This orangutan sympathizes with your post-summer blues
This orangutan sympathizes with your post-summer blues

Those of us at the IU Libraries’ Moving Image Archive know the feeling,the past few summer months saw your unbridled sense of freedom, your unabashed delight as you frolicked free from classrooms and quizzes. But now school is back in session and you’ve got to tame your wild spirit. Well fret not, the first Social Guidance Sunday of Fall 2016 will have your tail wagging and your whiskers twitching with fun educational films about animals!

That’s right, the cat’s out of the bag, this month’s set of 16mm films is a medley of animals and genres. Starting out with some important lessons that are applicable to animals and humans, we have included films that will help you navigate conversations with all sorts of species.

First up we meet Skipper, a dog who expresses some racist tendencies – lame! But have no fear, as a 1952 educational film, Skipper has become a social media pariah among film archivists on social media – hey, we have to have somethingto get excited about!

Before there was Grumpy Cat, we had Tommy Cat (1974, 8 min). Tommy Cat doesn’t like being a cat anymore and wants to try out a new species for a change.


Tommy Cat (1974) on a mission to reinvent himself


Created by Moreland-Latchford Productions, a Canadian film company, this is part of a double-ending animal film series. These films – with titles like Tubby Bunny and Tuffy Puppy – were created to help primary school children consider the implications of decisions and how each ending would impact the story.

If you think communication among animals can get tricky, just think about how human scientists try to do it! Wild Science: Communicating with Animals (1976, 11 min) illustrates two successful experiments involving communication between human researchers and animal species. There’s Morgan the pilot whale to the rescue if we needed a torpedo retrieved and disarmed and then there is Lana the chimpanzee who can communicate intelligently but gets a little existential at times.

Like humans, animals can be very competitive. Especially when it concerns their children! In Farmyard Babies (1978, 7 min), we meet Molly the farm dog, tasked by the farm animals to check up on all of the new baby animals and decide who has the cutest offspring. I won’t spoil anything but I’ll warn you that Molly may be a bit biased (not like Skipper, though!).

When you’ve visited a zoo, do you ever feel like the animals are watching youA Zoo’s Eye View: Dawn Til Dark (1973, 10 min) proves that in fact, they are. What can we say, you are some fascinating creatures! There are plenty of classroom films featuring zoos and some can be very upsetting but this film makes you remember a day at the zoo fondly.

In a more melancholic nostalgic note, the penultimate film provides a non-narrated meditation. Not your typical educational classroom film, Scatsophrenia (1976, 11 min) provides a cat’s eye view of the city at night and a daydream of being a wild tiger. Combining several musical influences from John Lennon to jazz, this film may resonate with your more animal side.


We conclude “Animal Sense” with a black and white film from 1932 called Under the Sea. If you are familiar with nature documentaries, especially Jean Painlevé’s work, you may recognize this kind of style. Admittedly, an older, black and white film may not be a barn-raising hoot, but before you go to the water trough, listen up for a soundtrack composed specially for this film. This musical accompaniment will be performed by Andrew Slater.

As you can see, we’ve packed the program with some strange, silly, sensory-exciting films featuring our furry, slippery, smart animal friends. Come hang out and play Bingo based on these films!

Please consider bringing a donation for My Dog is My Home Service Day! On November 6th from 9AM-noon in Seminary Square, there will be services for homeless people and their animals – veterinary check-ups, grooming, etc. Please bring food, toys, and other care supplies!


Schedule of films:

Skipper Learns a Lesson (1952, 11 min)

Tommy Cat (1974, 8 min)

Wild Science: Communicating with Animals (1976, 11 min)


Farmyard Babies (1978, 7 min)

A Zoo’s Eye View (1973, 10 min)

Scatsaphrenia (1976, 11 min)

Under the Sea (1932, 6 min)

~Blog post brought to you by Katie Lind

Meet Our Researchers: Denisa Jashari

This is the first of an irregular series where we interview researchers who use the collections from the IU Libraries’ Moving Image Archive. We hope that these interviews help shed light on the connections between researching moving images and other types of archival materials, as well as promote the incredibly interesting scholarship of the faculty and students who watch our films. Our inaugural researcher is Denisa Jashari, who is a PhD candidate in the History Department here at Indiana University.

Q: What is your dissertation about?

A: Broadly speaking, my dissertation investigates political, social, and cultural organizing in Santiago’s southern shantytowns during the civil-military dictatorship of Augusto Pinochet (1973-1990) and the decade of Center-Left democratic rule that followed (1990-2002). My research suggests that throughout its rule, the military government drew heavily on a spatialized understanding of urban geography to link shantytowns’ physical marginality with a discourse that emphasized their innate undesirability with respect to a new, “modern,” Chile. The literature on shantytowns has a tendency to present poor, urban dwellers as empty referents for all sorts of depictions, including as the lumpen of urban decay and deindustrialization, as dangerous and threatening, or as having the potential for social upheaval and political action. I engage the seemingly esoteric concepts of lumpenproletariat (the underclass) and abjection, but I unbind them from dogmatic Marxism on one hand and psychoanalysis on the other to argue that as operational concepts of elite actors at the time, these concepts reveal the processes through which the dispossessed individual has been constructed. While on one hand I trace the multiple strategies deployed by powerful actors such as the state, NGOs and political parties in their attempts to control the poor or ascribe certain qualities onto them, on the other, I showcase how dwellers’ multiplicity of protest and cultural activities forged a distinct political culture to counteract different forms of exclusion. My dissertation project combines historical methods with elements from critical geography and provides vital insights into the interplay between neoliberal governance and poor urban politics during dictatorship and democracy in Chile. Ultimately, my research engages the ways in which neoliberal governmentality has reshaped the relationship between individuals and the body politic.

Q: What’s your larger experience with archives in your dissertation research? What other archives have you consulted in your research?

A: My history dissertation combines archival and oral history research. When I am not conducting interviews, I spend most of my time tracking down archival sources from the 1970s through the early 1990s. Usually the hunt for documents takes me all over Santiago and to places such as the National Library, the Archive of the Administration (ARNAD), Catholic parishes, and the offices of various NGOs who produced lots of material on shantytown socio-cultural and community organizing. Most of my sources are “unconventional” for a historian, and given that my project deals with very recent history, including the dictatorship, the material I seek is often not in archives but in people’s homes and private collections. Some archival finds are purely serendipitous while others take a lot of time and effort, and depend on your ability to make contacts in the academic and larger community. I have had the most difficulty tracking down maps of Santiago from the 1970s and the 1980s, especially maps that actually mark the location of shantytowns (a more accurate term is the Chilean poblaciones). While some collections are digitized, most of the sources I need are not, so I have to travel to Chile often.

Q: What film(s) did you watch at the Moving Image Archive?

A: I watched Campamento, a 28-minute documentary film on the struggles to establish formal recognition of the shantytown Nueva Habana in Santiago, Chile.

Q: How did you find out about this film? How is it related to your topic?

A: Professor Jeffrey Gould, a member of my dissertation committee, first mentioned the film to me. He urged me to find it. I realized that IU had a 16mm copy of the film and I requested to watch it. Campamento is a documentary filmed between 1970 and 1972 in what was then an illegal settlement called Nueva Habana. The film explores the role of the Movement of the Revolutionary Left (MIR) in dwellers’ struggles to receive legal titles to the land and to formally create a shantytown by the same name. For me, it was important to have actual visual evidence of the process by which the urban poor organize themselves and their spaces. Having access to such rich visual material from the early 1970s and being able to watch community organizing for housing rights, education, and self-government was really moving. Campamento speaks directly to my interests in shantytown organizing, community solidarity, and the role of Left parties therein.

Q: How did you find out that the Moving Image Archive had the film?

A: I initially searched for Campamento in IUCAT and discovered that a 16 mm single film reel was being held right here at IU. Once I requested the item, I received an email from Andy Uhrich, Film Archivist at IU Libraries Moving Image Archive. Andy and I set an appointment at the Moving Image Archive where he demonstrated how to use the equipment and made the whole experience of handling film much smoother!

Q: What did you learn about your research topic by watching the film? Did anything in it surprise you or reveal new aspects of your research topic? Did it open up new questions that you need to research further or answer any questions you were already thinking about?

A: Campamento reinforced my initial interest in space and how people both structure and navigate the spaces they construct as well as the larger city landscape. The footage of the process by which residents took over a plot of land and combined the populations of three campamentos (settlements) into the Nueva Habana población was particularly enlightening. The film inspired me to observe visual documents more carefully and to think about where certain institutions are located in relation to one another and to people’s homes. For example, the placement of the neighborhood council, the local parish, or the school is not accidental, neither is the naming of a certain población. The name of the shantytown, “Nueva Habana” or “New Havana” speaks to political affinities with the Cuban revolution. Shantytown dwellers continue to be stigmatized because they inhabit places that are perceived to be marginal and thus “inferior.” I cannot emphasize enough how helpful it was to actually see the tin-covered roofs of people’s homes, the dirt roads, and most importantly, the courage and dignity with which people fought for their right to live. Such observations inspired by Campamento will help me ask better questions to my interviewees.



IU’s Carolyn Guss “Meets” Edward Feil in 1956

As I have mentioned in my previous blog posts, my summer has consisted of inventorying and researching the Edward and Naomi Feil Collection here at Indiana University Libraries’ Moving Image Archive. Just last week, I moved from inventorying the films to wading through the papers in the collection. At first, combing through the papers didn’t seem that enticing of a task because inventorying the films had proven to be such a fascinating and moving experience for me not only as a media archivist but as a human. I have been given the chance to examine the artistic process of a filmmaker whose passion burned so hot with his love for cinema that even his home life seemed like a film set. He could even make something like a cashmere factory look cinematic.

That being said, I moved onto the papers anyway and I was proven wrong. The papers gave me an even more detailed look into the world of Edward and Naomi Feil. Ed kept many interesting things that will ultimately prove to be equally as beneficial in understanding why he became a filmmaker and how he made his films. He also kept some of the correspondences he had with academic institutions who were interested in either purchasing or renting his educational films. This proved to be quite serendipitous for us here at Indiana University Libraries’ Moving Image Archive because some of these correspondences connected Edward Feil directly to Indiana University’s Division of Library Science in 1956. Below in chronological order are the correspondences between Carolyn Guss who was the Associate in Selection, Audio Visual Center, LaVern Walther, an assistant professor within the Divison of Library Science and of course, Ed Feil.

   img091On April 21st, 1956, Ed wrote to Lavern Walther explaining that he had been informed by phone that the Division of Library Services here at Indiana University was interested in purchasing a print of a film made about libraries, The Winged Bequest. This film centers around the services libraries can offer to help the handicapped and those who could not leave their homes to go the library.

Six months later on October 11th, Carolyn Guss wrote Ed Feil wondering if he could send the library a copy of the film to preview at no extra cost:



Eleven days after that on October 22nd, Ed proceeded to send Carolyn Guss an audition print of The Winged Bequest for preview:


On November 20th, Carolyn sent Ed a telegram to inform him that the print was being returned and that the library had to delay their purchase since the decision was still pending:

Upon reading the telegram, I was saddened by the response from Carloyn Guss knowing that The Winged Bequest was and still is a film that speaks for the handicapped and the wonderful services libraries can offer for them. Then I realized that even though the final correspondence between Carolyn and Ed seemed to be missing, I could check IUCat and see if the film was in the audio-visual collection here at Indiana University. There it was! We had the answer all along!

Screen Shot 2016-08-16 at 10.00.50 AM

-By Rob Anen

‘THINK’ing About the Feil Collection and the Importance of Home Movies

Issue of Business Screen magazine on films at the World's Fair found in the Feil Collection.
Issue of Business Screen magazine on films at the World’s Fair found in the Feil Collection.

Last week I mentioned that the research we are doing on the Edward and Naomi Feil Collection here at Indiana University Libraries’ Moving Image Archive has lead to the discovery of something very unique within their home movies.  First, a short back story; as a graduate student of NYU’s Moving Image Archiving and Preservation program, I had the opportunity to visit the Library of Congress Packard Campus for Audio-Visual Conservation in Culpeper, Virginia back in February. On the last day of our five-day tour of the campus, my cohort and I were treated to a screening of a restoration of a very unique film that debuted at the 1964 World’s Fair in New York, Think. The film was created by the famous designers and artists Charles and Ray Eames for IBM’s pavilion at the World’s Fair. It was exhibited on nine screens in the same theatre. There are two versions of Think, the 1964 version and the 1965 version. We saw the 1965 version in February and it’s a film you don’t forget. The 1964 version has been difficult to reconstruct due to the fact that no record exists of how it was exhibited. 

0141122016da0bf3e91ff9c2a5c85218df272ffd64Within the home movies of Edward and Naomi Feil exists footage from the 1964 World’s Fair. Ed never put his camera down and that included when he went into the theatre to watch Think. Thanks to Ed’s penchant for filming everything we now have three minutes of the 1964 version of Think as it was shown in the theater. Ed Feil spliced all the reels he shot from the World’s Fair in sequence as he did with every trip he went on. I noticed the footage right away when I was inspecting the reel because the Ektachrome color reversal at the start of the reel changed to a black and white Kodak stock. I would bet my life on it that Ed knew about the film being shown at the World’s Fair and intended to shoot footage of the film as an eternal lover of cinema.  As evident when watching the entire reel, the black and white portion in between the rest of the Ektachrome had a much higher ISO.  Ed changed the film in his camera while he was still in the theater, films another thirty seconds or so on the Ektachrome reversal and Think becomes muddled due to the lower ISO.

As soon as I noticed this unique footage, I contacted George Willeman, the Nitrate Vault Manager at the Packard Center and he exclaimed that “the big deal with this home movie is that it is (far as we know) the only footage of the 1964 version of Think. He also went on to say that this home movie “is going to make us re-think our restoration!” I am beyond thrilled that the work we are doing here at Indiana University Libraries’ Moving Image Archive is leading to exciting and pivotal discoveries such as this. 

Original label on the can the "Think" footage was found in.
Original label on the can the “Think” footage was found in.

Lastly but not less important was the discovery of what may be the most endearing home movie ever filmed by any person ever. Ed and Naomi Feil got married in 1963 and went on their honeymoon to the Bahamas. Much like his official productions, Ed went into this with a vision and edited together the most beautiful cinematic love letter to Naomi. Ed saw no line separating his official productions and his home movies. Ed composed this film the same way we composed the rest of his productions and set the film to music.  I cannot wait to make this accessible to you all one day. As evidenced by my blog posts there are many exciting things to come with the Edward and Naomi Feil Collection. 

Original can, screen shots and tail of "Honeymoon."
Original can, screen shots and tail of “Honeymoon.”

– Robert Anen

Traveling Around the World with Ed and Naomi Feil

Robert here again:

Last week I alluded to the fact that Ed Feil was not your average filmmaker. He put great care into every production he made for Edward Feil Productions and the same went for his home movies. As early as 1939, Ed was making his own productions at home on 8mm, editing them and creating his own title cards. By the time Edward Feil Productions began in 1952, with the production materials at his disposal, he was shooting all of his home movies with his family and friends on 16mm film. By the 1970s, with his clap board in hand, he was recording sync sound on magnetic track at family gatherings.

In the 1950s and 1960s, Ed and his family traveled all over the world and by the looks of it, filmed everything. Here at the Indiana University Libraries’ Moving Image Archive we have in our possession hundreds of feet from many exotic places: Paris in 1945, Vienna in 1946, Mardi Gras/Miami in 1954, Las Vegas in 1956, Hong Kong/Rangoon/India/Afghanistan in 1956, Milan/Venice Florence/Rome/Capri/Switzerland in 1959, the Bahamas and Denmark in 1963, both New York World’s Fair 1939/1964, Mexico in 1967, Bermuda in 1969, New York and Puerto Rico in 1972, and Disneyland in 1970/1979. All in color. This doesn’t even include the countless family events that Ed has filmed over the years, some have a matching magnetic track.

Based on our in-progress work on the Feil’s films, home movies make up roughly 15% of the Feil Collection. Truth be told, we have only just started to inventory this collection and these are the gems we have uncovered.  I consider myself incredibly lucky to have the ability to work on such an exciting collection to work on.  Not only does this collection contain industrial films that span many decades and multiple professional fields but well-crafted home movies too.  We aren’t talking about disparate, 100-foot reels of 16mm home movie footage. Ed had the foresight to splice together all of the reels from a given trip in chronological order, number the reels and sometimes insert titles card for changes in destinations such as this one seen below:


In the case of this still taken from Ed’s time in Italy in 1959, Ed shot a few hundred feet of each destination he went to within Italy: Milan, Venice, Florence, etc. and then with the extra shots he had left over, he edited together a travelogue. This was not the first time he did this. We also possess an edited travelogue of Ed’s time in Asia in 1956. In that case, pieces of leader with the change of country are supplied in between each 100-foot reel of Kodachrome. He hadn’t yet elevated his home movies to the production level of his Italy trip.  By the late 1950s and into the 1970s, Feil home movies all retained a similar form. The first reel of every trip begins with the family getting on a plane, a shot of the pilot in the cockpit, the takeoff, the landing. The last reel of the every trip ends as same way, with the Feils once again getting on a plane headed for home, a shot of the cockpit, etc.  Every trip spliced together in sequence for our viewing pleasure. Here are some quick pictures I snapped with my iPhone from our Steenbeck:

Italian Countryside, Milan, 1959


Las Vegas, 1956


Next week we will take a look at more of Ed’s home movies and how the inventorying of this collection has led to Indiana University Libraries’ Moving Image Archive assisting the Library of Congress in research for a restoration they are working on.

-By Robert Anen

Meet Our Summer Intern Robert Anen!

Hello! My name is Robert Anen and I’m a graduate student who’s currently enrolled in NYU’s Tisch School of the Arts, Moving Image and Preservation program. At the moment I am halfway through the program and as a requirement, I have to intern throughout the summer. This has landed me here at Indiana University Libraries’ Moving Image Archive. This week marks my fifth week here and I have five more to go.  While I’m here I will have a chance to witness the inner workings of a moving image archive for the very first time in my career. Indiana University Libraries’ Moving Image Archive has also moved into a beautiful new space on the ground floor of the Wells library so it shall be a new experience for both the archive and me.

Here I am working on the Edward and Naomi Feil Collection:

Copy of IMG_4480

I have been assigned to the Edward and Naomi Feil Collection while I’m here. Edward Feil created Edward Feil Productions in 1952 and continued to make films into the 1990s.  From the more than three hundred film reels we have already inventoried here at Indiana University Libraries’ Moving Image Archive, we can tell you that Ed has made films for multiple industries since the creation of his production company. These industries include the surgical field, mechanical engineering, dental, nursing, the librarian field, fashion, art, gerontology, and municipal development.  

Edward Feil Productions was based out of Cleveland, Ohio and towards the late 1960s Ed’s wife, Naomi, was involved in the filmmaking process. She researched, wrote scripts, starred in, filed the copyrights and later went on to edit some of Ed’s films. Though the collection is far from being completely processed, from what we already know, Naomi‘s involvement helped shape the direction that Edward Feil Productions would move in as time moved on.

Naomi Feil is a social worker who is still active today and helping people all over the world. In fact, that seems to have been the mission of Edward Feil Productions, help people. Naomi developed a method to communicate with people who have Alzheimer’s disease called The Validation Method. This led to many successes for the Feils and a number of the films that Ed created for his company involve Naomi using the Validation Method on elderly patients.  

This is just a very brief overview of the discoveries we have made as we work on the Edward and Naomi Feil Collection here at Indiana University Libraries’ Moving Image Archive.  I’m so fortunate to be part of this archival family.  I will be posting more updates in the near future on the Feil Collection and the many goings on here at Indiana University Libraries’ Moving Image Archive. Until then, I will be enjoying this gem of a town, Bloomington, Indiana. 


Social Guidance Sunday is Back for a Special Summer Edition! See it at 8pm on July 10th at the Bishop Bar in Bloomington.

You'll feel you're on flying on a carnival ride in "Your Indiana State Fair" (1947)
You’ll feel you’re on flying on a carnival ride in “Your Indiana State Fair” (1947)

It’s summer time but that doesn’t mean a break from Social Guidance Sundays! “Too Cool for Summer School” will have you humming along to a song with Smokey the Bear, preparing your next lemonade business venture, and practicing your frisbee throwing skills. You may even want to enter your prize watermelons and farm animals into the Indiana State Fair! This special summer program visually captures all of the fun summertime activities while gently teaching you about the perils of sun damage and the need for fire safety. There are plenty of amazing feats, delicious treats, and sporting meets to entice you!

As you prepare to embark on your summer adventures, there is one big factor to prepare for — the sun! If you are going to indulge in some fun in the sun, consider our first film, Sun – Friend or Enemy? (1949, 5 min.). Getting a tan may seem appealing, but you don’t want to look like a roasted hot dog!

Captivating juxtapositions featured in "Sun - Friend or Enemy?" (1949)
Captivating juxtapositions featured in “Sun – Friend or Enemy?” (1949)

Once you’ve lathered up with sun block, you will be partially prepared to start your lemonade business. However, you will want to watch Lemonade Stand: What is Fair? (1969, 13 min.) to consider fair practices when it comes to going into business with your buddy or your brother!

A prize-winning heifer from "Your Indiana State Fair" (1947)
A prize-winning heifer from “Your Indiana State Fair” (1947)

As you may already know, it is a customary characteristic of a Hoosier to attend the Indiana State Fair. While the state fair took a break during World War II, it re-emerged in 1946 with plenty of exciting features. Your Indiana State Fair (1947, 22 min.) will make you feel like you are walking among the prize-winning farm animals, playing carnival games at the Midway, and eating cotton candy. This film is so realistic that we’ll offer a short intermission for you to go get another drink!

The program will return with a familiar face, Smokey the Bear, as well as “The Voice of RCA,” singer, actor, and writer, Vaughn Monroe. Both of these celebrities caution about protecting the forest from wildfires caused by careless behavior in A Vision in the Forest (1957, 5:20 min.).

Vaughn Monroe’s soulful singing will certainly put you in the mood for the next film, Seasons of Sexuality (1980 14 min.). This film reminds us what summer is really about: hanging out at the beach, spending time with people you love, and shedding your inhibitions (and perhaps clothes!).

This pooch catches discs with poise in "Floating Free" (1977)
This pooch catches discs with poise in “Floating Free” (1977)

On that note, we close the program with the 1977 World Frisbee Championships. What was probably a stressful competition for these frisbee players looks effortless as they gracefully throw discs across the field. Floating Free (1977, 11 min.) will put you in a summer mindset.

Program Schedule
Sun – Friend or Enemy (1949, 5 min.)
Lemonade Stand: What Is Fair? (1969, 13 min.)
Your Indiana State Fair (1947, 22 min.)
A Vision in the Forest (1957, 5:20 min.)
Seasons of Sexuality (1980, 14 min.)
Floating Free (1977, 11 min.)

For more information on this event and to let us know you’re attending please read visit our Facebook page for the event.

~Katie Lind

Carla Arton joins the Moving Image Archive team

My name is Carla Arton and I recently joined the IU Libraries Moving Image Archive this past February as the new Film Digitization Specialist. I’m so happy to be a part of the Archive team and to work with our great collection. My initial work includes creating a minimal item level inventory of film held within our archive and within other special collections around campus. I will also be setting our standards for digitization and building up our infrastructure and workflows in order to process large collections quickly and prioritize them for digital transfer; and restoration for our higher profile titles.  
I come from the Library of Congress where I was a Recorded Sound Library Technician. While there I worked on multiple high profile projects and collections, such as the National Jukebox, the Tony Schwartz Collection, and the Film Synchronization Disc collection. Prior to my Library of Congress work, I served as the first Film Archivist at the Wende Museum of the Cold War and spent the beginning of my career at Chace Audio by Deluxe preparing multiple audio formats for preservation and restoration. 
I currently serve as Co-Chair of the Association of Moving Image Archivists’ (AMIA) Education Committee, which provides information on educational resources and training opportunities for students and professionals in audiovisual archiving. I also hold a master’s degree in Film Archiving from the School of Film and Television Studies at the University of East Anglia and a bachelor’s degree in Film Studies from Chapman University.  
I’m also a classic Hollywood fan; proud to have lobbied for Betty Grable’s Down Argentine Way to be added to the National Film Registry. Please come stop by our space in the Herman B. Wells Library to say Hello. I’d love to show you what we’re up to. 
–          Carla Arton

April SGS: Mmmm! Digesting Educational Films about Food

We know you are salivating for another scrumptious Social Guidance Sunday so we are pleased to close out the spring semester with a treat! “Mmmm! Digesting Educational Films about Food” dishes out delicacies featuring good nutrition, funny industry films, and morsels of movie magic to munch on.

Mysto the Magician in "Food and Magic" (1943)
Mysto the Magician in “Food and Magic” (1943)

Cut from the highest grade and arranged to perfection, we bring you an array of savory 16mm films. The appetizer is a short classroom film from 1951 featuring Bill, a glutton for junk food (Good Eating Habits, 1951). The first course will be Eating on the Run (1975), a comical film featuring good nutrition and the importance of taking time out to savor your food.

In Mystery in the Kitchen, we experience a little domestic intrigue as we follow an invisible detective as he investigates an average housewife’s meal preparation for her family.

Housewives bear the burden of making sure their families are well-fed as we see in the third course, Food and Magic (1943), where Mysto the Magician explains better food management to prevent waste. Dessert will be brought to us by the U.S. Department of Agriculture who made a comical film featuring the importance of statistics and selecting food. Even if you don’t much care for math, this film will have you craving for more numbers!

From Canada’s Food Guides
From Canada’s Food Guides

We encourage you to eat, drink, and be merry as we bring you foodies films that inspire critical reflection as well as a satisfied pat on the stomach. Our guest programmer for this delicacy is Rebecca J. Butorac, a food studies scholar who is interested in the intersections between food, social class, and culture. She is particularly interested in how media portrayals of “correct” shopping, eating, and housekeeping habits tend to ignore the social, cultural, and economic differences that shape our attitudes toward – and access to – food.

If this program makes you hungry, and we are positive it will, there will be food trucks stationed outside of the Bishop for your dining needs. Food trucks will be available starting around 7pm. The show will begin at 8pm on Sunday, April 17th.

April’s Films:

Good Eating Habits (1951)

The Eating on the Run Film (1975)

Mystery in the Kitchen (1958)

Food and Magic (1943)

Alice in Numberland (1962)˙

Bloomington’s Gyro Truck will be outside of the Bishop from 6:30pm-8:30pm on Sunday, April 17th!
Bloomington’s Gyro Truck will be outside of the Bishop from 6:30pm-8:30pm on Sunday, April 17th!

~Katie Lind

The IU Libraries Moving Image Archive Acquires the Hal and Kathryn Stewart Collection

The Indiana University Libraries Moving Image Archive (IULMIA) is happy to announce its recent acquisition of the film collection of Hal (1899-1991) and Kathryn (1908-1981) Stewart. The married couple owned and operated the Denver branch of the Ideal Pictures Corporation, one of the major distributors of nontheatrical film in the middle half of the last century. The Stewart Collection’s 662 film reels and Ideal catalogs are the artifactual remains from the couple’s four decades of working in the nontheatrical film field from 1941 to 1980.

Kathryn and Hal Stewart

The Stewarts’ work in the film business started much earlier than their time with Ideal. According to their daughter Susan Stewart Moss and son-in-law Robert Moss, the generous donors of this collection, the Stewarts met in 1925. Kathryn was employed as a silent film accompanist at the Star Theater in Fort Lupton, Colorado. The Star was one of a small chain of theaters owned by Hal and his brother in Colorado and New Mexico. After they married, the couple traveled around the eastern United States showing films such as De Mille’s King of Kings (1927) and The Silent Enemy (1930) in small towns without movie theaters. At some point in the mid-30s, after returning to the Rocky Mountains, the couple entered the distribution business founding Barnes-Stewart Films. How the Stewarts became involved with Ideal is still being researched. Their experience as itinerant exhibitors is one possible connection as Ideal specifically marketed its rental service to what were called at the time roadshow men.

The Denver office of the Ideal Pictures Corporation.

The Stewart collection represents only a tiny percentage of the thousands of films distributed by Ideal. In fact, the ever-expanding size of its rental library was one way Ideal  promoted its service above other nontheatrical film distributors of the time such as Films Incorporated and Bell & Howell. However, the films in the Stewart Collection offer a representative sample of the large number of film genres Ideal rented under the umbrella term nontheatrical film. This collection shows how nontheatrical film was more of a business model incorporating any type of movie that could be used outside of an initial theatrical run than a genre or formal set of filmmaking techniques. For example, the Stewart Collection includes educational films, travelogs, sponsored films promoting Pan Am airlines and Standard Oil,  B-Westerns, serials, musical shorts, and US government produced propaganda films from World War II.


IULMIA’s staff is still inventorying and inspecting the films in the Hal and Kathryn Stewart collection. Future blog posts will use this collection to examine what nontheatrical film was and who would have seen these films. Upcoming installments in this series will explore nontheatrical film circulation through a close look at the business practices of Ideal Pictures and its founder Bertram Willoughby, and highlight individual films in new digital transfers to look at the specific genres of nontheatrical film including travelogs, religious films, and promotional films.