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Jackpot at Tahoe

Assignment Four documentary film made by KRON-TV which first aired on September 16th 1963. Narrated by Art Brown, it examines tension caused by conflicts in interest between preservation of Lake Tahoe's recreational areas and rapid development of the gambling industry in South Lake Tahoe (which was incorporated as a city in 1965). Includes scenes featuring: Lake Tahoe and the surrounding countryside; people enjoying leisure time at Harvey's Wagon Wheel Resort and Harrah's Club casinos; stars like Sammy Davis Jr. performing on-stage and a glimpse of circus performer Emmett Kelly, Sr. in his dressing room. Also interviews with: Harvey Gross; William Leadbetter; William F. Harrah; Dean Seeger and the editor of the Tahoe Times. Opening graphic designed by Carrie Hawks.

Jackpot at Tahoe

NR 1963
Et Tu Otto

Feeling that his platoon hates him, Sergeant Snorkle seeks the advice of Camp Swampy Chaplain. The Chaplain advises the sergeant to be nice to his men and take an interest in their work and their hobbies. In order to be more of a friend to his platoon, Snorkle helps the men work on their foxholes. But Beetle, Lieutenant Cosmo, Private Killer, Private Zero, Private Rocky and Private Plato believe that their Sergeant has gone nuts and attack him to bring him back to his senses. Even his bulldog, Otto, leaves the Sarge for a French poodle.

Et Tu Otto

10.0 1962
Beetle's High Horps

Beatle, Zero and Sergeant Snorkle are assigned to deliver a statue of a famous Civil War general astride his horse for Camp Swamp's courtyard. After picking up the piece from the sculptor, the boys manage to break it. Fearful of the consequences, Sergeant Snorkle disguises himself as the long-dead General while Beetle and Zero masquerade as the horse. As usual, the deception is soon discovered. Meanwhile, To bring Camp Swampy to the attention of The Pentagon, Gen. Halftrack decides to put a man on the moon. And Beetle Bailey is chosen to volunteer.

Beetle's High Horps

NR 1963
The Hat

Snuffy, Barney and Louise are stranded in the big city with no money for a mule and a wagon until a pair of gangsters offer to buy them one if they will just deliver a note and a satchel to the nearby bank. Desperately in need of funds to return to Hootin' Holler, Snuffy gets a job helping out the men by standing guard outside of a building... not realizing that he's becoming an unwitting pawn to a pair of bank robbers. The chase is on. The only clue to the robbery is a photograph of Snuffy's hat

The Hat

9.0 1962
Cattle Ranch

This short documentary offers a portrait of life on a cattle ranch, for both its human and animal inhabitants. Featuring sprightly music by folk singer Pete Seeger and narration by theatre actress Frances Hyland, the film is shot through the seasons on a large Canadian cattle ranch near Kamloops, British Columbia. With hundreds of cows and calves on the ranch, there’s no shortage of work to be done: soil cultivation and crop maintenance are taken care of by seasonal ranch hands while the resident cowboys—“anxious guardians”—brand and breed their bovine charges.

Cattle Ranch

10.0 1961
Samadhi

Samadhi is both mystical and mysterious, an incredible fusion of movement, sound and colour. Belson notes the influence of his study and practice of Yoga and Tibetan Buddhism on the creation of Samadhi. The film is inspired by the principles of yogic meditation: the movement of consciousness towards samadhi (union of subject and object), the fusion of atma (breath and mind), a state which reveals the divine force of kundalini, a bright white light we discover at the end of Samadhi. The Tibetan Book of The Dead is the inspiration behind Belson’s use of colour in Samadhi, corresponding to descriptions of the elements of Earth, Fire, Air and Water in the book. —Sophie Pinchetti, The Third Eye

Samadhi

5.9 1967
No. 16: Oz: The Tin Woodman's Dream

The Tin Woodman, framed by light bulbs, does a little dance, leaps and retrieves his axe from outside the frame, chops down a tree that turns into various objects, grabs a heart emblem from the corner, and goes to the Emerald City at night with Toto. He goes to the edge of a cliff, where he meats an Asian spirit who gives him a heart shape that becomes a kite that hooks to him with a cane. This is followed by approximately ten minutes of kaleidoscopic images, including a man's hands, a dancing girl, and a cutout of Krishna.

No. 16: Oz: The Tin Woodman's Dream

5.2 1967
Red Stockings

By 1968, Huot had begun to use photographic imagery, fusing his continuing concern with minimalism and an interest in the erotic. RED STOCKINGS is a demonstration of the power of a single frame of photographic imagery. Except for one frame, the entire three-minute film is a continuous, uniform red which creates a variety of afterimages and other optical illusions. When the lone frame flashes by halfway through the film, the imagery is difficult to identify, but it has a somewhat erotic quality which, when I first saw the film, sent me to the rewind. I scanned the red until I located the frame and discovered an image of a naked female crotch. The title clarifies the erotic joke, which, however, exists only if the viewer is willing to examine the film closely enough to be sure of what is there.

Red Stockings

NR 1969
Rent a Man

Bob plays a sophisticated, man-about-town who hires day-laborer Harry, brings him home and puts him to work cooking, cleaning, washing, and generally waiting on Bob hand and foot. The employee can't argue with his boss so he goes through the degrading tasks, including the crowning humiliation of having to wear a frilly apron while serving his employer. However, a dramatic turn of events gives Harry the upper hand when he discovers Bob's diary and uses it to good advantage. See how the crafty servant brings his proud and arrogant master to his knees for the hilarious finale.

Rent a Man

NR 1966
Kidnapped

Tom and Sukie arrive in Malta to spend the holidays with their father, an archaeologist digging for a legendary golden statue of Calypso on the island of Gozo. He fails to meet the children who make friends with Jiminy, a Maltese boy, and go to the villa where they overhear two crooks threatening their father. The cooks fool the police to whom the children have gone. They escape and make their way finally to Gozo to see their father's colleague where they all captured. Just before the statue is handed over Jiminy arrives with an army of children who rout the crooks and drive them into the arms of the police. Based on the novel. By Jiminy by David Scott Daniel

Kidnapped

NR 1963
A-Go-Go '67

A GoGo 67 is an alluring snapshot of the Beatles-influenced “Pop Yeh Yeh” movement that was exploding throughout Malaysia back in the 60s. Fauziah works days as a shop girl while Joe labors at a stable. When night time comes, the two would dedicate their time practicing with their beat band, Dendang PerinduThis is an activity that Fauziah must keep secret from her father (Ahmad Nisfu), a blustering martinet who loudly objects to the youth music of today with all of its “yeah yeah yeah”-ing.

A-Go-Go '67

7.0 1967
Neonmerzare

From 1967 to 1969 Ugo Nespolo made three films about three artist friends: Mario Merz, Alighiero Boetti and Michelangelo Pistoletto. Neonmerzare, featuring Merz, was shot in the gallery of Gian Enzo Sperone in Turin, in 1968. With lyrical movements, the camera tracks a series of neon tubes, establishing an ideal dialogue between the traditions of the abstract cinema of light and colour, and experimental documentary filmmaking. The symphony of lights is accompanied by jazz improvisation by the saxophonist Carlo Actis Dato. —Tate Modern

Neonmerzare

NR 1967
Duke Ellington at the Côte d'Azur with Ella Fitzgerald and Joan Miro

The rather dusty black-and-white footage, dating from the summer of 1966, opens with bikinis, beach umbrellas and Foster Grant-shaded sophisticates strolling La Croisette. The scene then shifts to a surprisingly drab hotel suite, where Duke Ellington explains that, though his career had taken him to all corners of the globe, this is his first visit to the French Riviera. Ellington is there, with Ella Fitzgerald, for the Festival International de Jazz at Juan-les-Pins, but, as he enthuses in his introduction, he’s equally eager to indulge his love of modern art with up-close observation of works by Picasso, Calder, Alberto Giacometti and Joan Miró. As any fan of Ellington and/or Fitzgerald is well aware, an edited version of their four-night Côte d’Azur appearance was released in ’66 as a two-record set. That version found its way onto CD in 1997. A year later, a massive, eight-disc compendium served up the Duke and Ella sessions in their entirety.

Duke Ellington at the Côte d'Azur with Ella Fitzgerald and Joan Miro

8.0 1966