Archive | February, 2014

Inside the Film Archive

14 Feb
Film & Media Archive stacks

Washington University Film & Media Archive stacks

The climate controlled vault at the Film & Media Archive was designed to address the challenges of storing film and other media to ensure the material lasts for the maximum amount of time and remains in the best condition.

Film preservation efforts varied over time, but unfortunately 90 percent of all American silent films made before 1929 and 50 percent of American sound films made before 1950 are lost. ( Dave Kehr (14 October 2010). “Film Riches, Cleaned Up for Posterity”New York Times.

To properly store film the temperature and humidity must be controlled and provide a stable environment for the materials. Filmmakers and historians recognized the need for this and the Museum of Modern Art in New York was one of the first institutions to collect and preserve film. Followed by the founding of the  George Eastman House International Museum of Photography and Film in 1947, the American Film Institute founded in 1967, and The Film Foundation, created by Martin Scorsese in 1990. This is not an exhaustive list by any means, but over the years film preservationists have  continued to make advances in how film is stored and treated.

The Washington University Film & Media Archive currently contains 6,500,000 feet (based on can size),  1,300 linear feet (manuscript boxes), 19,900 video tapes, 10, 150 audio tapes, 4,650 books, 160 CDs, 800 DVDs, and 25,000 photographs.

 Photos by Alison Carrick. 

Henry Hampton and “America’s War on Poverty”

7 Feb
Henry Hampton - Photo by Dave Henderson

Henry Hampton – Photo by Dave Henderson

This year marks the 5oth anniversary of the War on Poverty. In the 1964 State of the Union address President Lyndon B. Johnson announced a series of new programs and initiatives designed to alleviate inequalities and end poverty in America.

This administration today, here and now, declares unconditional war on poverty in America. I urge this Congress and all Americans to join with me in that effort.

It will not be a short or easy struggle, no single weapon or strategy will suffice, but we shall not rest until that war is won. The richest Nation on earth can afford to win it. We cannot afford to lose it. One thousand dollars invested in salvaging an unemployable youth today can return $40,000 or more in his lifetime.

Pres. Lyndon B. Johnson, State of the Union Address, Jan. 8, 1964

This extremely ambitious effort combined many programs including the Social Security Amendments of 1965 which created Medicare and Medicaid, the Food Stamp Act of 1964, the Economic Opportunity Act of 1964, which encompassed the Job Corps, the VISTA program and many others initiatives, and the Elementary and Secondary Education Act, which created the Title I program to subsidize school districts with many impoverished students.

Henry Hampton, after tackling The Great Depression in 1993, began work on his series America’s War on Poverty. The program aired in 1995 and continued Blackside’s tradition of in-depth, innovative filmmaking. In an article published around the debut on PBS stations, Hampton said,

The war on poverty was a time when poor Americans were given weapons and resources to change their own lives,” Hampton said in a phone interview last week. “In watching this series, I think people will come to understand that most people want to work and thrive. I think people will also come to understand the enormous reservoir of human potential in this country.

A recent article by Eric Mink, who knew Hampton and worked with him on the  jury of the duPont-Columbia Awards in the 1980s, described Hampton’s method and documentary style,

Henry’s documentary — he served as executive producer; Terry Kay Rockefeller was the series producer — examines the planning, operation, problems and achievements of key programs that flowed from President Johnson’s initiative and the support of the American people generally. Its sources include official and unofficial records, personal notes and memoirs, in-depth interviews with direct participants (opponents and supporters alike), archival news footage, academic studies and a treasury of vintage still photos and relevant period music.

Hampton’s work looked into chapters of American history where he felt the full story had not been told, or had been reported in a one-sided manner. In addition to interviewing officials including  Sargent Shriver , known as the “architect” of the War on Poverty, Hampton sought out people who while not well-known had participated in the War on Poverty programs, such as Head Start. The range of interviewees he chose created a diverse portrait of this ambitious movement.