Brighton Street Scene

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

Early Balkan footage.

Early Balkan footage.

Documentary footage of the author and his two daughters at home.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

Jean Painlevé is interested here, with the help of Eli Lotar, in crabs and shrimps. He is particularly interested in detailing their anatomy and observing their mating and fighting behavior.

Second attempt to create a feature film out of the 200,000-plus feet of film which Soviet film-maker Sergei Eisenstein shot during 1931-32 in Mexico for American socialist author Upton Sinclair, his wife and a small company of investors. The projected film, to be called "Que Viva Mexico", was never completed due to exhaustion of funds and Stalin's demand that Eisenstein return to the USSR (he had been absent since 1929). The first attempt at editing the footage, in the USA, resulted in "Thunder Over Mexico", released in 1934. In 1940, Marie Seton, from the UK, acquired some of the footage from the Sinclairs in an attempt to make a better cutting according to Eisenstein's skeletal outline for the proposed film. This film has apparently been lost.

In the 1968 movement in Paris, Jean-Luc Godard made a 16mm, 3-minute long film, Film-tract No.1968, Le Rouge, in collaboration with French artist Gérard Fromanger. Starting with the shot identifying its title written in red paint on the Le Monde for 31 July 1968, the film shows the process of making Fromanger’s poster image, which is thick red paint flows over a tri-color French flag. —Hye Young Min

One of the first movies ever made.

Part 1 of the History of Australian Cinema series. Australian cinema from the very beginning, from the newsreels, ethnographic and actuality films, to the controversy of "The Story of the Kelly Gang" and the success of "The Sentimental Bloke".

This short documentary film captures the natural movement of the moon mixed with an experimental musical track that accompanies the rhythm of the "walk" on the stage that the protagonist occupies, the sky.

Staged boxing match between Sergeant-Instructor Barrett and Sergeant Pope, with a round, interval, and knockout.

A short black-and-white silent documentary film featuring one dog jumping through hoops and another dancing in a costume, which was considered lost until footage from an 1896 Fairground Programme was identified as being from this film.

"All sounds travel in waves much the same as ripples in water." Educational film produced by Bray Studios New York, which was the dominant animation studio based in the United States in the years surrounding World War I.

Short documentary on the Antwerp Ford Motor Company plant.

Wallace Carlson walks viewers through the production of an animated short at Bray Studios.

The first woman to appear in front of an Edison motion picture camera and possibly the first woman to appear in a motion picture within the United States. In the film, Carmencita is recorded going through a routine she had been performing at Koster & Bial's in New York since February 1890.

IN THE LAND OF GIANT PYGMIES, a diary of Aurelio Rossi's 1925 trek into the immense Belgian Congo, preserves a long-gone-Colonial-era wonder at natural resources, "primitive" tribes, customs and costumes in Europe's cast African possessions, and implies that the "dark continent" could benefit from the "civilizing" influences of home.

The Baselstrasse is a street in Lucerne. People call it "Rue de Blamage" – it's a noisy street tucked into a narrow space between a hill and a train track. The people who live here don't usually mingle with the rich and famous, but even the roughest haunt can be a home to those who live and work there – and Baselstrasse's two kilometers of asphalt are no different.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.