A picture of life in the West Australian capital of Perth in the mid 1960s. The social, business, sporting and other activities of an average Australian family in Perth are told through the eyes of the local newspapers.
Made by the Department of Immigration to entice immigrants from Great Britain, this film shows an idyllic picture of life in the Western Australian regional town of Geraldton in the mid 1960s.
Made by the Department of Immigration to entice immigrants from Great Britain, this film shows an idyllic picture of life in the New South Wales regional town of Wagga Wagga in the mid 1960s.
About a group of "Rockers" who belong to a British motorcycle club. Included are interviews with both male and female bikers. The film is largely based on candid interviews where the bikers respond to questions about politics, society, freedom and independence.
The sensational follow-up to "London in the Raw," "Primitive London" sets out to reflect society's decay through a sideshow spectacle of 1960s London depravity—and manages to outdo its predecessor. Here, we confront mods, rockers and beatniks at the Ace Café, cut some rug with obscure beat band The Zephyrs, smirk at flabby men in the sauna and goggle at sordid wife-swapping parties as we discover a pre-permissive Britain still trying to move on from the post-war depression of the 1950s.
Les Blank's first documentary cinematography job shooting Drag Racers in Long Beach, CA, driving everything from hopped up "Mercs" to Supercharged "Rail Dragsters". These cars could accelerate to over 220 miles/hour in a mile. The film follows the life of Rick "The Iceman" Stewart as he attempts to grab the world's record. Original score by Canned Heat Blues Band.
Influenced by the worldwide success of Italian 'Mondo' movies, British low-budget movie mogul Arnold Louis Miller concocted this exploitation-style documentary. Peering behind the grimy net curtains of London life into seedy bars and clubs, and burrowing beneath the glittering façade of the capital's glamorous cocktail lounges and casinos, "London in the Raw" presents a cynical, sometimes startling, vision of life in 1960s London.
A small city in the tropical north of Queensland, Cairns boasts a life that is leisurely and comfortable. The tempo quickens, however, at cane-cutting time when the sugar is harvested, and in winter when tourists come north to escape the cold. The Life In Australia series portrays Australian cities and rural centres as happy, lively places where good homes, abundant jobs, schools, hospitals and amenities provide the foundation for a relaxed lifestyle where sport, shopping, religion and even art combine to create a homogenous and prosperous society.
Made by the Department of Immigration to entice immigrants from Great Britain, this film shows an idyllic picture of life in the South Australian regional town of Mount Gambier in the mid 1960s.
The film's title is borrowed from a Dani fable that Gardner recounts in voice-over. The Dani people, whom Gardner identifies mysteriously as "a mountain people," believe that there was once a great race between a bird and a snake, which was to determine the lives of human beings. Should men shed their skins and live forever like snakes, or die like birds? The bird won the race, dictating that man must die. The film's plot revolves around two characters, Weyak and Pua. Weyak is a warrior who guards the frontier between the land of his tribe and that of the neighboring tribe. Pua is a young boy whom Gardner depicts as weak and inept.
Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.
"We'll Never Turn Back" was filmed in Mississippi in 1963 during the dangerous voter registration drives of that era. Amzie Moore, a Mississippi NAACP activist escorted the film maker through rural Mississippi interviewing share croppers and activists in the voter registration campaign. Appearing in the film are Student Non-Violent Coordinating Committee (SNCC) leaders Julian Bond, Bob Moses, Fannie Lou Hamer, Charles McLaurin as well as other local civil rights leaders Curtis Hayes and Hollis Watkins. There are interviews with black farmers and share croppers on their experiences (often bloody) trying to register to vote.
The acclaimed poet is examined in this film completed just prior to his death at age 88, with his speaking engagements at Amherst and Sarah Lawrence Colleges intercut with studies of his work, as well as with scenes of his life in rural Vermont and personal reminiscences about his career. He is also seen receiving an award from President Kennedy and touring an aircraft carrier. Preserved by the Academy Film Archive in partnership with UCLA Film & Television Archive in 2006.
Started in the summer of 1961, even before the Wall was built, the film becomes an explanation after this historical event as to why things can no longer go on as they were before. Unmistakably, as in almost all of Karl Gass' films, the passion with which he treats his subject is unmistakable. If you want to get to know the zeitgeist of the historically significant year 1961, which on both sides knew more the Cold War vocabulary than factual arguments, you can see the Eastern variant in this propaganda film.
This fly on the wall-style documentary from 1961 won an Oscar for best documentary, and shows the changing patterns of human emotions during 24 hours in the life of Waterloo Station.