Titicut Follies is a stark and graphic portrayal of the conditions that existed at the State Prison for the Criminally Insane at Bridgewater, Massachusetts. The film documents the various ways the inmates are treated by the guards, social workers and psychiatrists.
Images of Ceylonese at work in the fields. The soundtrack tells how the British dispose of the products from this labour. The film is divided into four segments: the pilgrimage to the top of Adams Peak to celebrate the ascension of Buddha; the culture and economy of the island; the new perspectives due to the coming of modem commercial and indusfrial practices; and the continuity of life and tradition.
Nanook, his wife Nyla and the rest of their Eskimo family arrive at a trading station after several days trekking. They barter furs for goods while Nanook listens to music from a gramophone. The traders explain that the sounds come from a record, but Nanook, who is familiar with the songs of whales tries to eat it. The nomadic family continue on their travels searching for food. A group of Eskimo men fight and eventually kills a walrus.
A cameraman films city life, an editor puts the film together and people watch it in a cinema. All of these activities are intercut with experiments of film forms, including superimposition of images, montage, the splitting of images on the screen and the tilting of the two parts, and various angled and tracking shots.
Summer in Paris. Two anthropologist filmmakers set out to record the lives of Parisians through observation. The year is 1960 and this is the birth of a new cinéma vérité. Throughout the film, Rouch and Morin ensure that the audience is aware of the presence and standpoint of the filmmakers, recording their own part in interviews and commenting on their own reactions to the film at the end.
In 1933 Henri STORCK asked Joris IVENS to help make a film about the social consequences of the previous year's miners' strike in Borinage. Arriving at the mine region, they were so taken by the situation they encountered that they forgot all about aesthetics. The film confronts the spectator with sobering images of misery: miners unemployed or exploited by the mine companies, with entire families evicted from their homes because they couldn't afford the rent.
The Atomic Café is a feature-length film created entirely from the American atomic propaganda of the 1940s and 1950s. With no narration, it tells story by juxtaposing excerpts from newly-discovered and rarely-seen government and military propaganda footage, television and radio shows, cartoons, and the now-forgotten "bomb songs" that saturated the airways.
The film follows the day in the life of pleasure resort Nice, from the preparations of cafe staff in the morning, through the activities of the holiday-makers by day, to a nocturnal winding down. A freewheeling melange of distortion, repetition and subversion. The linearity is chopped to bits, replaced by extraordinary feats of imagery and montage.
Warrendale chronicles seven weeks in the lives of several emotionally disturbed children in the treatment center of the same name. Warrendale was both an experiment and a frontier in pioneering the now common practice of treating children in a family-like setting where they could feel safe to express their feelings.
The official film record of the 6th Nazi Party Congress held 4-10 September 1934 in Nuremburg, Germany. Directed by Leni Riefenstahl, this notorious film would come back and haunt her long after the end of the Second World War