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The Independent Film and Video Distribution Center preview tape

Roots of Video

…Talks as he carves the letter “T”; talks about the emotional appeal of carved letters, as part of their buildings, historical associations, most ready communications with the materials themselves. Talks about the pre-production that does into a job. Carver talks about how he thinks the actual carving is much more important than the designing. Designing is ancillary to carving. 5:30 “Death Row.” A film by Bruce Jackson an… Continue reading →
Mon Wed Friday Video, 19805 Video Art

Arts & Culture

00:05 Tape opens on computer-generated graphics, showing a scrolling page of glyphs. The scene begins flashing colorfully, and the process repeats. 01:30 A title card shows, reading “Monday Wednesday Friday Video Club.” The card is followed by another introducing this particular video: Art as Commentary. 01:45 The film begins with an interview-style shot of a man speaking into the camera. “The act of commentary is an act of aggression,” he says… Continue reading →
Postcard from 1st U.S. Environmental Film Festival

Bill Stamets, Chicago

01:46 A panel of actors and filmmakers talks about the film festival and environmental issues. The room is festooned with the banners of corporate sponsors, including Disney and TBS. One speaker points out a Paramount ad on the back of the festival program, and notes Paramount’s ties to Western Gulf oil. Despite the contradictory message, corporate sponsorship has helped environmental issues reach a huge audience: “There’s not… Continue reading →
American Roots Music Chicago

Black, Chicago, Communities, Sex, Drugs, & Rock 'N Roll, Studs Terkel

…hicago Defender, October 23, 1937. Cut back to Studs. 2:48 Cut to a photograph of a steam locomotive, “Southern 14036” box freight cars, and two barrel freight cars on separate railroad tracks. Ramis: “Recently built roads and railroads carried the new residents to Chicago along with newly developed, distinctly American forms of music. 2:52 Cut to film footage of a group of black men singing and laying down railroad track in the… Continue reading →
Salt of the Earth vs Chambers

Chicago, Kartemquin Films, Outside Agitators, Roots of Video

…f. 08:11 Tape cuts, and Jencks is in the middle of explaining that in the mining community, where almost all of the workers were Mexican, many of the men forbid their wives to go to the picket lines, and when they disobeyed, they were beaten. She explains that she and her husband were very progressive and their culture often clashed with the rest of the workers, particularly regarding gender roles. 10:30 Filmmaker Gordon Quinn asks how the film w… Continue reading →
Everybody’s Trance Film

Arts & Culture, Chuck Kleinhans

0:02 Title Screen: “Everybody’s Trance Film.” Camera opens on two men walking on a sidewalk with Chuck Kleinhans, who holds the camera. Music starts playing. Series of still images. Footage of a pool. 1:11 Paper hangs on the wall: “Trance films in general tend to resist specific interpretation. – P. Adams Sitney.” Footage of people feeding ducks at a park, people walking in a hallway, a flower bed, a tarp mov… Continue reading →
Hollywood Comes To Chicago

Chicago

0:08 The film opens with a newscaster speaking about the rising prominence of Chicago’s film scene. 0:30 A woman with a clapperboard marks the first take of “Hollywood Comes to Chicago.” 0:49 John Landis, director of The Blues Brothers, speaks about that film — and encourages viewers to go see it when it’s released. 1:12 The film cuts to Lucy Salenger, the director of the Illinois Film Office, as she speaks on the achievements of her office. 2:0… Continue reading →
Thunder and Reins

American Way

…The common theme throughout is just how difficult the Kentucky Derby is to win. 01:50 A narrator explains that these jockeys are perhaps the most under-appreciated of all athletes. He notes that they use their entire bodies to will these horses to victory, requiring strength, stamina, and courage. 02:30 The title slide plays, reading “Thunder and Reins.” Executive producing credits go to Eleanor B. Miller while Directing and editing ones go to B… Continue reading →

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