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October 1993


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Film and TV Studies Discussion List <[log in to unmask]>
Richard Prelinger <[log in to unmask]>
Mon, 18 Oct 1993 17:45:11 -0700
Film and TV Studies Discussion List <[log in to unmask]>
text/plain (627 lines)
In January 1994, the American Museum of the Moving Image (AMMI)
in Astoria (Queens), N.Y., will present a series of fourteen programs
devoted to the largely unknown history of the American advertising,
educational and industrial film.
The program description, which I think may be of interest to
many SCREEN-L subscribers, follows.
For further information, please feel free to email me at
[log in to unmask]
Rick Prelinger
Prelinger Archives, New York City
January 8-30, 1994
     The end of the century and the centennial of cinema are
almost here -- and the histories of both are filled with secrets.
     Although ephemeral films -- films produced for a specific
purpose at a specific time -- haven't received much attention from
scholars and film historians, they secretly dominate American film
history.  Since the advent of the talkies in 1927, over 600,000
advertising, industrial and educational films were produced in
this country -- perhaps ten for every feature film ever released.
Many were produced to show in theaters, but the majority reached
their audiences on school days, in the workplace or on broadcast
television in its early years.  Although educational and
industrial films are still being produced (practically all on
video) the advertising film is just about extinct save for its
semi-legit heir, todayUs infomercial.
     Webster's defines "ephemeral" as "anything lasting but a
brief time,"  and this is a fair description of these mostly
obscure films.  No one knows how many survive, but perhaps as many
as 50% no longer exist.  No logical principle governs what has
survived and what has disappeared.  No archive is equipped
logistically or financially to house the remaining films, and an
infinitesimal percentage has been preserved.  In fact, they're one
of American film's best-kept secrets.  But over the last ten
years, some 25,000 have been preserved in the Prelinger Archives,
the source of all films in this series.  This collection functions
both as an archives, with the primary aim of preserving films for
posterity, and as a source of stock footage for producers seeking
historical imagery.
     Why bother to preserve films like IN THE SUBURBS, OFFICE
First, these are our "national home movies," the best and most
vivid records of our public and private lives -- how Americans have
lived, worked, thought and consumed.  Somewhere in a forgotten
industrial, advertising or educational film, there's something for
every one of us -- scenes of our hometown, pictures of how our
fathers and mothers worked for a living, a treatise on social
etiquette, or maybe the look of a Twenties farm or Fifties
supermarket.  Unlike the carefully crafted fictions of feature
films and many newsreels, these films revolve around daily life,
culture and industry.
     But ephemeral films reveal more than the way things used to
look.  They demonstrate how corporations, institutions and
government agencies labored to create and sustain a single
national culture -- playing on deeply held, complex feelings like
individualism, fear, and insecurity.  These films trained
Americans to be keepers of consensus, rugged individualists,
expert consumers and builders of nuclear families.  Often, the
films encouraged us to delegate responsibility for our collective
future to the companies that made our cars, houses and appliances.
     Communal memory revises and excuses itself over time, and has
repressed much of what these films dare to tell.  To see them now
is to snap back immediately into the mindsets of our recent
forebears, to feel the limits of their behavior and of their
world.  More vividly than other types of historical documents,
these films recontextualize and provoke discussion about complex
and highly charged issues like gender roles and sexualities, the
decline of American industry, changing families, the deterioration
of the environment, and the distribution of national wealth.  And,
of course, theyUre often very funny.
     Extraordinary innovation, creativity and effort went into the
production of ephemeral films, not surprising when one considers
how difficult it is to make anything designed to sell, convince or
teach.  Though this series includes many films with high
production values, it also showcases the work of semi-professional
and unschooled makers.  Made by producers who didnUt always master
the niceties of film language, these less pretentious films are
often hilarious, original and stimulating, pointing in new (even
if unintended) directions.
     Like most film archives, the resources of the Prelinger
collection have barely been exploited.  An almost infinite number
of potential projects reside in the vaults, dormant and unmade,
waiting for adventurous producers to make them happen.  Although
no one can predict how the films will ultimately be used,
especially in a rapidly changing media environment, this series
seeks to prove that the history of daily life is not a matter of
nostalgia or quaintness, but a vehicle to understand the heritage
of our own communities, lives and labors.
     This program includes 87 films to be shown in the Riklis
Theater, an additional program of 42 very short films, and three
videodisc installations which include another 35 films and film
segments.  Rick Prelinger will introduce most programs in the
series, and Ken Smith, who is currently writing a book-length
history of ephemeral films, will also introduce a program.
     A booklet containing detailed program notes on all films will
be available at the Museum in January.
Week 1 -- Sat (Jan 8)
The Rainbow Is Yours
Capitalist Realism
Week 1 -- Sun (Jan 9)
The Human Product: Animation and Anthropomorphism
Pictures Don't Lie: Creative Visualizations
Week 1 -- Videodisc Installation
To New Horizons: Ephemeral Films 1931-45
Week 2 -- Sat (Jan 15)
Social Guidance Classics
Make Mine Freedom: Patriotism and Public Life
Week 2 -- Sun (Jan 16)
Postwar Pessimism: Eight Films by Sid Davis
Free To Obey: Control and Conformity
Week 2 -- Videodisc Installation
You Can't Get There From Here: Ephemeral Films 1946-60
Week 3 -- Sat (Jan 22)
We Didn't Dream Big Enough: Landscape and Travelogue
Week 3 -- Sun (Jan 23)
Breeding Out the Unusual: Gender at Mid-Century
Tireless Marketers
Week 3 -- Videodisc Installation
Call It Home: The House That Private Enterprise Built
Week 4 -- Sat (Jan 29)
Forty-Two Ads in Eighty Minutes
Week 4 -- Sun (Jan 30)
Films of Menace and Jeopardy
Film Favorites
Week 4 -- Videodisc Installation
Call It Home: The House That Private Enterprise Built
This all-color program celebrates the sheer theatricality of
American design.  Unashamedly Populuxe, these films link desire
and commodity, flirting with reality and gender roles in the
manner of the Hollywood musicals they emulate.  American Look, a
SuperScope spectacle, repositions us in the wide, new, colorful
era of Eisenhower, Sputniks and tailfins.
Design for Dreaming (MPO Productions for General Motors, 1956, 10
min., Anscochrome)
Technicolor for Industrial Films (Unknown producer for Technicolor
Corporation, 1948, 10 min., Technicolor)
Once Upon a Honeymoon (Jerry Fairbanks Productions for the Bell
System, 1956, 14 min., Technicolor)
Frigidaire Finale (Jam Handy Organization for Frigidaire Division
of General Motors, 1957, 4 min., faded Eastmancolor)
A Touch of Magic (MPO Productions for General Motors, 1961, 10
min. Technicolor, 35mm)
American Look (Jam Handy Organization for Chevrolet Division of
General Motors, 1958, 26 min., Technicolor, SuperScope, 35mm)
Chevrolet attempted to humanize the face of mass production by
producing homages to free enterprise that surprisingly resemble
Soviet films of the time.  The effects of innovation are shown in
Valley Town, an Brechtian social documentary on unemployment
caused by technological progress.  This industrial-strength
program also shows how American industrial films portrayed the
mobilization of the masses, but as consumers rather than as a
working class.
Master Hands (Jam Handy Organization for Chevrolet Motor Company,
1936, 40 min., 35mm)
From Dawn to Sunset (Jam Handy Organization for Chevrolet Motor
Company, 1937, 24 min., 35mm)
Valley Town (Willard Van Dyke, New York University Educational
Film Institute for Alfred P. Sloan Foundation, 1940, 24 min.)
Animated characters engage our affections, sometimes insidiously,
and advertisers have long used this ingratiating quality to lend
human characteristics to their products.  This program introduces
characters like "Coily," "Reckless Rudolph and Sensible Sam" and
"Tommy the Telephone," and shows how advertising films blended the
real and the imaginary.
We Drivers (Jam Handy Organization for General Motors Public
Relations, 1935, 10 min., Technicolor and black and white, 35mm)
Down the Gasoline Trail (Jam Handy Organization for Chevrolet,
1935, 8 min., 35mm)
A Case of Spring Fever (Jam Handy Organization for Chevrolet,
1940, 8 min., 35mm)
A Coach for Cinderella (Jam Handy Organization for Chevrolet,
1937, Technicolor, 9 min., 35mm)
Drawing Account (Jam Handy Organization for Chevrolet, 1941, 35mm,
9 min.)
Just Imagine (Jam Handy Organization for the Bell System, 1947, 10
The Adventures of Junior Raindrop (U.S. Dept. of Agriculture,
1948, 8 min., Kodachrome)
A Is for Atom (John Sutherland Productions for General Electric
Co., 1953, Technicolor, 14 min.)
Sunny Sweet in Good Wrinkles: The Story of a Remarkable Fruit
(All-Scope Pictures for California Prune and Apricot Growers
Association, 1951, 21 min., Technicolor. A Hugh Harman-Rudolf
Ising Production.)
     Movies have always exploited their power to visualize the
unseeable, and the makers of ephemeral films have often responded
to this challenge gleefully.  This program combines polished
visualizations, the products of large industrial studios like Jam
Handy, with the work of naive or semi-professional filmmakers,
whose ignorance of mainstream film language often paved the way
for great invention.
Ant City (Almanac Films, 1951, 10 min.)
Key to Our Horizons (Jam Handy Organization for Chevrolet, 1951,
10 min.)
When You Are a Pedestrian (Progressive Pictures, 1948, 10 min.)
St. Paul Police Detectives and Their Work (Unknown producer for
St. Paul, Minnesota Police Department, ca. 1941, 10 min.,
Preventing the Spread of Disease (National Motion Picture Co.,
1940, 10 min.)
The Door to Heaven (C.O. Baptista Films for Scriptures Visualized
Institute, ca. 1941, 10 min.)
Arteries of New York City (Encyclopaedia Britannica Films, 1941,
11 min.)
How You See It (Jam Handy Organization for Chevrolet Motor Co.,
1936, 9 min., 35mm)
Back of the Mike (Jam Handy Organization for Chevrolet, 1937-39, 9
     Eight of the funniest and most frightening films on dating,
behavior, etiquette and popularity.  If you missed the postwar
behavior offensive, now's your chance to experience its full
Are You Popular? (Coronet Instructional Films, 1947, 11 min.)
Shy Guy (Coronet Instructional Films, 1947, 14 min.)
A Date With Your Family (Simmel-Meservey, 1950, 10 min.)
Beginning to Date (Encyclopaedia Britannica Films, 1953, 12 min.)
Cheating (Centron Productions for Young America Films, 1952, 12
The Griper (Centron Productions for Young America Films, 1954, 12
More Dates for Kay (Coronet Instructional Films, 1952, 11 min.)
Habit Patterns (Knickerbocker Productions for McGraw-Hill Films,
1954, 15 min.)
     In the stressful times of World War II and the Cold War,
patriotism became linked with mobilization against common enemies.
This wartime mentality has persisted, and we continue to define
our democracy not by what it is, but by what it is not.  This
program shows various constructions of patriotism and public
behavior, with an enemy lurking more or less visibly in each film.
Make Mine Freedom (John Sutherland Productions for Harding
College, 1950, Technicolor, 10 min.)
Conquer by the Clock (Slavko Vorkapich for RKO-Path , 1943, 8
Tuesday in November (John Houseman for U.S. Office of War
Information, Overseas Branch, 1945, 17 min.)
Despotism (Encyclopedia Britannica Films, 1946, 10 min.)
Day of Thanksgiving (Centron Productions for Young America Films,
1951, 14 min.)
What It Means To Be an American (Frith Films, 1951, 20 min.,
Destination Earth (John Sutherland Productions for American
Petroleum Institute, 1956, 14 min., Technicolor)
Sid Davis -- child actor, mountain climber and friend of police
officers -- made more than 100 films about dangers that befall
children, including accidents, narcotics, sexual deviants and
emotional stress.  Danger always lurks in the placid Southern
California landscapes of his films, but as in many safety films,
the fascination of danger and misbehavior often tends to distract
from his intended cautionary messages.
Boys Beware (1961, 10 min.)
Girls Beware (1961, 10 min.)
Gossip, The (1953, 10 min.)
Live and Learn (1951, 10 min.)
Name Unknown (1951, 10 min.)
The Terrible Truth (1951, 10 min.)
The Drop Out (1962, 10 min.)
Seduction of the Innocent (1961, 10 min.)
     We know that conformity was a big part of mid-century
American culture, but most people are too young now to remember
the intensity of the effort to regulate and control individual
behavior at home, school and on the job.  It was never easy to set
the limits of acceptable conduct, and filmmakers invented many
unusual and interesting ways to define them.  At the same time,
there was real transgression in Fifties America, and such films as
Anger at Work and Perversion for Profit show how it was combatted.
You and Your Family (Association Films for Look magazine, 1946, 7
The Benefits of Looking Ahead (Coronet Instructional Films, 1950,
11 min.)
Office Courtesy: Meeting the Public (Encyclopedia Britannica
Films, 1952, 10 min.)
Anger at Work: Story of the Headache Switch (Ned Hockman for
University of Oklahoma and Oklahoma State Dept. of Health for
International Film Bureau, 1956, 20 min. Written by Dwight V.
Social Class in America (Knickerbocker Productions for McGraw-Hill
Films, 1957, 16 min.)
Perversion for Profit (Unknown producer for Citizens for Decent
Literature, ca. 1962, 28 min., faded Eastmancolor)
Industrial filmmakers documented landscape change as rural areas
became suburbs, middle classes fled cities, and industrialization
and the extraction of raw materials irretrievably changed the look
and use of the land.  Travelogues hit the American road in search
of recreation and landmarks.  But these were not nut-and-bolts
films.  Rather, they evoked near-mystical feelings that were only
occasionally made explicit: the powerful lure of the frontier, the
venerated heritage of white settlers, and our Manifest Destiny to
conquer and expand.  And in so doing, they unwittingly revealed
the subsurface of the mid-20th-century landscape.
Conquering Roads (Jam Handy Organization for Chevrolet Motor
Company, 1937, 10 min., 35mm)
American Harvest (Jam Handy Organization for Chevrolet, 1951, 24
min., Technicolor, 35mm)
Freedom Highway (Jerry Fairbanks Productions for Greyhound Lines,
1956, 35 min., Eastmancolor)
Midwest Holiday (Wilding Picture Productions for Standard Oil,
1953, 24 min., Kodachrome)
There's nothing nostalgic about these films concerned with men's
and women's roles.  They reveal behavior not yet unlearned,
conflicts not yet resolved and contradictions that continue to
haunt our culture.  But can anyone resist the fascination of the
"Marriage Development Board," a fairy godmother who teaches
courtesy, or the women's physics class learning about toasters?
Easy Does It (Jam Handy Organization for Chevrolet, 1940, 8 min.,
Cindy Goes to a Party (Centron Productions for Young America
Films, 1955, 11 min.)
As Boys Grow (Medical Arts Productions, 1957, 15 min.)
Molly Grows Up (Medical Arts Productions, 1953, 14 min.)
Are You Ready For Marriage? (Coronet Instructional Films, 1950, 14
Who's Boss (Alexander Hammid, Affiliated Film Producers for
McGraw-Hill Book Co., 1950, 16 min.)
The Home Economics Story (Film Production Unit at Iowa State
College, 1951, 30 min., Kodachrome)
Armed with a never-ending supply of jingles, slogans and smart-
looking packages, the sales force of 20th-century American
corporations worked relentlessly to develop and sustain the
consumer market.  These films show how their marketing expertise
grew, and how the everyday environment became noisier as a result
of their efforts.
Sky Billboards (Jam Handy Organization for Chevrolet, 1935, 8
min., 35mm)
Chevrolet Leader News (Production M-138) (Jam Handy Organization
for Chevrolet Motor Company, 1936, 8 min., 35mm).
Chevrolet Sales Convention Musical (Jam Handy Organization, 1954,
15 min., Eastmancolor)
In the Suburbs (Tracy Ward and Bert Spielvogel, On Film, Inc. for
Redbook magazine, 1957, color and black and white, 20 min.)
The Front Line (Fred A. Niles Communication Center for Readers
Digest in association with Supermarket Institute, 1965, 15 min.,
Young Man's Fancy (Jam Handy Organization for Edison Electric
Institute, 1951, Kodachrome, 26 min.).
A tribute to the theatrical advertising film, often called the
"Minute Movie."  Since paying audiences have always objected to
advertising, minute movies had to conquer their resistance through
novelty, humor or surprise.  Although this effort wasn't always
successful, it served advertisers well when it came time to
produce TV commercials.  This varied selection (which includes a
handful of non-advertising films as well) also explores the
dimensions of making a narrative in two minutes or less.
General Screen Advertising Shorts (1936-40, color and black and
white, 11 films)
Max Minute Movies (Jam Handy Organization for Max Cigarettes, ca.
1944, 6 titles)
Curtiss-Wright Shorts (Jam Handy Organization for Curtiss-Wright
Aeronautical, 1944, 7 films)
Oldsmobile "Futuramic" Minute Movies (1948, 4 titles)
1949 Chevrolet Minute Movies (Jam Handy Organization for
Chevrolet, 1949, 9 films)
Roads to Romance (Jam Handy Organization for Chevrolet, 1951,
Technicolor, 35mm, 2 titles)
Lucky Strike Minute Movies ("Marching Cigarettes" and "Barn
Dance", produced by Jam Handy Organization, 1948, 35mm)
The Orientation of Private Bottle (Jam Handy for Coca-Cola
Company, 1954, 1 min, Technicolor, 35mm)
Auto-Lite on Parade (Jam Handy for Electric Auto-Lite Co., 1940, 4
min. excerpt, 35mm)
     Safety films have been frightening and shocking audiences
almost since motion pictures were first invented.  Although some
of the most effective storytelling shows up in auto and industrial
safety films, do they actually prevent accidents?  Audiences seem
to sit spellbound through these sad narratives, but what they're
really doing is waiting for the accident to happen.  That's the
payoff, and all too often it seems to be the reason for the film's
existence.  No matter -- you'll remember the films in this program
perhaps more than any other.
Days of Our Years (Dudley Pictures for Union Pacific Railroad,
1955, Kodachrome, 20 min.)
Safety Belt for Susie (Charles Cahill and Associates in
association with the Institute of Traffic and Transportation
Engineering at UCLA, 1962, Eastmancolor, 10 min.)
More Dangerous Than Dynamite (Parthenon Pictures, 1941, 9 min.)
Goodbye, Mr. Roach (Velsicol Corporation, 1956, 10 min.)
Six Murderous Beliefs (Emerson Film Corporation, 1955, 12 min.)
The Last Clear Chance (Wondsel, Carlisle and Dunphy for Union
Pacific Railroad, 1960, Kodachrome, 26 min.)
     Films that don't fit in any category, but cry out to be part
of this series.
A Brighter Day in Your Kitchen (Meadow Gold Dairies, 1952, 15
min., Kodachrome)
Mother Mack's Puppies Find Happy Homes (Frith Films, 1953, 10
min., Kodachrome)
Speech: Stage Fright and What To Do About It (Centron Productions
for Young America Films, 1949, 10 min.)
Junior Prom (Simmel-Meservey, 1946, 21 min., Kodachrome)
Refreshment on the Job (Jam Handy for Coca-Cola Company, 1951, 9
min., Kodachrome)
A Christmas Rhapsody (Encyclopedia Britannica Films, 1948, 10
A Visit to Santa (Clem Williams Films, ca. 1962, 12 min., faded
Your Permit to Drive (General Motors Photographic, 1952, 11 min.)
In My Merry Oldsmobile (excerpt) (Fleischer Studios for Olds Motor
Works,, 1931)
Master Hands (excerpt) (Jam Handy Organization for Chevrolet Motor
Company, 1936)
We Drivers (excerpt) (Jam Handy Organization for General Motors
Corporation, 1936, black-and-white with Technicolor sequences)
Chevrolet Leader News: Vol. 2, No. 3 (excerpt) (Jam Handy
Organization for Chevrolet Motor Company, 1936)
Relax (excerpt) (Jam Handy Organization for Chevrolet Motor
Company, 1937)
Precisely So (excerpt) (Jam Handy Organization for Chevrolet Motor
Company, 1937)
Extra (Unknown producer for Standard Oil of New Jersey, ca. 1938)
Breakfast Pals (Cartoon Films, Ltd. for the Kellogg Company, ca.
1938, Kodachrome)
Three Smart Daughters (Jam Handy Organization for The Singer
Company, 1938, Kodachrome)
Oxydol Goes Into High (excerpt) (Jam Handy Organization for
Procter & Gamble, 1938)
'Round and 'Round (Jam Handy Organization for General Motors
Public Relations, 1939)
Back of the Mike (excerpts) (Jam Handy Organization for Chevrolet
Motor Company, 1937)
Leave It to Roll-Oh (excerpt) (Jam Handy Organization for
Chevrolet Motor Company, 1940)
Home Movies (Excerpts from home movies photographed by members of
a New York family at the New York WorldUs Fair, 1940)
To New Horizons (excerpts) (Jam Handy Organization for General
Motors, 1940, black and white and color)
Let Yourself Go (excerpt) (Jam Handy Organization for Chevrolet
Motor Company, 1940)
Magic in the Air (excerpts) (Jam Handy Organization for Chevrolet
Motor Company, 1941)
To Market, To Market (excerpt) (Jam Handy Organization for General
Outdoor Advertising Co., 1942, Kodachrome)
News Sketches by Max Fleischer (excerpt) (Jam Handy Organization,
ca. 1944-45, unreleased)
A Report to Home Builders (excerpt) (Jam Handy Organization for
Stran-Steel Division of Great Lakes Steel Co., 1946, Kodachrome)
Shy Guy (excerpt) (Coronet Instructional Films, 1947)
Are You Popular? (excerpts) (Coronet Instructional Films, 1947)
Technicolor for Industrial Films (excerpt) (Unknown producer for
Technicolor Corporation, ca. 1949, Technicolor)
Meet King Joe (excerpts) (John Sutherland Productions, Inc. for
Harding College, 1948, Technicolor)
Dating: Do's and Don'ts (excerpt) (Coronet Instructional Films,
The Last Date (excerpt) (Wilding Picture Productions for
LumbermenUs Mutual Casualty Company, 1949)
A Date With Your Family (Simmel-Meservey, 1950)
Treasures for the Making (excerpt) (Pathescope Pictures for Certo
and Sure-Jell Divisions of General Foods Company, 1951,
What To Do On a Date (excerpt) (Coronet Instructional Films, 1951)
Young Man's Fancy (excerpts) (Jam Handy Organization for Edison
Electric Institute, 1952, Kodachrome)
Eisenhower for President (Roy Disney for Citizens for Eisenhower-
Nixon, 1952)
Mother Takes a Holiday (excerpt) (Jam Handy Organization for
Whirlpool Corporation, 1952, Kodachrome)
Sniffles and Sneezes (excerpt) (Audio Productions for McGraw-Hill
Book Co., 1955)
Two-Ford Freedom (excerpt) (Filmways for J. Walter Thompson Co.,
Design for Dreaming (MPO Productions for General Motors, 1956,
The Relaxed Wife (excerpt) (On Film for Pfizer Co., 1957,
American Look (excerpt) (Jam Handy Organization for Chevrolet
Division, General Motors Corporation, 1958, Technicolor)
A Wonderful New World of Fords (Filmways for J. Walter Thompson
Co., 1960, Eastmancolor)
Better Housing News Flashes (excerpt) (Path  News for U.S. Federal
Housing Administration, 1935)
The City (excerpt) (Civic Films, Inc. and American Documentary
Films, Inc. for American Institute of Planners, 1939)
Homes for Veterans (excerpt) (Century Pictures for National
Housing Agency, 1946)
A Report to Home Builders (excerpt) (Jam Handy Organization for
Stran-Steel Division of Great Lakes Steel Co., 1946, Kodachrome)
According to Plan (excerpts) (Jam Handy Organization for Asbestos
Cement Products Association, 1951, Kodachrome)
Once and Forever (excerpt) (Jam Handy Organization for Cast Iron
Soil Pipe Institute, 1956, Kodachrome)
The Quiet Revolution (excerpt) (Ford Motor Company, Tractor and
Implement Division, ca. 1956, Kodachrome)
A City Is Born: Levittown, Pa. (excerpt) (The March of Time, 1953)
The Mullinaires (excerpt) (Jam Handy Organization for Mullins
Manufacturing Co., 1953)
Design for Dreaming (excerpt) (MPO Productions, Inc. for General
Motors, 1956, Anscocolor)
The Road to Better Living (excerpt) (Jerry Fairbanks Productions
in association with Film Counselors, Inc. for National
Association of Mortgage Bankers, 1959, Eastmancolor)
The Smart Sell (excerpt) (Masonite Corporation for National
Association of Home Builders of the U.S., ca. 1959, Kodachrome)
Give Yourself the Green Light (excerpt) (Jam Handy Organization
for General Motors Public Relations, 1954, Kodachrome)
Two-Ford Freedom (excerpt) (Filmways for J. Walter Thompson Co.,
Community Growth: Crisis and Challenge (excerpt) (Creative Arts
Studio, Inc. for National Association of Home Builders of the
U.S., ca. 1959, color)
Once Upon a Honeymoon (excerpt) (Jerry Fairbanks Productions for
the Bell System, 1956, Technicolor)
American Look (excerpt) (Jam Handy Organization for Chevrolet
Division, General Motors Corp., 1958, Technicolor)