Apr 28, 2017

The Ballad of Sexual Dependency



The Ballad of Sexual Dependency by Nan Goldin, an essayistic slideshow of nearly 700 photos taken by Nan Goldin throughout the 1970s and 80s was recently taken down from exhibition at MoMA. In a scramble to see this piece before being taken down, I rushed the day before its end to wait in line and to see what my reaction would be. I had seen a small segment merely two days before, and found myself moved by the work in a way that I couldn't explain, and I needed to see more. So, on the 15th of April, i went to MoMA, wormed my way into the room where it was being shown to a packed and rapt audience, and sat through the entirety of the piece twice. And afterwards, I found myself so moved by the piece, so in need to preserve my connection to the work, that I immediately went to the bookstore on the premises and bought the photo book collection of roughly 250 of the photos from the work. To hold on to the memory of the work, and the powerful effect it had on me. I ended up crying three times that day, twice during the show itself and once hours later at the memory of the piece. I haven't been moved by art so strongly in some time, and that I was able to see this just days before it would be taken down, and unknown years before I would ever be able to see this work again, fills me with an energy and hope. To see it in its original 35mm slide format only enhanced the experience

Raananah Sarid-Segal


Apr 15, 2017

Floral Juxtaposition


by 
Manon Gray


Over spring break I visited the de Young Art Museum in San Francisco. It happened to be during their annual Bouquets to Art. The museum invites florists from around the Bay Area to create flower arrangements that pair with art in the de Young's collection. I've been several times, and there's always been a large crowd. Picture taking of the flowers is so popular that the museum advertises photo-free hours in the morning. Bouquets to Art is a fundraiser, and, according to the museum's website, has "raised more than $6 million for the Museums' special exhibitions, conservation projects, and education programs."

I always find the level of excitement around the flowers intriguing.  It's tempting to conclude that people like flowers more than they like paintings, but I don't think that is it.  I think that the flowers make the art less intimidating. Often art can feel inaccessible without some understanding of its art history context. Since the bouquets are usually paired with a single work, they are interpretations. A visitor can easily compare the arrangement with the work. The arrangements are usually not figurative, so the comparison invites consideration of the piece's formal characteristics such as color and shape. The comparison provides structure for contemplation.

None of the works featured in Bouquets to Art were moving images, and I don't think flower arrangements would pair as well with them compared to static works. However, I wonder if a different juxtaposition could provide similar effects for the interpretation and appreciation of moving images.









Apr 14, 2017

Egyptian Theatre Screens Nitrate Prints

The TCM Classic Film Festival ran from April 6-9 this year, and like any other year, they aired time honored classics in iconic Hollywood venues, sometimes with the artists themselves as guests of honor. This year was entitled Comedy in the Movies, but that wasn't the detail that was particularly special about the event. This year, TCM screened four of their features using nitrate prints of the films. The short but exciting list consisted of the titels: Laura, The Man Who Knew Too Much, Lady in the Dark, and Black Narcissus. Even more exciting, the latter three films are color nitrate stock. Due to Kodak ceasing nitrate producing in 1950, color prints are far less common than earlier black and white films.

In order to accommodate this endeavor, the projection booth at the Egyptian Theatre, where the films were shown, had to be remodeled to be brought up to modern construction codes. This was a collaboration between TCM, Martin Scorcese's The Film Foundation, Academy Film Archive, and the American Cinematheque. Additionally, the project also modified two 35mm projectors: they were connected to a large emergency button. In the case of a fire, when depressed, the button shuts off the projectors and activates metal fire shutters that encase the projection booth to isolate the fire.

While the project itself is exciting enough, the long lasting effects are even more enticing: because the Egyptian is now up to code, they have future plans to show nitrate films in their programming from time to time. This is fantastic news for those who have never seen nitrate projected – which is a large number of younger peoples – and has implications for increased access not only at this theatre, but proves that with some motivation, it is a possibility for other theatres and venues (funding available) as well. 


-- Melanie Miller

Apr 12, 2017

'Casablanca' in the Age of Trump

Last week, I attended an event hosted by Eugene Lang College and The New School; specifically, the Department of Culture and Media at Eugene Lang College of Liberal Arts and the Zolberg Institute on Migration and Mobility, as well as the Department of Liberal Studies at The New School for Social Research. The event included a screening of the classic 1942 film Casablanca, and was titled "Casablanca at 75: A Refugee Story."


I was incredibly excited about the event for two main reasons: Casablanca is one of my favorite films, and one of my primary passions concerning cinema is the ability to recontextualize stories across time, culture, etc. in order to invoke new meanings from them. In the age of Trump and the divisive rhetoric surrounding immigration, this screening event appeared to be the perfect antidote and opportunity for discussion around "new" meanings of a classic film.

The event was also to include a conversation with Noah Isenberg, a Eugene Lang College professor of Culture and Media and the author of We'll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood's Most Beloved Movie, and Alexander Aleinikoff, director of the Zolberg Institute on Migration and Mobility at The New School. The conversation was to be moderated by A.O. Scott of The New York Times. Honestly, I cannot think of a set-up for an event that could possibly excite me more than this one; when I discovered it on Facebook, I immediately registered (it was also free).

Unfortunately, the event fell incredibly short of my expectations. The venue at The New School was nice and there were about 40 people in attendance (fewer than I had anticipated). The screening was fine - the film seemed to be played via DVD - but there was no real introduction beforehand. When the three men took to the stage after the film ended, no introductions were made. There was also no program or pamphlet, and so I had no idea who was who and had forgotten exactly which each person's expertise was supposed to be. They launched into a too-casual conversation that talked some about the film's renewed relevance in the current political climate, but it felt more like a chat between friends and we all just happened to be there, too. While I think a casual discussion at at event like this is often fine, introductions were definitely necessary and it would have been nice to have felt more addressed as audience members. The conversation lasted 25 minutes or so, with nothing all that substantial to contribute to the relevance of the film.

I had high hopes for this sort of recontextualization of such an iconic film - it felt like it would be the perfect event - but it seemed to fall short based on poor planning and execution. It might have been a really impactful conversation, but I left feeling like I had watched a film I had seen a hundred times before with no new insight. It's unfortunate, because obviously these men have remarkable expertise on the topic. With more proper planning, it might have been a really special experience.

- Sarah Dawson

Apr 9, 2017

On a Mission to Rescue Home Movies and Orphan Films

     “Home movies too often have been perceived as simply an irrelevant pastime or nostalgic mementos of the past, or dismissed as insignificant byproducts of consumer technology”.  Patricia Zimmerman and Karen Ishizuka say it best in their book Mining the Home Movie: Excavations in Histories and Home Movies.  I am a firm believer of this, that home movies serve a much greater role outside of the families that they belong too.  The Center for Home Movies proclaims on their website that “you may be surprised to learn that your home movies can hold great interest for a much wider public, including local historians, international scholars, and artists. Popular celebrities or historic events that appear in your films would be obvious examples, but in fact it is the record of normal human beings being themselves in everyday circumstances that may be of most historical value.” This brings me to the questions: Can someone curate home movies and only home movies? This question stems from a paper I wrote for my final assignment in Howard Besser’s Culture of Archives, Museums and Libraries class in the spring of 2016. In this paper, I surveyed three historic houses located on Long Island, New York. A historic house can be defined as a building, where people can go to learn more about their local history of the town they live in.  Some of those houses represent a single family that once owned most the land at one point in time.  These types of houses are common throughout Long Island and much of the country and I was wondering if I could draw common threads between them and analyze what they might be lacking and in need of.  It turns out that none of them considered themselves historic houses but rather variants of that name.  More importantly, they are all in need of an archivist. Some houses had small moving image collections that were known to exist but had never been inspected or assessed of their value.  It is a hope of mine to survey as many of these houses as I can to bring these materials to light and show the people of New York what wonderful things lay dormant on film and maybe stumble upon something special that no one knew existed before.
     This is the beginning a project that will be based on Long Island that involves surveying not just historic houses but libraries, museums, local television stations, town halls, schools and colleges in Nassau County for home movies and orphan films. The end goal of this project is exhibition of this material in its original form as well as creating awareness of the potential of this material. This could be a good way to drum up attention for home movies and preservation of local history in general. I believe that if enough home movies are discovered, we could curate events using those home movies. We could get local musicians to score the home movies and perform alongside them as they are screened.  Historical societies and libraries are always in search of new and varied events to hold that are also educational.
     Another impetus for this project occurred over the summer.  While interning at Indiana University Libraries’ Moving Image Archive in Bloomington, Indiana, I was given the task of beginning the inventory of the Edward and Naomi Feil Collection. During that time, I was intrigued by a film can that read, “World’s Fair 64-65”. To make a long story short, Edward Feil took his camera into a theater at the fair that was showing a film, Think. Ed captured three minutes of this ten-minute film and I was aware that the Library of Congress was working on a restoration of the film.  There were still questions surrounding the film’s original exhibition and some of the images within it. These questions were answered in Edward’s home movie from the World’s Fair. This re-discovery got me thinking. What other wonders lay dormant on home movies throughout the country? Throughout the world? How could I go about figuring this out? How could I obtain the funds to do it? How can I rescue home movies that have been orphaned over the years? Could I stumble upon something as equally as important as Edward Feil’s home at World’s Fair?


https://www.nytimes.com/2016/10/31/nyregion/a-lost-snippet-of-film-history-found-in-a-home-movie-shot-in-1964.html?_r=0

     Could I do this in a pro-bono fashion? How can I get people who don’t care about home movies to care about home movies? So many questions and so few answers.  Over the course of my career as an audio-visual archivist and preservationist I hope to become part of the larger community of like-minded professionals who speak of and save home movies.
     Well, to keep costs down, preliminary work would be done on the phone. This will also be an easy way for others who want to get involved in such a project, to do so. Since I live in Nassau County on Long Island, I will begin there and begin with historic houses throughout Nassau County, which there are many, almost one for every town.  Sixty-three cities, towns and, villages make up Nassau County.  Almost each one has a library, multiple schools and historic houses that work towards preserving local histories.
     Having worked with my local historical society in Malverne, NY and a couple others in the recent past, this is the where we will start. The Malverne Historical and Preservation Society, for the past year, has shown interest in hosting an event using home movies found within the town. I have suggested that, to do this, we could use the local television station to reach out to local people and communicate the idea that home movies are important and relevant to not just the families who originally shot them. With enough home movies, we could program an event to show the development of Malverne over time. This could serve as an example of what can be done in any town with their home movies and could inspire others to reach into their closets, attics, and garages, dig up their home movies and allow them to part of this project.
     In the fall of 2015, I performed a collection assessment for my local television station of their tapes and found a box of VHS tapes of home movies. They broadcast them occasionally. These are films that have been reformatted to VHS by the families that owned them and it is no longer clear who gave the station these reformatted VHS tapes.  A quick search revealed that a film collection at Northeast Historic Film houses some other home movies from Malverne in the 1930s. 
     The first Wednesday of every month, Malverne holds a board meeting that the television station broadcasts live to discuss issues and the goings-on in the town.  During this meeting, there is a segment where anyone who wants to address the board can ask them questions, speak to the camera and address those who are watching.  Here I could make a plea for the opportunity to inspect and exhibit their home movies at an event at the Malverne Historical and Preservation Society sometime in the future.  I will also ask if those who have donated VHS tapes in the past if they still have the film.  I would love to use these home movies but the VHS tapes and DVDs I have seen are poor presentations of the material.
     Looking beyond Malverne, we could contact each historic house and library by phone or email.  For the purpose of this project, when discussing film materials, the term “moving image” will not be used in conversation.  Too often, I receive confused looks when I refer to film and video as moving image material. Below are some questions that could be asked of these places in an email, over the phone or in person:

  • How large are your holdings?
  • How is your material handled and stored?
  • Do you have any home movies on film or home movies that are now on tape or DVD that were born on film?
  • Are you ever approached by local people who want to give you home movies or film materials?
  • Do you have any film projectors in your holdings?
  • Have you ever had an archivist on staff?
  • Would you be interested in having an audio-visual archivist inspect any films materials?
  • Would you be interested in this project I am working on?
  • Do you know of any other places such as other historic houses or libraries that may have film materials that need inspection?
  • Would you be interested in hosting an event this exhibits home movies and/or orphan films?
  • Would you be willing to work with us to secure funds for the digitization of any home movies or orphan films found in your possession?
  • Would you be willing to provide broader access to these materials once they have been digitized?
     In the summer, after graduation from the Moving Image Archiving and Preservation Program (MIAP) at NYU, I will work on answering all of the questions raised in this blog post.  In a hypothetical situation where this project is a success, minimally, we would end up re-discovering a few hundred home movies. The films that are in good shape will be exhibited in their original form with both 8mm and 16mm projectors that have been provided by The Malverne Historical and Preservation Society. Projectors that I help maintain and have access to regularly.  We will attempt to secure funding for films that have been inspected and appear to be in poor condition, shrunken, and are unable to be projected. Assuming we are able to project most of the films discovered, we could stumble upon something of importance. Using the example of Edward Feil’s home movie from the World’s Fair, one never knows how valuable a home movie could be.
     I’m already aware of two historic houses that possess home movies of the families that once owned them. These two houses happen to be Gold Coast mansions.  Gold Coast mansions are home located on the north shore of Long Island.  These mansions were built during the 1920s.  It would be interesting to exhibit these home movies in conjunction with each other.  One could witness how different families of affluent background lived at that time. One of the historic houses from my survey mentioned that they possess nitrate film in their holdings.  This project can also serve to connect local institutions that may not necessarily communicate with each other. Long Island, including Brooklyn and Queens, is a highly-populated area with great potential for home movies and orphan films to be re-discovered. Since most historic houses have material that is in need of archiving and preservation but no money for an archivist, I’m hoping the attention that the combination of events and the re-discovery of home movies and orphan films will highlight the need for archivists in not just on Long Island but all over the country. There is special material, both moving image and non-moving image that is waiting to be researched and re-discovered but no one knows what specials thing lay dormant for people to see.  Beginning with a few emails and phone calls, I am optimistic that this can be done with great results within a year or two. I am on a rescue mission so to save local history in the form of home movies and orphan films.

Sources Cited:

     Center for Home Movies. Web. 02 Mar. 2017. <http://www.centerforhomemovies.org/>.

     Ishizuka, Karen L., and Patricia Rodden. Zimmermann. Mining the home movie: excavations in histories and memories. Berkeley: U of California Press, 2008. Print.

Apr 3, 2017

Keeping an Open Mind at the Museum of Sex

Recently, some friends of mine came to town, and they decided they wanted to check out the Museum of Sex. I hadn’t been there before, and it wasn’t high on my list of things to do in New York. It always seemed like kind of a joke to me. As it turns out, the Museum of Sex is kind of a joke, but it also aims to provide an earnest presentation of art, biology, and sexuality.



The “OBJECTXXX” exhibition featured artifacts from the museum’s archive. My friend wondered aloud, “Wow, I feel bad for whoever has to handles these acquisitions.” I had to agree. These objects were various sexual devices, toys, dolls, contraceptives, and even Hugh Hefner’s smoking jacket. On view in the center of the gallery was a bicycle contraption serving as a very complex sex toy, complete with footage showing how it worked. While the majority of these objects weren’t very old, some dated as far back as 1900, offering a historical perspective of human sexuality. 

“The Sex Lives of Animals” exhibition claims that “Sex in the animal kingdom is as nuanced as it is in the human realm.” Developed in collaboration with a number of scientists, evolutionary biologists, and zoologists, the exhibition was extremely informative. Text on the walls explained the behaviors of many different animal species, proving that sexual behavior in animals varies widely and goes far beyond the purpose of reproduction, which is true of human behavior as well. There were also a lot of sculptures and videos in this exhibition. My friends and I are no prudes, but even we felt a bit scandalized by the sights and sounds in the room.



I’m glad I went to the Museum of Sex and looked beyond my preconceived notions of it. A lot of people do think of this museum as a good place to have some laughs, and that’s fair. After all, for an extra charge you can jump around in boob-shaped bounce house. Yet having said that, my friends and I actually learned a thing or two in the hour we spent there, and I saw just how much work went into curating these exhibitions.

Mar 15, 2017

Cartoons, Carnivals and the Cinematic Experience


On February 25th, I attended a screening of The Tommy Stathes Cartoon Carnival. The program was a wonderfully, curated event of “Fairytales and Fables”. The screening was held at Shoestring Press and the room was packed with people lining the walls to spend the evening watching cartoons on film. Stathes created one of the most authentic cinema experiences I have ever been part of. With no projection booth to encase the 16mm projector and all the sounds that ensue when aging prints become the subject of its manipulation, the audience was given an experience reminiscent of the early days of cinema, when films were indeed shown at carnivals. 

Tommy Stathes at the projector.
Once the evening began, the light leaking from the projector lit the room in the most romantic fashion.  The highlights of the evening included Snow White, a 1933 Fleischer Studios film, that starred Betty Boop and Cab Calloway in the form of a clown. Second, listed in the program as a “super surprise cartoon short”, Marv Newland’s 1969 short film, Bambi Meets Godzilla. The audience went wild for both of those cartoons. My personal favorite from that evening was a 1935 George Pal cartoon, The Sleeping Beauty.  This was a sponsored film for Philips.  Sleeping Beauty is held up in a castle and over the centuries various chivalrous men attempt to rescue her but are unable to break through the dense system of vines that encapsulate the castle. It turns out that the only way to wake her up was by playing music from the latest model of Philips radio. The brilliance and visual depth of this cartoon will stick with me for a while.

Cover of the evening's program.
I would highly recommend going to any and every Cartoon Carnival that is hosted by Tommy Stathes.  By attending, you get two things, a hilarity filled evening and equally as important, a genuine cinematic experience. I urge you to attend and support Stathes and all the great work he is doing by keeping film exhibition alive and well in the New York area. Please visit the links below:


and the trailer for Tommy’s Cartoon Carnival:


Feb 25, 2017

Love in the Library (After Hours)


Last night I attended the New York Public Library's "After Hours" event, themed around their new exhibit, "Love in Venice." The evening - which ran from 6:30 pm until 9:00 pm - included dance lessons, masquerade mask making, speciality cocktails, tours of the exhibit, and (most relevantly) a curated selection of 16 mm films from the library's archives about Venice.



The films were being projected - via a film projector, no less! - in a small theater that was somewhat difficult to find in the slew of activities available. They were being shown on a continuous loop, and we entered during 'The Gondola Eye;' we only knew this because the screen outside the theater had informed us of which film was currently playing. These informational slides came up for each of the films.


The theater was small, the screen even smaller, but the film projector lent a level of nostalgia that much of the audience seemed to appreciate. There were five rows with a few leather seats, but many in the audience (myself included) sat on the floor along the walls. The door to the theater was left open and the bright light flooding in was terribly distracting, but perhaps less distracting than the door constantly opening and closing (?), as people were constantly coming into the theater (many of them turning around to leave within a couple of minutes).

'The Gondola Eye,' by Ian Hugo from 1964, was a great 27 minute film shot from the POV of the gondola (hence the name). Despite having no soundtrack with the exception of some ominous sounding bells here and there, the whirring of the film projector provided wonderful non-diegetic accompaniment. The content of the film itself was deeply somber, dark, and creepy, portraying Venice as a dirty city of filthy canals and depressing, muted colors - not at all what is usually associated with the city. I loved that about the film. We then watched the first five or so minutes of the next one - which was entirely different and done with claymation. This suggests that the curation of films (even though I did not sit through all of them) was diverse and thoughtful.

Overall, the films were a nice addition to the evening and a great supplement to the activities outside of the theater room. People seemed to appreciate the curation of the films for the most part and they appeared to be distinct and diverse. It was also wonderful to see the 16 mm prints projected on a film projector, and they seemed to be in great condition. Those who were sitting seemed to stay at least through the entirety of the film, but many people were popping in and out of the doorway as well, which was distracting. The vibe of the screening room was drastically different from the loud and crowded activities happening in the rest of the event; so I think it either felt like a welcome refuge from the chaos (and long drink lines) or a confusing, too relaxed component to the evening. Personally, I loved that the films were part of the event and cannot wait to attend the next Library After Hours.

- Sarah Dawson

Feb 22, 2017

The "Chinese" Exhibition-故事新編


A lot of things make me dizzy, like staring at moving train (I have never got carsick or anything, I just can't look at moving trains), like watching a long hand-held shot (typical examples, the beginning of The Diving Bell and Butterfly and the whole Birdman) and walking in Guggenheim. It is not that I am unhappy with the interior design of this museum. The layout is very unique. It is just my body and my brain is not happy with this museum. 

Anyway, I was there for the Chinese exhibition, which I wanted to go for a long time. Because I went to the exhibition in Whitney just several weeks ago, which was so great and I kind of had a very high expectation for this one. 

My first reaction is that the exhibition space is so small, although the exhibition takes the parts of two "floors". Guggenheim is not like any regular museums which have the whole flat floors. A lot of space in the museum is compromised for this circled up layout. Like I said in my previous blog, the moving image pieces need a lot of space and especially private space.  Another thing that bothering me is that this exhibition does not have a designated route. There are two entrances for the part on fourth floor and multiple exits. One entrance on the part of fifth floor, except the fact that the giant robot basically takes up all the space on fifth floor.  I suddenly feels that $18 admission fee is really not worth it, at least MoMA is free for NYU students. Back to the designated route, I kind of followed the "original" route for this exhibition. I came in through the entrance that had the wall text of whole description for this exhibition, and the first giant piece, Sun Xun's Mythological Time. I think this piece, being the true representation of the mainland China today, is the only one in this exhibition that is worth look at. 

Why?

To put together an exhibition about modern China, the curators first need to answer one question: What is China? In this exhibition, I see many ideologies contradict. I see the piece about the modern history mainland China, which is Sun Xun's Mythological Time. I see the artist Chia-en Jiao's pieces, which clearly represent modern Taiwan. The tea tasting part by Yangjiang Group follows the Cantonese and HK traditions. The artist Tsang Kin-Wah, obviously Cantonese, moved to HK and then UK. Zhou Tao, born and raised in China, got BFA in Canton and has an international background. Sun Yuan and Peng Yu, and artists making that giant robot, are both from Northeastern part of mainland China. (The material of the robot, the movement all show that background of the artists. I can tell they are from northern and northeastern part without even looking at their bios.)

As a person born and raised in mainland, Sun Xun's Mythological Time is the best representation of modern China. The others are all somehow weird. 

Another thing that needs to be mentioned is that the reason why I had such a high expectation for this exhibition was because the title--"Tales of Our Time". This is a book title which is a collection of prose published in 1936 by Lu Xun, the famous Chinese writer. The book contains a  series of short stories that are rewrites of several Chinese traditional mythological stories. That is why I adore Sun Xun's piece. It combines the traditional Chinese art forms with new technology, and modern Chinese history. 

From my initial and preliminary research, I find out the curators are a group of people all with the mixed background, just like those artists. The foundation who organizes this exhibition is based in HK.   

I think whether it is someone from HK, Canton/Chinese American, Taiwanese, or people from mainland China going to this exhibition, their reaction would all be: This is not the China I understand. And a person from any western countries like US, UK walking into this exhibition, they will react like: Wow, this is China. 

Just I can tell how the Met Gala of 2015 China: Through the Looking Glass would be like that. So weird and so wrong. 

I will expand this for my mid-term. 


Feb 16, 2017

Captivated by ¡Cuba!


On Monday, I visited the American Museum of Natural History to see a new and wonderfully curated exhibit, ¡Cuba! It is co-curated by Ana Luz Porzecnski, director of the Museum’s Center for Biodiversity and Conservation and Chris Raxworthy of the Museum’s Department of Herpetology. Upon entering the exhibit, you walk past several vertical banners that contain testaments of Cuban people who express love for their country but at the same time convey that it hasn’t always been easy. Structured as a Cuban street with “stores” that function as smaller portions of the exhibit, it’s a wonderful exhibit that makes you want to hop on the first plane and discover Cuba in person.

As a moving image archivist, my one and only gripe is the main moving image display in the exhibit towards the beginning. Aside from the fact that the video crams the entire history of Cuba into seven minutes, it stretches the archival footage in the video to an uncomfortable 16:9 aspect ratio. This footage was created long before the 16:9 aspect ratio came to be and should have been presented in its original 4:3 aspect ratio. Several of the images were low resolution and stretching them out only made them worse.

Feb 9, 2017

Looking for "All My Babies"



All My Babies (1952) 53-55 min., depending on the copy
Director: George Stoley
Copyright: Georgia Department of Health
Columbia University Press



In the “Letter to Scott MacDonald from George Stoney, 3/22/01”, Stoney writes of the screening of his film All My Babies: A Midwife’s Own Tale at a Cinema 16 screening. Although I had never heard of the film, an abundant amount of information about the film is available online with a simple Google search. It is an educational film from 1952 that depicts childbirth and the work of midwives in the Deep South. The film’s full content is available on YouTube, (posted by “Ultimate YouTube Resource” in January of 2014) with the description claiming the work is in the public domain. However, this seems dubious as the film’s content is also available online through Bobst, but only with an NYU account.  The Georgia Department of Health owns the rights and a 16mm print is available at the Center for Mass Communication of Columbia University Press.