Hollywood on Parade No. B-5

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

In 1927 Hollywood, a silent film production company and cast make a difficult transition to sound.

A comedy about a chaotic morning in a family with kids, and a mother who is determined that it's best to take care of everything herself.

A dance of death between a mother and daughter ignites when the daughter attempts to install a new stove in her mother’s house in Dún Laoghaire, Ireland.

Two barbers, Billy and Andy head out West when one of their customers tells them that gold can literally be scooped up off the ground. Unbeknownst to them and with the shop’s manicurist in tow they run into their customer again who is a crooked gambler winning his money by questionable methods. As he rakes in the pots, an assistant pours the money down a chute which leads to a vault. Billy and Andy, in their explorations, find this vault and think they have discovered a mine. Taking some of the money, they go to the gambler's room and sit in the game. Thus, the money continues to circulate - from the mine to Billy - from Billy to the gambler - and down the chute again.

Wallace and Gromit have run out of cheese, and this provides an excellent excuse for the duo to take their holiday to the moon, where, as everyone knows, there is ample cheese. Preserved by the Academy Film Archive.

Wallace rents out Gromit's former bedroom to a penguin, who takes up an interest in the techno pants created by Wallace. However, Gromit later learns that the penguin is a wanted criminal. Preserved by the Academy Film Archive.

Wallace's whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep-rustling in a fiendish criminal plot.

Refuge(e) traces the incredible journey of two refugees, Alpha and Zeferino. Each fled violent threats to their lives in their home countries and presented themselves at the US border asking for political asylum, only to be incarcerated in a for-profit prison for months on end without having committed any crime. Thousands more like them can't tell their stories.

Ken Blanchard describes six keys to successful teamwork, all found in a Hollywood movie classic.

Hapless pilot Billy manages to raise himself from KP duty to flying ace. He manages to wreck havoc on the German Air Force and return home a hero!

Richard, a lonely and well-meaning prison officer, is put in charge of reading and censoring the letters received by inmates.

According to the U.S. Department of Veterans Affairs, one veteran dies by suicide in America every 80 minutes. While only 1% of Americans has served in the military, former service members account for 20% of all suicides in the U.S. Based in Canandaigua, NY and open 24 hours a day, 365 days a year, the Veterans Crisis Line receives more than 22,000 calls each month from veterans of all conflicts who are struggling or contemplating suicide. This timely documentary spotlights the traumas endured by America’s veterans, as seen through the work of the hotline’s trained responders. CRISIS HOTLINE captures extremely private moments, where the professionals, many of whom are themselves veterans or veterans’ spouses, can often interrupt the thoughts and plans of suicidal callers to steer them out of crisis.

Comedy special spotlighting Tracey Ullman’s larger than life character Ruby Romaine from HBO's “Tracey Takes On”. After an illustrious career, veteran Hollywood makeup artist Ruby has decided to call it quits. Or has she? In her makeup trailer, Ruby tells a series of hilarious tales and explains why she reconsidered her retirement. With Debbie Reynolds, Jane Kaczmarek.

No clothes. No apologies. This film marks artist Spencer Tunick's third 'Naked' documentary which feature photo shoots that create art from the naked bodies of men and women. In this shoot, 85 HIV-positive men and women gather in a downtown Manhattan bar where they bare it all for Tunick's camera, creating an unsentimental look at life with AIDS in America today.

When dad has to unexpectedly step in for mom to do his daughter Zuri’s hair before a big event, what seems like a simple task is anything but as these locks have a mind of their own!

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).