnam war— a war fought not only

suppress, smother, deflect, and neutralize cally illustrated in the case of

with

bombs and booby

traps but also with documentaries— by govern-

ments, corporations, and others throughout the world.

Documentary

film first called attention to

of Indochina at the

dawn

of film history,

Vietnam and other areas

when Lumiere cinematog-

269

Guerrilla

raphers filmed Coolies at Saigon (1897), Elephant Processions at

Phnom Penh (1901), and

other scenes, including a brick factory at

Hanoi. The following decades brought explorer-documentarists to

made The Yellow Cruise {La Croisiere Jaune, 1934), sponsored by Citroen. Starting from Lebanon, they sought Marco Polo's eastward route through China. Indochina, most notably the group that

At Shanghai they came on beginnings

of bloody Chinese-Japanese

warfare and were glad— in the words of the narrator— to reach the

"peace and security" of Hanoi, where the French Governor General received

them ceremoniously. During the 1930's

many documentaries

that, like films of Britain's

the French

made

Empire Marketing

Board, were intended to strengthen the bonds of empire. They

Shadows Ombrages d'Indochine) and Perfumed

cluded such

as Peaceful

titles

Hills of the

(Collines Parfumees des Plateaux Mois). 6

in-

(Harmonieux

of Indochina

Tonkin Plains

They were seen by French

audiences, few others.

After World

War

II, as

the Vietnamese under

became conscious of

for independence, Russians

ture

Vietnam— released

French

still

at the life

Roman Karmen,

and writings of

film reports

controlled

Indochinese

he found among

cities.

Chi Minh fought

culminating in his fea-

1955 but begun early

in all

their struggle through

Chi Minh forces

when

in 1954,

Karmen was

the

astonished

in the jungles.

"Pub-

lishing houses, factories, scientific institutes, universities, art exhibi-

tions—this jungle

life,

was

astonishing, absolutely astonishing, be-

cause at the same time there was such bloodshed." 7

Few Americans had knew such

at this

a place existed, although the United States

supplies to the French, and

was

offering

its

was

airlifting

Secretary of State John Foster Dulles

them atom bombs— which

French debacle calling for

time seen any film on Vietnam, or

the

French declined. 8 The

Dienbienphu led to a 1954 Geneva agreement,

an internationally supervised

States pledged to support.

election,

But American

which the United

intelligence reported that

80 per cent of the Vietnamese, north and south, would vote for

Chi Minh, and the Eisenhower administration considered

this

good

reason to avoid the election and, via massive aid, build an independent South Vietnam. 9 icy,

The Kennedy administration continued this it. The American efforts— like those of

and enlarged on

French— met powerful partisan

pol-

the

resistance.

During these years Americans saw vivid documentaries on do-

270

Documentary

Documentary Film Vietnam-feature documentary released 1955 by Central Studio,

Moscow.

Karmen

collection

3Vlfc

fct* ,|'\\v

1 French prisoners, Dienbienphu, 1954— from Soviet feature Vietnam. Staatliches Filmarchiv der

Karmen

DDR

collection

Filming the Soviet feature Vietnam: the French yield Hanoi.

Documentary

272

mestic civil-rights struggles, none on Vietnam. American television

networks had no bureaus there. Correspondents flew in occasionally

from Tokyo or Jakharta on special assignment.

CIA and

mentaries told of

television docu-

"adviser" operations in Vietnam or in ad-

joining Laos.

Nor

did newsreels. During the 1950's America's main surviving

newsreels— Fox Movietone

Day— had become

News and

the

MGM-Hearst News

of the

government-subsidized under a highly secret ar-

rangement with the code name "Kingfish." They were ernment. For the newsreels, survival depended on

still

ostensibly

by the U.S. gov-

private, but foreign editions carried items prepared

this secret

govern-

relationship. 10

ment

The

Why

first

documentary on Vietnam seen by many Americans was

Vietnam? (1965), made

to aid the

ing attacks on the north— determined administration. Produced by the

huge war escalation— includ-

upon

1964 by the Johnson

Department of Defense, the

was

film

used to indoctrinate Vietnam-bound draftees, and was also loaned to schools.

almost two years after

made historians fume, Henry Steele Commager, review-

distorted history in

once they became aware of the ing

Why We

followed the formula and rhetoric of the famous

Fight films. But

not even journalism

...

its

film.

ways

that

production, found

as scholarship

Communists sponsor such propaganda, we

"not history

absurd.

call

When

'brainwashing.'

Revelations later published in The Pentagon Papers showed the film to

be even more deceptive than

Why

Americans had to go

now

had previously appeared

to be.

Vietnam? begins with footage of Hitler and the Nazis. Just as to

Europe

to crush Hitler, says the film,

necessary that they go to Vietnam and crush Vietnamese "ag-

gressors."

Vietnam had become "our front door."

down

the "aggressor" charge, the film pretended that the

Geneva conference had created an independent South Vietnam. As Commager pointed out, the conference had done no such thing. It had stipulated that Vietnam was one country; division into two administrative areas was to be temporary, until the agreed-on election. Commager saw the United States as "chiefly responsible for putting off the election."

bolster the

word "aggression"

further, the film

weapons captured from South Vietnamese

showed a

partisans, or

weapons with "unmistakable" Chinese markings,

pile of

"Vietcong"—

said the narrator,

273

Guerrilla

underscored by ominous "Chinese" music. The weapons in the demonstration

may

well have been Chinese; during an 18-month period

before the escalation decision (June 1962 through January 1964)

179 weapons from communist countries— the Soviet Union, Czechoslovakia,

China— were captured from Vietcong

film did not say (the

partisans.

What

Pentagon released the information long

ward) was that American weapons by the thousands had captured from Vietcong. The Vietcong were

at this

the

after-

also

been

time fighting

al-

most wholly with American weapons which American "advisers" or Vietnamese units equipped by them had

lost or sold or

smuggled to

the Vietcong. After escalation, the foreign help rose sharply. 12

As came

the escalation began and a de facto— though undeclared— war into being,

ular intervals.

network documentaries on Vietnam appeared

Most adhered

government

rationales.

For

at reg-

several

years network policy seemed determined to shield the public against

doubts about the war. "Prime time"— the large-audience hours— was a fortress not to

The staffs,

be pierced.

policy caused restiveness and

disaffection

but pressures for conformity were massive.

among network

Any

statement

on the government version of events was likely to bring a furious telephone call from President Johnson himself— directed to casting doubt

network executive or commentator.

For networks and ules

were

tractors.

their sponsors

virtually sold out.

was a prosperous period. Sched-

Many major

sponsors were also war con-

avoid rocking the military boat was

made

from a business point of view, good

sense.

patriotic and,

seem both

The sponsor and his business were even in evidence on the battlefield. Film maker Marvin Farkas, based in Hong Kong— who sometimes covered Far Eastern events for American networks— was engaged by Lockheed to make a film in Vietnam, documenting the performance of the Lockheed C-130 on airlift duty in combat. The company contract with the Pentagon apparently called for proof of performance in action. Thus the 1967-68 siege of Khe San found Farkas bottled up there with Marines, sharing their perils but fulfilling a far more lucrative contract. Cessna engaged him for a similar assignment, to document its A-37 jet bomber in action; eleven bombing runs got Farkas the footage he needed. 13

The claim was "into the

often

made

home." This was

that television

true.

News

was bringing the war

telecasts

provided daily

vi-

Documentary

274

gnettes— sometimes splendidly produced— of American soldiers pushing through swamps, or the

wounded being brought

Unquestionably these nourished hopes for an end to the

stretchers.

conflict.

But

made war a customary daily item and, by the one-sided focus, supported it. Even fund appeals for USO and Red Cross, stressing services to men "fighting for you," promoted the war. Christmas programs like those of Bob Hope entertaining troops in Vietnam were powerful promoters of the war. What was missing from the telethey also

vision picture

was a

real sense of the duplicities that

to launch the war, the horrors

nam, and

its

was

inflicting

corrupting influence on America

had been used

on the people of Viet-

itself.

These missing ingredients were amply available

documentaries

from other lands, friendly and unfriendly. Kept from the eyes of most Americans, they were giving

much

war

of the world a picture of the

very different from what Americans saw.

Films from the Vietcong partisans began early.

was Nguyen Hun Tho Speaks

to the

Among

the

first

American People (Chu Tich

Nguyen Hun Tho Noi Chuyen Vol Nhan Dan My, 1965),

a straight-

forward statement by the partisan leader, intercut with

illustrative

footage.

was seen by few Americans. As a

film

was a modest

achievement, but subsequent Vietcong films grew rapidly in ambition. Especially effective was The

Way

to the

and

skill

Front {Duong

Phia Truoc, 1969), the saga of a young group carrying supplies a

huge distance via stream and riodic crises precipitated

forest trail to a partisan unit, with pe-

by prowling planes. The determination

get the supplies through, colored

humor, would have given Americans a very

different picture of the

Vietcong than that provided by Secretary of State Dean Rusk, described "the

enemy"

behest of tyrannical

Among North

by infectious camaraderie and good

who

as living in a reign of terror, fighting at the

madmen.

Vietnamese

films,

Some Evidence

(

Vai Toibac Cua

de Quoc My, 1969) presented a relentlessly detailed demonstration of the effects of

American

pellet

bombs, incendiary bombs, napalm,

phosphorus, and other weapons— on people, animals, crops, buildings.

to show effects on people and anidamage to villages, schools, churches,

Filmed autopsies were used

mals. Statistics summarized hospitals.

Such

films

were shown

communist countries— and

Stockholm a Film Centrum, specializing

in films

in others. In

social issues, es-

275

Guerrilla tablished a special collection of Vietcong

making them widely

and North Vietnamese

available for rental.

American

films,

distributor

agreed to distribute some of these in the United States, but the com-

pany he represented, American Documentary Films, was

warned by the U.S. Treasury Department that the allowed into the United States. 14 circulated

by customs

Meanwhile

films

Now! (1965), an

Home

York. Most Vietnam films were

about Vietnam erupted in a chain explosion

Santiago Alvarez,

Lena

with films from Newsreel, an

officials.

throughout the world. The reel,

New

instantly

would not be

few did enter clandestinely, and

among campus groups— along

anti-war film group based in seized

films

fertile

who had

young chief of the Cuban news-

attracted international attention with

exuberant manifesto on minority rights— using a

song as sound track— followed with several films on Indo-

china: Hanoi, Tuesday the 13th

{Hanoi, Martes Trece, 1967), a

War {La Guerra

close-up of one day of war; Laos, the Forgotten

Olvidada, 1967), portrait of life in caves under American saturation bombing; and 79 Springtimes {79 Primaveras, 1969), a paean to Ho Chi Minh. East Germany contributed Pilots in Pyjamas {Piloten in

Pyjama), four unusual cinema

verite films

based on long interviews

camp during

with American airmen in the "Hanoi Hilton" prison

summer

of 1967.

The

films

Gerhard Scheumann, who specialized films. It interested ties

them

in skillfully

probing interview

that the pilots viewed their

bombing

activi-

One

of the

simply as "the job" they had been assigned to do.

films

the

were the work of Walter Heynowski and

was called The Job {Der Job). American Documentary Films

attempted to import both the Cuban and East

German

tempts ended in seizures by U.S. customs. However,

lowed to import Pilots casts, with a

Many

Pyjamas but used only fragments

superimposed warning that

both

was "communist"

was

atal-

news-

material.

countries friendly to the United States engaged in docu-

menting the war— sometimes with explosive prolific

films;

NBC-TV

Japanese producer

results. Junichi

who had developed

Ushiyama,

several successful doc-

umentary series for Nippon TV, spent a month with a South Vietnamese Marine battalion assigned to search-and-destroy missions. The result was three films titled With a South Vietnamese Marine Battalion earliest

{Minami Betonamu Kaiheidaitai Senki, 1965), among the films to document atrocities. We follow the Marine it moves cautiously from village to village, looking for Viet-

Vietnam

group as

THE VIETNAM WAR AROUND THE WORLD Nederlands Filmmuseum

In France:. The Seventeenth Parallel, 1967.

Nippon

1965. In Japan: With a South Vietnamese Marine Battalion,

Wytwornia Filmow Dokumentalnych

In Poland: Fire, 1968.

National Film Board of Canada

In Canada: Sad Song of Yellow Skin, 1970.

THE VIETNAM WAR AROUND THE WORLD

(continued)

Staatliches Filmarchiv der

Pilots in Pyjamas, 1967: East German television four half-hour films in the "Hanoi Hilton."

Interviewers Walter

DDR

crew makes

Heynowski and Gerhard Scheumann with cameramen.

279

Guerrilla

cong "suspects." In most found.

When

man

that usually leaves

tioning

ond

by hacking

only silent is

women and

children are

subjected to an "interrogation"

him dead. In one off the

and resulted

film,

villages,

found, he

case,

officer

ends the ques-

man's head. This episode climaxed the sectermination of the series— at the request of

the Japanese government.

In Britain Granada-TV, in

its

World

Action documentary

se-

turned repeatedly to topics relating to Vietnam, notably in The

ries,

Demonstration (1968), study of a huge anti-war demonstration outside the

American embassy

Cannes

it— a

festival

London, and police

award winner, but ignored

efforts to

in the

cope with

United States;

and The Back-seat Generals (1970), an investigation of the CIA war in Laos. Among numerous Canadian documentaries on Vietnam, the National Film Board contributed the very moving Sad Song of Yel-

low Skin (1970), by Michael Rubbo, picturing the disruption of Vietnamese

life

vividly than anything seen

on American

France the veteran Joris Ivens, having established

vision. In

released the feature-length

Paris,

tele-

his base

17th Parallel (77'e Parallele,

1967), a cinema verite portrait of the North Vietnamese at war, and

The People and Their Guns (Le Peuple et ses Fusils, 1970), on the war Laos— banned by France as a concession to American sensibilities, but distributed elsewhere. Syria contributed Napalm (1970), by Nabil Maleh, a searing little film in the form of an American-style television commercial, advertising napalm as though it were a beauty aid or patent medicine, extolling its thorough and rapid action. It was a film-festival favorite. So was Poland's Fire (Ogien, 1969), one of several Vietnam films directed by Andrzej Brzozowski. There were scores of others including composite projects like Far From Vietnam

(Loin de Vietnam, 1967), by leading French film makers, and Arts

Vietnam

(

1969) a

Almost

all

joint protest

these films were

by Australian

known

artists.

American

television net-

works, and available to them. Except for a few fragments on news

programs, the networks seldom deviated from their policy of showing only their

own

documentaries.

standard rationale was that they

could not assess the authenticity of material produced by others. This

was

plausible: they could not always assess the authenticity of their

own. More

to the point, a different policy

into fierce controversy,

Such

perils

would have plunged them

and brought charges of "aiding the enemy."

were neatly sidestepped by the adopted

policy.

But

also

Documentary

280 meant

that the networks

delusion concerning the

were abetting a national adventure in

war— its

self-

origins, purposes, effects, legality,

morality, and international acceptance.

Yet within network sionally the concern

staffs,

showed

Morley Safer's Vietnam,

asked

CBS documentary

1967

which Safer presented without comment

American airmen back from a successful "mis-

his interview with

sion."

awareness and uneasiness grew. Occaitself— as in the

how

felt

"make

kill

and they

like that,"

answered:

captain:

I feel

plishment.

real

good when we do

the only

It's

way

It's

it.

kind of a feeling of accom-

you're going to win,

guess,

to kill 'em.

pilot: I just feel it's just another target. You know, like in the states you shot at dummies, over here you shoot at Vietnamese. Vietnamese Cong.

another: at

{Off, interrupting)

You

Cong.

shoot at Cong.

You

don't shoot

Vietnamese.

{laughing): All right. You shoot at Cong. Anyway, when you the run and then you see them, and they come into your sights, it's just like a wooden dummy or something there, you just thumb off a couple pair of rockets. Like they weren't people at all. 15 pilot:

come out on

The next year brought a more important breakthrough. on a commercial network but on public been a

still

television,

came not

which had too long

backwater of the television scene. Operating on minuscule

had seldom captured more than one per cent of available

budgets,

viewers.

But

in the late 1960's

began

to stir into life— partly with

material rejected or ignored by sponsored television.

The ers

and

State

Department had forbidden Americans, including reportNorth Vietnam— or to China, North

film makers, to travel to

Korea, Cuba, Albania. Passports of offenders had been revoked. The

ban was explained as necessary for the "protection" of American zens, but

had unquestionably served

against unfavorable

the ban.

news and views. The networks

Some Americans

and several cases were

challenged

in litigation.

made

tacitly

accepted

constitutional grounds,

Meanwhile one

Greene, went to North Vietnam and

citi-

American public

to insulate the

a film.

film

maker, Felix

Though a

long-

time United States resident, he was a British citizen; he had at one time been a

BBC

representative in the United States. In the early

made the documentary China! had been harassed by federal au-

1960's he had been to China and

(1963). Though

its

distribution

281

Guerrilla

had won showings

thorities, the film

and

in art theaters

film societies

and had given Americans a glimpse of a forbidden land. In 1967, when he proposed to go to North Vietnam, CBS offered him film, an advance, and laboratory services in exchange for an option on the

completed

The following year Greene returned with

film.

North Vietnam (1968). At

show only

this point

brief fragments

its

CBS

lost

Inside

courage and decided

newscasts— as

NBC

had done

with Pilots in Pyjamas. But public television agreed to broadcast a forty-nine-minute segment, followed by discussion.

The

decision brought weird eruptions. Thirty-three Congressmen,

none of

whom

had seen the

One

tion of the booking.

television appropriation

the telecast proceeded.

film,

told

signed a letter demanding cancela-

an executive he would never vote for a

Inside North Vietnam were broadcast. But

The

film gave

Americans a glimpse of matters

already familiar to audiences in other parts of the world; the impact

may

by the blackout that preceded

well have been strengthened

it.

Cleveland Amory, writing in The Saturday Review, found the film "so moving terly

will

make you first ashamed, then angry, and make everybody you know see it."

finally ut-

determined to

What

audiences saw was a people whose lives were disrupted in

fantastic ways,

and marked by ceaseless work, but strangely

proud, and dignified.

To Amory

the film

showed "what kind of people we are fighting— and why against us

bound

joyful,

was important because

their record

go down in history alongside Thermopylae, Sta-

lingrad—or, for that matter, Valley Forge." 16

War his

protests subsided briefly after the election of President Nixon,

withdrawal of ground troops, and his references to a plan to end

its outlines became clear— it involved intensified bombing and expansion of the war into Cambodia— the guerrilla film attacks resumed. The film Interview with My Lai Veterans (1971), by Joseph Strick— stark confirmation of incredible horrorswas shown in theaters and won an Oscar. About the same time, pro-

the war. But as

test

found one of

its

most important expressions

Pentagon (1971), a

CBS News documentary

The

Selling of the

written and produced

by Peter Davis. It

ing

was broadcast

its

prime time.

relentless forthrightness, this

breached the

was

historic.

fortress.

The

Consider-

film did not at-

tack the war as such, but exposed the multitudinous ways in which the

Department of Defense had promoted

it.

The Department's

cosi-

Documentary

282

Congressmen was well

ness with industry and key

showed how, with

film

its

illustrated.

The

huge public-relations funds— exceeding the

combined news budgets of

all

networks— the Pentagon had spread

the gospel of militarism. Its salesmanship directed toward children

was disturbingly exhibited. The Pentagon tus

film included excerpts

showed how the Pentagon public

films. It

from various

relations appara-

had on occasion hoodwinked and misled news media, including

television.

Roger Mudd, newsman-narrator of mudd: Defending

the film,

the country not just with

Pentagon propaganda

insists

on America's

summed up

arms but also with ideology, cop on every beat in

role as the

Not only the public but the press as well has been beguiled, including at times, ourselves at CBS News. This propaganda barrage is the creation of a runaway bureaucracy that frustrates attempts to control it. 17 the world.

The

film

was met with hosannahs and outrage.

during the telecast denounced

power." Vice President

The Pentagon and

Agnew

Mudd

called the

telephone caller

an "agent of a foreign

program "disreputable."

others attacked details of treatment; none of these

attacks struck at the substance of the film.

CBS-TV

rebroadcast the

few weeks; the second broadcast reached a larger audi-

film within a

ence than the

first.

In the course of the

hubbub the Pentagon withdrew some

its

war-promotion films from circulation. Denunciations leveled it

as radical

The

Selling of the

Pentagon had depicted

and irresponsible. During the following months, revela-

The Pentagon Papers and emerging from the Watergate hearings made The Selling of the Pentagon seem restrained. The film had identified a cancer that was unquestionably threatening the democratic tradition. While critical, it was essentially a conservative document, defending traditional values. And it made clear once more the potential importance of criticism— especially, the importance of black film. Much of what The Selling of the Pentagon revealed had been discussed in print, without wide impact. Prime-time documentation had ringing reverberations. The global film struggles over Vietnam hold numerous implications. They suggest the many ways in which an establishment can tions published in

silence, muffle, discourage, deflect, isolate expressions

vor.

The

film

maker,

often a helpless entity.

in his

does not fa-

dependence on distribution systems,

283

Guerrilla

Yet the

situation changes.

The

multiplication of distribution sys-

tems permits one system to bring pressure on others. In the United States the pressure of protest films, foreign

had

impact— via campus,

its

and domestic, eventually

film society, citizen group, public televi-

sion—on prime time.

The other

of protest generated by

spirit

Vietnam meanwhile

strators protested a scheduled

Davis

Cup match

spilled into

when demon-

creating a guerrilla-film era. In Sweden,

fields,

with Rhodesia, be-

cause of Rhodesia's racial policies, young film makers under

Widerberg documented the event

Game {Den way

in electrifying fashion in

The White

Vita Sporten, 1968). Curiously the protest— almost by

of habit— became also a protest over "imperialism"

and Vietnam.

In Japan, guerrilla film activity reached high intensity during the war.

The use made

Vietnam war supplies

of Japan as a conduit for

generated strong anti-government feelings and

many

"protest films"—

the Japanese equivalent of black films. These were seldom seen in theaters or

television,

in clubs, unions,

16mm after

but reached a substantial audience via

and other groups.

Ironically,

projectors ("Natco" projectors)

World War

for this rise of a

II,

by the American occupation

for reindoctrination purposes,

16mm

system.

16mm

wide distribution of

now saw

had

laid the basis

such films as the power-

films. The heavy air traffic war— had prompted a 1966 decision to build a new international airport for Tokyo. The area chosen, Sanrizuka, was occupied by farmers who were determined to block seizure of their lands. For four years the film maker Shinsuke Ogawa

ful

Sanrizuka series— three feature-length

through Japan— swollen by the

documented

their struggle,

The Peasants of 1971). Here we riot police as

the

farm

which reached

its

climax in the third

film,

Second Fortress (Daini Toride no Hitobito,

see resistance turning into a pitched battle with

women

chain themselves to improvised stockades,

and students join the struggle for anti-government, anti-war motives.

Ogawa,

patiently recording the growth of resistance into an

Armaged-

don, achieved an extraordinary social document, and one of the most potent of protest films.

The

film of dissent

even made an appearance in India where,

through most of the years since independence, the Ministry of Information and Broadcasting had held a tight monopoly over docu-

mentary production. The film maker Khwaja

was

also a widely read

Ahmad Abbas— who

newspaper columnist— made a

film in the tra-

PROTEST ERA: SWEDISH TENNIS MATCH. Svenska Filminstitutet

mmtA

against The White Game, 1968. Student demonstration Cup match with Rhodesia-to pro-

a scheduled Davis

a demonstration against "imperialism" and the Vietnam war. test racial policies-turns into

PROTEST ERA: TOKYO AIRPORT The Peasants of the Second

Fortress, 1971. Tricontinental

Film crew

at fortress built to

block airport project.

I,'

'M Til |y

,/,ji

Farm women

t £HH t

chain themselves to fortress stockade.

Students join battle against riot police.

Documentary

286

dition of the Polish black film

Warsaw

(Char Shehar Ek Kahani, 1968),

ies

achieved in

its

major

was relevant

for

shorten the scene of

surprised the

certificate, insisting his

young people. The case was therefore

referred

and Broadcasting, which offered

to the Ministry of Information

approve the film

Tale of Four Cit-

prostitution.

board of censors by refusing an "adults only" film

paid tribute to what India had

but finally focused on unfinished busi-

cities,

Bombay slums and

ness, including

56. Titled

Abbas would—

women

in the red light district,

deleting specially the shot showing the closing of the

window by

the lady,

the suggestive shots of bare knees,

and the passing of the currency

Abbas

refused,

notes.

and replied

I think, once for all, the courts and even the Supreme Court will have to decide the issue, of whether a documentary of social protest can be banned or distorted under the cover of clauses which were originally intended to eliminate obscenity and pornography. That is where I propose to take the issue, besides the court of informed public opinion. This is not a threat. It is a promise.

brought

carrying his case to the

suit,

Supreme Court.

the Justices apparently advised the Ministry that the case. In

nounced

Four

open

that

court, as a decision

had changed

its

A year

was about

was awaited, the government an-

mind, and would approve

Tale of

was an astounding moment

Cities without restrictions. It

later,

to lose

in In-

dian film annals. 18 In most periods of documentary history, production has been controlled

by groups

power. In some instances, groups newly achieving valuable in consolidating their position; this was

power have found

the case with the

work of Vertov

many, and of Lorentz

in the

tary functioned in a small

the

Vietnam war saw

in Russia, of Riefenstahl in

way

as a

this role

medium

of dissent.

The period

servers to foresee an even wider, freer use of the as

cheap as paper,

will

played on a larger scale. The rapid

many

ob-

medium. When

film

spread of film equipment and technical knowledge has led

becomes

Ger-

United States. In the 1930's, documen-

not

become

as universal?

Some

see

such a possibility. Others suggest that techniques of surveillance and control multiply as rapidly as media technology.

287

Afterword

Yet

in the 1960's

and 1970's, documentary was already a medium

of revolutionary undergrounds in

many

parts of the world. In Argen-

The Hour of the Furnaces {La Hora de los Homos), a series of three films, was made during 1966-68 by Fernando Ezequiel Solanas tina

an underground organizing instrument. They comprised a

to serve as

Under-

revolutionary political manifesto of harsh, driving power.

ground age in

makers

film

End

South Africa were responsible for the foot-

of the Dialogue (Phela-Ndaba, 1971), smuggled to the

outside world with vivid revelations on apartheid. the Swedish film

proclaimed

maker Jan Lindquist,

itself to

the

the world in the startling film

which included an interview with a diplomat

Such

ple's prison."

films represent a

new

With direction by

Uruguayan underground

Tupamaros (1973), "peo-

in captivity in a

direction in

documentary—

especially explosive examples of an explosive era.

Afterword

have followed the documentarist through almost a century.

have seen him sometimes

rise

and

fall in status,

at the center of the

sometimes working

in obscurity,

world stage.

We have noted his varied roles: on. We have emphasized that the

explorer, reporter, painter, and so roles

were not mutually exclusive.

The documentarist has always been more than one of these. Yet different historic moments have tended to bring different functions to the fore.

We more

have seen documentary techniques evolve. As equipment grew versatile, the

documentarist has been able to record an ever

richer assortment of images

The

artifice of

and sounds from the world around him.

reenactment has held declining interest for him.

His essential task has remained, as Vertov defined

it,

"fragments of actuality" and combine them meaningfully. as Grierson put lations stress

it,

remains,

"the creative treatment of actuality." Such formu-

two functions: (1) recording (of images and sounds)

and (2) interpretation. To be sure, some documentarists claim that

seems to renounce an interpretive

gic,

but

to capture It

surely meaningless.

nicator in any

role.

to be "objective"— a

The claim may be

The documentarist,

medium, makes endless

choices.

term

strate-

any commu-

selects topics,

Documentary

288

people, vistas, angles, lenses, juxtapositions, sounds, words. selection it

an expression of his point of view, whether he

or not, whether he acknowledges

Each

aware of

or not.

Even behind the first step, selection of a topic, there is a motive. Someone feels there is something about the topic that needs clarification, and that if one can document aspects of it (the whole truth is a legal fiction), the work will yield something useful in comprehension, or agreement, or action.

The documentarist has a passion for what he finds in images and to him more meaningful than anything he

sounds— which always seem can invent. Unlike the It is in

fiction artist,

and arranging

selecting

dedicated to not inventing.

his findings that

these choices are, in effect, comments.

And

he expresses himself;

whether he adopts the

stance of observer, or chronicler, or whatever, he cannot escape his subjectivity.

presents his version of the world.

In denying himself invented action, the documentarist adopts a difficult limitation.

cause they feel

Some

lets

artists

them

turn from documentary to fiction be-

get closer to truth.

turn to documentary because

attraction

source of

its

power

to those

would appear,

can make deception more plausible.

Its plausibility, its authority, is

tary—its

Some,

who

the special quality of the

use

it,

to enlighten or deceive.

documen-

regardless of motive— the

SOURCE NOTES

Prophet (pp. 3-30) 1.

For the prehistory of cinema also Jacques Deslandes

Macgowan, Behind 2.

Ramsaye,

see

Ceram, Archaeology of the Cinema; Comparee du Cinema, v. 1;

Histoire

the Screen.

Million and

One

Nights,

intent

ridiculing

Muy-

honors on Edison. Muybridge's odd adopted name (he was born Edward James Muggeridge) may have encouraged this, but his achievements were formidable- For discussion and a Muybridge bibliography, see Film Comment, Fall 1969; also Hendricks, The Edison Motion Picture Myth; MacDonnell, Eadweard Muybridge. Macgowan, Behind the Screen, p. 276; Sadoul, Histoire du Cinema.

Sadoul, Louis Lumiere,

bridge, while concentrating

all

p. 17. is

a good introduction to the Lumiere saga;

Comparee du Cinema, v. 2, and corrections of Sadoul errors. Mesguich, Tours de Manivelle, is an absorbing memoir by a widely traveling Lumiere operateur. English-language material on Lumiere is scant, but the impact of his shows is reflected in film histories of various

but see Deslandes and Richard, Histoire for additional material,

countries, as noted below. See the chronology and filmography in Sadoul, Louis Lumiere. Robinson, The History of World Cinema, p. 23.

10.

Leyda by Doublier. Leyda, Kino, p. 19. The Australian Cinema, pp. 2-3; Barnouw and Krishnaswamy, Indian Film, pp. 2-5. Sestier's Melbourne Races survives in the Australian compilation film, The Pictures That Moved (1968). told to Jay

Baxter,

Mesguich, Tours de Manivelle, p. 10. "Half a Century in Exhibition Line: Shri Abdullally Recalls Bioscope Days," Indian Talkie, pp. 121-22.

11. Smith,

Two

Reels and a Crank, p. 148.

290

Notes Dickson, The Biograph in Battle,

12. Ibid. p. 102;

13.

Ramsaye,

14.

The Ponting

Million and

One

p. xiii.

Nights, pp. 520-21.

material reached the screen again in 1930 in the film Ninety Degrees South. Low, The History of the British Film 1906-

1914,

156.

Explorer (pp. 33-51)

The quotation— one of several accounts of this episode— is from an autobiographical document in The Flaherty Papers, Box 59. The Flaherty Papers are the main source for this section, along with Calder-Marshall, The Innocent Eye, and other sources as noted. All diary quotations are from The Flaherty Papers. The letters are dated April 14 and March 6, 1915. The Flaherty Papers, Box 15. Griffith, The World of Robert Flaherty, p. 38.

Flaherty, Robert

2. 3.

"Life

J.,

Among

the Eskimos," World's Work, Oc-

tober 1922. 6.

Theatre Arts,

New York

Sherwood

From

May

1951.

Times, June 12, 1922. (ed.),

The Best Moving Pictures of 1922-23. The Flaherty Papers, Box

the autobiographical document,

10.

See de Brigard, Anthropological Cinema.

11.

Film Culture, Spring 1972.

59.

Reporter (pp. 51-71) 1.

The

section

man

edition)

is ;

based largely on Drobaschenko, Dsiga Wertow (GerSadoul, Dziga Vertov. Other sources as noted. There

scant English-language material on Vertov. 2.

Leyda, Kino, pp. 138-39. Leyda worked for a time with Vertov.

See

ibid.

163, for a

nourished" theaters late 4.

Sovietskoye

Kino,

list

of features playing in Moscow's

November-December 1934; quoted by Leyda,

Kino, pp. 161-62. Interview, Mikhail Kaufman.

Sitney (ed.), Film Culture Reader, p. 362.

Note

10.

comment by French documentarist

Chris Marker: "Let Dziga Vertov, for if I had to choose the Ten Best Documentaries of All Time, I'd call it preposterous, but if there's ONE to choose: A SIXTH OF THE WORLD." Quoted, Klaue et al. (eds.), Sowjetischer Dokumentarfilm, p. 70. Leyda, Kino, p. 176. The lecture, translated by S. Brody, appeared in Film front, 1935. Film Comment, Spring 1972, offers an illuminating discussion by

"NEP-

1922.

ebullient

now

praise

David Bordweli on disputes surrounding Vertov. See Leyda, Films Beget Films, pp. 22-28, for Shub's contribution to the evolution of the compilation film.

Notes

291

Painter (pp. 71-81) 1.

Richter,

"The Film

as an Original Art

Form," Film Culture, January

1955. 2.

Manvell and Fraenkel, The German Cinema, pp. 45-47.

See Klaue (ed.), Alberto Cavalcanti, for several discussions of Rien

Que Les Heures. Kaufman. Gomes, Jean Vigo, pp. 55-80.

Interview, Boris

Interview, Henri Storck. Maelstaf, Henri Storck, pp. 5-23.

The Vigo-

Storck letters were published in Centrofilm, February-March, 1961. 6.

Ivens,

The Camera and

Advocate

(pp.

pp. 13—46.

85-139)

early Grierson years, see Jack C. Ellis, "The Young Grierson America, 1924-1927," Cinema Journal, Fall 1968. Quotations are from Hardy (ed.), Grierson on Documentary, except

Interview, Edgar Anstey.

For the in

as otherwise noted.

Material on the

EMB

and

GPO

units

based on Rotha, Documentary

Film, and reminiscences by Grierson co-workers in Sight and Sound,

Summer

1972, and in The Journal of the Society of Film and Tele-

vision Arts (II, 4-5),

morials.

1972— reminiscences gathered as Grierson medocument in cinema form is the film

similarly illuminating

Grierson (1973), produced by James Beveridge for the National Film it includes historic Grierson footage and interviews

Board of Canada;

with co-workers in Europe, America, Asia, and Australia. 5. 6.

and Sound, Summer 1972. Take One, January-February 1970.

Sight

Interview, Basil Wright.

Film News (XIII, 3), 1953.

Rotha, Documentary Film, pp. 106-7. 1951 preface by Grierson, p. 17.

10. Ibid.,

11. Material

on Goebbels

based on Hull, Film in the Third Reich, ex-

cept as otherwise noted. 12.

The account

13.

Riefenstahl, Hinter den Kulissen des Reichsparteitagfilms, pp. 16-24.

of Leni Riefenstahl's career is based largely on material assembled by Gordon Hitchens in Film Culture, Spring 1973, and, earlier, in Film Comment, Winter 1965. Other sources as noted.

14. Ibid. p. 15.

15. Interview, 16.

17. 18. 19.

Leni Riefenstahl.

For Budd Schulberg comments, see "Nazi Pin-Up Girl," Saturday Evening Post, March 30, 1946. The Jaworsky comments are in Film Culture, Spring 1972. Fielding, The American Newsreel, p. 278. See "Pioneers," an interview with Thomas Brandon, Film Quarterly, Fall 1973.

292

Notes

20. Quoted, Petric, Soviet Revolutionary Films in America, p. 443.

The Lorentz

material is based on interview, Pare Lorentz; and Snyder, Pare Lorentz and the Documentary Film. 22. Elson, Time, Inc., p. 237. 21.

23. Fielding,

The American Newsreel, p. 231. is America," Cinema Journal, Spring 1973.

24. Barsam, "This

25. Leyda, Dianying, pp. 150-51.

Akira Iwasaki, Fumio Kamei, Taka Atsugi. 1940 Japanese newsreel compilation History of the Newsreel (News Eiga Hattatsushi) produced by Asahi Shimbun, with items from 1 904 to 1 940, reflecting the imperial-military dominance. 28. The following pages are based on Ivens, The Camera and I, pp. 4926. Interviews,

27. See the revealing

183; additional sources as noted. 29. Interview,

30. Interview,

Henri Storck. John Ferno.

Bugler (pp. 139-72) 1.

The following

For the

is largely based on Hull, Film Manvell and Fraenkel, The German Cinema.

script translations in this section the author

Imperial 3.

4. 5.

indebted to the

War Museum, London.

Summer

1972.

Lists of the sources are

file

in the

motion picture section of the

National Archives. Signal Corps motion picture case 8.

National Archives.

Hughes

10. Ibid. pp.

(ed.),

Film Book

files

1-7,

NA.

pp. 28-29.

30-33.

1 1

Leyda, Films Beget Films,

12.

Anderson and Richie, The Japanese Film,

13. Interview, 14.

Third Reich, and

Monograph on Humphrey Jennings, in Lovell and Hillier, Studies in Documentary, pp. 62-132. Interview, lb Monty; and Neergaard, Documentary in Denmark. The following is based on Leyda, Kino, pp. 364-97; and interviews, Roman Gregoriev, Roman Karmen. Capra, The Name Above the Title, is the main source of the following. Other sources: Leyda, Films Beget Films, pp. 49-72; Murphy, William Thomas, "The Method of Why We Fight," Journal of Popular Film,

in the

Paul

71 p. 158.

Zils.

is based on The Ivens Papers, on file at the Nederlands Filmmuseum, Amsterdam; interview, Marion Michelle; and Ivens, The Camera and I, pp. 242-45.

This section

Prosecutor (pp. 172-82) 1

Interview, Jerzy Bossak.

Interview, Stuart Schulberg.

Interviews, Pare Lorentz, Joseph Zigman.

293

Notes

DDR,

pp. 11-74.

Filmdokumentaristen der

Interviews, Akira Iwasaki,

and Richie, The Japanese Film, p. 182. The full script, with description of images by Merle Worth, Hughes (ed.), Film Book 2, pp. 234-55.

Fumio Kamei, Ryuchi Kano; Anderson is

Poet (pp. 185-98) 1.

genesis of "neorealism" see Leprohon, Le Cinema Italien, pp. 85-124, and Zavattini, Sequences from a Cinematic Life. Interview, Arne Sucksdorff. Cowie, Swedish Cinema, pp. 82-89.

For the

Interview, Henri Storck.

Interview, Bert Haanstra.

Chronicler (pp. 198-212) 1

Leyda, Films Beget Films, the classic work on compilation comedy usage, pp. 36-37.

films, dis-

cusses the 2.

See Barnouw and Krishnaswamy, Indian Film, pp. 117-18, for a list sequences of the 1930's dealing with

of British-banned newsreel

Gandhi. Barnouw,

A-Bomb

"How

a University's Film Branch Released Long-Secret

Pic," Variety, January 5, 1972.

Low.

Interview, Colin

See Myerson (ed.), Memories of Underdevelopment. Interview, Jean Rouch; de Brigard, Anthropological Cinema; Haudi-

quet, Paul Fejos.

Promoter (pp. 213-28)

The Shell Film Unit 1933-1954. Also, Shell film catalogues. Based on The Flaherty Papers, Columbia University, and comments by Frances Flaherty and Richard Leacock on the sound track of the Louisiana Story Study Film, Museum of Modern Art, New York. The Opportunity for Sponsored Films, pp. 1-22.

See Galbraith, Economics and the Public Purpose, for a detailed

5. 6.

analysis of this development. See Schiller, The Mind Managers, for its impact on communication media. Cogley, Report on Blacklisting, I: movies. Rovere, Senator Joe McCarthy. For the impact at the State Depart-

ment, see Barnouw, The Image Empire, pp. 8-13. Barnouw, The Golden Web, pp. 253-83, and The Image Empire, pp. 38^10.

See Friendly,

10.

and fall of See It Now. Barnouw, The Image Empire, pp. 85-117. Miller, The Judges and the Judged, pp. 78-81. The Reporter, April

11.

Interview,

3-98, for the

Due

Circumstances Beyond Our Control

pp.

rise

29, 1952.

Robert Young. For

details

on Harvest of Shame,

see

294

Notes Friendly,

Due

Circumstances Beyond Our Control

pp.

20-

23.

Observer (pp. 231-53) 1.

See the discussion of Free Cinema in Lovell and Hillier, Studies in

Documentary, pp. 133-75. For analysis of Franju's documentaries, see Durgnat, Franju, pp. 949, and discussion by Robin Wood in Film Comment, NovemberDecember 1973. All quotations are from issues of Sept. 13, 1961. The Channel 7 (WBKB) statement, by Sterling Quinlan, was in the Chicago SunTimes.

Discussion by Karel Reisz in International Film Annual 1959-60.

Based on interview, Robert Drew; the Richard Leacock interview by Bruce Harding in Flaherty Oral History Collection; and Levin, Documentary Explorations, pp. 195-221. Other sources as noted. The cobweb incident is discussed by Leacock in comments on the sound track of the Louisiana Story Study Film, Museum of Modern Art, New York. Interview by James Blue, Film Comment, Spring 1965. Republished in Jacobs (ed.), The Documentary Tradition, pp. 406-19. Levin, Documentary Explorations, pp. 271-93; Rosenthal, The New Documentary in Action, pp. 76—91. Levin, Documentary Explorations, pp. 313-28; Rosenthal, The New Documentary in Action, pp. 66-75; Denby, David, "Documenting America," Atlantic Monthly, March 1970; Image, October 1973. See discussions of Phantom India by James Michener, Newsweek, June 12, 1972; and by Eusebio L. Rodrigues, of Goa, Film Heritage,

10.

Fall 1973. 11.

The synchronized-sound

reverberations in the ethnographic film field

"Toward an Anthropological Cinema," Film Comment, Spring 1971; de Brigard, Anthropological Cinema; and in numerous articles in the PIEF Newsletter. are reflected in Jay Ruby,

12. Sight

and Sound, Autumn 1972.

Catalyst (pp. 253-62) 1

Interview, Jean Rouch.

The

evolution of Jean Rouch's ideas toward the catalyst role

was

dis-

cussed in absorbing detail in a two-hour video-taped interview with

Rouch on Belgian

by Andre Delvaux, Jean Brismee, and Cinematheque Royale de Belgique, Brussels. See also Levin, Documentary Explorations, pp. 131-45, and the discussion by Ellen Freyer in Jacobs (ed.), The Documentary Tra^ dition, pp. 437-43. Interview, Chris Marker. For an analysis of Le Joli Mai, see the discussion by Michael Kustow in Sight and Sound, Spring 1964. television

others. It is in the archives of the

295

Notes 4. 5.

Interview, Grigori Chukrai.

Interview, Noriaki Tsuchimoto. Also The Asian, March 5-11, 1972, and Film, Spring 1972. Japan's Supreme Court eventually ruled in

favor of the sufferers, holding the factory responsible. 6.

genesis of the approach is discussed in Worth and Adair, Through Navajo Eyes. George Stoney's review of events relating to You Are on Indian Land will be found in Challenge for Change Newsletter, Winter 1968-69. See also Patrick Watson, "Challenge for Change," Artscanada, April

The

1970. 8.

The evolution of VTR St. Jacques is discussed Change Newsletter, Spring-Summer 1969.

A transcript and

history of the film are in Ophiils,

Challenge for

The Sorrow and

the

Pity. 10.

See interview with Allen Funt, Rosenthal, The

New Documentary

Action, pp. 251-63. Guerrilla (pp. 262-87) 1.

For historic background see Jerzy Toeplitz, "Cinema in Eastern Europe," Cinema Journal, Fall 1968. See also Klaue et al. (eds.), Dokumentarfilm in Polen, pp. 66-72. Nemeskiirty, Word and Image, p. 197.

Interview, Jerzy Bossak.

Interview, Kurt Goldberger. Hibbin, Eastern Europe, p. 32. Czecho-

slovak Short Film 1965-66, pp. 8-9. Interviews, Vicko Raspor, Vlatko Gilic, Krsto Skanata,

Dusan Maka-

Matko. Sight and Sound, Autumn 1971. Catalogue General des Films Frangais de Court Metrage, pp. 358-60. vejev, Zelimir

5. 6.

7. 8.

Interview, Roman Karmen. Drummond and Coblentz, Duel

at the Brink, pp.

121-22.

Eisenhower, The White House Years: Mandate for Change 19531956, p. 449.

The Word War, p. 65; Variety, May 7, 1969. Commager, Henry Steele, "On the Way to 1984," Saturday Review,

10. Sorensen, 11.

April 15, 1967. 12. Schlesinger,

The

Bitter Heritage, p. 35.

may be found in Film Comment,

transcript of

Fall 1966. See Film

Why

Vietnam?

Comment, Spring

1969, for detailed discussion of U.S. films promoting the Vietnam war. 13.

Interview,

Marvin Farkas.

14. Interview, Jerry Stoll.

16.

CBS-TV, April 4, 1967. Saturday Review, February

17.

The

15.

script of

The

1968.

Selling of the

Pentagon

in Barrett (ed.),

of Broadcast Journalism 1970-1971, pp. 151-71. 18. Interview, Khwaja Ahmad Abbas.

Survey

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INDEX

Algeria, 9, 11,254-55

Propos de Nice, see

the Subject

of Nice

142 Alleman, see Everyman Alvarez, Santiago, 275 Ambrosio, 17 America (1924), 160 American Broadcasting

Abbas, Khwaja Ahmad, 283-84 Abbott, Berenice, 112

ABC, see American Company

All My Babies (1953), 258 All Quiet on the Western Front (1930),

Broadcasting

Aberdeen, S.D., 238-40 Abidjan (Ivory Coast), 253

Company

(ABC), 238-40

Acres, Birt, 17 Adair, John, 258

American Business Consultants, 222,

Adenauer, Konrad, 175

American Documentary Films, 275 American Institute of City Planners,

226

Africa: early film showings, 11; film expeditions to, 50-51, 206, 213, 216,

227; fake "African" films, 26-27;

Boer

War

II,

in film, 23-24; World 147-48, 158; ethnographic films, 207-10, 251, 253-54; African film makers, 202, 206-7, 264, 287 Agee, James, 185 aggie, 36, 38 agit-steamboat, 53

52-53 Agnew, Spiro, 282 Agriculture, U.S. Department 20 Airport (1935), 213 agit-train,

of,

Alaska, 30, 162

Album Fleischera, Album

see Fleischer's

Alcoa, 222-25 Alexanderplatz in Berlin (1896), photo, 19 Alfonso XIII (Spain), 20

117-

122

Amory, Cleveland, 281 Amsterdam, 77-80, 132-33, 178 Anderson, Joseph, 166 Anderson, Lindsay, 147, 231-33 Angola: Journey to a War (1961), 227 Annabelle, photo, 6 A nniversary of the Revolution (1919), 53 Anstey, Edgar, 89, 94-95, 213 Antarctica, 11, 30 anthropological films, see ethnographic films

anti-Semitism, 141-42

Antonioni, Michelangelo, 249-5 A pel, see Roll Call Islands, 97-99 Archaeology or Archeologia (1967), 204-5; photo, 204

Aran

archives, film, 26-29, 53, 67, 115,

173-78, 198-200, 206, 256

314

Index

Archives Testify, The, Argentina, 287

Argument Arliss,

series,

176-78

at Indianapolis (1953), 223

Armat, Thomas, 17 Army -Navy Screen Magazine,

Rail, see

Railway Battle

Bateson, Gregory, 210 Battle of Britain, The (1943), 158, 160 Battle of China, The (1944), 158,

series,

158 Arrival of the Conventioners (1895), 7-8, 29; photo, 8 Arrival of the Toreadors (1896), 11 Arrival of a Train (1895), 7-8 A rrivee des Congressistes, see A rrival of the Conventioners Arrivee des Toreadors, see Arrival of the Toreadors

Arrivee d'un Train en Gare, see Arrival of a Train L' Arroseur Arrose, see Watering the

Gardener Artkino, 160 Arts Vietnam (1969), 279

Asch, Timothy, 251 Aswan dam, 202, 207 Atalante (1934), 77 Atomization (1949), 215 Atsugi, Taka, 130 Attack on a Chinese Mission Station (1898), 25

Auden, W. H., 94 August Rhapsody or Augustirapsodi (1940), 186 Australia: film beginnings, 11, 13, 48, 99; production of Indonesia Calling, 170-72; Commonwealth Film Unit,

206; Shell film activity, 213-15; ethnographic films, 25 1 Vietnam ;

protest film, 279

Austria, 11

Avengers, The, 160

Back of Beyond, The (1954), 213-15 Back Seat Generals, The (1970), 279 Balasz, Bela, 112 Balikci, Asen,

Bates, Sally, 114

George, 142

Bali, 48, 169,

Bataille

210 210

160-61 Battle of Midway, The (1944), 162 Battle of Russia, The (1943). 158, 160, 162 Battle of San Pietro,

The (1945), 162-

63 Battle of the Yalu (1904), 25 Battleship Potemkin, The (1925), 61, 67, 85-87 Bayeux tapestry, 202

BBC,

see British Broadcasting Corpo-

ration BBC: the Voice of Britain (1935), 95 Beaver Valley (1950), 210

Belgium, 7, 11, 77, 80, 131, 134-35, 141, 190 Bell & Howell, 33, 97n., 238 benshi, 21 Berkeley, Busby, 111, 196 Berlin, 19, 43, 73-75, 80, 105-9, 14344, 152-55, 176; Berlin festival, 249 Berlin (1945), 152-55 Berlin: die Sinfonie der Grossstadt or

Symphony of the City (1927), 73-75 Berton, Pierre, 201 Bertram, Hans, 140 Bessarabov, Igor, 202 Bethune, Dr. Norman, 125-26, 26162; photo, 165 Bethune (1964), 261-62; photo, 165 Beveridge, James, 215, 291 Bhatvadekar, Harischandra Sakharam, 21 Big Parade, The (1925), 160 Bilimoria, Fali, 215; photo, 215 Biograph, 17, 23-25, 29-30 Biography of a Bookie Joint (1961), Berlin:

227 bioskop, 19 birds, in documentaries, 4, 187,

189-

Nashu Sovietskoyu Ukrainu, The Fight for Our Soviet

Ballad of a Soldier or Ballada o Soldate (1959), 255

Bitva za

Ballet Mecanique (1925), 72 Baptism of Fire (1940), 140-41 Barcelona, 20

Ukraine Black Cruise, The (1926), 50, 213 black films (eastern Europe), 262-68 Black Maria studio, 5-6, 8

Barnett, Walter, 15 Basara, Vladimir, 194 Basic Training (1971), 244-46 Basse, Wilfried, 80

see

blacklists,

222-26

Stuart, 24 Blaue Licht, Das, see The Blue Light

Blackton,

Index Blitzstein, Marc, 123, 125, 136 Blodiga Tiden, Den, see Mein Kampf Blood of the Beasts, The (1949), 233 Blue Light, The (1932), 100 Blyokh, Yakov, 67, 128 Boat People, The (1961), 215 Boer War, 21,23-24, 29 Boerensymfonie, see Peasant Sym-

phony Bombay, 15,21,286 Bordeaux, 13 Borinage (1933), 134-35; photo, 135 Borowik, Wlodzimierz, 233 Bossak, Jerzy, 172-74, 263; photos, 174, 264 Boulting, Roy, 147-48

Bourke-White, Margaret, 112 Boxer rebellion, 23 Boxing Match (1927), 80 Brandon, Thomas J., 112 Brault, Michel, 254 Brazil, 74, 190, 206 Brennan, Walter, 201 Brenton, Guy, 23 Bridge, The (1928), 77, 133-34, 139, 171

Bridges-Go-Round (1959), 196 British Broadcasting Corporation

(BBC), 233-35, 280 Donald, 262 Britten, Benjamin, 94 Bronenosets Potyomkin, see The Battleship Potemkin Bruck, Jerry, Jr., 262 Brug, De, see The Bridge Brussels, 77 Brzozowski, Andrzej, 205, 279 Brzozowski, Jaroslaw, 263 Bulgaria, 154, 206 bunka eiga, 130 Brittain,

Bufiuel, Luis, 131

Burma,

Burma

21, 166

Victory (1945), 148

Burmah-Shell, 214-15

Calcutta (1968), 249 Caldwell, Erskine, 123

Cameraman

Front (1946), 154 Campaign in Poland (1940), 140-41 Canada: work by Flaherty, 33-41; formation of National Film Board, 99, 146, 166-68; postwar films, 200-201, 210-11, 247-48, 254, 25859, 277, 279 at the

315

Canary Island Bananas (1935), 235 Candid Camera, series, 261 Cannes festival, 279 Capa, Robert, 137 Capitol Theater (New York), 42 Capra, Frank, 155-62; photo, 156 Carl I (Portugal), 22 Carnegie Museum, expedition to Alaska, 30 Carnovsky, Morris, 122 Carpentier, Jules, 7, 9

Case Against Milo Radulovich, AO 5 898 39, The (1953), 223 Castro, Fidel, 238; photo, 208 cat: movement photographed by Muybridge, 4-5; by Marey, 4 Cavalcade of a Half Century (1951), 199 Cavalcanti, Alberto: film work in France, 74, 131; in England, 90, 9394, 144, 148-49; in Brazil, 206; photo, 149

Cavalcata di Mezzo Secolo, see Cavalcade of a Half Century Cayrol, Jean, 180 CBS, see Columbia Broadcasting Sys-

tem Celovic, Branko, 266

Cessna, 273

Ceylon (Sri Lanka), 21, 91-93, 169, 206 Ceylon Tea Propaganda Board, 89, 93 Chagnon, Napoleon, 251 Chagrin et la Pi tie, Le, see The Sorrow and the Pity Chair, The (1963), 238 Challenge for Change, 258-60 Chalmers, Thomas, 117, 120 Chamberlain, Neville, 140, 142-43 Chang (1927), 48-50; photo, 49 Changing the Flag at Puerto Rico (1898), 29-30 Char Shekar Ek Kahani, see A Tale of Four Cities Chasse a I'Hippopotame, see Hippopotamus Hunt Chelovek s Kinoapparatom, see The

Man

with the

Movie Camera

Chiang Kai-shek,

69, 126-27, 137, 164 Chicago, 26, 170, 206, 233-35 Chicago Conspiracy Trial (1968), 206 Chicago Film and Photo League, 170 Chicago: First Impressions of a Great American City (1960), 233-35 Childhood Rivalry in Bali and New Guinea (1952), 210

316

Index

Children of our Century (1971), 2023; photo, 203 Children Who Draw (1955), 202-3; photo, 203 Children Without Love (1964), 26465; photo, 264 Chile,

206

China: early film activity, 20-21, 23, 67-68; film-making during Japanese war, 126-29, 137-39, 164; by communist forces, 164—65; postwar films, 199, 205-7, 251, 280-81 China (1972), 251 China! (1963), 280-81

China lobby, 226 China Strikes Back (1937), 126-27 Chopra, Joyce, 240 choral speech, 122 Chronicle of a Summer or Chronique

d'unEte (1961), 254-55

American People Chukrai, Grigori, 255 Chungking, 164 Churchill, Winston, 142, 160 Cimetiere dans La Falaise, see Cliff Cemetery ,

Society,

1 1 1

Film Film and Photo League,

Filmliga, Prokino, Start cinema: inventors of, 3-17; origin of word, 19 Cinema Eye (1924), 59 Cinema Quarterly, magazine, 95 cinema verite, 253-64, 279 cinematographe: introduction of, 617; influence of, 17-30; photo, 16

Cines, 17 Ciotat, La, 8 Circulation of Blood in the Frog's

Foot (1903), 29 Citroen, 50, 213 City,

The (1939), 122-24; photos, 124 Gold (1957), 200-201; photo,

City of

201 symphonies, 73-80, 233, 255 Clair, Rene, 133 Clarke, Shirley, 196 Clement, Rene, 185 Cliff Cemetery (1951), 210 Club de I'Ecran (Brussels), 134 Coal Face (1936), 91, 94 city

Plains

Colombia, 251

Columbia Broadcasting System (CBS), 222-27, 280-82 Columbia Pictures, 160 Columbia University, 200 Columbia Workshop, radio series, 136 Combat de Boxe, see Boxing Match Commager, Henry Steele, 272 Commandos Strike, The (1943), 160

Commonwealth Film Unit

(Australia),

206 compilation films: by Vertov, 53, 59, 65; by Shub, 66-67; during World War II, 158-61; postwar increase,

198-200

Chu Teh, 126 Chu Tich Nguyen Hun Tho Noi Chuyen Voi Nhan Dan My, see Nguyen Hun Tho Speaks to the

cine-clubs, 7 1 73 75, 77, 87, 100, 128, 131, 134; see also London

Cohn, Roy M., photo, 224 Coldstream, William, 90 Collines Parfumees des Plateaux Mo'is, see Perfumed Hills of the Tonkin

Confessions of a Nazi Spy (1939), 160

Congo, 227 Congorilla (1932), 50-51; photo, 51

Conquest (1930), 142 Conquete de VAngleterre, see The Norman Conquest of England Contact (1933), 95 Contemporary Historians, Inc., 135 Coolies at Saigon or Coolies a Saigon (1897), 29, 269 Cooper, Gary, 155, 201 Cooper, Merian C, 48-50 Copenhagen, 20, 26, 149 Copland, Aaron, 122 copyright, 18

Coronation of Nicholas Corwin, Norman, 122

Couronnement du

(1898), 11

Tzar, see Corona-

tion of Nicholas II Courses, Les, see Melbourne

Races

Cousteau, Jacques- Yves, 210-12 Covered Wagon, The (1923), 142 Cranes Are Flying, The (1957), 69n. Crisis: Behind a Presidential Commitment (1963), 238-39; photo, 239 Croatia, 172 Croisiere Jaune, La, see The Yellow Cruise Croisiere Noire, La, see The Black Cruise Crosby, Floyd, 118 Crown film unit, 144 Cuba: early film activity in, 23-24; film-making during Castro period, 206-7, 238-39, 255, 275 Cuba Si! (1961), 255

317

Index Cummington

Story,

The (1945), 164

Daini Toride no Hitobito, see The Peasants of the Second Fortress Daley, Richard, 234 Vise, see

see

Sunday

Din

Czechoslovakia, 164, 263-65

Dan

Dimanche a Pekin, Peking

Currelly, C. T., 35 Cvor, see Intersection

One More Day

Tillvaros Land, see This Land Is Full of Life direct cinema, 240-55 Disney, Walt, 110, 158,210 Divide and Conquer (1943), 158-60; photo, 159 Divided World, A (1948), 187-89 Divine Soldiers of the Sky (1942), 166 Doctor Mabuse (1922), 66 documentaire, early use of word, 19

Davis, Peter, 281

documentary, defined, 287-88

Dawn

Dom Starych

(1944), 187

Dawson City, 200-201 Day in a New World (1940), 154 Day of War (1942), 154 Dead Birds (1963), 210-11; photo, 211

Dedeheiwa Washes His Children (1971), 251

Dedeheiwa Weeds His Garden (1971), 251

DEFA,

(East German state film organization), 176 Defeat of the German Armies Near

Moscow

(1942), 152 Defense, U.S. Department of, 175, 272-73, 281-82; see also War De-

partment Dekeukeleire, Charles, 80 Demeny, Georges, 4

Demonstration, The (1968), 279 Den Novovo Mira, see Day in a New

Kobiet, see

House

of Old

Women Don't Look Back (1966), 240 Doring, Jef and Su, 251 Doublier, Francis, 9, 13-15, 25; photo, 16

Dovzhenko, Alexander, 61, 133, 152 Drankov, 17 Drew, Robert, 236-38 Dreyfus affair, 25-26 Drifters (1929), 87-90; photo, 88 Drums Along the Mohawk (1939), 160

und Mancher Kamerad, see You and Many a Comrade Dulles, John Foster, 225, 269

Dunham, Harry, 113, 126 Duong Ra Phia Truoc, see The Way to the

Front

Diisseldorf, 73

Dylan, Bob, 240

World

Den

Voiny, See

Denmark,

Day

17, 20, 141,

War 149-50, 187n.,

196; photos, 150 depression, impact on films, 81, 98-99,

111-25, 128, 134 Desert Victory (1943), 147-48; photo, 148 Deslaw, Eugene, 80 Deti Bez Ldsky, see Children Without

Love Deutsche Panzer, see German Tanks Deutsche Wochenschau, see German Weekly Review Devilfish (1928), 72 Dewar's Whiskey, 29 Diary for Anne Frank, A (1958), 178 Diary for Timonthy, A (1945), 144 Dickson, William Kennedy Laurie, 23-

24,29 Dienbienphu, 207, 271; photo, 271 Difficult People (1964), 263-65

Eagle Dance (1898), 29 Eakins, Thomas, 4 Earth (1930), 133 East Germany, see Germany Easter Island (1935), 131-32; photo, 132 Eastman, George, 7, 97n. Ecce Homo, 120 Eddie (1961), 236 Eden, Anthony, 143 Edison, Thomas Alva invention of kinetoscope, 5-6; sponsorship of Vitascope, 17; copyrights via paper :

prints, 18; films, 6, 18, 23, 25,

30 Educational Services (Newtown, Mass.), 210

Edward VII (England), Eggeling, Viking, 72, 77

22, 25

29-

318

Index

Egypt, 11,202, 207, 213, 216

Eichmann und das Dritte Reich or Eichmann and the Third Reich (1961), 199

1848 (1948), 201-2 Eighth Route Army, 164-65 Eighty Days, The (1944), 144 Eisenhower, Dwight D., 148, 226, 228, 269 Eisenstein, Sergei, 61, 73, 74, 133 Eisler, Hanns, 134, 139 El Tohamy, Salah, 207 Electric Night, The (1930), 80 Elephant Processions at Phnom Penh (1901), 29, 269 Eleventh Year, The (1928), 59 Elfelt, Peter, 20; photo, 20 Elton, Arthur, 89, 94-95, 213, 216 EmakBakia (1927), 80 EMB Film Unit, see Empire Marketing Board Emmott, Basil, 87 Empire Marketing Board, 87-88,

Every-day Life of Gestapo Officer Schmidt, The (1963), 173-74; photo, 174 Everyman (1963), 249; photo, 248 Ewige Jude, Der, see The Eternal Jew explorer, in film, 29-51 Extraordinary Adventures of Mr. West

Land of the Bolsheviks, The (1924), 69-71

in the

fakes,

24-27

Fall of the

Romanov

Dynasty, The

(1927), 66-67

Far From Vietnam (1967), 279 Farkas, Marvin, 273 Farrebique (1946), 190-91; photo, 191

Federation Internationale des Archives

duFilm (FIAF),27n. 93;

EMB

Film Unit, 89-93, 142, 269 End of the Dialogue ( 1971 ), 287

End

of the Trail (1965), 201 England: film beginnings, 11, 17, 21, 25, 29-30; documentary film movement, 85-100; World War II films, 144_51; Free Cinema, 231-33; television documentaries, 206, 233-35, 279 engravings, used in film, 202 Enough to Eeat (1936), 95 Entertainer, The (1960), 233 Enthusiasm: Symphony of the Donbas (1931), 64-65; photo, 64 Entrance of the Red Army into Bulgaria (1944), 154 Entuziazm: Simphonya Donbassa, see Enthusiasm: Symphony of the

Donbas Ermler, Friedrich, 69-71 Ernst, Morris, 114 Eruption of Mt. Vesuvius (1905), 25 Escape From Crime (1942), 160 Eskimos, 33-46; drawings, 37, 44 Esoofally, Abdullaly, 21 Essanay, 17 Essene (1972), 244 Eternal Jew, The (1940), 141-42 ethnographic films, 29, 45, 207-11, 251-52, 258-59 Evans, Walker, 113 Every Day Except Christmas (1957), 231

Feeding the Baby (1895), 8 Fejos, Paul, 210 Feldzug in Polen, see Campaign in Poland Fernhout, see Ferno Ferno (Fernhout), John, 78, 131, 135-37; photo, 138 Feuertaufe, see Baptism of Fire

FIAF,

see Federation Internationale des Archives du Film

Field,

Mary, 95

Raymond, 122 Fight for Our Soviet Ukraine, The (1943), 152 Fighting Poland, series, 172 Fighting Soldiers ( 1 939 ) 1 29-30; photo, 130 Film Centre (London), 95 Film Centrum (Stockholm), 274-75 Film and Photo Leagues, 111-14, 127-28, 185, 222 Film-Truth (Kino-Pravda), series, 55Fielding,

59, 75, 254 Film Weekly (Kino-Nedelia), series, 52-53 Film front, 112 Filmliga, 77, 132-33 Films Division (India), 207, 209 Fire (1968), 279; photo, 277 Fire Rescue (1962), 227 Fires Were Started (1943), 144, 14647 First Days, The (1939), 144-45 Fischer quintuplets, 238-40 Flaherty, David, 46, 97

Index Flaherty, Frances, 33-35, 46, 97-98, 216-17; photo, 218 Flaherty, Robert: as explorer, 33-51;

Nanook, 36-48, 51, 213, 217, 262; Moana, 46-49, 77; Man of Aran, 97-99, 190, 217; Louisiana Story, 216-19, 235-36; other projects, 90, 118, 120, 160, 202; influence, 85, 97, 99, 131, 190; photos, 34, 218, Fleischer's Album (1962), 173

220

Florman, Ernest, 19-20 Ford, Aleksander, 172 Ford, John, 162 Foreman, Carl, 160-61

Movietone News series, 206,

272

Fragment of an Empire (1929), 6971

France: early film leadership, 3-30; exploration films, 50, 271; futurism, 52; avant-garde films, 72-77, 80;

Front Populaire, 131; films of

World War war period,

141, 143, 149; post180, 185, 190-91, 199,

II,

201-2, 207-12, 233, 249, 253-55, 276, 279

Franco, Francisco, 125, 199 Franju, Georges, 233 Frank, Anne, 178 Franken, Mannus, 78 Frankfurt, 73 Free Cinema, 231-33 Freund, Karl, 73 Friendly, Fred, 222-25 Front Populaire, 131 Frontier Films, 113, 123-28, 222 Frontovoj Kinooperator, see Camera-

man

at the

Front

Fu Ya, 199 Fuji, Mt., 129 Funeral of Jan Palach (1969), 265 Funt, Allen, 261 fusil photographique, 4 futurists, 52, 57-58

Gandhi, Mohandas K., 199 Gardner, Robert, 210

17, 26, 30,

Gavrin, Gustav, 172 Gdzie Diabel Mowi Dobranoc, see Where the Devil Says Goodnight Gelabert, Fructuoso, 20 Gelb, Charles, 39 General Post Office (England), 9394; GPO Film Unit, 93-100, 144 Gentlemen (1940), 142^3 Gericht der Volker, see Judgment of the Nations German Tanks (1940), 111 German Weekly Review {Deutsche series, 139, 143-44 early film history, 11, 17,

Wochenschau),

Forgotten Imperial Army ( 1963 ), 249 Forster, E. M., 147 Forward, Soviet! (1926), 59 Four Hundred Million, The (1939), 137-39; photos, 138 Fox Film Corporation, 48, 111; see also Twentieth Century-Fox; Fox

Fox Movietone News,

Gaumont,

319

Germany:

19; influence of painters,

72—81;

Nazi period, 99-1 11,13944, 212; films of occupying powers, films of

173-75; East German documen175-78, 185, 275, 278; West German documentaries, 199, 26061; German film makers abroad, 166-69, 275, 278 Gilic, Vlatko, 267 Gimme Shelter (1970), 241 Girl from Leningrad, The, 160 taries,

Gitlin, Irving,

227

G/a*or Glass (1958), 193-94, 196 Gochin, see Sunk Instantly Godovshtchina Revolutsii, see Anniversary of the Revolution Goebbels, Joseph, 100-101, 109, 111, 141, 143-44, 166 Goldberger, Kurt, 264-65 Goldman, John, 97 Golightly, J. P. R., 89 Good Earth, The (1937), 137, 160 Goring, Hermann, 140 Gorky, Maxim, 154 Gotama the Buddha (1956), 202 Gottingen, 210 GPO Film Unit, see General Post Office

Granada TV, 279 Grand Cafe (Paris), 9 Grand Prix (1949), 213 Granton Trawler (1934), 95 Grapes of Wrath, The (1940), 121 Grass (1925), 48 Grayson, Helen, 164 Great Adventure, The (1953), 189-90 Great Road, The (1927), 67 Greece, 109, 147 Green Harvest, 219 Green Table, The (1965), 194 Greene, Felix, 280

320

Index

Greenwood, John, 97 Gregoriev, Roman, 151, 154 Grierson, John: early career, 85-89; leadership in British documentaries. 89-100, 115, 142, 144; in Canada, 99, 146, 166, 168; relations with Flaherty, 45, 85, 88, 90, 97-99; influence, 95-97, 99-100, 131, 206, 213, 287; photos, 84, 86, 88, 168

David Wark, 160 Grunwald, Ivan, 25 Griffith,

Gryning, see Dawn Guerra Olvidada, La, see Laos, the Forgotten War Gull! (1944), 187 Gunabibi (1971), 251 GustavV (Sweden), 22 Gymnastic Performance (1962), 194

Hesse, Herman, 166 Heynowski, Walter, 275, 278

High School (1968), 244 Hillier, Jim,

146

Himmler, Heinrich, 173 Hippler, Fritz, 141-42, 160

L'Hippocampe, see Sea Horse Hippopotamus Hunt (1946), 210 Hirohito, 159, 161 Hiroshima, 179, 200

Hiroshima-Nagasaki, August 1945 (1970), 200 History of the Civil War (1921), 53 History of the Helicopter (1951), 213 History Today, Inc., 137 Hitchens, Gordon, 110 Hitler, Adolf, 100-110, 125, 151, 159, 199 Hlavaty, Kosta, 172

Ho Chi

Haanstra, Bert, 191-94, 216, 248-49; photo, 192 Hackenschmied, Alexander, see Hammid, Alexander Haddon, Alfred Cord, 29 Haig, A. E., 200 Hale's Tours, 30 Halifax, Edward Frederick Lindley Wood, 1st Earl of, 143 Hamburg, 73 Hammid (Hackenschmied), Alexander, 164, 196 Hands (1934), 113, 118 Hands and Threads (1964), 194 Hanging Gardens (Bombay), 21 Hani, Susumu, 202 Hankow, 137 Hanoi, 275, 278 Hanoi, Martes Trece or Hanoi, Tuesday the 13th (1967), 275

Harmonieux Ombrages d'Indochine, see Peaceful Shadows of Indochina Happy Mother's Day (1963), 238-40 Harvard University, 210 Haivest of Shame (1960), 227

Hawes, Stanley, 206 Hearst, William Randolph, 114 Heart of Spain ( 1937), 126 Heilige Berg, Die, see The Sacred Mountain Hellman, Lillian, 135 Hell wig, Joachim, 178 Hemingway, Ernest, 135; photo, 136 Hepworth, Cecil, 17 Hess, Myra, 146-47

Minh, 207, 269, 275; photo, 208 Holiday on Sylt (1957), 176-77 Holland, see Netherlands Hollywood, 41, 48-50, 105, 110-11, 114-18, 121-22 Hollywood Quarterly, magazine, 222 Hommes Qui Font La Pluie, Les, see The Rain Makers Hong Chi Chu, see Red Flag Canal Hong Kong, 137, 164, 213, 215, 273 Hoover, Herbert, 111 Hope, Bob, 274 Hora de los Homos, La, see The Hour of the Furnaces Home, Lena, 275 horse, photography by Muybridge, 4-5 Hospital (1970), 244 Hotel des Invalides (1952), 233

Hour

of the Furnaces, The, three films (1966-68), 287 House on 92nd Street, The (1946), 185 House of Old Women (1957), 233 House of Rothschild, The (1934), 142 Housing Problems (1935), 90, 94-96, 100, 123; photo, 96 How an Airplane Flies (1947), 213 Hsing Hsing Chih Huo Keyi Liao Yuan, see A Spark Can Start a Prairie Fire

Hz O

(1929), 80

Huang Bao-shan,

199

Hull, David Stewart, 141-42

Human

Dutch, The (1963), 249n. Humphrey, Hubert, 236-38

Hungary,

11,

263-65

Index Hunger (1933), 112 Hunters, The (1958), 210 Hunting Big 26

Game

321

Information Agency, U.S., 226-28,

236

Africa (1907),

Hurdes, Las, see Land Without Bread Hurwitz, Leo, 112-14, 125-26 Huston, John, 162-64; photo, 163 Huston, Walter, 160 Hyatt, Donald, 201

Innocent Years, The (1957), 200 Inside North Vietnam (1968), 281 Institut fiir

den Wissenschaftlichen

Film, 210

Cubano del Arte e Industria Cinematograficos (ICAIC), 207 Interior, U.S. Department of, 117 International Brigade, 125 Intersection (1969), 268 interview, use in documentaries, 261Institute

62 / I, /.

Am Ireland

(1959), 199 a Black ( 1958), 253-54 F. Stone's Weekly (1973), 262

ICAIC,

see Institute

Cubano

del Arte

e Industria Cinematograficos Iceland, 48

Ichikawa, Kon, 249

Interview with

Ireland, 199

Ireland: the Tear

Images Medievales (1950), 202 Images d'Ostende or Images of Ostende

Itala,

21; British ban on Gandhi films, 199; films during World War II, 169; Films Division, 199, 207, 209; other postwar documentary produc-

213-15, 249; censorship disputes, 249, 285-86; photos, 14, 209, 214, 215 India 67 (1967), 249 Indian Day, An (1972), 249, 252; tion, 199,

photo, 252 Indian Village (1961), 189 Indies, Netherlands East, see Indonesia Indisk By, see Indian Village Indochina: early visits by documentarists, 11, 29, 50, 166, 207, 268-69; film coverage of Indochina wars,

272-83 Indonesia:

visit

by documentarists,

166; role of film in independence struggle, 169-72; rise of Indonesian

production, 206 Indonesia Calling (1946), 171-72 Industrial Britain (1933), 90 Industrial Symphony (1931), 134

Industry on Parade, series, 226 Infascelli, Carol, 199

and

the Smile

(1961), 227 Ispaniya, see Spain Istoriya

(1930), 77 Imperial Relations Trust, 99 In China (1941), 127 In Prison (1957), 233 In Spring (1930), 69-70; photos, 70 India: film beginnings, 11, 13-14, 17,

Veterans

216

Iraq,

Ichioka, Yasuko, 251-52; photo, 252 de Pdques, see Easter Island

tie

My Lai

(1971), 281

Grazhdanskoi Voini, see His-

tory of the Civil

War

17 Italy early documentary production, 9, 11, 13, 17; futurism, 52; the Mussolini period in film, 148, 202; rise of neorealism, 185; postwar documentaries, 199; production for tele:

vision,

251

Ivens, Joris: early avant-garde films, visit to Soviet Union, 13334; social protest films, 131-39; World War II films, 160-61; as film

77-80;

commissioner for Indonesia, 16972; postwar career, 206, 279; photos, 78, 79, 136, 138, 170 Iwasaki, Akira: role in Prokino, 128; Hiroshima and Nagasaki footage, 179, 200; during U.S. occupation,

179-80

Jackson, Pat, 144 Jacopetti, Gualtiero, 253n. Jaenzon, Julius, 73 Jaguar (1967), 253 Janssen, Pierre Jules Cesar, 3,7; photo, 8 Japan: in prehistory of film, 3; early film activity, 1 1, 17, 21; use of benshi, 21; rising interest in documentary, 128-30; repressive measures, 128-30; documentary during World War II, 164-66; influence abroad, 166; effects of U.S. occupa-

322

Index

Japan: (Cont.) tion, 179-80; postwar documentaries, 200, 249-52; rise of protest films, 256-58, 275-79, 383 Jasenovac (1945), 172 Java, 21 Jaworsky, Heinz von, 110 Jazz Age, The (1957), 200 Jenkins, C. Francis, 17 Jennings, Humphrey, 144-48, 160; photo, 145 Jhaveri, Vithalbhai K., 199 Job, Der, or The Job (1967), 275 Jocic, Vera, 205 Jocic, Vida, 205 Johnson, Lyndon B., 272-73 Johnson, Martin and Osa, 50-51; photo, 51 Joli Mai, Le, see The lively May Jones, Daniel, 201 journalism, influence on documentary, 26, 51-71; see also newsreels Jovanovic, Jovan, 266 Judge, magazine, 113 Judgment of the Nations (1946), 175 Juvenile Court (1973), 244

kinetoscope: invention of, 5-6, 23; films described, 5; photo, 6 King, Allan, 248

King Kong (1933), 50 "Kingfish," code name, 272 Kino-Glaz, see Cinema Eye Kino-Nedelia, see Film Weekly Kino-Pravda, see Film-Truth Kinoki, 57-59 Kline, Herbert, 112, 125-26 Klondike, 200 Kluven Vdrld, En, see A Divided

World Knight, Eric, 158

Know Your Enemy:

Japan (1944),

161

Knox, Robert, 91-93 Kobayashi-lssa (1940), 129-30 Koenig, Wolf, 200, 248 Kohlberg, Alfred, 226 Kolt 15 Gap (1970), 266 Koncertogimnastiko, see Gymnastic Performance Kopalin, Ilya, 69, 73, 152, 199; photo, 59 Korea, 166, 202, 249; photo, 209 Kornet er Fare, see The Wheat Is in

Danger

& Bial's Music Hall (New York), 17, 23 Kovacs, Andras, 263 Koster

Kalatozov, Mikhail, 69, 133

Kalem, 17 Kamei, Fumio, 128-30, 179

Krakow, 12

Kanin, Garson, 148 Karabasz, Kazimierz, 194, 263

Kroitor, Ralph, 248

Karmen, Roman:

Krupp, 175-76 Ku Kan, 160 Kula (1971), 251-52; photo, 252 Kuleshov, Lev, 69-71

in Spain, 125, 131;

China, 127; during World War II, Nuremberg, 175; postwar travels, 207, 269; photos, 127, 136, 208, 270, 271 Karpathi, Geza, 125-26 Kaufman, Boris: in France, 74-77; in Canada, 167-68; in U.S., 168, 185; photos, 75, 167 Kaufman, Denis Arkadievich, see Vertov, Dziga Kaufman, Mikhail: work with Vertov, 55-65, 151; independent work, 69in

152; at

70, 73; photos, 56,

Kazan,

59,75

185 Kazimierczak, Waclaw, 173 Keith Music Hall (New York), 15 Kemeny, John, 262 Kennedy, John F., 227n., 236-38, 269 Elia,

Kenya, 216 Khe San, 273 Khrushchev, Nikita, 262

Kruger, Paul, 21

Land, The (1942), 120

Land Without Bread (1932), Lang^ Fritz,

131

66, 73

Lange, Dorothea, 113 Laos, 275-79 Laos, the Forgotten War (1967), 275 Lasky, Jesse, 43, 47 Last of the Cuiva (1971), 251 Law and Order (1969), 244-^6 Lawder, Standish D., 196-97 Leacock, Richard, 218, 235-40, 253; photos, 218, 237 Lebanon, 50 Leben Adolf Hitlers, Das, see The Life of Adolf Hitler

Index Lee, Chung Sit, 202 Leenhardt, Roger, 202 Leger, Fernand, 72 Legg, Stuart, 89, 93, 95, 166 Leipzig festival, 240, 265 Leiser, Erwin, 199 Lenin, 53, 55, 59, 61, 65-66 Leningrad, 66 Leningrad v Borbe or Leningrad at War (1942), 152 Lerner, Irving, 112, 123, 126-27, 164 Let There Be Light (1945), 163-64 Letter From Siberia or Lettre de Siberie (1957), 255 Leyda, Jay, 113, 126-27, 142, 164 Liberated France (1944), 152 Life, magazine, 137 Life of Adolf Hitler, The (1961), 199 Life Belongs to Us (1936), 131 Lindquist, Jan, 287

Lippmann, Walter, 85 Listen to Britain (1942), 144, 146-47

(1968), 267 Litwak, Anatole, 160 Living Desert, The (1953), 210 Lockheed, 273 £6dz\ 194, 263; photo, 264 Loin de Vietnam, see Far From VietLittle Pioneers

nam Lomnicki, Jan, 194, 233

London, 11, 13, 21-22, 87-95, 14447,231-33,279 London Can Take It (1940), 144 London Film Society, 87-89, 93 Lonely Boy (1961), 247-48; photo, 247 Lorentz, Pare, 113-22, 137, 175, 286 Lorre, Peter, 142 Louisiana Story (1948), 216-19, 236; photos, 217, 218 Lovely May, The (1963), 255 Low, Colin, 200 Lowe, David, 227 Lubin, 17 Luce, Henry, 121 Lumiere, Antoine, 6, 9-1 Lumiere, Auguste, 6-9 Lumiere, Louis, 5-29, 131, 251; photos, 2, 10 Lunacharsky, Anatoli, 55 Lyon, 7, 9, 11, 13, 15

M(1932), 142 Mackenzie, Sir William, 33-35, 45

323

MacDougall, David, 251 Madagascar, 50

Madan, 17

Maddow, Ben, 126-27 Magistrate's Boat Trip,

The (1965),

202

Mahatma (1968), 199 Maitres Fous, Les, see The Manic Priests

Majdanek (1944), 172-73 Majewski, Janusz, 173 Makavejev, Dusan, 266, 268 Malayan War Record (1942), 166 Malaysia, 166 Maleh, Nabil, 279 Mali, 206 Malle, Louis, 249, 253 Man of Aran (1934), 97-99; photo,

Man

With the Movie Camera, The

(1929), 62-65, 254; photo, 62

Manchukuo, 128-29 Manchuria, 126, 128, 166 Manic Priests, The (1955), 253 Mannahatta (1921), 73 Mannheim festival, 43, 246 Mdnniskor i Stad, see People of the City

MaoTse-tung, 126-27, 137; photo, 127

March, Fredric, 139, 202

March of Time,

series,

121-22, 125,

131, 154, 185,206 Marco Polo, 160

Marei Senki, see Malayan War Record Marey, fitienne Jules, 4 Maria Cristina (Spain), 20 Marker, Chris, 255 Market in the Wittenbergplatz or

Marktam

Wittenbergplatz (1929),

80 Marseilles, 13

Marshall, George C, 155-58, 162 Marshall, John, 210 Martial Dances of Malabar (1957), 214-15; photo, 214 Martinson, Harry, 186

Mat, see Mother Matuszewski, Boleslaw, 26-27 Mayakovsky, Vladimir, 52 Mayer, Arthur, 118 Maysles, Albert, 240-^4, 253 Maysles, David, 240-44 McCarthy, Joseph R., 222-25; photo,

224 McCarthyism, 222-27

324

Index

McMullen, Jay, 227 Mead, Margaret, 210 Meet Marlon Brando (1965), 240

Moscow

Strikes

Back (1943), 152

Moser, Brian, 251

Meissonier, Jean Louis Ernest, 4 Melies, Georges, 11, 17, 22, 24-25 Melbourne Races (1896), 11, 15

Moskva, see Moscow Mother (1926), 133 Motion Picture Herald, 122, 136 "mountain films," 100, 109 Mourir a Madrid, see To Die in Madrid

Memory

(1969), 256 Belle (1944), 162 Mendes-France, Pierre, 261

Moussinac, Leon, 112

Memphis

Mr. Deeds Goes

Mercanton, Victoria, 202 Mesguich, Felix, 9, 11-13, 15, 20;

Mr. Smith Goes

photo, 16 Messter, 17

Mudd, Roger, 282

MeinKampf Meisel,

(1960), 199

Edmund, 74

Town

(1936), 155,

161 to

Washington (1939),

157, 161

Mullen, Pat, 98

Metro-Goldwyn-Mayer

(MGM),

Michelangelo, 202

Mumford, Lewis, 122 Munich, or the Hundred-Year Peace or Munich, ou le Paix pour Cent Ans (1967), 260 Munk, Andrzej, 194 Murderers Are Among Us, The

Michelle, Marion, 170 Milan, 13 Milhaud, Darius, 73 military-industrial complex, 228 Milosevic, Mica, 194 Minami Betonamu Kaiheidaitai Senki,

Murnau, Fred, 48, 50, 118 Murphy, Dudley, 72 Murrow, Edward R., 222-28; photo, 224 Musee de l'Homme, 210

160

Mexico, 11, 114 Meyer, John, 213 Meyers, Sidney, 113, 126-27, 185

MGM, see

Metro-Goldwyn-Mayer

see With a South Vietnamese

Ma-

rine Battalion

Minamata (1971), 256-58; photos, 257 Mirror of Holland (1950), 191-92 Mise Eire, see I Am Ireland Mitchell, Denis, 233-35 Mitchell, Mike, 258 Moana (1926), 46-49, 77, 97; photo, 48 Modern Talking Picture Service, 21921

Mohawk

tribe,

258-59

Moi, un Noir, see /, a Black Moisson, Charles, 13 Momma Don't Allow (1956), 231 Monde Sans Soleil, Le, see World Without Sun

Monde du

Silence, Le, see

The

Silent

World (1961), 253n. Monterey Pop (1968), 240 Montreal, University of, 210 Morder Sind Unter Uns, Die, see The

Murderers Are

Among Us

Morin, Edgar, 254 Safer' s

Musicians (1960), 194-95; photo, 195 Mussolini, Benito, 125, 148 Muybridge, Eadweard, 3-4, 72, 212; photos, 4-5

Muzykanci, see Musicians Mydans, Carl, 113

Nadeem, Saad, 202 Nagasaki, 179, 200 Nanking, 129 Nanook of the North (1922), 36-48, 51, 97, 213, 262; photos, 32, 40, 41; song, 43

napalm, 227, 279

Napalm (1970), 279

A Ship Is Born National Association of Manufac-

Narodziny Statku, see turers,

Mondo Cane

Morley

(1946), 185

Vietnam (1967), 280

Morrison, George, 199 Moscow (1927), 69

226

National Broadcasting

(NBC),

Company

200, 201,275, 281

National Film Board of Canada, 99, 168, 200, 206, 258-60, 262 National Film and Photo League, 112 National Film Theatre (London), 231 Native Land (1942), 125 Native Women Coaling a Ship and Scrambling for Money (1903), 23

325

Index

Night and Fog (1955), 180-81; photo,

Navajo tribe, 258 Nazi films, 101-5 Nazis Strike, The (1942), 158

NBC,

181

see National Broadcasting

Com-

pany Necrology (1968), 196-97 Negro Soldier, The (1944), 158, 16162

Nehez Ember ek,

see Difficult People

Nemeskiirty, Istvan, 265 Neobychainiye Priklucheniya Mistera Vesta Stranye Bolshevikov, see The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks neorealism, 185 NEP, see New Economic Policy

Nesabytajemyje Gody, see The Unforgettable Years Netherlands (Holland), 11, 77-80, 131-35, 141, 191-94, 213, 216, 24849 Netsilik Eskimos series, 210-11; photo, 211 Neubabelsberg, 166, 173 New Earth (1934), 134, 139 New Economic Policy (NEP), 53-54, 66 New Guinea, 210,251 New Theatre, magazine, 112, 222

New York

City, 11-12, 15, 17, 42, 73,

Night Mail (1936), 94-97, 100; photo, 96 Nihon no Higeki, see The Tragedy of Japan Nippon Eiga Sha, 130, 179 Nippon TV, 249, 275 Nixon, Richard, 281 Nizer, -Louis, 238 Nolan, Lloyd, 160 Nordisk, 17, 26 Norman Conquest of England, The (1955), 202 North, Alex, 123

North Sea (1938), 95 Norway, 141 Novelty Theater (Bombay), 15 Novik, William, 202 Novogrudsky, Alexander, 202 Now! (1965), 275 Nuit et Bruillard, see Night and Fog Nuit Electrique, La, see The Electric Night Nuremberg filming of Triumph of the :

Will, 102-5; filming of

war-crimes 175 Nuremberg or Nurnberg (1948), 175 N.Y., N.Y. (1958), 196-97; photo, 184 trials,

231-32 Evening Journal, 113 Film and Photo League,

85, 111-28, 184, 196-97,

New York New York

111-14

New York New York New York

1911 (1911), 73 Times, 42 World's Fair: 1939, 122; 1964, 196 New Zealand, 99 Newman, Alfred, 160 News of the Day (MGM-Hearst), 206, 272 newsreel: beginnings, 26, 52-59; role during depression, 112, 128-30, 133;

during World War II, 139, 143^*4, 151-52, 158; decline, 206-7 Newsreel, series, 275

Nguyen Hun Tho Speaks

to the

Amer-

ican People (1965), 274 Nibelungen (1924), 73 Nice (France), 75-77 Nichiei, see Nippon Eiga Sha Nicholas II (Russia), 11, 14, 22, 66 Nichols, Dudley, 139 Nieuwe Gionden, see New Earth Niger, 210

Dreamland (1953), 231 Oblomok Imperii, see Fragment Empire Obyknovennyj Faschism,

of an

see Ordinary

Fascism Odinnadtsati, see Oertel, Curt,

The Eleventh Year

202

Oeufs d' Epinoche, see Stickleback Eggs Office de Radiodiffusion-Television Franchise (ORTF), 260 Office of Strategic Services (OSS), 173, 175 Office of

War Information (OWI),

164

Ogawa, Shinsuke, 283 Ogien, see Fire

Old Crow Bourbon, 219 Olde Time Newsreel, Ye, series, 198 Olsen, Ole, 26 Olympia (1938), 105-10; photos, 1068

Olympic games: 1932, 105; 1936, 10510; 1952, 255; 1964, 249-50

326

Index

the Bowery (1956), 231-32; photos, 232 On the Subject of Nice (1930), 75-77; photos, 76 On the Waterfront (1954), 185 One Day in the War (1942), 154 One More Day ( 1971 ), 267; photo,

267

Pecat, see

One

Sixth of the World (1926), 5961, 67; photo, 60 Only the Hours (1926), 74 Onze Grootste Vijand, see The Rival

World Open City (1945), 185 Operation Teutonic Sword (1958), 178 Ophiils, Marcel,

260-61

Ophuls, Max, 260 Ordinary Fascism (1965), 199 ORTF, see Office de RadiodiffusionTelevision Francaise Oscar II (Sweden), 22 Oshima, Nagisa, 249 OSS, see Office of Strategic Services Ostende, 77 Osvobozhdjennaja Franzija, see Liberated France Oursins, Les, see Sea Urchins

Owens,

OWI,

Paul, Robert William, 17 Peaceful Shadows of Indochina (ca. 1935), 269 Pearson, Drew, 158 Peasant Symphony (1944), 190 Peasants of the Second Fortress, The (1971), 283, 285; photos, 285

Jesse,

109-10

see Office of

War

The Rubber Stamp

Peking, 129, 199, 205

Pennebaker, Donn A., 240 Pentagon Papers, The, 282 Penthesilea, 110 People of the City (1947), 187 People of the Cumberland (1938), 123 People and their Guns, The (1970), 279 Perfumed Hills of the Tonkin Plains (ca. 1935), 269 Peries, Lester James, 206 Persia, 48 Pesn o Gueroyakh, see Song of Heroes Petrograd, 52 Peuple et ses Fusils, Le, see The People and Their Guns Phantom India (1968), 249

Phela-Ndaba, see End of the Dialogue Philippines, The, 20, 166 Philips-Radio (1931), 134 Pieuvre, Le, see Devilfish

Information

Pile Driving (1897), 18; photo, 18 Pilot Project (1962), photo, 209

Pyjama or Pilots in Pyjamas (1967), 275, 278, 281; photos, 278 Pioniri Maleni, see Little Pioneers Piloten in

Padeniye Dinasti Romanovikh, see The Fall of the Romanov Dynasty Painleve, Jean, 72-73 painters, influence on film, 71-81 Palach, Jan, 265 Pamat, see Memory panorama, in Lumiere terminology, 15,29 PantaRhei (1951), 193 Papic, Krsto, 267-68 Parada or Parade (1963), 266 Paragraf Zero or Paragraph Zero (1956), 231-33 Paramount: rise of, 41-42; and docu-

mentaries, 43, 46-50, 120, 160, 169;

Paramount News, 206 Paris 1900 (1947), 199 Parker, Dorothy, 135 passport policies, 280-81 Pathe, M. (Japan), 17 Pathe Freres: pioneer enterprise, 17, 26, 42, 113; offshoots, 113, 206

Plow That Broke

the Plains,

The

(1936), 114-18; photos, 116 Pobeda na Provoberezhnoi Ukraine, see Victory in the Ukraine

185-98 Leon, 50, 213

poet, in film, Poirier,

Poland: early film showings, 27-29; Start society, 172; films of

War

World

139-41, 154, 172; postwar trends, 194, 205-6, 231-33, 263, II,

279 Polska Walczaca, see Fighting Poland Ponting, Herbert, 30 Porta (cinematographe operator), 13 Porter, Edwin Stratton, 22 Portrait of Osa or Portrdtt av Asa (1965), 248 Portugal, 144 Poulsen, Valdemar, 196 Power and the Land (1940), 120 Powe.ed Flight (1951), 213 Powszedni Dzien Gestapowca

327

Index Schmidta, see The Every-day Life of Gestapo Officer Schmidt Preloran, Jorge, 206

Prelude to War (1942), 158-59, 162 Primary (1960), 236-38 Proctor's Pleasure Palace (New

York), 11-12 Project

Twenty

Renoir, Jean, 131

Repas de Bebe, he, see Feeding the Baby Report from the Aleutians (1942), 162 Report on Senator McCarthy (1954), 223-25 reporter, via film, 26, 51-71; see also

(NBC), 200

unit

Prokino, see Proletarian Film League Proletarian Film League, 128, 130, 179 Promenades des Elephants a Phnom Penh, see Elephant Processions at

Phnom Penh Promio, Alexandre, 9, 13, 15, 19-20 Public Health Service, 120 Pudovkin, Vsevolod, 61, 128, 133

Quiet One, The (1948), 185

newsreels

Requiem

dla 500,000 or Requiem for 500,000 (1963), 173 Resettlement Administration (RA), 113-17 Resnais, Alain, 180 Revillon Freres, 36, 42, 213 revolver photographique 3 Rhodesia, 283-84 Rialto Theater (New York), 118 Richardson, Tony, 231-33 Richie, Donald, 166 Richter, Hans, 72, 77 ,

Riefenstahl, Leni: early career, 100; Triumph of the Will, 101-5, 10910, 160, 286; the

Olympia

films,

105-10; disputes over, 105, 109-11,

RA, see Resettlement Administration Rabindranath Tagore (1961), 199 Racing Symphony (1928), 72 Radio-Keith-Orpheum (RKO), 122 Railway Battle (1945), 185 Rain (1929), 78-80, 133; photos, 79, 80 Rain Makers, The (1951), 210 Rainer, Luise, 137 Raizman, Yuli, 152 Ramos, Antonio, 20-21 Ray, Man, 80 Ray, Satyajit, 199

157; photos, 106-7 Rien Que Les Heures, see Only the

Hours Rikli, Martin,

212

Rival World, The (1955), 215-16 River, The (1937), 118-20; photos, 119

RKO, see Radio-Keith-Orpheum Roaring Twenties, The (1939), 160 Roberts, Frederick Sleigh, 23 Robeson, Paul, 125

1st Earl, 21,

Regen, see Rain Reindeer Time (1943), 187 Reinefarth, Heinz, 176 Reinhardt, Max, 169 Reis, Irving, 136 Reisman, Philip H., Jr., 201

Robinson, David, 266 Robinson, Earl, 123 Rochemont, Louis de, 185 Rochester, N.Y., 7, 23 Rodakiewicz, Henwar, 122 Rogosin, Lionel, 231 Roll Call (1964), 204-5; photo, 204 Roma, Cittd Aperta, see Open City Romm, Mikhail, 199 Rontgenstrahlen, see X-rays Roosevelt, Franklin D., 113-21, 136 Roosevelt, Theodore, 22-23, 26-27 Roosling, Gosta, 190 Rossellini, Roberto, 185 Rossif, Frederic, 199 Rossiya Nikolaya II i Lev Tolstoy, see The Russia of Nicholas II and Leo

Reisz, Karel, 231-34 Rennsymphonie, see Racing Symphony

Tolstoy Rotha, Paul, 89, 95, 97-99, 130, 144, 199; photo, 99

Razgrom Nemetzkikh

voisk pod Moskvoi, see Defeat of the German

Armies Near Moscow

REA,

see Rural Electrification Agency Real West, The (1961 ), 201 Realist Film, 95 Red Channels, 222 Red Flag Canal (1969), 207

Redes, see The Wave Reed, Carol, 148

328

Index

Rotterdam, 77-78 Rouch, Jean: early films, 207, 210; genesis of cinema verite, 253-55; influence,

Round

255-63

the Statue of Liberty

(

1941

)

143

Rouquier, Georges, 190-91 Filipinos (1898), 30 Roy, Bimal, 202

Rout of the

22 Rubber Stamp, The (1965), 266 royalty, influence of,

rubble films, 185 Rubbo, Michael, 279

Ruke i Niti, see Hands and Threads Rund urn die Freiheitsstatue, see Round the Statue of Liberty Rural Electrification Agency (REA), 120 Rusk, Dean, 274 Russia: early film activity, 9, 11, 13, 17; see also Union of Soviet So-

Republics Russia of Nicholas II and Leo Tolstoy, The (1928), 67 Russian Miracle, The, or Das Russische under (1963), 199 Russo-Japanese War, 23, 25 Ruttman, Walther: early career, 73; Berlin: Symphony of the City, 7374, 101; its influence, 75-81; work in Hitler regime, 101, 104-5, 111 cialist

Sachs, Eddie, 236 Sacred Mountain, The (1926), 100 Sad Song of Yellow Skin (1970), 279; photo, 277 Sadoul, Georges, 6 Safer, Morley, 280 Salesman (1969), 240-44; photo, 242 Salon Indien (Paris), 9, 15 Salt for Svanetia (1930), 68-69, 133; photo, 68 "salvage ethnography," 45

Samoa, 46-48 Samuel, Arthur Michael, 87 San Francisco, 25, 136 San Juan Hill, 23 Sandall, Roger, 251 Sang des Betes, Le, See Blood of the Beasts Sanrizuka, film series, 283 Sarvtid, see Reindeer

Time

Saturday Night and Sunday Morning (1960), 233

Scheumann, Gerhard, 275, 278 Schoedsack, Ernest B., 48-50; photo, 49 Schulberg, Budd, 1 10 Schulberg, Stuart, 175 Schultze, Norbert, 140 Scieurs de Bois, see Woodcutters in the Streets of Paris Sciuscia, see Shoeshine

30 Sea Horse (1934), 72-73 Sea Urchins (\92S), 72 Seal Island (1948), 210 Search, The (1948), 185; photo, 186 See It Now, series, 222-25; photo, 224 Selig, William, 17, 26 Selling of the Pentagon, The (1971), Scott, R. F.,

281-82 Sembene, Ousmane, 206 Senegal, 206 Serbia,

Serpentine Dance (1894), 6; photo, 6 Sestier, Maurice, 13, 15 17th Parallel or 17e Parallele (1967), 279; photo, 276 79 Primaveras or 79 Springtimes (1969), 275 Shadows on the Snow (1945), 187 Shagai, Soviet!, see Forward, Soviet! Shahn, Ben, 113 Shanghai, 20-21, 67-69, 129, 164, 269 Shanghai (1938), 129, 179 Shanghai Document or Shanghaisky Dokument (1928), 67-69; photo,

68 Sheeler, Charles, 73 Shell film unit, 213-16 Sherwood, Robert E., 42 Shestaya Chest Myra, see One Sixth of

the

World

Ship Is Born, A (1961), 194-95; photo, 195 Shoeshine (1946), 185 Showman (1962), 240 Shub, Esfir, 66-67, 125, 142, 176 Shumlin, Herman, 135 Siam, 48-50 Sica, Vittorio de, 185 Sieg des Glaubens, see Victory of Faith Sieg im Westen, see Victory in the

West Siegmeister, Elie, 123

Sight and Sound, magazine, 95 Signal Corps, 115, 117, 175, 236 Silent Village,

The

( 1

943 )

329

Index Silent World,

The (1956), 212

Staudte, Wolfgang, 185

Singapore, 21

16mm

Steiner, Ralph, 80, 112-14, 118,

film, rise of, 97, 128, 181

122-

Skirmish Between Russian and Japanese Advance Guards (1904), 25 Skladanowsky, Max and Emil, 17, 19; photo, 19 Skuggor over Snon, see Shadows on

Stewart, James, 157 Stickleback Eggs (1928), 72 still photographs, use of, 200-201 Stoney, George, 258-59 Stora A'ventyret, Det, see The Great

the Snow Slavinskaya, Maria, 154

Storck, Henri, 77, 131, 134, 190

Slesicki,

Adventure

Storm Over Asia (1928), 128 Strand, Paul, 73, 112-14, 125-26

Wladislaw, 263

Slutsky, Mikhail, 154

Sm aliens, Alexander, 117 Smith, Albert E., 23-24

Strand Films, 95

Smoke Menace, The (1937), 95

Strick, Joseph,

Snow, Edgar, 126

Stryker, Roy, 113

Sol Svanetii, see Salt for Svanetia

Stuttgart, 73, 173

Streicher, Julius, 102

Solanas, Fernando Ezequiel, 287

Some Evidence

Sommersaga, see A Summer's Tale Song of Ceylon (1937), 91-94; photo, 92 Song of Heroes (1932), 133-34 Soochow, 129 Sora no Shimpei, see Divine Soldiers of the Sky Sorrow and the Pity, The (1970), 260-61 Sortie des Usines, see Workers Leaving the Lumiere Factory South Africa, 213, 287 Soviet Union, see Union of Soviet So-

A Walk

the Old City Spain: film beginnings, 9, 11, 13, 20, 131; films of civil-war period, 125— 26, 199; films of

World War

Sucksdorff, Arne, 186-90; photo, 188 see Judgment of the Nations

Sud Naradov,

(1969), 274

cialist Republics Spacerek Staromiejski, see

281

II,

144;

photo, 136 Spain (1939), 125,142 Spanish-American War, 23, 29-30 Spanish Earth (1937), 135-36 Spark Can Start a Prairie Fire, A (1961), 199 Special Trains (1971), 267 Speidel, Hans, 178 Spiegel van Holland, see Mirror of

Sudan, 216 Sukarno, Achmed, 170 Sukhdev, S., 249 Sumatra, 21 Summer's Tale, A (1941), 187 Sunday in Peking (1955), 255 Sunk Instantly (1943), 166 surgery, in early film, 29 Sushinsky, Vladimir, 154 Svilova, Yelizaveta, 55-56, 63, 175; photo, 59 Swan's soap, 29 Sweden: film beginnings, 11, 19-20, 22; royal influence, 22; during World War II, 149, 186-87; postwar documentaries, 187-90; Viet-

nam war films, 274—75 Swinging the Lambeth Walk (1940), 149 Switzerland, 11, 13, 185, 199 Symphonie Paysanne, see Peasant

Symphony Syria,

279

Sri

Tagebuch fur Anne Frank, Ein, see Diary for A nne Frank Tale of Four Cities, A (1968), 286 Tale From Nubia, A (1963), 202

Stalin,

Tallents, Sir Stephen, 87

Stalingrad (1943), 152; photo, 153 Standard Oil of New Jersey, 216-19 Stanford, Leland, 3

Tanganyika, 216 Target for Tonight (1941), 147 Taste of Honey, A (1961 ), 233 Tatakau Heitai, see Fighting Soldiers Tauw (1970), photo, 207

Holland Spigelgass, Leonard, 160

Lanka, see Ceylon 61-62, 69-71, 127, 160, 263 Stalingrad, 152-53, 255

Start cine-club, 172

330

Index

Tax ( cinematograp he operator),

Taylor, John, 90-91, 95, 97 Taylor, Margaret, 90 telephoto lens: early uses, 23-24; 1901 advertisement, 24 Terkel, Studs, 234

They Made the Land (1938), 95 This Is America, series, 122, 206 This Land is Full of Life ( 1941 ), 186 This Sporting Life ( 1963 ) 233 Thompson, Francis, 196 Thomson, Virgil, 115-17, 120, 136, ,

218 Thorndike,

Andrew and

Tugwell, Rexford Guy, 113-14, 118 Tunisia, 11 Tunisian Victory (1944), 148, 158

Tupamaros (1973), 287 Turin, Victor, 67 Turkey, 11, 13,48, 144 Turksib (1929), 67, 120, 128, 235; photo, 68 Twentieth Century, series, 200 Twentieth Century-Fox, 159-60 21st Monte Carlo Rally (1951), 213 2100 Year Old Tomb Excavated (1971), 205

Annelie, 175—

78, 199; photo, 177

Three Songs of Lenin (1934), 65-66; photo, 65 Three Songs of Resistance ( 1943 ) 149 Thursday's Children (1954), 231 Tidikawa and Friends ( 197 1 ) 25 Tierra Sin Pan, see Land Without ,

Bread Time, magazine, 121, 136, 235-38; see also

March of Time

Tiomkin, Dimitri, 160 Titan,

The (1950), 202, 205 244-46

Titicut Follies (1967),

To Be Alive (1964), 196-97; photo, 197

To Die in Madrid (1962), 199 To Live With Herds (1973), 251 Tobis, 105

264 Toho, 128-30 Tokyo Olympiad (1965), 249-50; photos, 250 Toronto, 33-35 Toscanini: Hymn of the Nations (1945), 164 Tragedy of Japan, The (1946), 17980 Trance and Dance in Bali (1952), 210 Transfer of Power (1939), 95 Toeplitz, Jerzy, photo,

Transvaal, 21 Tri Pesni o Leninye, see Three Songs of Lenin Triumph of the Will or Triumph des Willens (1935), 101-5, 109-10, 157; photo, 104 Troell, Jan,

248

Trois Chansons de Resistance, see Three Songs of Resistance True Glory, The (1945), 148 Trut!, see Gull! Tsuchimoto, Noriaki, 256-58

UFA,

see

Universum Film Aktien-

gesellschaft

Uganda, 216, 251 Ukraine, 65, 151 Unforgettable Years, The (1957), 199 Union of Soviet Socialist Republics: early film projects, 52-71; Lenin's stress on newsreels, 55; Vertov, work and influence, 51-71; film expeditions abroad, 67-68, 125, 127; visited by Joris Ivens, 133-34; World War II films, 151-55; postwar documentaries, 175, 199 United Services Organizations (USO),

274 United States of America: documentary pioneers, 11, 17-18, 23-30; rise and influence of Flaherty, 33-51; avant-garde film makers, 72-73, 80; depression as stimulus to documentary, 111-27; U.S. government production, 1 14-21; World War II films, 143; poetic trends, 196-97; film as history, 200; promotional films, 213, 216-28; influence of synchronized sound, 235^*8, 261-62;

Vietnam films, 272-83 United States Film Service, 120-21, 137 Universal News, series, 206 Universum Film Aktiengesellschaft (UFA), 101, 105, 111, 175-76 Unseen World, series, 29 Unternehmen Teutonenschwert, see Operation Teutonic Sword Urban, Charles, 17, 20, 29-30 Urlaub auf Sylt, see Holiday on Sylt

Uruguay, 287 Ushiyama, Junichi, 252, 275-79; photo, 252

Index USIA,

USO,

see Information Agency, U.S. see United Service Organizations

Vai Toibac Cua de Quoc My, see Some Evidence Valley Town (1940), 123 Van Dongen, Helen, 135-37, 161, 218 Van Dyke, Willard, 112-13, 118, 122-

Vita Sporten, Den, see

331

The White

Game Vitagraph, 17, 23-24 Vitascope, 17 Voice of the World, The (1932), 95 voice-over technique, 131 Vstuplenije Krasnoj Armii w Bulgariju, see

A rmy VTR St.

Entrance of the Red

into Bulgaria

Jacques (1969), 260

23; photo, 123

Van

Voorhis, Westbrook, 121-22 Vanity Fair, magazine, 113 Varlamov, Leonid, 152, 160 Vedres, Nicole, 199 Veiller, Tony, 160 Veliky Put, see The Great Road Vendanges (1929), 190 Venezuela, 213, 251 Venice, 13, 15, 29, 120, 240

Venus, time-lapse photography of, 3 Vertov, Dziga: early life and influences, 51-52; newsreels, 52-59, 66, 286; as polemicist, 54-58; feature compilations, 53, 59-61; The Man With the Movie Camera, 62-65, 254; sound films, 65-66; political difficulties, and decline, 61-62, 6566, 151; influence, 67-75, 89, 112, 133, 254, 287; photos, 56, 75 Vesnoy, see In Spring Victor Animatograph, 97n. Victoria, Queen, 21 Victory of Faith (1933), 101 Victory at Sea, series, 200 Victory in the Ukraine (1945), 152; photo, 153 Victory in the West (1941), 141 Vidor, King, 115, 118 Vie est a Nous, La, see Life Belongs to

Vietcong, 272-80

Vietnam: early films of Vietnam, 29, 207, 268-69; films of the Vietnam war, 272-83 Vietnam (1955), 269-71; photos, 27071 Vigo, Jean, 75-77 Village in Travancore,A (1957), 21 415; photo, 214 Viking Trails, 160 Vinden och Floden, see The the River

Walk

in the Old City, 95; photo, 195

(1958), 194-

Wallace, George C, 238 Wand Dance (1898), 29

War Comes

to America (1945), 158, 160 War Department, U.S., 155-64, 222; see also Defense Department war films, 139-72, 272-83 Warner Brothers, 160 Warrendale (1967), 247-48; photo,

247

Warsaw, 27n., 140, 263 Warsaw 56 or Warszawa 56 (1956), 263, 286 Washington Sideshow, column, 114 Wasurerareta Kogun, see Forgotten

Imperial

Army

Watergate hearings, 282 Watering the Gardener (1895), 8 Watson's Hotel (Bombay), 15 Watt, Harry, 90-91, 94-95, 144, 147, 160 Wave, The (1935), 114 Way to the Front, The (1969), 274 Weisse Holle von Piz Palu, Die, see The White Hell of Piz Palu Wenner Gren Foundation, 210

West Germany, see Germany West Orange, N.J., 5 Westminster Abbey, 25 Weyerhaeuser, 219 What Do You Say to a Naked Lady? (1970), 261 What's Happening! The Beatles in the U.S.A. (1964), 240 Wheat Is in Danger, The (1944), 187n. the Devil Says Goodnight

Where

Wind and

Vinden fran Vaster, see Wind from the West

(1956), 263 White, Pearl, 66

White Game, The (1968), 283-84; photos, 284

332

Index

White Hell of Piz Palu, The (1929), 100 Whitman, Walt, 52, 59-60, 67, 120 Why Vietnam? (1965), 272-73

Why We

Wright, Basil, 89, 91-95; photo, 94 Wyler, William, 162

Fight, series, 155-62, 222,

272; photo, 159 Widerberg, Bo, 283 II (Germany), 22 Wilhelmshagen, 176 Williamson, James, 17, 25 Wind and the River, The (1951), 189 Wind from the West (1942), 187 Windt, Herbert, 103 Wiseman, Fred, 244-^6, 253; photo, 245 With a South Vietnamese Marine Battalion (1965), 275-79; photo, 276 Wolf, Gothard, 210 Wolff, Lothar, 206-7

X-rays (1937), 212

Wilhelm

Wood

Cutters in the Streets of Paris

(1897), 29

Woodard, Horace and Stacy, 118 Workers Film and Photo League, 1 1 Workers and Jobs ( 1935), 95 Workers Leaving the Lumiere Factory (1895), 7, 9, 29; photo, 2 Workers' Newsreel, series, 112 Works Progress Administration (WPA), 113 World in Action, The (Canada), series, 166 World in Action, The (England), series, 279 World Film News, magazine, 95 World War I, 35-36, 41, 48, 125

World War II, 139-82 World Without Sun (1964), 212 Worth,

WPA,

Sol,

see

tration

258

Works Progress Adminis-

Yanki No! (1960), 238-39; photos, 230, 239 Yellow Caesar (1940), 148 Yellow Cruise, The (1934), 50, 213, 269 Yenan, 126-27, 137, 151, 164; photos, 127, 164

Yenan ho Ba Lu Chun or Yenan and the Eighth Route Army (1939), 164 You Are on Indian Land (1969), 258-59; photo, 259

You and Many

a Comrade (1955), 176-77; photo, 177 Young, Robert, 210, 227 Yugoslavia, 154, 172, 194-95, 205 Yutkevitch, Sergei, 152 '

Zavattini, Cesare, 185 Zelinim Stolom, Za, see The Green Table Zemlya, see Earth Zero for Conduct or Zero de Conduite (1933), 77

Ziarnik, Jerzy, 173 Zilnik,

Zdimir, 267

Paul, 166-69, 215; photo, 215 Zinnemann, Fred, 185; photo, 186 Zils,

Zola, Emile, 25

Zoo

(1962), 249

Zurich, 72

—

ARTS/FILM CRITICISM "Barnouw, whose monumental contributions to the history of broadcasting have earned him the reputation of a shrewd and knowledgeable chronicler and analyst, is once again at the peak of his form. Barnouw's style has a clarity and precision that make his books delights to read. "—Henry Breitrose in Film Quarterly .

"The whole panorama [of non-fiction film] has been richly researched and compactly organized into easy prose by Barnouw, writing at the peak of his competence.'' Variety

"No film library, no film course, no personal collection of either enlightened buff or serious workers in cinema, can now be considered complete without this book. Like Barnouw's trilogy on the history of broadcasting, Documentary will be a mother lode to generations of scholars looking into our times, our mores, and our images.''

—Norman Corwin

ture Arts

and Sciences

"Barnouw

Bulletin of the

Academy of Motion

concerned not only with the quality

of the films

Pic-

them-

selves but with the history they mirror: fascinating passages on Ger-

man war propaganda and American

television handling of the

bomb-

famous names are recorded The Sunday Times (London)

in this

ing of North Vietnam. ... All the

monumental

work.''

"A splendidly succinct distillation of the development and achievements of the documentary." Basil Wright

—

A History of the Non-Fiction Film practically at concise (not an easy achievement) and amazingly Richard Leacock

read Documentary:

one

sitting ...

accurate."

—

beautiful, penetrating, subtle book. Erik

Barnouw puts film

history

the mainstream of human history as few others have done before. He reminds us of the powers of film to instruct, exhilarate, excite, and in

deceive, and time." Erik

—Daniel

Barnouw

shows how these powers have been used J.

Boorstin

Emeritus Professor of Dramatic Arts

our

Columbia

University. His three-volume History of Broadcasting in the United

won the George Polk Award, the Frank Luther Mott journalism award, and the Bancroft Prize in American History. His most recent book, Tube of Plenty: The Evolution of American Television, is based

States

on the

trilogy.

A Galaxy Book

OXFORD UNIVERSITY PRESS, NEW YORK ISBN 0-19-502005-7

451

$3.95

Photo: Virginia Leirens