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A People's Convention

16mm motion picture film of A People's Convention

Owned by: Bowser, Pearl, American, born 1931
Created by: Union Films, 1946 - 1953
Produced by: Marzani, Carl, 1912 - 1994
Directed by: Glandbard, Max, American, 1915 - 1987
Subject of: Progressive Party, American, 1948 - 1955; Robeson, Paul, American, 1898 - 1976; Henry Wallace, American, 1888 - 1965
Composed by: Hovey, Serge, American, 1920 - 1989

Medium: 16mm Film (a): acetate film;
Dimensions: Duration: 15 Minutes; Length (Film): 600 Feet

Type: motion pictures (information artifacts)

Place filmed: Philadelphia, Pennsylvania, United States, North and Central America

Date: 1948

Caption: "This fifteen-minute documentary provides an invaluable record of the Progressive Party’s gathering even as it combines “people’s songs” with film in an innovative, almost experimental manner. As with several earlier Union Films productions, there is some effort to theatricalize events. A People’s Convention has a protagonist, “Joe,” who is attending the convention and is shown in both the introductory and final shot, while making several appearances over the course of the picture. His presence, however, is quickly subsumed by the desire to document the convention, which was all the more urgent given the distortions that were being generated by the news media."; Musser, Charles. "A People’s Convention (Union Films, 1948)." Charles Musser. Accessed May 12, 2016. http://www.charlesmusser.com/?page_id=1672.
Description: Object consists of: 16mm Film (a).; 2012.79.1.1.1a: 16mm film. This documentary film covers the 1948 Progressive Party Convention in Philadelphia, PA. Produced by Union Films. This fifteen-minute documentary provides an invaluable record of the Progressive Party’s gathering even as it combines “people’s songs” with film in an innovative, almost experimental manner. As with several earlier Union Films productions, there is some effort to theatricalize events. A People’s Convention has a protagonist, “Joe,” who is attending the convention and is shown in both the introductory and final shot, while making several appearances over the course of the picture. His presence, however, is quickly subsumed by the desire to document the convention, which was all the more urgent given the distortions that were being generated by the news media.; Source: Musser, Charles. "A People’s Convention (Union Films, 1948)." Charles Musser. Accessed May 12, 2016. http://www.charlesmusser.com/?page_id=1672.

Topic: African American; Film; Folk (Music); Mass media; Politics (Practical)

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.1.1a

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

The Case of the Fishermen

16mm motion picture film of The Case of the Fishermen

Produced by: Marzani, Carl, 1912 - 1994; Union Films, 1946 - 1953
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film.
Dimensions: Duration: 21 minutes; Length (Film): 775 Feet

Type: motion pictures (information artifacts)

Place filmed: Los Angeles, California, United States, North and Central America

Date: 1947

Caption: A previously thought-to-be-lost Union Film, produced by Carl Marzani. "Made with the collaboration of the Los Angeles-based H. Arthur Klein, this film defended and publicized the circumstances of San Pedro, Calif., fishermen, who were being accused of monopolistic practices and price fixing."
Description: 16mm black and white Union Film production, produced by Carl Marzani in association with the International Fisherman and Allied Workers of America (IFAWA) and the Congress of Industrial Organizations (CIO). The film advocates for fishermen in the San Pedro neighborhood of Los Angeles, California, who were being accused of price fixing and monopolization.; Consists of: 16mm Film (a).; 2012.79.1.10.1a: 16mm black and white film. Film opens with footage of fishing ships in the harbor while the introduction credits appear on the screen. The voiceover narration begins as fishermen are seen working on the deck of a ship. The narration describes the hard working conditions of fishermen as the footage continues to show the fishermen working. Then the footage shows newspaper headlines from August 23, 1946, and a document about allegations the fishermen violated the Sherman Anti-trust Act because the union cannot represent the fishermen since they are classified as independent businessmen and not employees. The document further alleges a price-fixing conspiracy between the fishermen and the fish dealers. The voiceover narration repeats the businessmen allegations as the footage again shows fishermen at work on boats. The voiceover narrator has a sarcastic tone as he compares the fishermen's work to office work. The narrator explains that the government considers the fishermen businessmen because they are paid according to a share of the catch rather than with wages. The footage continues to show workers on the boats. The next scenes show boats being repaired and boats coming in from the ocean and unloading the fish at a dock. The narrator explains that fishermen can only get better prices from the dealers by acting as a group through collective bargaining because the dealers have multiple options for preserving the fish, but fishermen must sell their catch immediately. This attempt by the fishermen to bargain collectively for fish prices before they go fishing is the main issue for the federal government. The footage shows one of the men mentioned in the case, George Knowlton, talking to a dealer on the docks. The next scene shows Knowlton at home with a woman knitting, probably his wife. The next scene shows the exterior of a labor union building while the narrator discusses the CIO. The footage includes CIO General Counsel Lee Pressman, and he explains the problems with the suit against the fisherman, particularly referring to the union as a monopoly. He speaks directly to the camera and also consults books about the definition of a monopoly. The scene cuts to fisherman in boats on the ocean before cutting back to Pressman. A graphic appears on the screen to illustrate the growth of fishermen due to the support of the labor union. After some footage of fishermen on the docks working, the footage shows Pressman again before another graphic appears that shows the growth in fish caught from 1936 to 1946. The next graphic explains that fishermen are not responsible for the eventual price consumers pay because of the involvement of other sectors of the fishing industry. Pressman uses the illustrations to make his point that the fishermen do not have a monopoly, especially when compared with concentration of wealth and control by corporations. A graphic shows how much eight corporations control of the economy, and an illustration of eight shadows of rich men turns an octopus. This represents their control of the economy through monopolies, price-fixing, and restraint of trade. The narrator contrasts this with the fishermen that want a decent standard of living for themselves and their families. To illustrate this, the footage includes several different domestic scenes. The next scene shows a meeting in a union hall, and the narrator explains the tradition of fisherman unions on the west coast and introduces the International Fishermen and Allied Workers of America, Local 33 of the CIO. There is a montage of fishermen engaged in various activities while the narrator discusses important achievements by the union. An illustration shows that more federal aid goes to farmers than fishermen, and the narrator discusses various advantages the farmer has compared to the fisherman. The film ends with a montage of fishermen working on boats while the narrator explains the unfair actions by the attorney general against the fishermen.

Topic: African American; Business; Labor; Professional organizations

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.10.1abc

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

The Case of the Fishermen

Dupe Negative of The Case of the Fishermen

Created by: Colorlab, American, founded 1972

Medium: 16mm Film (a): acetate film.
Dimensions: Duration: 21 minutes; Length (Film): 775 Feet

Date: 1947

Description: Duplicate negative created by Colorlab; Consists of: 16mm Film (a).; 2012.79.1.10.1a: 16mm black and white film. Film opens with footage of fishing ships in the harbor while the introduction credits appear on the screen. The voiceover narration begins as fishermen are seen working on the deck of a ship. The narration describes the hard working conditions of fishermen as the footage continues to show the fishermen working. Then the footage shows newspaper headlines from August 23, 1946, and a document about allegations the fishermen violated the Sherman Anti-trust Act because the union cannot represent the fishermen since they are classified as independent businessmen and not employees. The document further alleges a price-fixing conspiracy between the fishermen and the fish dealers. The voiceover narration repeats the businessmen allegations as the footage again shows fishermen at work on boats. The voiceover narrator has a sarcastic tone as he compares the fishermen's work to office work. The narrator explains that the government considers the fishermen businessmen because they are paid according to a share of the catch rather than with wages. The footage continues to show workers on the boats. The next scenes show boats being repaired and boats coming in from the ocean and unloading the fish at a dock. The narrator explains that fishermen can only get better prices from the dealers by acting as a group through collective bargaining because the dealers have multiple options for preserving the fish, but fishermen must sell their catch immediately. This attempt by the fishermen to bargain collectively for fish prices before they go fishing is the main issue for the federal government. The footage shows one of the men mentioned in the case, George Knowlton, talking to a dealer on the docks. The next scene shows Knowlton at home with a woman knitting, probably his wife. The next scene shows the exterior of a labor union building while the narrator discusses the CIO. The footage includes CIO General Counsel Lee Pressman, and he explains the problems with the suit against the fisherman, particularly referring to the union as a monopoly. He speaks directly to the camera and also consults books about the definition of a monopoly. The scene cuts to fisherman in boats on the ocean before cutting back to Pressman. A graphic appears on the screen to illustrate the growth of fishermen due to the support of the labor union. After some footage of fishermen on the docks working, the footage shows Pressman again before another graphic appears that shows the growth in fish caught from 1936 to 1946. The next graphic explains that fishermen are not responsible for the eventual price consumers pay because of the involvement of other sectors of the fishing industry. Pressman uses the illustrations to make his point that the fishermen do not have a monopoly, especially when compared with concentration of wealth and control by corporations. A graphic shows how much eight corporations control of the economy, and an illustration of eight shadows of rich men turns an octopus. This represents their control of the economy through monopolies, price-fixing, and restraint of trade. The narrator contrasts this with the fishermen that want a decent standard of living for themselves and their families. To illustrate this, the footage includes several different domestic scenes. The next scene shows a meeting in a union hall, and the narrator explains the tradition of fisherman unions on the west coast and introduces the International Fishermen and Allied Workers of America, Local 33 of the CIO. There is a montage of fishermen engaged in various activities while the narrator discusses important achievements by the union. An illustration shows that more federal aid goes to farmers than fishermen, and the narrator discusses various advantages the farmer has compared to the fisherman. The film ends with a montage of fishermen working on boats while the narrator explains the unfair actions by the attorney general against the fishermen.

Topic: African American

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.10.3a

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

The Case of the Fishermen

Track negative of The Case of the Fishermen

Created by: Colorlab, American, founded 1972

Medium: 16mm Film (a): acetate film.
Dimensions: Duration: 21 minutes; Length (Film): 775 Feet

Date: 1947

Description: Track negative created by Colorlab

Topic: African American

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.10.4a

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Drug Employees Union Local 1199 Documentary

16mm motion picture film of Drug Employees Union Local 1199 Documentary

Created by: Retail Drug Employees Union Local 1199, founded 1932
Subject of: Retail Drug Employees Union Local 1199, founded 1932
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;
Dimensions: Duration: 11 Minutes; Length (Film): 450 Feet

Type: motion pictures (information artifacts)

Place filmed: New York City, New York, United States, North and Central America

Date: ca. 1953

Caption: A 16mm silent, black and white film that shows members of the Drug Employees Union Local 1199 engaged in various activities. Footage includes members attending meetings, working, walking a picket line, signing a petition, attending an art gallery exhibition, and hosting a Christmas party for children.
Description: A 16mm silent, black and white film that shows members of the Drug Employees Union Local 1199 engaged in various activities. Members are shown attending meetings, working, walking a picket line, signing a petition, attending an art gallery exhibition, and hosting a Christmas party for children.; Consists Of: 16mm Film (a).; 2012.79.1.14.1a: 16mm film. Film begins with the 1199 logo that reads "We the Members of Local 1199", and shows drug store workers engaged in a variety of work-related activities. The first scene shows pharmacists at work mixing drugs and assisting customers. The next two scenes show members lining up at a meeting to pay dues at a window. The members shown are both black and white men and women. The next scene shows what appears to be a different meeting with a greater number of people in attendance. The meeting ends, and the members get up to leave. The next scene shows a group of around a dozen people, mostly men, seated around a table. The next scene shows a different meeting. There is a large banner above the stage that has a circle, half of it black, and the numbers 40 and 5 are on either side of the line. There is a table on the stage, where people are seated. They appear to be voting on something because many of those in the crowd raise their hand. The footage shows a second banner that reads Defend & Protect Our Gains...Organize the Unorganized Stores. The next scene shows people exiting, perhaps after the meeting is over. A picket line is seen in the next footage and the striking workers wear signs that read This Drug Store is on Strike Please Do Not Patronize. The 1199 union name is listed below. There is also footage of the picket line that shows the front of the drug store, Freistadt's. The next scene shows men looking at a jobs board and then men lining up at a window to talk to a man behind the counter. The next scene shows an office with mostly women seated at desks using typewriters. In a different office, a man talks to one man, while another man is examined by a doctor with a stethoscope. There is some footage of what appears to be the Local 1199 newsletter Drug News. The next scene shows a room with a lot of beds and men lying on them probably for a blood drive. Nurses attend to the men on the beds, while some of the men drink out of cups (they appear to have donated blood). The next scene shows men with thermometers in their mouths. Following that scene, there is footage of people dancing at a square dance. The footage also shows the band providing the music for the dancers. The next scene appears to show two black women and one white woman acting on stage during a play. The next scene shows a man speaking to a large group of people in a room. A different meeting is shown after that, and a man is handed a trophy. The next scene shows the entrance to a Wolf Ubogy art exhibit, and there is footage of the art on the walls and people talking. The next scene shows a large group of children, and many of them are eating ice cream. Some of them are performing on stage. A clown is also shown performing for the children. He balances a small dog in his hand, and there are other dogs on stage. Another clown performs juggling. A man dressed as Santa Claus appears and waves to the children. The scene ends with two children, one black and one white, sitting on the lap of Santa Claus and waving to the camera. The next scene shows a group of men and women signing an oversize telegram to Governor Dewey in Albany, New York. The telegram subject reads Local 1199 demands No Fare or Rent Increase. The footage also shows a close-up of people signing the telegram. The next scene appears to be a montage of the entire film with brief clips from many of the different scenes. There is footage of a banner that reads 21 Years of Local 1199 in the middle of the banner. On the left hand side is 1932 next to a circle with 66 and 6 inside of the circle. On the right hand side is the same design, except the date is 1953 and inside of the circle is 40 and 5. The next scene is another montage, this time with footage of various meetings and people speaking at microphones. A small banner reads Ligget Division Retail Drug Employees Union Local 1199 - DPOWA. The final scene shows a seated audience clapping and the camera pans the crowd. The same logo from the beginning of the film appears again.

Topic: African American; Art; Business; Children; Dance; Labor; Medicine; Politics (Practical); Professional organizations; United States--History--1953-1961; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.14.1a

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Hunts Point home movie

16mm motion picture film of Hunts Point home movie

Created by: Unidentified
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;
Dimensions: Duration: 4 Minutes; Length (Film): 150 Feet

Type: motion pictures (information artifacts); home movies

Place filmed: Hunts Point, New York City, Bronx County, New York, United States, North and Central America

Date: ca.1949

Caption: This 16mm film is a home movie shot circa 1949 in the Hunts Point neighborhood in Bronx, New York. It features footage of street scenes, local businesses, and regional transportation methods.
Description: 16mm black and white film of the Hunts Point neighborhood in the Bronx, New York. The footage includes storefronts, street scenes, and cars.; Consists Of: 16mm Film (a).; 2012.79.1.15.1a: 16mm film. The film begins with a street scene. A police car is driving towards the camera, and the camera follows the car as it passes by. The next scene shows two street signs at an intersection. One of the street signs reads Washington St. The next scene shows a storefront window advertising the Beaird Produce Co. and Beaird Seafoods, Ltd. The next scene shows cars driving down the street away from the camera. Also in the footage is an elevated segment of the New York Central Railroad, and several restaurant and bar signs on the side of the buildings. The next scene includes a close-up of the elevated railroad with the New York Central name painted on the side. The camera pans the side of a building that the railroad passes through. The next scene shows another advertisement on a window, and this one reads Boneless Meat. The remaining scenes appear to be filmed from a moving fishing boat. The footage shows other fishing boats in the water and a brief shot of the boat captain.

Topic: African American; Business; Communities; Film; Transportation; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.15.1a

Restrictions & Rights: Unknown - Restrictions Possible

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Alice Coltrane Black Journal segment

16mm motion picture film of Alice Coltrane [Black Journal segment]

Produced by: National Educational Television, American, 1954 - 1970; Greaves, William, American, 1926 - 2014
Directed by: Bourne, St. Clair, American, 1943 - 2007
Subject of: Coltrane, Alice, American, 1937 - 2007; Coltrane, John, American, 1926 - 1967
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;
Dimensions: Duration: 17 Minutes; Length (Film): 580 Feet

Type: motion pictures (information artifacts)

Place filmed: Dix Hills, Huntington, Long Island, New York, United States, North and Central America

Date: 1970

Caption: This 16mm film is a documentary segment focusing on the life of Alice Coltrane and her children in the wake of the death of her husband, famed jazz magician John Coltrane.
Description: The 16mm color film print is a short documentary made for a segment of National Education Television's Black Journal television program. The segment focuses on the life of Alice Coltrane and her children in the wake of the death of her husband, famed jazz magician John Coltrane. This film was shot sometime during 1970; three years after the death of John Coltrane.; Consists of: 16mm Film (a).; 2012.79.1.16.1a: 16mm film. This film opens with a collage of photos of jazz musician John Coltrane with a voice-over of a male narrator communicating the musical genius and personal demeanor of the renowned music artist. The voice-over ends with an open-ended statement on John Coltrane's family; leading into an interview with his wife, Alice Coltrane. Alice Coltrane discusses the influence her late husband has had on her life, both musically and spiritually. She speaks of him being a spiritual person, although not tied to one organized religion, his vegetarian diet, and the how he carved time out of his days to meditate. There is footage of their children playing in the yard and walking with their mother. Alice plays the harp and talks about how her music is a manifestation of her spirituality. She discusses her musical career and how she balances that with being a mother and paying tribute to her late husband, but also not wanting to be defined as an extension of John Coltrane's music. Instead, when she finds herself playing some of the music he wrote, she sees herself as sharing in what he produced throughout his career. Footage of her playing the piano at a small jazz concert with a few other musicians plays for two minutes. In the final minutes of the segment, Alice Coltrane explains her relationship with a higher power and the personal enlightenment she has felt and gained through meditation. The film ends with a dolly-out/zoom-out long shot of Alice Coltrane and her children waving from their home.

Topic: African American; Families; Film; Jazz (Music); Motherhood; Musicians; Spirituality; Television

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.16.1a

Restrictions & Rights: © National Educational Television

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Ages of Time

16mm motion picture film of Ages of Time

Created by: MPO Television Films, American, 1950 - 1970
Commissioned by: Hamilton Watch Company, American, founded 1892
Edited by: Beveridge, Tee, American, 1923 - 1993
Narrated by: Meredith, Burgess, American, 1907 - 1997
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 19 Minutes; Length (Film): 700 Feet

Type: motion pictures (information artifacts)

Place made: New York City, New York, United States, North and Central America

Date: 1959

Caption: "Ages of Time" is a corporate film produced by the Hamilton Watch Company in 1959. it chronicles the history of time and timekeeping, and is narrated by Burgess Meredith.
Description: Corporate documentary film chronicling the history of timekeeping, edited by African American film editor Hortense Beveridge. "Ages of Time" was produced in 1959 by the Hamilton Watch Company of Lancaster, Pennsylvania and is narrated by renowned actor Burgess Meredith.; 2012.79.1.3.1a: 16mm color film.

Topic: African American; Advertising; Business; Film; Mass media

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.3.1a

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

The Exile

16mm motion picture film of The Exile

Created by: Bowser, Pearl, American, born 1931
Directed by: Oscar Micheaux, American, 1884 - 1951
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;; 16mm Film (b): acetate film;; 16mm Film (c): acetate film
Dimensions: Duration (Reel 1): 32 Minutes; Length (Film): 1140 Feet; Duration (Reel 2): 28 Minutes; Length (Film): 1000 Feet; Duration (Reel 3): 19 Minutes; Length (Film): 700 Feet

Type: motion pictures (information artifacts)

Place filmed: Greenwich Village, New York City, New York County, New York, United States, North and Central America
Place depicted: Chicago, Cook County, Illinois, United States, North and Central America; South Dakota, United States, North and Central America

Date: 1931

Description: This 16mm black and white feature film, "The Exile", was Oscar Micheaux's first "talkie" (a feature film with a synchronized audio/dialogue track). The film was based on his novel "The Conquest, The Story of a Negro Pioneer" (1913).; Consists of: 16mm Film (a), 16mm Film (b), 16mm Film (c), Original Film Reel (d); 2012.79.1.30.1a: Reel 1, 2012.79.1.30.1b: Reel 2, 2012.79.1.30.1c: Reel 3: 16mm film.; Edith Duval, a former maid, occupies a Southside Chicago mansion after it is abandoned by its wealthy meat packer owner. She is part of a wild crowd that likes to gamble, dance and have a good time. One night, when she throws a huge party for her friends, Jean Baptiste, a sincere young black man, draws her away from the crowd and confesses his love for her. Edith is delighted and tells Jean her plans to turn the house into a gambling club. Outraged by the suggestion, Jean declares his desire to take her away to a farm in South Dakota to earn an honest living. Edith, however, scornfully sends him away. Five years later, Jean has become such a successful farmer that he needs a hand with the chores and asks his new neighbors for help. Jean and the head of the family agree that the son will work for him. Meanwhile, Agnes, the daughter, is very attracted to Jean and, although he returns her love, he breaks off the romance because she is white and he is afraid that she will face a difficult life if they marry. Brokenhearted, Jean returns to Chicago. There, he visits Edith's nightclub, and determined to put Agnes behind him, he proposes to Edith again. This time she happily accepts. Unfortunately, an old lover of Edith shoots her in a jealous rage and Jean is accused of her murder. Upon seeing his name in the paper, Agnes decides to go to his aid. Her father agrees, and before she goes, he tells her that her mother was of Ethiopian descent, so it is all right for her to marry Jean. Just as she arrives in Chicago, she meets Jean, who has been completely cleared of the crime. The two set off for a happy married life in South Dakota.

Topic: African American; American West; Film; Literature

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.30.1abc

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Underworld

16mm motion picture film of Underworld

Created by: Oscar Micheaux, American, 1884 - 1951
Written by: Oscar Micheaux, American, 1884 - 1951
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;; 16mm Film (b): acetate film
Dimensions: Duration: 70 Minutes; Length (Film), Reel 1: 1250 Feet; Length (Film), Reel 2: 1300 Feet

Type: motion pictures (information artifacts)

Place filmed: Harlem, New York City, New York County, New York, United States, North and Central America
Place depicted: Chicago, Cook County, Illinois, United States, North and Central America

Date: 1937

Caption: In this 16mm black and white feature film, a young African-American man is persuaded by a gambler to move to Chicago after graduating from a Southern university. Once there, he gets involved in the criminal underworld of Chicago, falls for a dame, and is framed for murder.
Description: This 16mm black and white feature film (a, b) was written and directed by renowed filmmaker Osacar Micheaux. This film is one example of "alternate versions", a common theme and plot structure in Oscar Micheaux's films. Underworld played at the Harlem Opera House in New York 30 Sep-3 Oct 1937; Consists of: 16mm Film (a)(b).; 2012.79.1.33.1a, 2012.79.1.33.1b: 16mm black and white film.; After Paul Bronson graduates from a black college in the South, he accepts the invitation of Chicago gambler LeRoy Giles to vacation in Chicago. LeRoy, who has been having a secret affair for three years with singer Dinah Jackson, the wife of Sam Brown, owner of the Red Lily nightclub, has brought Paul to Chicago to fleece him, but Paul attracts Dinah's attention and they become involved during the next month. Paul wants to marry Dinah, but she refuses, saying she only wants their affair to continue as it is. After Paul refuses money offered by Dinah, he meets Evelyn Martin, who recognizes him from college and who is trying to run a beauty parlor. Evelyn and Paul have lunch together and are seen by LeRoy, whom Dinah has supported financially and who is upset about her affair with Paul. LeRoy tells Dinah about Evelyn, and she threatens to ruin Paul. After Paul tells Dinah that he has decided to go home, she arranges for LeRoy to drug and rob him. LeRoy doubles the dose and almost kills Paul. After Paul overhears LeRoy and Dinah discussing his money, he gets it back from LeRoy and, still groggy from the drug, goes to the Red Lily. Meanwhile, Sam's detectives tell him about Dinah's affair with LeRoy. When Sam catches them together, he orders her bank accounts closed and charge accounts canceled. LeRoy shoots Sam and puts the gun by his body. After Paul comes in dazed and picks up the gun, Dinah accuses him of killing Sam. She pays LeRoy to leave town and is able to keep Paul in town and away from Evelyn because of his confusion about the murder. However, Paul, now the manager of the Red Lily, meets Evelyn again, and after he tells Dinah he is through with her, she reports him to the police. After Dinah, on drugs and intoxicated, has a mental breakdown, her car is hit by a train and she is killed. Her affidavit seems certain to convict Paul when Ching Li, a Chinese man who worked and lived at the Red Lily, confesses to police that he witnessed the murder. Paul is freed and leaves the city with Evelyn.; Source: American Film Institute Catalog of Feature Films. 2016.

Topic: African American; American South; Business; Film; Nightlife; Race films; Urban life; Violence

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.33.1ab

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

The Black G.I. Black Journal segment

16mm motion picture film of The Black G.I. [Black Journal segment]

Directed by: Garrett, Kent, American, born 1941
Produced by: Greaves, William, American, 1926 - 2014; National Educational Television, American, 1954 - 1970
Owned by: Bowser, Pearl, American, born 1931
Subject of: Bennett, L. Howard

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 50 Minutes; Length (Film): 1,800 Feet

Type: motion pictures (information artifacts)

Place filmed: H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia; Camp Hansen, Okinawa, Japan, Asia; Arlington County, Virginia, United States, North and Central America
Place made: 5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America

Date: 1971

Caption: The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.
Description: This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.; Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).; 2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.; 2012.79.1.51.1b: Original 1,600 foot film reel.; 2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.

Topic: African American; Film; Gesture; Mass media; Military; Race discrimination; Race relations; Television; Vietnam War, 1961-1975

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.51.2ab

Restrictions & Rights: © National Educational Television

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

The Black G.I. Black Journal segment

16mm motion picture film of The Black G.I. [Black Journal segment]

Directed by: Garrett, Kent, American, born 1941
Produced by: Greaves, William, American, 1926 - 2014; National Educational Television, American, 1954 - 1970
Owned by: Bowser, Pearl, American, born 1931
Subject of: Bennett, L. Howard

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 50 Minutes; Length (Film): 1,800 Feet

Type: motion pictures (information artifacts)

Place filmed: H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia; Camp Hansen, Okinawa, Japan, Asia; Arlington County, Virginia, United States, North and Central America
Place made: 5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America

Date: 1971

Caption: The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.
Description: This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.; Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).; 2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.; 2012.79.1.51.1b: Original 1,600 foot film reel.; 2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.

Topic: African American; Film; Gesture; Mass media; Military; Race discrimination; Race relations; Television; Vietnam War, 1961-1975

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.51.3ab

Restrictions & Rights: © National Educational Television

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

The Black G.I. Black Journal segment

16mm motion picture film of The Black G.I. [Black Journal segment]

Directed by: Garrett, Kent, American, born 1941
Produced by: Greaves, William, American, 1926 - 2014; National Educational Television, American, 1954 - 1970
Owned by: Bowser, Pearl, American, born 1931
Subject of: Bennett, L. Howard

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 50 Minutes; Length (Film): 1,800 Feet

Type: motion pictures (information artifacts)

Place filmed: H? Chí Minh, Thành Ph?, H? Chí Minh, Viet Nam, Asia; Camp Hansen, Okinawa, Japan, Asia; Arlington County, Virginia, United States, North and Central America
Place made: 5708 Arundel Ave., Rockville, Montgomery County, Maryland, United States, North and Central America

Date: 1971

Caption: The Black G.I. is a two-part documentary episode of the television series Black Journal. It focuses on the experiences of African-American soldiers in the Vietnam War. This film features frank and open discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences black soldiers had in this war.
Description: This preservation 16mm color film is an hour-long documentary segment of Episode No. 22 of the NET (National Educational Television) television program, Black Journal; a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. It was originally broadcast on March 30, 1970, and is believed to have been filmed over the course of 1969. Episode No. 22 of Black Journal was directed by Stan Lathan, while the "Black G.I." segment was directed by Kent Garrett. Executive Produced by William Greaves.; Contains: 16mm Film (a), Original 1,600 foot Film Reel (b), and Original 1,600 foot Film Canister (c).; 2012.79.1.51.1a: 16mm film. This film opens with a narration over images of African American men in the history of the US military. The first moving image section shows African American men fighting during World War II. The narrator discusses the irony of African American men fighting for freedom in Europe while not enjoying the same freedoms in the US. There are multiple shots of the Tuskegee Airmen. Eleanor Roosevelt pins (unknown) medal on African American soldier. Next, newsreel footage of Joe Louis arriving at an airbase and greeting black troops. The narrator then talks about the desegregation of the US military during the Korean War and points out the lack of black soldiers in leadership positions. Color footage marks the transition of the narration to coverage of the Vietnam War. Two African American soldiers in civilian clothing with soul power patches can be seen dapping. Series of brief excerpts from interviews of black soldiers play, each stating their position on being black and in the military during the Vietnam War. The narrator reveals the disproportionate percentage of black men who are killed in action versus their white counterparts. There are multiple shots of combat and post-combat footage in Vietnamese rice fields and footage of riverside villages. Two sailors patrol a river and discuss their experience in Vietnam thus far and what they'll do when they get home. They discuss their mission and how to be black while being in the military. A girl group performs at the USO in Saigon. Tanks and amored personnel carriers patrol suspected enemy locations along border with North Vietnam. Sailors on a patrol boat open fire at the river bank and a confederate flag can be seen flying from a flag pole on board. Black sailors discuss cultural challenges of being in the Navy and the lack entertainment geared towards black musical tastes of the time. One sailor talks about being disciplined for getting into an altercation after a white sailor ripped his tape player from the wall for playing soul music. The narrator reveals that an all white court martial found the sailor, Bobby Jenkins, guilty of assault, demoted him and docked his pay. A sailor relays that he and other African Americans met with the Assistant Secretary of Defense for civil rights to discuss their poor treatment and were promised changes by the Assistant Secretary. The sailors talk about how some local Vietnamese have adopted some of the negative perceptions of African Americans, which some black sailors believe they learned from some white members of the military. The sailors discuss how their hands are tied when it comes to standing up for their rights as sailors on a patrol boat dap and salute the camera with black/soul power fists. Air Force fighter pilot, John Bordeaux, discusses his personal experience of not facing the same discrimination expressed by other African American military personnel. Two black career Army officers, Davis and Rogers, discuss the systematic discrimination they've faced; in particular, they recall incidents of being passed over for promotions despite strong credentials. Brigadier General Frederick E. Davison, the first African American combat general, rejects the assertion that an African American who succeeds in the military is an Uncle Tom and discusses the many actions that the Army has taken to ensure equal treatment and opportunities. A cover of "Sittin' on a Dock in the Bay" plays over a montage of black soldiers in the field. A group of black Marines in a mess hall at Camp Hansen, Okinawa discuss the unfair treatment they've experienced, such as being forced to wear a collared shirt with their dashikis and not being allowed to wear their hair in an afro. One marine relates an incident in which they were violently confronted after returning from a USO show that primarily featured soul music. There is a series of shots of shops in Koza "Four Corners", Okinawa geared towards African American soldiers. Another group of soldiers discuss their dissatisfaction with being drafted to fight in Vietnam despite social and economic discrimination at home, and being harassed and targeted as being "troublesome" if they decide to attend country music night at local clubs. L. Howard Bennett, Deputy Assistant Secretary for Civil Rights, discusses how black soldiers complaining about the lack of soul music are expressing grievances beyond simply entertainment selection and dissatisfaction with communcation in the chain of command. He also states his opinion that black soldiers fighting for the US puts them in a better position to demand equal rights at home.; 2012.79.1.51.1b: Original 1,600 foot film reel.; 2012.79.1.51.1c: Original 1,600 foot film canister. The metal film canister has two sticker labels; each from a different film services company.

Topic: African American; Film; Gesture; Mass media; Military; Race discrimination; Race relations; Television; Vietnam War, 1961-1975

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.51.4ab

Restrictions & Rights: © National Educational Television

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Something to Build On

16mm motion picture film of Something to Build On

Directed by: Bourne, St. Clair, American, 1943 - 2007
Produced by: Chamba Productions, founded 1971
Composed by: Hancock, Herbie, American, born 1940
Subject of: Nairobi College, founded 1969
Created by: California State University, Los Angeles, American, founded 1947
Subject of: The City College of the City University of New York, American, founded 1847; St. Petersburg College, American, founded 1927; Clark Atlanta University, American, founded 1988; Morehouse College, American, founded 1867
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 30 Minutes; Length (Film): 1190 Feet

Type: motion pictures (information artifacts)

Place filmed: East Palo Alto, San Mateo County, California, United States, North and Central America; Los Angeles, California, United States, North and Central America; Saint Petersburg, Pinellas County, Florida, United States, North and Central America; Harlem, New York City, New York County, New York, United States, North and Central America; Atlanta, Fulton County, Georgia, United States, North and Central America

Date: 1971

Caption: 16mm color film directed by St. Clair Bourne and produced by his production company, Chamba Productions, for the College Entrance Examination Board. The film provides various perspectives on the college experience and presents resources to encourage minority youth to attend college.
Description: 16mm color film directed by St. Clair Bourne and produced his production company, Chamba Productions, for the College Entrance Examination Board. The film provides various perspectives on the college experience and presents resources to encourage minority youth to attend college.; Consists of: 16mm Film (a).; 2012.79.1.54.1a: 16mm film. Film begins with an introduction animated segment of a young black man walking down a city sidewalk and then entering a doorway with the word College written over it. A musical soundtrack accompanies the animation. He walks down the hallway past doors and a trophy case while the voiceover narration begins. The narration focuses on thinking about how to get started on applying for college. The animation sequence depicts the prospective student collecting paperwork and talking to the appropriate people to take to the door with a college sign next to it. The animated introduction ends and the film transitions to live action and the title of the film. A man runs out of a storefront across a parking lot to his car. The next scene shows a professor leading a class discussion in a classroom. Then there is an exterior shot of Nairobi College and the man from earlier in the film running in the front door. The college is located in a small house. The narrator introduces the college and the man joins the classroom conversation. The narrator introduces Nate Perry, the man that has been in the film, and he talks about enrolling in Nairobi College. The narrator explains that the purpose of the college is to teach leaders for non-white communities and break down the separation of the college and the community by holding classes in different locations. The next scene shows the Nairobi College Cultural Center and students playing music and dancing. The next subject of the film is California State College (California State University) in Los Angeles. The narrator discusses the importance of the college for the Mexican American community. There is a shot of the front door of College Recruitment for Educational Opportunity (CREO). The door also has a sign for Community Relations for Educational Opportunity (also CREO). People are shown walking into the office and talking to someone in the office and he answers questions about gaining admission to college. A man is shown talking outside and a group discussion ensues about confronting the power structure. An inside classroom discussion also shows students talking about similar problems as those in the outside discussion. The next scene shows New York City and the narrator begins talking about City College of New York in Harlem and the importance of providing both financial assistance as well as special counseling and tutoring. However, the narrator points out that black and Puerto Rican students demanded an open admissions policy. A group of students is shown discussing education issues and going back to the community to work and raise awareness. The narrator introduces Megan McLaughlin, and she describes through a voiceover narration the Search for Elevation, Education, and Knowledge (SEEK) Program. She is shown walking on sidewalks during the voiceover narration. The next scene features St. Petersburg College, and the narrator discusses attending a junior college before attending a four-year institution. Students share their experiences and how students can benefit from attending a junior college. The smaller classes are beneficial and the opportunity to balance home life with attending college are among those benefits. The scene is filmed inside of a moving car while Don Gekkins, director of the Service Center Program, talks about how the program works. The next scene shows him entering a classroom where children are reciting words displayed on cards held by a tutor from the junior college. Don Gekkins is then shown leaving his house with his two sons and playing with them. Gekkins, in a voiceover narration, describes growing up in a depressed area of St. Petersburg. The next scene shows a college marching band leading a parade down a street. The narrator discusses this parade in the context of a four-year university and the distractions of a four-year university, particularly sports events. The university being discussed appears to be Howard University in Washington, D.C. After footage of cheerleaders and a football game, a football player is interviewed about attending college on a scholarship. After the interview, there is footage of a football practice. The next scene includes an interview with Tom Nelson, a college graduate and ex-professional football player. The next scene shows two men picking up trash on the sidewalk, then some other men performing municipal trash service. There is footage of a college campus, probably Clark University in Atlanta, while the narrator discusses the main reasons for attending college. The next scene shows a woman walking on a sidewalk and into a building while the narrator begins a discussion about financial aid. The woman enters an office and talks to a financial aid officer while the narrator discusses the difference between types of financial aid. The next scene shows a student from Nigeria at Morehouse College in Atlanta, and he discusses studying science to bring back knowledge to Nigeria. The film ends with the narrator presenting a summary of what has been discussed, and there is a montage of images from the entire film.

Topic: African American; Dance; Education; Football; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.54.1a

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Something to Build On

16mm motion picture film of Something to Build On

Directed by: Bourne, St. Clair, American, 1943 - 2007
Produced by: Chamba Productions, founded 1971
Composed by: Hancock, Herbie, American, born 1940
Subject of: Nairobi College, founded 1969; California State University, Los Angeles, American, founded 1947; The City College of the City University of New York, American, founded 1847; St. Petersburg College, American, founded 1927; Clark Atlanta University, American, founded 1988; Morehouse College, American, founded 1867
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 30 Minutes; Length (Film): 1190 Feet

Type: motion pictures (information artifacts)

Place filmed: East Palo Alto, San Mateo County, California, United States, North and Central America; Los Angeles, California, United States, North and Central America; Saint Petersburg, Pinellas County, Florida, United States, North and Central America; Harlem, New York City, New York, United States, North and Central America; Atlanta, Fulton County, Georgia, United States, North and Central America

Date: 1971

Caption: 16mm color film directed by St. Clair Bourne and produced by his production company, Chamba Productions, for the College Entrance Examination Board. The film provides various perspectives on the college experience and presents resources to encourage minority youth to attend college.
Description: 16mm color film directed by St. Clair Bourne and produced his production company, Chamba Productions, for the College Entrance Examination Board. The film provides various perspectives on the college experience and presents resources to encourage minority youth to attend college.; Consists of: 16mm Film (a).; 2012.79.1.54.2a: 16mm film. Film begins with an introduction animated segment of a young black man walking down a city sidewalk and then entering a doorway with the word College written over it. A musical soundtrack accompanies the animation. He walks down the hallway past doors and a trophy case while the voiceover narration begins. The narration focuses on thinking about how to get started on applying for college. The animation sequence depicts the prospective student collecting paperwork and talking to the appropriate people to take to the door with a college sign next to it. The animated introduction ends and the film transitions to live action and the title of the film. A man runs out of a storefront across a parking lot to his car. The next scene shows a professor leading a class discussion in a classroom. Then there is an exterior shot of Nairobi College and the man from earlier in the film running in the front door. The college is located in a small house. The narrator introduces the college and the man joins the classroom conversation. The narrator introduces Nate Perry, the man that has been in the film, and he talks about enrolling in Nairobi College. The narrator explains that the purpose of the college is to teach leaders for non-white communities and break down the separation of the college and the community by holding classes in different locations. The next scene shows the Nairobi College Cultural Center and students playing music and dancing. The next subject of the film is California State College (California State University) in Los Angeles. The narrator discusses the importance of the college for the Mexican American community. There is a shot of the front door of College Recruitment for Educational Opportunity (CREO). The door also has a sign for Community Relations for Educational Opportunity (also CREO). People are shown walking into the office and talking to someone in the office and he answers questions about gaining admission to college. A man is shown talking outside and a group discussion ensues about confronting the power structure. An inside classroom discussion also shows students talking about similar problems as those in the outside discussion. The next scene shows New York City and the narrator begins talking about City College of New York in Harlem and the importance of providing both financial assistance as well as special counseling and tutoring. However, the narrator points out that black and Puerto Rican students demanded an open admissions policy. A group of students is shown discussing education issues and going back to the community to work and raise awareness. The narrator introduces Megan McLaughlin, and she describes through a voiceover narration the Search for Elevation, Education, and Knowledge (SEEK) Program. She is shown walking on sidewalks during the voiceover narration. The next scene features St. Petersburg College, and the narrator discusses attending a junior college before attending a four-year institution. Students share their experiences and how students can benefit from attending a junior college. The smaller classes are beneficial and the opportunity to balance home life with attending college are among those benefits. The scene is filmed inside of a moving car while Don Gekkins, director of the Service Center Program, talks about how the program works. The next scene shows him entering a classroom where children are reciting words displayed on cards held by a tutor from the junior college. Don Gekkins is then shown leaving his house with his two sons and playing with them. Gekkins, in a voiceover narration, describes growing up in a depressed area of St. Petersburg. The next scene shows a college marching band leading a parade down a street. The narrator discusses this parade in the context of a four-year university and the distractions of a four-year university, particularly sports events. The university being discussed appears to be Howard University in Washington, D.C. After footage of cheerleaders and a football game, a football player is interviewed about attending college on a scholarship. After the interview, there is footage of a football practice. The next scene includes an interview with Tom Nelson, a college graduate and ex-professional football player. The next scene shows two men picking up trash on the sidewalk, then some other men performing municipal trash service. There is footage of a college campus, probably Clark University in Atlanta, while the narrator discusses the main reasons for attending college. The next scene shows a woman walking on a sidewalk and into a building while the narrator begins a discussion about financial aid. The woman enters an office and talks to a financial aid officer while the narrator discusses the difference between types of financial aid. The next scene shows a student from Nigeria at Morehouse College in Atlanta, and he discusses studying science to bring back knowledge to Nigeria. The film ends with the narrator presenting a summary of what has been discussed, and there is a montage of images from the entire film.

Topic: African American; Dance; Education; Football; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.54.2a

Restrictions & Rights: Public Domain

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Statues Hardly Ever Smile

16mm motion picture film of Statues Hardly Ever Smile

Directed by: Lathan, Stan, American, born 1945
Produced by: Chamba Productions, founded 1971
Created by: Collins, Kathleen, American, 1942 - 1988
Produced by: Garrett, Kent, American, born 1941
Subject of: Brooklyn Museum, American, founded 1895
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 19 Minutes; Length (Film): 750 Feet

Type: motion pictures (information artifacts)

Place filmed: Brooklyn, New York City, New York, United States, North and Central America

Date: 1971

Caption: 16mm color film directed by Stan Lathan and produced by Chamba Productions for the Brooklyn Museum about a program to bring children from the local community into the museum to create performance art. Includes footage of children interacting with objects in the museum and creating performances based upon their reaction.
Description: 16mm color film directed by Stan Lathan and produced by Chamba Productions about a program to bring children from the local community into the Brooklyn Museum to create performance art.; Consists of: 16mm Print (a).; 2012.79.1.63.1a: 16mm Print. The film begins with the camera panning around a room with many cases in the Brooklyn Museum. Children are heard in the voiceover narration describing the statues. The footage also includes close-ups of some of the statues. The next scene shows children and young adults following spoken directions to pretend they are holding various objects in their hands. The narrator describes how the children spent time in the rotunda of the museum for six weeks, and there is footage of the children participating in dance exercises in the rotunda. The narrator describes the idea for the project to bring children together with an object and create a performance around that. The next scene shows an object and children touching the face of another object. Some other children are shown in front of a different museum object and holding the same pose as that object. Children in the voiceover narration describe thinking about the objects and questioning what the people depicted in the objects are doing. As the narrator describes, the children participated in improvisation based on the space and the objects around them. The footage includes a group of students discussing how to put on an improvisation based on an object. The next scene shows the students performing the improvisation in the rotunda that they created. One of the boys reflects on how he did the improvisation. In the next scene, the students perform a dance while a man plays a drum. The next scene shows a man playing the piano and singing and the children sing along with him. The music accompanies a montage of the students doing various activities shown in the film. The final scene shows the students leaving the museum, a bus traveling a city street, one of the students exiting the bus and greeting some friends as the credits appear. The film ends with children playing in a circle on a playground.

Topic: African American; Art; Children; Communities; Dance; Education; Instrumentalists (Musicians); Museums; Singers (Musicians); Theatre; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.63.1a

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Statues Hardly Ever Smile

16mm motion picture film of Statues Hardly Ever Smile

Directed by: Lathan, Stan, American, born 1945
Produced by: Chamba Productions, founded 1971
Edited by: Collins, Kathleen, American, 1942 - 1988
Produced by: Garrett, Kent, American, born 1941
Subject of: Brooklyn Museum, American, founded 1895
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 19 Minutes; Length (Film): 750 Feet

Type: motion pictures (information artifacts)

Place filmed: Brooklyn, New York City, New York, United States, North and Central America

Date: 1971

Caption: 16mm color film directed by Stan Lathan and produced by Chamba Productions for the Brooklyn Museum about a program to bring children from the local community into the museum to create performance art. Includes footage of children interacting with objects in the museum and creating performances based upon their reaction.
Description: 16mm color film directed by Stan Lathan and produced by Chamba Productions about a program to bring children from the local community into the Brooklyn Museum to create performance art.; Consists of: 16mm Print (a).; 2012.79.1.63.2a: 16mm Print. The film begins with the camera panning around a room with many cases in the Brooklyn Museum. Children are heard in the voiceover narration describing the statues. The footage also includes close-ups of some of the statues. The next scene shows children and young adults following spoken directions to pretend they are holding various objects in their hands. The narrator describes how the children spent time in the rotunda of the museum for six weeks, and there is footage of the children participating in dance exercises in the rotunda. The narrator describes the idea for the project to bring children together with an object and create a performance around that. The next scene shows an object and children touching the face of another object. Some other children are shown in front of a different museum object and holding the same pose as that object. Children in the voiceover narration describe thinking about the objects and questioning what the people depicted in the objects are doing. As the narrator describes, the children participated in improvisation based on the space and the objects around them. The footage includes a group of students discussing how to put on an improvisation based on an object. The next scene shows the students performing the improvisation in the rotunda that they created. One of the boys reflects on how he did the improvisation. In the next scene, the students perform a dance while a man plays a drum. The next scene shows a man playing the piano and singing and the children sing along with him. The music accompanies a montage of the students doing various activities shown in the film. The final scene shows the students leaving the museum, a bus traveling a city street, one of the students exiting the bus and greeting some friends as the credits appear. The film ends with children playing in a circle on a playground.

Topic: African American; Art; Children; Communities; Dance; Education; Instrumentalists (Musicians); Museums; Singers (Musicians); Theatre; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.63.2a

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Statues Hardly Ever Smile

16mm motion picture film of Statues Hardly Ever Smile

Owned by: Bowser, Pearl, American, born 1931
Produced by: Chamba Productions, founded 1971
Edited by: Collins, Kathleen, American, 1942 - 1988
Directed by: Lathan, Stan, American, born 1945
Produced by: Garrett, Kent, American, born 1941
Subject of: Brooklyn Museum, American, founded 1895

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 19 Minutes; Length (Film): 720 Feet

Type: motion pictures (information artifacts)

Place filmed: Brooklyn, New York City, New York, United States, North and Central America

Date: 1971

Caption: 16mm color film directed by Stan Lathan and produced by Chamba Productions for the Brooklyn Museum about a program to bring children from the local community into the museum to create performance art. Includes footage of children interacting with objects in the museum and creating performances based upon their reaction.
Description: 16mm color film directed by Stan Lathan and produced by Chamba Productions about a program to bring children from the local community into the Brooklyn Museum to create performance art.; Consists of: 16mm Print (a).; 2012.79.1.63.3a: 16mm Print. The film begins with the camera panning around a room with many cases in the Brooklyn Museum. Children are heard in the voiceover narration describing the statues. The footage also includes close-ups of some of the statues. The next scene shows children and young adults following spoken directions to pretend they are holding various objects in their hands. The narrator describes how the children spent time in the rotunda of the museum for six weeks, and there is footage of the children participating in dance exercises in the rotunda. The narrator describes the idea for the project to bring children together with an object and create a performance around that. The next scene shows an object and children touching the face of another object. Some other children are shown in front of a different museum object and holding the same pose as that object. Children in the voiceover narration describe thinking about the objects and questioning what the people depicted in the objects are doing. As the narrator describes, the children participated in improvisation based on the space and the objects around them. The footage includes a group of students discussing how to put on an improvisation based on an object. The next scene shows the students performing the improvisation in the rotunda that they created. One of the boys reflects on how he did the improvisation. In the next scene, the students perform a dance while a man plays a drum. The next scene shows a man playing the piano and singing and the children sing along with him. The music accompanies a montage of the students doing various activities shown in the film. The final scene shows the students leaving the museum, a bus traveling a city street, one of the students exiting the bus and greeting some friends as the credits appear. The film ends with children playing in a circle on a playground.

Topic: African American; Art; Children; Communities; Dance; Education; Instrumentalists (Musicians); Museums; Singers (Musicians); Theatre; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.63.3a

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Statues Hardly Ever Smile

16mm motion picture film of Statues Hardly Ever Smile

Directed by: Lathan, Stan, American, born 1945
Produced by: Chamba Productions, founded 1971
Edited by: Collins, Kathleen, American, 1942 - 1988
Produced by: Garrett, Kent, American, born 1941
Subject of: Brooklyn Museum, American, founded 1895
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film
Dimensions: Duration: 19 Minutes; Length (Film): 720 Feet

Type: motion pictures (information artifacts)

Place filmed: Brooklyn, New York City, New York, United States, North and Central America

Date: 1971

Caption: 16mm color film directed by Stan Lathan and produced by Chamba Productions for the Brooklyn Museum about a program to bring children from the local community into the museum to create performance art. Includes footage of children interacting with objects in the museum and creating performances based upon their reaction.
Description: 16mm color film directed by Stan Lathan and produced by Chamba Productions about a program to bring children from the local community into the Brooklyn Museum to create performance art.; Consists of: 16mm Print (a).; 2012.79.1.63.4a: 16mm Print. The film begins with the camera panning around a room with many cases in the Brooklyn Museum. Children are heard in the voiceover narration describing the statues. The footage also includes close-ups of some of the statues. The next scene shows children and young adults following spoken directions to pretend they are holding various objects in their hands. The narrator describes how the children spent time in the rotunda of the museum for six weeks, and there is footage of the children participating in dance exercises in the rotunda. The narrator describes the idea for the project to bring children together with an object and create a performance around that. The next scene shows an object and children touching the face of another object. Some other children are shown in front of a different museum object and holding the same pose as that object. Children in the voiceover narration describe thinking about the objects and questioning what the people depicted in the objects are doing. As the narrator describes, the children participated in improvisation based on the space and the objects around them. The footage includes a group of students discussing how to put on an improvisation based on an object. The next scene shows the students performing the improvisation in the rotunda that they created. One of the boys reflects on how he did the improvisation. In the next scene, the students perform a dance while a man plays a drum. The next scene shows a man playing the piano and singing and the children sing along with him. The music accompanies a montage of the students doing various activities shown in the film. The final scene shows the students leaving the museum, a bus traveling a city street, one of the students exiting the bus and greeting some friends as the credits appear. The film ends with children playing in a circle on a playground.

Topic: African American; Art; Children; Communities; Dance; Education; Instrumentalists (Musicians); Museums; Singers (Musicians); Theatre; Urban life

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.63.4a

Restrictions & Rights: No Known Copyright Restrictions

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

Hands of Inge

16mm motion picture film of Hands of Inge

Directed by: Fletcher, John W. Jr., American
Edited by: Beveridge, Tee, American, 1923 - 1993
Subject of: Hardison, Inge, American, born 1914
Composed by: Mal Waldron, American, 1925 - 2002; Carter, Ron, American, born 1937; Dolphy, Eric, American, 1928 - 1964
Narrated by: Davis, Ossie, American, 1917 - 2005
Owned by: Bowser, Pearl, American, born 1931

Medium: 16mm Film (a): acetate film;; Reel (b): metal;; Film Can (c): metal
Dimensions: Duration: 10 Minutes; Length (Film): 412 Feet

Type: motion pictures (information artifacts)

Place filmed: Manhattan, New York City, New York County, New York, United States, North and Central America

Date: ca. 1962

Caption: This 16mm black and white film is a short film exploring the work and methodology of acclaimed African American sculptor Inge Hardison. The film, made relatively early in her career, details her working processes with clay, bronze, and wire.
Description: The 16mm black and white film serves as a short introduction to the work and methodology of acclaimed African American sculptor Inge Hardison. The film, made relatively early in her career, details her working processes with clay, bronze, and wire. The camera largely focuses on her hands, although there are also some shots that include her full body and the model, a young girl, Hardison's daughter, Yolande. The jazz music soundtrack features Mal Waldron, Eric Dolphy, Ron Carter, and Toni Ross. Hortense Beveridge edited the film. There is some voiceover narration by Ossie Davis.; Consists of: 16mm Film (a), Original 400 foot Film Reel (b), and Original 400 foot Can (c).; 2012.79.1.9.1a: 16mm film. The film opens with close-ups of Hardison's hands as she displays some tools, cuts a piece of metal, and begins the process of making clay for sculpture. The next scene shows her hands working with metal wire and wood and using wire cutters as she twists the metal around another object. At this point in the film, the narration by Ossie Davis begins. He introduces Hardison and then the camera shot pulls back to show her working on a sculpture on a waist-high table. All of the materials from the previous scene appear to have been used in the sculpture she is working on. The camera shot returns to a close-up of her hands as she molds the clay around the wire. As she continues to work, the clay is molded into the shape of a human head, and Davis reveals that she is creating a bust of Martin Luther King, Jr. The next scenes show some of her other sculpture, including one of Father John Coleman of Brooklyn, Nellie Carrington from the book Smokey Town Road written by Hardison, Elaine Atwell, and her niece Minnie Hardison. The montage of her works ends with a small full nude sculpture. The next scene shows a close-up of hands working on a sculpture of her daughter. Then the footage shows her daughter and compares her to the sculpture with sporadic narration by Davis. He then explains how she is preparing the sculpture to be made into bronze. The next scene shows her hands using pliers to work with wire. The final design shown is a man made of wire in a running position. The film ends with a montage of her hands with and without tools.; 2012.79.1.9.1b: Original 400 foot film reel.; 2012.79.1.9.1c: Original 400 foot film can. The metal can has a sticker label from a film company on one side and a hand written note taped on to the other side.

Topic: African American; Actors; Art; Jazz (Music); Women

Credit Line: Collection of the Smithsonian National Museum of African American History and Culture, Gift of Pearl Bowser

Object number: 2012.79.1.9.1abc

Restrictions & Rights: No known copyright restrictions

See more items in: National Museum of African American History and Culture Collection
Collection title: Pearl Bowser Collection
Classification: Media Arts-Film and Video

Data Source: National Museum of African American History and Culture

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Hands of Inge

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