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• You can have both love and art : Barbara Hammer
• Part 1: Antonyms of beauty
• Khavn
• Roberto Minervini
• Khalik Allah
• Shengze Zhu
• Part 2: Sonic truth: visioning with sound
• Deborah Stratman
• Michael Robinson
• Gürcan Keltek
• Dónal Foreman
• Part 3: Border crossings
• Chico Pereira
• Kaltrina Krasniqi
• Brett Story
• Part 4: Power plays: disruption
• Orwa Nyrabia
• Ramona Diaz
• Karim Aïnouz
• Travis Wilkerson
• Part 5: Memory & magic: inter-dimensionality
• Terence Nance
• Sky Hopinka
• Ja’Tovia Gary
• Mila Turajlić
• Part 6: Notes from the interior
• Ognjen Glavonić
• Maja Borg
• Maryam Tafakory
• Samira Elagoz
• Part 7: The embodied camera
• Adam and Zack Khalil
• J.P. Sniadecki
• Lynette Wallworth
• Sara Fattahi

“Lucid Dreaming is an unprecedented global collection of discussions with documentary and experimental filmmakers, giving film and video its rightful place alongside the written word as an essential medium for conveying the most urgent concerns in contemporary arts and politics. In these long-form conversations, film curator and arts journalist Cohn draws out the thinking of some of the most intriguing creators behind the rapidly developing movement of moving-image nonfiction. The collection features individuals from a variety of backgrounds who encounter the world, as Cohn says, “through a creative lens based in documentary practice.” Their inspirations encompass queer politics, racism, identity politics, and activism. The featured artists come from a multiplicity of countries and cultures including the U.S., Finland, Serbia, Syria, Kosovo, China, Iran, and Australia...Can nonfiction film be defined? How close to reality can or should documentary storytelling be, and is film and video in its less restrictive iterations “truer” than traditional narratives? How can a story be effectively conveyed? As they consider these and many other questions, these passionate, highly articulate filmmakers will inspire not only cinema enthusiasts, but activists and artists of all stripes.”--Publisher description

Palmer's intention is "to explode for ever the image of a cuddly old Uncle, endlessly recycling English folk songs, and to awaken the audience to a central figure in our musical heritage ..., who deserves his place among the greatest of British composers, the equal of Benjamin Britten and Elgar"--Program notes.

Introduces many aspects of Korea with resources containing the publications and the websites with a summary.

Holt's terrain is her Aunt Ethel's home in New Bedford, Massachusetts, presented in still images and excerpts from letters to the artist from her aunt. Holt pays particular attention to her aunt's story of aging, altering the images by "underscanning" them, a technical process that compresses the edges of the video image, building an intrinsic limitation into the tape: the compression of time and personal history represented by the images and narrative. This process echoes Holt's reading, slightly distorting and compressing the information in the letters as she presents them.

"The Americana I ching apple pie recipe was first enacted in my Belsize, London kitchen in 1972. Unfortunately, the original footage disappeared with the man doing the documentation who may have been working for the CIA. The next presentation was May '77, as a cooking event for the Heresies Magazine performance and jumble sale benefit. With the exception of a dozen apples, flour, maple syrup, and eggs which I brought, all the cooking 'material,' utensils, and props were discovered in the jumble. Objects which functionally approximated actual cooking utensils were used: nails, hammers, an arrow, a flower pot, ball bearings, rags, a watering can. The cook's apron was a ripped mini skirt with which I covered [with] my hair. As I state in the performance, 'traditionally you need an apron, but it doesn't matter where you put it.'"--Carolee Schneemann.

• Acknowledgments Introduction: Utility and Cinema / Haidee Wasson and Charles R. Acland Part I. Celluloid Classrooms "What a Power for Education!": The Cinema and Sites of Learning in the 1930s / Eric Smoodin
• "We Can See Ourselves as Others See Us": Women Workers and Western Union's Training Films in the 1920s / Stephen Groening
• Hollywood's Educators: Mark May and Teaching Film Custodians / Charles R. Acland
• UNESCO, Film, and Education: Mediating Postwar Paradigms of Communication / Zoe Druick
• Health Films, Cold War, and the Production of Patriotic Audiences: The Body Fights Bacteria (1948) / Kirsten Ostherr Part II. Civic Circuits Projecting the Promise of 16mm, 1935-45 / Gregory A. Waller
• A History Long Overdue: The Public Library and Motion Pictures / Jennifer Horne
• Big, Fast Museums / Small, Slow Movies: Film, Scale, and the Art Museum / Haidee Wasson
• Pastoral Exhibition: The YMCA Motion Picture Bureau and the Transition to 16mm, 1928-39 / Ronald Walter Greene
• "A Moving Picture of the Heavens": The Planetarium Space Show as Useful Cinema / Alison Griffiths Part III. Making Useful Films Double Vision: World War II, Racial Uplift, and the All-American Newsreel's Pedagogical Address / Joseph Clark
• Mechanical Craftsmanship: Amateurs Making Practical Films / Charles Tepperman
• Experimental Film as Useless Cinema / Michael Zryd Filmography
• Bibliography
• About the Contributors
• Index.
• (source: Nielsen Book Data)

By exploring the use of film in mid-twentieth-century institutions, including libraries, museums, classrooms, and professional organizations, the essays in Useful Cinema show how moving images became an ordinary feature of American life. In venues such as factories and community halls, people encountered industrial, educational, training, advertising, and other types of "useful cinema." Screening these films transformed unlikely spaces, conveyed ideas, and produced subjects in the service of public and private aims. Such functional motion pictures helped to shape common sense about cinema's place in contemporary life. Whether measured in terms of the number of films shown, the size of audiences, or the economic activity generated, the "non-theatrical sector" was a substantial and enduring parallel to the more spectacular realm of commercial film. In Useful Cinema, scholars examine organizations such as UNESCO, the YMCA, the Amateur Cinema League, and the Metropolitan Museum of Art. They also consider film exhibition sites in schools, businesses, and industries. As they expand understanding of this other American cinema, the contributors challenge preconceived notions about what cinema is. Contributors: Charles R. Acland, Joseph Clark, Zoe Druick, Ronald Walter Greene, Alison Griffiths, Stephen Groening, Jennifer Horne, Kirsten Ostherr, Eric Smoodin, Charles Tepperman, Gregory A. Waller, Haidee Wasson, Michael Zryd.
(source: Nielsen Book Data)

• Introduction : the dreamworld of cinematic travel
• Varieties of travel experience : Burton Holmes and the travelogue tradition
• "The living panorama of nature" : early nonfiction and the American film industry
• "The five-cent University : educational films and the drive to uplift the cinema
• Atop of the world in motion : the travelogue system
• Scenic films and the cinematic picturesque
• "A weird and affecting beauty" : watching travel films in the 1910s
• "The nation's first playground" : wilderness modernized in the American West
• Epilogue: reveries of the solitary walker.

In the earliest years of cinema, travelogues were a staple of variety film programs in commercial motion picture theaters. These short films, also known as "scenics, " depicted tourist destinations and exotic landscapes otherwise inaccessible to most viewers. Scenics were so popular that they were briefly touted as the future of film. But despite their pervasiveness during the early twentieth century, travelogues have been overlooked by film historians and critics. In Education in the School of Dreams, Jennifer Lynn Peterson recovers this lost archive. Through innovative readings of travelogues and other nonfiction films exhibited in the United States between 1907 and 1915, she offers fresh insights into the aesthetic and commercial history of early cinema and provides a new perspective on the intersection of American culture, imperialism, and modernity in the nickelodeon era. Peterson describes the travelogue's characteristic form and style and demonstrates how imperialist ideologies were realized and reshaped through the moving image. She argues that, although educational films were intended to legitimate filmgoing for middle-class audiences, they were not simply vehicles for elite ideology. As a form of instructive entertainment, these technological moving landscapes were both formulaic and also wondrous and dream-like. Considering issues of spectatorship and affect, Peterson argues that scenics produced and disrupted viewers' complacency about their own place in the world.
(source: Nielsen Book Data)

• 1-pu. Han Kang, kŭrigo maŭl sinang
• 2-pu. Chedang ŭi pyŏnhwa wa yuhyŏng charyo
• 3-pu. Maŭl sinang ŭi chŏnsŭng kwa ŭirye
• 4-pu. Maŭl sinang chŏnsŭng ŭi chuch'e
• 5-pu. Tosi ŭi maŭl kut kwa ch'ukche.

• 1부. 한 강, 그리고 마을 신앙
• 2부. 제당 의 변화 와 유형 자료
• 3부. 마을 신앙 의 전승 과 의례
• 4부. 마을 신앙 전승 의 주체
• 5부. 도시 의 마을 굿 과 축제.

Documentary on the religious life of towns near Han River.

A documentary on Eritrea. Eritrea is one of the world's human rights abusers. Thousand have been imprisoned in secret and without trial. Hundreds of thousands of people have fled the country.

Unsafe abortion continues to be a social and public health problem in Kenya. Many Kenyans who attempt to procure abortion do no live to tell the tale. These are the stories of three Kenyan women, Fatuma, Eunice and Grace.

On the growth of the film industry in Kenya and the challenges faced by filmmakers.

• Zanzibar
• Kigeugeu
• Undugu
• Sukari.

Live perfomance of Juma Tutu at Alliance Française Nairobi.

This documentary shows how Kenyan leaders are to balme for the social injustices suffered by Kenyans since the attainment of independence from the British. The issue of land and land clashes, corruption, irregularities in elections and the constitution are some of the highlights of this documentary.

There are eleven million children in the nomadic pastrolist communities in the Horn of Africa. Basic social services are few and distances to those that exist are great. This documentary highlights the challenges these children face in accessing quality education, health and sanitation.

Raw uncut footage with up close and personal interviews with emcees and Kenyan artists.

• Introduction : documenting the "residue of battle"
• "Imaging the mind" : military psychiatry meets documentary film
• Solemn venues : war trauma and the expanding nontheatrical realm
• Selling "psycho films" : trauma cinema and the military-industrial complex
• Psychodocudramatics : role-playing war trauma from the hospital to Hollywood
• "Casualties of the spirit" : Let there be light and its contexts
• Conclusion : traumatic returns.

Forced to contend with unprecedented levels of psychological trauma during World War II, the United States military began sponsoring a series of nontheatrical films designed to educate and even rehabilitate soldiers and civilians alike. Traumatic Imprints traces the development of psychiatric and psychotherapeutic approaches to wartime trauma by the United States military, along with links to formal and narrative developments in military and civilian filmmaking. Offering close readings of a series of films alongside analysis of period scholarship in psychiatry and bolstered by research in trauma theory and documentary studies, Noah Tsika argues that trauma was foundational in postwar American culture. Examining wartime and postwar debates about the use of cinema as a vehicle for studying, publicizing, and even what has been termed "working through" war trauma, this book is an original contribution to scholarship on the military-industrial complex.
(source: Nielsen Book Data)

A lavish jazz Revue with music by George Gershwin, played out against breathtaking backgrounds in addition to comedy sketches, blackouts and individual song, dance and novelty specialties.