353
Index
Acoma Indian Film, 86- 89,192, 283
Anstey; Edgar, 103-4
Aran Islanders, The, 107
Aran Islands, 105-9,115-17,119,121,123, 125,127-28,133,135,146,148-49,153,
155, 160, 169, 177, 225, 266,
281; arrival on, 110- 13; departure from, 126; description of
life on, 107,111,146,150; Inishmore, 110,
123-24, 126, 157; Inishmaan, 124,134; Kilmurvy, 111-14 Amell,
Richard, 203-4,226
Baird, Teddy, 166,175-76
Balcon, Sir Michael, 106-8,119,126-27,138,164
Bali, 89
Bali, The (Pasqualito, The) (ship), 89-90, 96
Barry, Iris, 42, 140, 262-63, 270
Battles Potemkin, 84, 95, 157
Beethaven's Coriolan Overture, 104, 106
Belfrage, Cedric, 97, 106, 123, 162, 185, 285-86
Bell, Michael, 266
Bell, Monta, 165-66,175
Bilby, Julian W., 47
Biro, Lalos, 165, 174
Black Mountain Farm, 228, 230, 232, 234, 261,273-74
Bond, Ralph, 148-49,151, 157
"Bonito the Bull," 87, 94, 164, 231
Borradaile, Osmond H., 165-68,173-75,178,186-87,236
"Boy and the Pit Pony," 185
British Board of Film Censors, 136
British Broadcasting Corporation, 184,266
British Commercial Gas Association, 185
British documentary film movement, 42,96-97, 155,157
Brussels Film Festival, 266
Cafe Royal, London,
121- 22, 161, 163, 183, 185,188,277,282
Canada, 9-10,13,16-19, 30,32, 34, 36-37, 140-41; Belcher Islands,
14-15,22-25; Hudson Bay, 8,12,15, 28-
29,48,140-41, 276; Ungava Peninsula, 15, 20-22, 37, 225, 276;
Vancouver Island, 11
Cannes Film Festival, 266
Capra, Frank, 179, 228-30
Captain's Chair, The, 184
Carpenter, Edmund, 48-50
Carter, Huntly, 145-46
Chaplin, Charles, 45, 260
Chicago, 271, 273
Cinema Quarterly, 143, 152
Cinematography approaches and methods:
354 Index Index 355
Cinematography approaches
(continued)
cinematic techniques, 29, 38, 63, 74-77, 82, 105, 120- 21, 127-
29, 132, 172, 175,194, 231, 245-46;
editing techniques, 41,71-72, 103-4, 119- 20, 126-34, 198-202,
241, 245-46, 250- 51, 284; filming
processes, 98,102,128-34,191,196-97,199-201; laboratory processes,
30, 62-63, 66, 91, 111, 119,123-
24,167,235, 239-40; "native" laboratory technicians,
31, 61, 66, 76, 91, 165-66, 175; scripts, 101,
103,108,110.123,168-69,193-94, 196,199-201, 242-43, 246-47; sound
techniques, 134-35,175-76, 202-
3, 225-27, 249-50, 260, 266; "type" casting, 31, 56-60,
62,112-15,167-68,235-36,269
Cinerama, 177, 272, 284; General Douglas MacArthur newsreel, 271,
273
Close-Up, 46, 86
Coffee House Club, New York, 29, 52, 84, 86,122,161,163,231,252,272,277
Collier, John, 176
Colorart Productions, Inc., Hollywood, 90-93,96
Connecticut, 52 - 53, 191; New Canaan, 26, 28, 82, 228; Silvermine,
28
Coronet, The, London, 96, 161, 163
Critical responses to films, 40-42,46-47,78-80, 83,105-6,139-42,145-58,178-82,222-24,226-27,256-60,264-89
Crosby, Floyd, 92, 197
Crystal of Energy, 283
Cunnynghame, Sir David, 165-66
Curtis, H. T, 11-13
Daily Telegraph, 142
David, Felix, 54-58,60-61,67,69,70-71
Davidson, Jimmy, 96,102
Davidson, J. Norris D., 108-10, 139
Davy, Charles, 147, 157
Delhi Durhar in India, The, 53
Denham Studios, England, 166, 176-78, 180-82
Dent, Alan, 106
Dillane, Mikeleen, 110,112-13,133,135,138-39,158-60,259
Dirrane, Maggie,113-16,123,135,138-39,158-60,259
Dixon, Campbell, 142
"Documentary" first used, 79
East Is West, 268-69, 271
Eastman Kodak Company, Rochester, 22, 30, 63, 66, 76, 84, 109,
119
Edinburgh Film Festival, 106, 256-57
Eisenstein, Sergei, 45, 84, 94, 127, 157, 179, 285
Elephant Boy, 183, 185, 223, 231, 236, 270, 279, 283, 285-
87; additional filming for, 176-77,182; building
stockade, 172; concept of, 165, 284; description, 177-78; elephant
scenes, 171-74; last commercial film,
177; premiere, 178; theme-story,166-69,176-77; three film units,
175
Elton, Sir Arthur, 97, 103, 108- 9, 123, 183
Empire Marketing Board Film Unit (EMB), 96- 101, 104 - 6, 108-
9, 120, 122, 161, 288
England: Birmingham, 102; Devonshire, 98-100; Midlands, 98,101-2,104-5
English Potter, The, 105
Eskimo, 48-49
Eskimo people: Annunglung, 23; Charlie, 15, 31; "Harry Lauder,"
34-35; Nero, 13-18,21, 24; Nyla, 37;
Omarolluk, 15-21; Wetunik, 15-21. See also Nanook
Evans, Ernestine, 25, 84, 252
Evans, Walker, 40-41, 47
Famous-Players-Lasky, 51, 53, 71
Film distribution and exhibition methods, 137; "art films,"
261
Film equipment, 30,57, 90,101-2, 235,251; Akeley motion picture
camera, 29, 35, 53, 62, 91 - 92, 119, 193
94; Arriflex motion picture camera, 194, 236; Bell and Howell
motion picture camera, 22; Debrie
motion picture camera, 92; English Williamson printing machine,
30; Graflex camera, 34; Leica
camera, 109-10, 124; Mazda lamps, 82; Mitchell sound camera, 236,248-49;
Moviola editing machine,
239-40, 251; Newman-Sinclair motion picture camera, 53, 162; Ross
projector, 124; Vinten gyrohead
tripod, 174.
Filmmaking career of Robert Flaherty: as creative artist, 82,
281, 285-86, 288; budgets and finances, 28, 51, 90,
92-93,101-3,106-7,120-21,163-64,175-76,187,190,233-34,237,250,286;
distribution problems, 42-
45,72-73,81,136-38,
Index 355
221-22, 237, 256; element of suspense in films, 38, 75-76,131-32,241,247-48,
258, 289; explorer versus
filmmaker, 27, 52; fascination with seas, 55, 57, 111,115-16,
283; "Father of Documentary" 270;
frustrations and dissatisfactions in, 27, 30, 197, 285 -87; genius
of "eye," 42, 49-50; Influence on other
filmmakers,289; Internal instincts, 288; knowledge of subjects,
40, 65, 77,121-22; learning
cinematography, 23,25-26,40; legacy, 289-90; material shapes meaning,
49,127- 28, 131, 153, 164,
167, 197, 201, 288; self-criticism, 25, 75; sensitivity to criticism,
246; talent, 40; technology versus
theory, 125; temperament, 122; timelessness of films, 45, 106,
222, 225, 227, 283
Film stock: Kinemacolour, 53; Kodachrome,231; Orthochromatic,
38, 62-63; Pan chromatic, 62-63, 65-66, 74-
75, 78
Findlay, Hugh, 107,123,127,135-37,163
"First Principles of Documentary," 154-55
Flaherty, Barbara (daughter), 28, 52, 65, 67,71, 85, 90, 94, 111,
124, 135, 165, 186,239-40,244
Flaherty, David (brother), 8-9,25,44,52-54, 66-67, 71, 75, 77,
81, 86-92, 94, 96,119, 135.157,165-
66,168,175,182, 231,233,246,2116,2611,270
Flaherty, Frances (daughter), 28, 52, 61, 67, 71, 85, 90, 94,
111, 124, 167, 186, 204
Flaherty, Frances J. Hubbard (wife), 10- 11, 24-28, 36, 50, 52-53,
56-58, 61-65,67-68, 71, 75, 77, 84-86, go, 94,
96-97, 100, 108-12,120-21, 124,127,134-35, 143-44,158,164-65,167-73,175-76,
186-88, 191, 201, 204,
228, 231, 234-36, 239-40, 244-45, 263, 266, 271, 273-74, 279
Flaherty, Monica (daughter), 28, 52, 65, 67, 71, 85, 90, 94, 111,
124, 167, 186, 272
Flaherty, Robert J., as cinematographer (see Cinematography
approaches and methods); as filmmaker (see Filmmaking career
of Robert Flaherty); as still photographer, 31, 112, 124, 197,
271; as storyteller, 161-62, 199,
266, 278; as violinist, 9, 11, 32, 53, 93, 110, 124, 239, 240,
272
-chronology of life: birth and parents, 8-9; childhood, 9; youth
and education, 9- 10; young adulthood as
explorer and prospector, 7-8; as railroader, 11-12;meets wife,
10; on Mackenzie Expeditions, 14 - 26;
buys first motion picture camera, 22; island named for, 24; marriage,
24-25; outlook on life, 48; takes
49, 100, 200, 287; individualist of cinema, family to Samoa, 52;
illness in Samoa, 67; 266-67; influence
by Eskimo artists,"White Shadows" project, 84-86; writes
autobiography, 86; collaborates with Murnau, 89-93; visits Berlin
95-96; trip with Wright, 98- 100; idle period, 183-84; as writer,
184; gets to know America,191-92; idle period, 231-32; unfinished
film, 232-33; work toll on, 238; receives honorary degree, 268;
illness, 268-69, 273; uncertain future, 271; last days and death,
273-74
-personal characteristics: character description, 275- 78, 280,
282, 285; financial concerns, 283-86; generosity
of, 173,183, 185 - 88, 192, 276, 285; human relationships, 49-50,
65, 77,104, 263-65; with Araners,
121, 123, 139; with Eskimos, 31; with Indians, 178; with Samoans,
65; with Mikeleen, 169; with
"Napoleon," 236; with Sabu, 169; ideology (see
Ideological theories); innocence of mind and eye, 285-
90; International citizen and goodwill ambassador, 267-68,276-77
Flaherty, Susan Klöeckner (mother), 8-9
Gainsborough Film Studios,
Islington, 107,126,135,159
Gaumont-British Motion Picture Corporation (G-B), 104,106-10,118-20,123,126-27,134,136-38,146,149,154-55,
Geographical Review,162,164, 283
Germany, 169, 267, 278; Bavarian Alps, 94; Berlin, 96-96, 164,
278; Frankfurt, 268
Gift of Green, The, 233
Gogarty, Oliver St. John, 162, 277
Goldman, John (Monck), 119-22, 124-38, 159, 241, 276-79, 281,
283
Golem, Der, 70
Golightly, J. P. R., 100-103, 162, 183
Grapes of Wrath, The, 191, 223
Greene, Graham, 150, 157, 161, 180-82, 285
356 Index
Grierson, John, 26-
27, 40-42, 48, 51, 77-79, 84, 96-106, 108-9, 122-24, 143-44,152-55.157-58,160,162,183-
84,187-88, 226-27, 231, 256, 261, 270, 275-77,286-87
Griffith, D. W, 29, 45, 179
Griffith, Richard, 10, 22, 46, 85, 87,150-57,189-90,197-98,222-25,227-30,232,
237, 256, 261, 270-74, 278
Guernica study film: as microcosm of Spanish Civil War,
263; description of, 263; painting as film, 263
Hamilton, Iaian, 257
Hamilton, James Shelly, 147-48,182
Hardy, H. Forsyth, 42, 150, 157
Harvard Print, The, 25-28; compiling, 25-26; destruction of, 26;
purpose of, 27; screening for Inuit, 26; self-
criticism of, 27-28
Hastings, Jack (Lord Huntingdon), 93-94
Hawaii, 268-69
Hays Organization, 72, 81
Hollywood, 51, 58, 84-92,94, 96,106,138,163-65, 183, 198, 230-
31, 236, 260, 283,285
Holmes, Jack, 186, 188
Holmes, Winifred,186,188,266
Hotel Chelsea, New York, 261, 270-71, 273
Houston, Penelope, 266-67
Hubbard, Dr. Lucius L. (father-in-law), 10
Hudsons Bay Company, 14, 25,140
Humble Oil and Refining Company, 235, 248; Petite Anse No. 1,
235-36
Huston, John, 263-65, 289
Ideological theories:
socio-political, 95, 186,195, 225, 230, 277- 78, 281, 286; validity
of, 139, 281
-conflicts concerning: with British documentary movement, 42,
96-97; with Cinerama project, 269, 271; with
Goldman,127; with Grierson, 226, 272; with Hollywood, 86-88; as
"the Myth," 193, 280; as"the
Romantic Fraud," 39, 42, 139- 54,157, 222, 225
-of film: as art, 47, 242, 244, 260, 267, 284; as communication,
36, 58, 283; as exploration, 7; with integrity,
93; as media revolution, 48
"Imperial Six, The" film series, 98, 104
India: arrival in, 165-67; Bombay, 165,167,183; departure from,
176; Karapur, 168, 171; Mysore, 166-67,169-
70,173,175,177-78,181-82,197,225
Industrial Britain, 82-97, 99-100,105-6,111, 128, 155, 191, 197,
270, 278, 284, 286; concept of, 104; depicting
British craftsmanship, 98, 104; description, 104; screening for
workers, 102; "tests,"101-2
International Film Seminars (Robert Flaherty Film Seminars), 222
Iowa,192; Des Moines, 193
Ireland, 106-8; Achill Island, 109-10; Dublin, 109, 114, 135-36;
Galway; 110-12, 118,125
Ivens, Joris, 190,198,200
Jacobs, Lewis, 47, 83-84,
270
Johnston, Denis, 119-20,123,184-85
Josephson, Matthew, 80
Jungle Book, The ("Toomai of the Elephants"),
165,166, 285
Kala Nag elephant (Irawatha),
165,170-71, 474,177, 180
King, Tiger, 114-15,118,123,125,135,138-39,158-60
Kipling, Rudyard, 165,179,180-81
Knight, Arthur, 261, 263, 270
Knight, Eric, 228-29
Knoebel, H. E., 8, 11
Kotda, Sir Alexander, 94, 138, 163 - 66, 173,175-81, 183, 256,
270
Korda, Zoltan, 162, 166, 175- 81
Laddie, The (ship), 22-23, 25-26
Land, The, 270, 278, 283; description, 206-21; filming
cornfields, 192; filming Okies,191, 196-97,199-201; journeys,
191, 200, 228; to midwest, 192-94; to Pennsylvania, 192, 197;
to south, 192, 195; to west, 192, 195-97; musical score, 204-5,
226; narration, 205-21; narrator, 202-3, 225-26; opening titles,
205, 222; political aspects, 221; poverty of the people, 191,194-95,
199-201, 228; premiere, 221-22; significance of, 287; screening
rough
cut, 202, 251; theme-story, 190,194-95,197-99, 222, 225, 288
Index 357
Laskyjesse L, 51-52,
58, 63, 66, 71-72,94,164
Latour, Alexander Napoleon Ulysses (Boudreaux, Joseph), 169, 236,
239- 47,252-58,278
Latour, Jean (Leblanc, Lionel), 236, 239-40, 242-45, 247, 252-55
Latour, Mrs., 259-60
Leacock, Richard (Ricky), 194, 236, 239-40, 251,260
Lejeune, Carolyn, 46-47,97,145-47,157
Lerner, Irving, 193-97
Let's Go to the Movies, 42, 140
Lewin, Albert, 85,136
London, 63, 95, 98,100-104,106-8-119,135, 137-38,161, 163-66,178,182-83,185-88,265-66,277
Lord, Russell, 190-92, 201-3
Lorentz, Pare, 187-89,190,193-95, 222-23,226
Louisiana, 169, 257, 268; Abbeville, 235-39, 246, 248, 250; Avery
Island, 235, 242, 244; Cajuns in, 235, 237,
258; Petite Anse Bayou, 234-35, 252, 258; screening Nanook
for Cajuns, 239
Louisiana Story (Cajun), 45, 75, 81, 262, 265-68, 270,
272, 279, 283-89; alligator scenes, 239-40, 242-45, 252,
254-55; conflicts and contrasts, 258; description, 252-56; developing
characters, 235; drama through
bay, 258-59; filmic devices, 260; journey to southwest, 234; kitchen
scenes, 249-50; location maps,
247; musical score, 250-51; oil derrick scenes, 242, 244-50, 253-55;
pirogue scenes, 240-41, 253-54;
poetic quality, 257, 260; premiere, 256; projection facilities,
248; raccoon scenes, 240-42, 244-246,
252-56; screening rushes, 243-44, 251; theme-story, 235; van Dongen
diary, 239-51
Lyon-Fellowes, Evelyn, 24-25
McIlhenny, Colonel Ned,
235-36,240, 242-43
Mackenzie, Sir William, 12-14, 21-22, 28,52
Mackenzie and Mann, Toronto, 12
MacLeish, Archibald, 192-93
Mallet, Captain Thierry, 28
Man of Aran, 39, 108, 120, 127, 142, 163-64, 178-80, 182,
191-92, 227, 241, 259, 277-79, 281-82, 284;building
cottage,111-13; cast in London, 135; cast in NewYork, 138-39;
concept of, 157; description, 158-60:
premiere, 136; seaweed scene, 115-16; screening for cast, 135;
shark scenes, 116-18, 125-26, 132
Metro-Goldwyn-Mayer, 84-86, 91
Metropolitan Museum of Art, New York, 82,90
Mexico, 87,94,164
Michigan, 11, 191; Ann Arbor, 268; Houghton, 28; Port Arthur,
8-10, 53
Moana (The Sea), 86, 91, 93-95,101,105,122,128,145,148,150,155,157-%
160,179, 190-91, 199, 243, 270, 272,
278-80; ceremony of tattoo, 68-69,143-44,152; concept of, 57,
64-65, 143-44; description, 73-76;
expectations of Samoa, 53-54; preparing to film, 52; preserving
dying customs, 281; theme-story, 62,
283; visual qualities, 75-76
Moana (Ta'avale), 68-69, 73-74, 78-79,143-44
Moloney, Eileen, 266
Murnau, F. W., 87-94,98,157
Mumau-Flaherty Productions, Inc., 89-90, 92-93, 96
Museum of Modem Art. , New York, 83 -84, 221-22, 262, 270
My Eskimo Friends, 12, 28, 47, 86
Nanook, 30-38, 41, 47, 50,57-58,75,142
Nanook of the North, 27, 47, 50- 54, 56- 58,62, 64-66,
72-76,78, 80, 94-96, 101,108,131-32, 143, 145, 148, 150,
158, 160, 179, 188, 190- 91, 223, 232, 243, 268, 270, 272, 278-
80, 285; aesthetics, 38; bear hunting
scenes, 34-36; building igloo, 34; concept of, 157; description,
36-38; new approach to film, 39, 44;
reissue of, 45; screening walrus hunt, 33-34; significance of,
39; subtitles in, 37; theme-story 282;
walrus hunting scenes, 32-33
Nanook of the North (book), 47
National Board of Review Magazine, 147, 231
National Board of Review of Motion Pictures, New York, 72, 138,
221. 232
New Deal, The: lend-lease, 197, 222; sponsorship, of arts projects,
189, 191, 198
New Mexico, 86, 99; Santa Fe, 87, 164
New York City, 24, 26, 30,42,44, 54, 58,71,82-84, 88, 138-39,
178, 187, 191, 193
358 Index
New York City (continued)
221, 229, 231, 234-36, 244, 246, 248, 267, 270,273,276-77
New York Sun, 77,143
New York World, 71
O'Brien, Frederick,
52, 54, 56-58, 84-85, 91,157
Oertel, Curt, 261-62
O'Neill, Brian, 151, 157
Ostrer Brothers, the, 107-8, 137, 164; Isidore, 126; Marc, 138
Our Daily Bread (City Girl), 88
Paramount Pictures Corporation,
43, 51, 53,70-73, 77, 81, 94
Pathé Film Company, New York, 43-44, 47,236
Peterson Sahib, 166, 177; acted by Captain Fremlin, 167, 176;
acted by Walter Hudd, 176,179,181
Picasso, Pablo, 162-63
Plow That Broke the Plains, The, 189-90, 222-23
Pottery Maker, The, 90; description, 82
Power and the Land, The, 190, 198
Preston, Hayter, 98, 162, 187-88, 275, 286
"Profile on Robert Flaherty," 9,31,87,157, 286
Psychological theories of films: as Ideal conceptions, 280; image
of youth in, 278-80; man and technology, 283;
as return to childhood, 279-80; as tribute to human spirit, 282
Pueblo Indians, 86-87
Pulitzer Prize for Music, 256
Ramsaye, Terry, 29-30,
44, 46, 80-81
Renoir, Jean, 187, 260, 270, 285, 289
Revillon Frères Company, 28-29,43-44, 47,52
Rhode Island School of Design, 232
Riders to the Sea, 107
Rise of the American Film, The, 47
River, The, 189-90,222-23
Robert Flaherty Film Associates, Inc.: purpose and description
of, 270
Rockefeller Foundation, New York, 81, 198
Rotha, Paul, 258-60
Rowe, Newton, 54, 67- 68, 70, 98, 123, 144,162, 186-87, 279-81,
285-86
"Roxy" film exhibitor, 43-44
Ruadh, Patch, 113,135,139
Russia, 94-97,127
Sabu (Toomai), 168-71,173-74,176-83,
236,258,278
Samoa, 56,61-62,64,77,85,99,91,98,124, 225, 268, 281; Apia, 54,59,66-67,
70-71, 80, 145; arrival in, 55;
departure from, 71; Safune, 52, 54-57, 59-63, 65-70, 73-74, 144;
Savaii, 52, 54, 57, 60,66, 70-71, 80,
85, 93, 97, 123, 142-44, 169, 197, 279; screening Manook for Samoans,
58
Samoan people: Faangase, 60-62,68,73074; Fialeft, 61-62; Imo,
69-70; Leupenga, 73; Pea, 73-74; Samuelo, 69-
70; Saulelia, 60; Taioa, 59- 60; Tu'ungaita, 65, 73. See also
Moana
Samoa Under the Sailing Gods, 54, 98
Schrire, David, 151-52,157
Seldes, Gilbert, 41-42
Sett, A. K, 170,183
The Seven Lively Arts, 41
Sherwood, Robert E., 41, 44, 79
Sidewalks of New York (ballet), 83
Sight and Sound, 157
Smith, Sidney, 239-40, 243
Smith, Tom, 236, 240, 242, 247, 253- 56
Stallings, Laurence, 71,85
Standardisation of Error, The, 140-42
Standard Oil Company of New Jersey, 233-37, 245, 250-51, 256,
265, 286
Stork, Leonard (Lennie), 248-49, 265
State of the Nation weekly newsreel (Army Navy Screen Magazine),
229-30
Stefanmon, Vilhalmur, 42, 140-42
Steinbeck, John, 191
Still photography, 109, 124, 170, 192, 271; as preliminary to
filming, 31
Storm Song, 123
Strong, Austin, 79-80
Sugar Research Foundation, The, 233
Sunday Express (London), 106, 123
Synge. John Millington, 107,160
Tabori, Paul, 175-77
Tabu, 93, 108, 145, 155, 283; concept of, 157; custom of
tabu, 92; as indictment of
Index 359
white exploitation,
91-92; non-Flaherty film, 94
Tahiti, 52-53,85-87,89,94-95, 106, 164; Bora-Bora, 92-93; Papeete,
90-92
Tallents, Sir Stephen, 97-98,105
Taylor, John, 97,111-12,114,118-24,134, 183,188
Taylor, Robert Lewis, 9, 31, 87,157, 286
Technology and machinery, 287; as ideal tool for artist, 288
Television, 260-61
Thalberg, Irving, 84-85,164
Thomas, Lowell, 271
Thompson, Virgil, 250-51, 256,260
Times (London), 97
Titan, The (Michelangelo), 261-62
Todd, Michael (Mike), 271-72
Toronto, 9, 24 - 26, 124
Travel films, 27, 39, 79
Tucson, Arizona, 89, 92
Twentieth Century Fox, 81,86-87,89,164
Twenty-Four Dollar Island, 287; city genre film, 84; description,
82-83; as "notebook," 84
Ufa Film Company, 96
United Artists Film Corporation, 45,178
U.S. Agricultural Adjustment Administration (AAA), 190-91, 195,202
U.S. Department of Agriculture, 193, 199, 202-5, 221-22, 228
U.S. Department of State, 266-69, 271; Division of Motion Pictures,
268-69
U.S. Film Service, 187-90,193-94,196,198
U.S. Signal Corps, 229
U.S. Steel Corporation, 10-12
U.S. War Department Film Division, 228-29
van Dongen, Helen (Durante),
190,198-203, 205, 221-22, 224, 233, 236, 238-51,256, 260-62, 284,
288-89
van Dyke, W. S., II, 84-85, 92
Venice Film Festival, 138,147,153,178,256
Vermont, 230, 234, 265; Brattleboro, 228, 231; Durnmerston, 228
Vermont Development Commission, 265
Vermont Historical Society, 265
Vertov, Dziga, 45,179
Viertel, Berthold, 87-88, 162
Wall Street, New York:
crash of 1929, 90; Great Depression, 107,186
Washington, D.C., 190, 195-202, 221, 229
Watt, Harry; 122-23, 188, 236
Weinberg, Herman, 83- 84, 87, 94, 272
Welles, Orson, 124, 185, 231, 285, 288
What's Happened to Sugar, 233
White Master, 184
White Shadows in the South Seas, 52, 84-86,91,106,136,142,283
World of Robert Flaherty, The, 47
World's Work, 28
World War I, 24, 28, 186
World War II, 185-87,192-94,197,199-201, 221-22, 228, 230
Wright, Basil, 97-98,103,180-83,185,270
Zinnemann, Fred, 95-96