Media Resources Center
UC Berkeley, CA 94720-6000
Gary Handman. Could you help us get this announcement posted on line at
the right place in the Berkeley film dept.? We get requests from
teachers and students who say we were hard to dind. Your advice on other
good academic bulletin boards or archives would be greatly appreciated.
S. Chodorov firstname.lastname@example.org
In response to several requests this information has been updated.
Subscribers might be interested in an archive of documentary
programs about cinema, film directors, scoring for film, animation,
experimenters, studies of techniques, profiles and interviews, excerpts
of works, in the period 1950-1980.
Creative Arts Television Archive is a licensing agency representing
several hundred completed television documentaries not for sale
elsewhere. These titles are now available in video formats for research
or classroom use. Some are available for local broadcast or cable
transmission. Inquiries will receive immediate info on costs and how to
order. Please contact CATARCHIVE@AOL.COM.
All half-hour except as noted.
Leni Riefenstahl (1973, color) One hour. Overview of her life and
work. LR talks in English. Clips of "Blaue Licht", "Triumph des
Willens", "Olympia", "Tiefland", and a few of the films in which she
performed as an actress. A great deal of biographical material, many
photos from her personal archive.
The Maysles Brothers (1969, color) One hour. Albert and David
Maysles, pioneers in "direct cinema", in conversation with Jack Kroll
(then senior editor of Newsweek) about techniques and motivations. Clips
Buster Keaton (1970, color) Film critic Andrew Sarris and film
collector Raymond Rohauer discuss career of Keaton. Clips from "The
General", "Cops", "Sherlock Jr.", "College", "Steamboat Bill Jr.",
"Frozen North", "The Boat."
Francois Truffaut (1977, color) Conversation between FT (speaking in
French) and Richard Roud (then director of NY Film Festival) about his
life, work and the auteur theory; with clips from "400 Blows", "Jules
and Jim", "Bed and
Board", "The Man Who Loved Women" and many others.
Louis Malle (1975, color) LM in conversation with critic Susan
Sontag.about bringing personal experience to film. Clips from "Black
Moon" which he later acknowledged as his big flop.
Costa-Gavras (1976, color) CG talks with filmmaker Marcel Ophuls
about political films. Clips from "Z" and others.
D. W. Griffith (1975, color) One hour. Overview of his life and work
by film historian Ron Mottram, with guests Lillian Gish and Blanche
Sweet. Clips from "Crossroads of Life", "Isn't Life Wonderful", "The
Country Doctor","Feud in the Kentucky Hills," "A Corner in Wheat", "The
Informer", "The Painted Lady", "Way Down East," "An Unseen Enemy,"
"Intolerance", "Birth of a Nation," "Judith and Holofernes," "True
Alfred Hitchcock (1972, color) One hour. The director speaks with
news commentator Pia Lindstrom (daughter of AH star Ingrid Bergman) and
with film historian William Everson about his life and work. Clips from
many films, including "Dial M for Murder", "The 39 Steps," "Notorious",
"Frenzy", "The Lodger",
"The Man Who Knew Too Much", "The Birds." A special section on early
influences, and on AH's humorous appeances in his own movies.
Jean Gabin (1978, color) One hour. The great French actor remembered
by some of the writers, directors and co-stars who worked with him
through 50 years and 100 films, including Rene Clement, Jean Dellanoy,
Denys de la
Patelliere, Michel Audiard, Granier Deferre, Jean Desailly, Francois
Arnoul, Lino Ventura, Danielle Darrieux, Madeleine Renaud. Clips from
"Pepe le Moko", "Grande Illusion", "La Bete Humaine", "Le Chat", many
others. Narrated by Nadia Gray, who played opposite Gabin in the 50's.
Orson Welles (1967, b/w) One hour. Chronicle of the life and work of
OW through film clips and photographs.
Josef von Sternberg (1965, b/w) The director talks with film critic
Stanley Kaufmann. Clips from "The Blue Angel".
Albert Lewin (1966, b/w) Conversation with influential
producer-director-writer Lewin. Clips from his work including "Portrait
of Dorian Gray," "Pandora and the Flying Dutchman."
Milos Forman (1966, b/w) Discussion between MF and cinema critic
Amos Vogel. Clips from "Loves of a Blonde."
Joseph Losey (1963, b/w) JL and A. Mekas talk with NY Film Festival
organizer Richard Roud and critic Amos Vogel on occasion of the first NY
Film Festival. Discussion of film-making and festivals. Clips from
Losey's "The Servant" and Mekas' "Hallelujah the Hills."
Jean-Luc Godard (1964) JLG and Grigori Kozintsev talk with Roud at the
second NY Film Festival. Clips from "Bande a Part" and "Hamlet."
Werner Herzog (1979, color) WH and Klaus Kinski talk about their
relationship; with clips from "Aguirre the Wrath of God," "Nosferatu the
Sidney Lumet (1962, b/w) One hour. SL talks with editor-professor
John Gassner about plays becoming films. Clips from "A View from the
Bridge" and "Long Days Journey Into Night", others.
Harry d'Arrast (1971, b/w) The courtly French film maker, the
"forgotten master" who had a brief successful career in the Hollywood of
the 30's, discussed by cinema historians William Everson and Herman
Weinberg. Clips from d'Arrast's film "Topaze."
Agnes Varda (1969, b/w) AV and Susan Sontag discuss women in films
with editor Jack Kroll.
Film Reality and Film Fantasy (1975, color) Special effects, then and
now (1975). With Linwood Dunn explaining "King Kong", "Androcles and the
Lion,", "It's a Mad, Mad, Mad, Mad World", "Citizen Kane," and others --
with illustrations of optical printing. And with Bob Abel, pioneer in
computer-driven film effects.
Cinema of Senegal (1978, color) Conversation with Senegalese
directors Paulin Soumanou Vieyra and Ousmane Sembene with Larry Kardish
(Museum of Modern Art film dept.) Clips of several films by the
participants and by
Samb-Makharam and Traore.
Cinema of Yugoslavia (1978, color) One hour. Contemporary film making
discussed by Dejan Kosanovich and theater critic John Simon. Many film
clips: (work by Markovic, Karaklajic, Babic, Papic.)
Scoring films (1979, color) Portrait of Marvin Hamlisch with focus on
scoring films and how music enhances film. Clips from several films that
utilized his music. Hamlisch explains writing to click-track and is
filmed in studio with orchestra fitting his music to scenes from
Scoring films (1976, color) Profile of Bernard Hermann (1911-1975),
composer whose scores set a new standard in American cinema.
Illustrations from "Citizen Kane", "Jane Eyre", "The Ghost and Mrs
Muir", "Psycho", "North by Northwest", "Taxi Driver, others. Commentary
by music professor David Raksin.
Filming "Godspell" (1973, color) Taking hit off-Broadway musical to
the screen. On-location scenes, rehearsals, etc., and reflections by
director David Greene, composer/lyricist Stephen Schwartz, writer
"Ramparts of Clay" (1971, color) Semi-documentary film about isolated
North African village; discussed by producer-director Jean-Louis
Bertuccelli. Clips. Establishing and crossing the line between fact
and fiction; techniques of working with non-professionals in primitive
Japanese film (1970, color) One hour. Commentary, illustrated with
many film clips, by Donald Richie. Richie, a recognized Japan expert,
was at that time Visiting Curator of Film at The Museum of Modern Art,
and in charge of a
major retrospective on Japanese film. Topics: illusion and reality,
recurring characters, traditional values, film aesthetic.
Warner Brothers Cartoon Studio 1934-1964 (1975, color) "The Boys From
Termite Terrace:" in 2 half-hour parts, has been widely exhibited.
Hosted by animation expert John Canemaker. Interviews and reminscence
with Friz Freleng, Mel Blanc, Chuck Jones, Bob Clampett and clips from
including Bugs Bunny, Road Runner, Porky Pig, Daffy Duck, etc.
Demonstrations of painting cels, drawing, voice recording.
Francis Thompson (1964, b/w) interview by Archer Winsten. Clips "To Be
Alive", "N.Y., N.Y."
Short personal films by women (1974, color) work by Judith Wardwell,
Freude, Karen Johnson, Chick Strand, Betty Chen, Sharon Hennessey,
Gunvor Nelson. Comment by Freude (Bartlett) (filmmaker, distributor).
Otto Messmer (1977, color) creator of "Felix the Cat" cartoon series;
OM discusses his work. Clips "Felix" etc.
Stan VanDerBeek (1972, color) VDB at the pioneering computer at MIT
(Advanced Visual Studies dept.) talks about computers interaction with
creativity and demonstrates techniques. Clips from "Symmetricks" and
With computer expert Wade Shaw.
Stan VanDerBeek (1968) VDB at home, discusses work, tours his
Moviedrome. Includes clips from "Will", "See Saw Seams", "Poemfield #1".
Hans Richter (1973, color) profile of his work and life: experimental
film artist, graphic artist, co-founder of Dada aesthetic, Bauhaus
associate, participant in Surrealist movements. HR on camera explains
his role as a dissenter in the Europe between the wars. Clips from films
"Ghosts Before Breakfast", "Rhythm 21", "8 X 8", others.
Mary Ellen Bute (1965, b/w) clips from "Passages from James Joyce's
Finnegan's Wake". A once famous film, which had theatrical release.
Comment by MEB and Willaim York Tindall (Columbia Univ. prof. of
English) on the making of
Hilary Harris (1964, b/w) discussion HH with film critic Amos Vogel
and clips from "Seaward the Great Ships", "Generation", "Highways", "The
John Whitney, Sr. (1975, color) Pioneer computer graphics/film artist
explains techniques, shows his equipment. With clips from"Matrix 3",
"Catalog", "Permutations", "Lapis"
George Dunning (1973, color) Master animator explains work and
techniques. Tours his studio, shows techniques, how cels are made.
Excerpts from works in progress and clips from "Yellow Submarine", "The
Flying Man", "Damon the Mower."
Oskar Fischinger (1977, color) Profile of early animation artist with
clips from "Liebespiel", "Komposition in Blau", "Spiritual
Constructions", marching cigarettes commercial, others. With his widow
commentator William Moritz, animator John Canemaker.
Rudy Burckhardt (1974, color) Artist-film maker RB, innovator and
experimenter in time lapse photography, discusses his work and
techniques over numerous clips.
Alexander Alexeieff (1966, b/w) Creator of the strangely effective
yet oddly old-fashioned experimental technique for making films by
shining strong light across the peaks and valleys of hundreds of pins
arranged in a "pin board", and filming the their shadows. AA discusses
his invention and its
application. (With wife and co-worker Claire Parker). Clips from their
Abu Simbel (1966, b/w) Documenting the threat to the temple of
Ramses by the building of the Aswan Dam and the rising Nile waters: and
a solution in the cutting up and transportation of the entire site to
high ground. Film
maker William MacQuitty discusses his years of work on the film. Many