Government Films

Nongovernmental film distributors would sometimes make dedicated nontheatrical film catalogs for patriotic topics of government films, like this colorful one by Bell & Howell!

Third-party catalogs, like this one by Norwood Films, compiled government films from across agencies and formed their own catalog groupings for navigation.

Government sponsored nontheaterical films cover a critical chapter of nontheatrical film history and highlight the potential for film to be a force for positive change. Usually created directly by a government entity, films that fall within this genre blend nation building with educational or promotional qualities to form an emphasis on public betterment. Films would frequently encourage or discourage particular behaviors or actions in connection with increasing quality of life or production. Due to the effectiveness of the films and internal production capabilities across state and federal government, films that fall within this grouping are some of the most plentiful of any distinctions.¹⁰⁵ This saturation would be partially achieved through dedicated film departments and labs within federal agencies. More localized governmental units, together with private enterprise and trade associations, funded films focused on highlighting a geographic area for trade, relocation, or travel and were commonly nicknamed municipal movies.¹⁰⁶ The scope of federal and state government made for a range of subject matter as well, from tips on farming, animal husbandry and proper nature conservation to public health.¹⁰⁷ The potential for nontheaterical governmental films was tremendous. 

The beginnings of governmental films at the federal level started in about 1900 and grew quickly. While the title of first federal agency to make a motion picture is disputed, an early, public-facing usage of film would come from the United States Department of Agriculture (USDA). The USDA would have a designated film lab for production by 1912.¹⁰⁸ Called the Motion Picture Service, the department would be tasked with the creation and distribution of films on topics of interest to the USDA, like pest and disease control for cows as shown in The Charge of the Tick Brigade (1919), the importance of nutrition in The Farmer’s Wife (1942), and even the demonstration of soil conservation.¹⁰⁹ Film production and viewership in the USDA and other agencies would continue growing. 

Early government films were particularly popular due to the distribution networks and projection techniques. Especially for films under agencies like the USDA, where a key target audience was rural farmers, finding a way to get films out and playable in the countryside at a time when electricity was not guaranteed in those areas was a challenge to overcome. To establish relations with individual counties, the USDA made extension offices across the county. These offices essentially expanded film distribution for the agency as the county office could request films and set up makeshift viewing sites at schools, town halls, and other gathering places.¹¹⁰ The USDA, along with many other government agencies also distributed films through depositories at universities across the country.¹¹¹ When portable projectors and public gathering spots were not enough, the USDA outfitted trucks with projectors to present films in remote areas. For many gathering to watch films around these trucks it was their first time watching a film and they were partially drawn to the experience due to interest in the technology and not necessarily the content of the film itself.¹¹² These measures proved effective, with the USDA’s Motion Picture Service alone having an estimated audience of 4.5 million Americans by 1923.¹¹³ Unique distribution methods brought government films to Americans, no matter the location. 

Along with other information, government-backed films often reflected the racial realities of the time. During the Jim Crow Era, many government agencies portrayed segregationist practices in films. The government’s portrayal of race in nontheaterical films would often appease segregationists through imagery reinforcing supposed white racial superiority or exclude minorities from celluloid altogether. This was possibly due to the need for clear racial divisions in order to gain access to areas of the country where segregationist rhetoric was popular. Regardless of the reason, by showing segregation practices and racial tropes, films reinforced the segregationist cause.¹¹⁴ For the likes of agencies like the USDA, the Motion Picture Service would rarely include African Americans on screen with whites unless clearly depicted in a subordinate role. Further, the few Motion Picture Service films featuring African Americans during this time would focus on personal responsibility and not larger social inequality.¹¹⁵ Racial inequality ran deeper than celluloid in decisions, with the USDA creating segregated extension office networks in states.¹¹⁶ Until the end of segregation in 1964 with the Civil Rights Act, the portrayal of race in government films would be problematic.

The onset of war would increase the number of government films with patriotic and war themes, as evidenced by the many listings in this Modern Sound Pictures, Inc. catalog.

America’s involvement in World War I marked a change in government filmmaking. With the onset of a major war, government sponsored film production focused on the training of millions of soldiers for battle soared. Non-military topics also pivoted to include more nation building themes along with their main messages.¹¹⁷ Nation building would prove another distinctive characteristic of government nontheaterical films. The same surge in government film creation occurred again with America’s involvement in World War II. Films from non-military agencies, like the Department of Education and the USDA, transitioned to include a focus on the battle for the homefront.¹¹⁸ Conserving resources and maximizing production for the betterment of America were key messages in these films. While funding for the number of productions would not always last outside of the wars, the period highlighted the uniqueness of government-funded nontheaterical films and helped fuel a post-war boom in nontheaterical film.

Government films would continue evolving as time progressed. Similar to other genres, the post-World War II era saw success for government films. Particularly beneficial to government-sponsored moving images was the increase in usage at schools due to the decreasing costs of projection equipment and the transfer of surplus projectors to schools by the military.¹¹⁹ As moving images transitioned to video, so did government films. Nowadays digital government sponsored moving images can be found and streamed via the internet at home and a variety of public spaces.