Browse Exhibits (178 total)
Indiana University Libraries Moving Image Archive has curated this exhibit of government-produced educational, propaganda, and training films from its archival collection of war-era 16mm film prints.
Over 200 of these war-era films have been digitized by IULMIA and are available for streaming viewing. All films in the WWII Propaganda Films and IU exhibit are here organized into topical categories for browsing and viewing.
All Digitized War-Era Films Organized By Category:
In the face of unprecedented demands for training millions of men and women to win a war in the most effective way in the shortest possible time, the armed forces and other war-training and morale-building agencies turned to motion pictures with unquestioning faith in their teaching values. During the years immediately preceding and throughout World War II, thousands of motion pictures were made and used on a scale which, in comparison to total possible audiences, exceeded the pre-war use of films both in entertainment and education.
Charles F. Hoban Movies That Teach
Government produced films acquired and deposited at Indiana University during the World War II era form a core part of the film collections at the Indiana University Libraries Moving Image Archive (IULMIA). This online exhibit is curated from IULMIA's collections and the Indiana University Extension Division’s 1943 War Films Bulletin listing propaganda, educational, and training film distributed as part of the University’s mobilization to serve Indiana and the nation during wartime.
This exhibit was first released June 6, 2014, on the 70th anniversary of D-Day, highlighting the role of I.U.’s Bureau of Audio-Visual Aids and educational film libraries in distributing these War-era films to domestic audiences of school and community groups. During the the war, government and industry relied heavily on 16mm films for the dissemination of War Information to citizens, made possible by the increased availability of 16mm sound film projectors and the proliferation of audiovisual libraries to distribute these films. Portable exhibition of the smaller 16mm format turned the classroom, 4H meeting, fraternal order, church, or factory floor into the setting in which these film prints from I.U. were screened.
The 2015 expansion of the exhibit emphasizes the scope of wartime filmmaking beyond the battlefield and military films that brought news of the war home. Because civilians were the primary audience for films distributed by I.U., subjects concerning domestic life and economy, agriculture and natural resource management, workplace training, and the cultures of the allied nations are especially prevalent in IULMIA’s war era film collections.
84 archival films added to the exhibit in 2015 have been digitized in high definition, combined with the 117 film digitized in standard definition in 2014 to provide streaming access to over 200 War-era films from IULMIA’s collections.
To view a selection of recently digitized war-era films organized into new exhibit pages, click on the links below:
As a communal resource, we have been working on consolidating and adding to various existing lists of film laboratories still in operation around the world with all relevant contact information, websites, country and when relevant, the formats supported. The focus of the updated list is primarily photochemical labs. This list includes commercial film labs, film archives' in-house labs, and community or artist-run labs. To the best of our knowledge, this list is accurate as of 15 January, 2021.
This list is the result of a consolidation and revision of data from previous similar efforts by FIAF (2013 film lab survey), AMIA's Film Advocacy Task Force, Mick Newnham (Australia National Film and Sound Archive), Andrew Oran (Fotokem), Christian Richter (Kodak), and the many FIAF affiliates who responded to our request for updated information on lab closures.
Offered below are several pages that may help you visualize and organize your search. The first offers an interactive Google Map showing the locations and details of all listed labs, followed by labs organized by continent, and finally a comprehensive list of all film labs.
Should you hear about the closure of a film lab or know of a lab left off this list, please let us know by emailing Rachael Stoeltje, Director of IU Libraries Moving Image Archive, at firstname.lastname@example.org.
Herman B Wells Home Movies: Presented by University Archives and the IU Libraries Moving Image Archive
Presented by the University Archives with the assistance of the IU Libraries Moving Image Archive.
Herman B Wells, Indiana University President from 1937-1962, is remembered for his friendly demeanor, his desire to form meaningful connections with students, and his crucial role in realizing change for the University. He loved to travel, and he often used his time abroad to recruit international faculty and students. Domestically, his fierce promotion of academic freedom attracted professors from all over the country. At the local level, with the help of like-minded students, he cracked down on discrimination during his time as President, desegregating housing and dining on campus and promoting the recruitment of nonwhite athletes; these actions had ripple effects in lessening discrimination in downtown Bloomington as well. It is due in large part to his efforts that IU became recognized as a top-tier public university.
This collection contains twenty-three home movies filmed by Wells between the late 1930s and early 1950s. The films provide a kind of insight into Wells' life that even his detailed autobiography, Being Lucky, did not. Although his written reflections upon his career at Indiana University are of course extremely valuable, the visual record he left behind should not be perceived as any less valuable. Nonwritten sources add depth of understanding to a historical narrative. Wells' films can be thought of as a different type of autobiography, one that details his personal, rather than solely his professional, interests. What he deemed worth capturing helps us better understand him as a person and gives us more information about the motives behind his professional decisions.
Wells was very interested in the people and the culture of every place he visited. Much of his footage depicts the ordinary citizenry conducting their everyday affairs. He also appears to have enjoyed the natural world immensely, as indicated by his frequent focus on the mountains, rivers, lakes, plants, and animals of the particular place he was in. There are also numerous shots of the local architecture in most of the places he chose to record; one may therefore conclude that this was of interest to him, too. And then there is his evident love for his family. His mother was often his traveling companion, and as a result, she appears in many of his films. Wells' home movies provide further evidence of his people-focused personality and cultural and scientific curiosity, and help to further explain his desire to hire more international faculty, promote study abroad programs, encourage academic freedom, and create an inclusive campus community during his time as University President. Click on any of the section headings to the right to access the digitized home movies by category.
Capshew, James H. Herman B Wells: The Promise of the American University. Bloomington: Indiana University Press, 2012.
Wells, Herman B. Being Lucky. Bloomington: Indiana University Press, 1980.
In 1951, Maurice Frink opened Frink Studios in Elkhart, Indiana. Frink’s studio produced industrial films and TV ads for the next 30 years. The ads produced during the 1950s provide a nuanced glance at quotidian life, and concerns, particularly in Northwestern Indiana during the Cold War with building international tensions, the rise of suburbia, a new-found importance of cars, and the competitiveness of ‘keeping up with the Joneses’. Due to the empheral nature of TV ads, which were made to be screened and then disposed, it is rare to have such an expansive collection of region-specific ads. Within these ads, ranging from 14 seconds to a full 20-minute promotional film, we see home improvement and development of family highlighted; we see dating and gender role expectations; we see the cult of cars and car culture; we see the Midwest in the 1950s being driven out of a WWII zeitgeist towards the 1960s—with all of the social problems, explorations, and experimentations that that decade will entail. Some of these films represent Frink’s personal interests in humanitarian aid, which he developed during his military work in Europe during WWII.
During his time at DePauw University, Frink received acclaim as a photographer and some accolades as a writer. After his graduation in 1942, he joined the Office of War Information and was stationed in the Gold Coast, and later in Italy and Germany, where he took photos of Jewish refugees and organized newspaper publications. In 1949, he married Jenny Lodahl, a Polish woman who became naturalized in 1949.
By 1954, Frink Film Studios, located in a now demolished building on 1414 Thornton Street, Elkhart, Indiana, was included in the Business Screen catalogue, an annual compendium listing new techniques for film and TV production as well as a comprehensive listing of operating film studios in the US. Over the course of the decade, Frink Film Studios produced TV advertisements for businesses based in St. Joseph County as well as ads for regional and national products. While his film studio continued production long after the 1950s, this collection focuses on his work during this decade.
The Frink Collection, held by Indiana University Moving Image Archive, has digitized approximately 125 of a total of 243 reels. The digitized films represent unique holdings and reels which have not been digitized are iterations. The collection has been organized in to eleven sections to represent different facets and groupings of ads.
The Alka Seltzer group represents the social guidance-driven selection of thirteen ads for this effervescent medicine. Frink Studios worked with local businesses to produce ads, including seven of them for banks and drug stores, some of which still exist in South Bend today. The largest of the groups at forty-seven ads, Cars, contains ads primarily for gas and maintenance products, such as Zephyr and White Rose, but these ads do occasionally feature specific cars such as the Chevrolet, Plymouth, Edsel, and Chrysler Plymouth. Twelve ads for clothing and fashion show South Bend-based stores, such as Gilbert’s, as well as some regional stores in Michigan. The ten slots for Christian Rural Outreach Program is interesting perhaps for its documentation of lesser-represented areas in the world during this time. The grouping of seven family-centered ads focuses on fun for parents and children in the form of games or recreation. Food and Wine, with twenty-six items, features ads for the Michigan-based winery, St. Julians, as well as the nationally distributed Archway Cookies, which had a partnership with Zephyr Gas’ coupon program; Archway’s ads draw upon the popularity of the Cisco Kid, as he and his companion, Poncho, are the spokesperson for the children’s coupon program. Five political ads show a snippet of the Congressional campaign of Shep J. Crumpacker, as well as a speech by Governor George Craig. O’Brien’s Paint of South Bend, IN, as well as products such as Zephyr Awnings, Goshen Furniture and Red Brand Fences, comprise nine ads which show Midwestern suburbia and house upkeep. Finally, there are eleven reels which were produced by Frink Studios but represent Miles’ (of Miles Laboratories) possibly more experimental interests: these films include a recording of a couple singing the Sweetheart song, as well as one showing floating hats and Easter lilies blooming in fast motion.
This collection continues to develop as IULMIA processes the digitized collection. As of May, 2017, over 100 reels were sent out for digitization. These reels will be incorporated into this exhibit and will populate the existing pages, as well as creating new pages which are discussed above.
The International Federation of Film Archives (FIAF) historical audio tapes which document the history of the film archive global community have been digitized for preservation purposes and are available now to listen to. The tapes document the FIAF Congresses and Executive Committee meetings, dating from 1975-2007. Those dating 25 years or older are now accessible and over time, more recordings will be made available when they become 25 years or older. These audio recordings document the developments and guiding history of film archives’ standards and philosophy and hence a portion of the field of film preservation. These tapes will be a remarkable resource looking at the field and the evolution of the film archive movement.
Since 2017, Indiana University Libraries Moving Image Archive, a FIAF Member, is the archival home of the original tapes which are now stored in IU’s Auxiliary Library Facility vault at 50° F and 30% RH where they will be preserved for many years. And the newly digitized files, kept both in IU’s data storage repositories and on hard drives in FIAF’s Brussels office, will serve as access and digital preservation copies.
IULMIA has digitized the entire FIAF historical audiotape collection which contains 684 audio cassette tapes, 31 ¼” audio tapes and 4 minidisks.
Ripples was a thirty-six part educational television series for 5-7 year-olds and was initiated and coordinated by National Instructional Television (NIT) and produced by the Northern Virginia Educational Television Association. The creators of the series prided themselves on creating a televisual educational experience that was focused on helping children process their encounters with everday people and places, with an emphasis on play and an understanding of human feelings. The concept for the program grew out of a consortium of child educators and television producers, who met in Bloomington in 1969. Their conversations about the future of educational TV broadcasting, with regards to content creation, distribution, and the use of moving image technology as an important teaching tool, marks an important period in the history of educational media, as well as Indiana University's role and continued presence in that history. The following pages highlight some of the materials related to the Ripples program, which are held at the Indiana Libraries Moving Image Archive and are part of a collection that was received from the Agency for Instructional Technology (AIT), which closed in 2015. Individual episodes of Ripples can be viewed at Indiana University Libraries Media Collections Online or by clicking on the "Ripples Episode Gallery" link further down below.
This popular Agency for Instructional Television (AIT) series is based on contemporary concepts of vocabulary and linguistic theory. Each program centers on a themes like food, size, or communication. But from then on, anything goes--word cells cavort about to instruct and entertain, animated characters get their words in edgewise, word lore of all kinds lights up the nooks and crannies of the English language. Designed to arouse students curiosity about words and to sharpen their awareness of language, the series includes standard vocabulary development and incorporates terms from specialized vocabularies, foreign languages, and slang.
Bob Smith, wordsmith and author, has taught English, philosophy, psychology, education, Latin, and mathematics at levels from the seventh grade to post graduate study. His television work began in 1962. Mr. Smith holds a Bachelor of Arts degree from the University of Chicago, and three advanced degrees in philosophy and linguistics from Gonzaga University and the University of Michigan.
Watch the intro to Wordsmith in the video below!