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 ------------------------------------------------------------------------- OUR SECRET CENTURY: REVELATIONS FROM THE PRELINGER ARCHIVES 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 COURTESY: MEETING THE PUBLIC or ARE YOU READY FOR MARRIAGE? 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. SCHEDULE 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 THE PROGRAMS THE RAINBOW IS YOURS 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) CAPITALIST REALISM 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.) THE HUMAN PRODUCT: ANIMATION AND ANTHROPOMORPHISM 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 min.) 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.) PICTURES DON'T LIE: CREATIVE VISUALIZATIONS 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., Kodachrome) 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 min.) SOCIAL GUIDANCE CLASSICS 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 force. 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 min.) The Griper (Centron Productions for Young America Films, 1954, 12 min.) More Dates for Kay (Coronet Instructional Films, 1952, 11 min.) Habit Patterns (Knickerbocker Productions for McGraw-Hill Films, 1954, 15 min.) MAKE MINE FREEDOM: PATRIOTISM AND PUBLIC LIFE 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 min.) 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., Kodachrome) Destination Earth (John Sutherland Productions for American Petroleum Institute, 1956, 14 min., Technicolor) POSTWAR PESSIMISM: EIGHT FILMS BY SID DAVIS 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.) FREE TO OBEY: CONTROL AND CONFORMITY 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 min.) 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. Swain) 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) WE DIDN'T DREAM BIG ENOUGH: LANDSCAPE AND TRAVELOGUE 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) BREEDING OUT THE UNUSUAL: GENDER AT MID-CENTURY 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., 35mm) 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 min.) 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) TIRELESS MARKETERS 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., color) Young Man's Fancy (Jam Handy Organization for Edison Electric Institute, 1951, Kodachrome, 26 min.). FORTY-TWO ADS IN EIGHTY MINUTES 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) FILMS OF MENACE AND JEOPARDY 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.) FAVORITE FILMS 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 min.) A Visit to Santa (Clem Williams Films, ca. 1962, 12 min., faded Eastmancolor) Your Permit to Drive (General Motors Photographic, 1952, 11 min.) _________________________________ INSTALLATION ROOM TO NEW HORIZONS: EPHEMERAL FILMS 1931-45 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) YOU CAN'T GET THERE FROM HERE: EPHEMERAL FILMS 1946-60 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, 1949) 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, Kodachrome) 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., 1956) Design for Dreaming (MPO Productions for General Motors, 1956, Anscocolor) The Relaxed Wife (excerpt) (On Film for Pfizer Co., 1957, Kodachrome) 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) CALL IT HOME: THE HOUSE THAT PRIVATE ENTERPRISE BUILT 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., 1956) 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)