Sponsored film, or ephemeral film, as defined by film archivist Rick Prelinger, [1] is a film made by a particular sponsor for a specific purpose other than as a work of art: the films were designed to serve a specific pragmatic purpose for a limited time. [2] Many of the films are also orphan works since they lack copyright owners or active custodians to guarantee their long-term preservation.
The genre is composed of advertising films, educational films, industrial videos, industrial musicals, training films, social guidance films, and government-produced films. [3] [4]
While some may borrow themes from well-known film genres such as western film, musicals, and comedies, what defines them is a sponsored rhetoric to achieve the sponsor's goals, rather than those of the creative artist.
Sponsored films in 16mm were loaned at no cost, except sometimes postage, to clubs, schools, and other groups. [5] America's largest companies - AT&T, DuPont, Ford, General Electric, General Motors, Republic Steel, Standard Oil, and Westinghouse Electric Company - were for decades active sponsored film producers and distributors; others included airlines who offered travelogues on their destinations.
In the early years of commercial television, local television stations often used sponsored films as "filler" programming. Specialized distributing agents packaged films from various sponsors into TV programs with titles like Compass, Color Camera, Ladies' Day, and Adventures In Living.
In the 1950s, almost every American city of any size had at least one sponsored film studio. Cleveland, Ohio, for example, was home to over a dozen sponsored film studios. [6] From 1951 to 1973 Business Screen magazine listed U.S.-based sponsored film studios by city and region. [7]
Theatrical film studios in "Hollywood" produced sponsored films along with hundreds of studios that specialized in the genre. Significant collections of sponsored films exist from the Jam Handy Organization in Detroit, Michigan, Wilding Picture Productions in Chicago, Illinois, the Calvin Company in Kansas City, Missouri, and Cinécraft Productions, Inc. in Cleveland, Ohio.
The 1948 Cleveland Film Festival was the first American film festival dedicated to recognizing the importance of sponsored films. [8] By 1956, dozens of cities and organizations were running sponsored film festivals, and the organizers of the Cleveland Film Festival stopped running the festival. Sponsored film festivals continued on but never regained their popularity or influence. [9]
A number of sponsored films have been nominated for Academy Awards, and several have won Oscars, mainly in the Documentary Feature and Documentary Short categories. [10]
Film Title / Year Released/ Sponsor |
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A Time for Burning (1966). Sponsor: Lutheran Film Associates. Oscar for Best Documentary Feature (1967) [11] |
Benjy (film) (1951). Sponsor: Los Angeles Orthopaedic Hospital. Oscar for Best Documentary Short Subject (1952) |
Giuseppina (1959). Sponsor: British Petroleum Company. Oscar for Best Documentary Short Subject (1959) |
Skyscraper (1959). Sponsor: Tishman Realty & Construction Co.; Reynolds Metals Co.; Bethlehem Steel Co.; Westinghouse Elevator Co.; York Air Conditioning. Oscar for Best Live Action Short Subject (1959) [12] |
The House I Live In (1945). Sponsor: Anti-Defamation League of B'nai B'rith. Honorary Academy Award for director Mervyn LeRoy (1946) [13] |
The Redwoods (1967). Sponsor: Sierra Club. Oscar for Best Documentary Short Subject (1967) [14] |
To Be Alive! (1964). Sponsor: S. C. Johnson & Son. Oscar for Best Documentary Short Subject (1965) [15] |
Why Man Creates (1968). Sponsor: Kaiser Aluminum and Chemical Corp. Oscar for Best Documentary Short Subject (1968) [16] |
Wild Wings (1965). Sponsor: British Transport Films. Oscar for Best Documentary Short Subject (1966) |
At least a dozen sponsored films have been selected for the Library of Congress National Film Registry because they are "culturally, historically, or aesthetically significant." [10] [17]
Film Title / Year Released/ Sponsor/ Year Inducted |
---|
A Time for Burning (1966). Sponsor: Lutheran Film Associates. Inducted into the National Film Registry in 2005 [18] ' |
All My Babies: A Midwife's Own Story (1952. Sponsor: Georgia Dept. of Public Health. Inducted into the National Film Registry in 2002 [19] |
Louisiana Story (1948). Sponsor: Standard Oil Co. of New Jersey. Inducted into the National Film Registry in 1994 [20] |
Master Hands (1936). Sponsor: Chevrolet Motor Co. Inducted into the National Film Registry in 1999 [21] |
Powers of Ten (1977). Sponsor: IBM Corp. Inducted into the National Film Registry in 1998 |
The City (1939). Sponsor: American Institute of Planners, through Civic Films Inc., with funding from Carnegie Corp. of New York. Inducted into the National Film Registry in 1998 [22] |
The Forgotten Frontier (1931). Sponsor: Frontier Nursing Service Inc. Inducted into the National Film Registry in 1996 [23] |
The House in the Middle (1954). Sponsors: National Paint, Varnish, and Lacquer Association; National Clean Up–Paint Up–Fix Up Bureau; Federal Civil Defense Administration. Inducted into the National Film Registry in 2001 [24] |
The Making of an American (1920). Sponsor: Dept. of Americanization, State of Connecticut. Inducted into the National Film Registry in 2005 [25] |
To Fly! (1976). Sponsor: Conoco Inc. Inducted into the National Film Registry in 1995 [26] |
Westinghouse_Works,_1904. Sponsor: Westinghouse Electric & Manufacturing Co. Inducted into the National Film Registry in 1998 [27] |
Why Man Creates (1968). Sponsor: Kaiser Aluminum and Chemical Corp. Inducted into the National Film Registry in 2002 [28] |
Sponsored films are often used as B-roll in documentary films, for instance, the social guidance film The Terrible Truth (1951, Sid Davis) appears, desaturated, in Ron Mann's Grass (1999) as an example of what he perceives as hysteria over drug abuse, as well as an example of the slippery slope fallacy.
Prelinger and other film archivists [29] generally consider the films interesting for their sociological, ethnographic, or evidentiary value: for instance, a mental hygiene film instructing children to be careful of strangers may seem laughable by today's standards, but the film may show important aspects of society which were documented unintentionally: hairstyles, popular fashions, technological advances, landscapes, etc. [10]
Prelinger estimates that the form includes perhaps 400,000 films and, as such, is the largest genre of films, but that one-third to one-half of the films have been lost to neglect. In the late 20th century, the archival moving-image community has taken greater notice of sponsored film, and key ephemeral films began to be preserved by specialized, regional, and national archives. [10]
A number of British films in this style were re-evaluated and released commercially by the British Film Institute in 2010 as part of its Boom Britain / Shadows of Progress project.
Examples of sponsored films include Design for Dreaming , A Touch of Magic , [30] and A Word to the Wives (the latter film which dealt directly with the growth of suburban capitalism). [31] Technicolor for Industrial Films is a sponsored film about sponsored films.
The House in the Middle is the title of two American documentary film shorts, respectively from 1953 and 1954, which showed the effects of a nuclear bomb test on a set of three small houses.
Master Hands is a 1936 sponsored documentary film short which shows what work is like in a Chevrolet automobile factory. It was produced by the Jam Handy Organization, a pioneer in industrial film production.
Ephemera are items which were not originally designed to be retained or preserved, but have been collected or retained. The word is etymologically derived from the Greek ephēmeros ‘lasting only a day’. The word is both plural and singular.
The Prelinger Archives is a collection of films relating to U.S. cultural history, the evolution of the American landscape, everyday life, and social history. Originally based in New York City from 1982 through 2002, it is now based in San Francisco.
Rick Prelinger is an American archivist, writer, and filmmaker. A professor at the University of California, Santa Cruz, Prelinger is best known as the founder of the Prelinger Archives, a collection of 60,000 advertising, educational, industrial, and amateur films acquired by the Library of Congress in 2002 after 20 years' operation.
The Cleveland International Film Festival (CIFF) is an annual film festival based in Cleveland, Ohio. CIFF is the largest film festival in Ohio and among the longest-running in the United States. The festival is held at Playhouse Square, the largest performing arts center in the United States outside of New York City.
The Calvin Company was a Kansas City, Missouri-based advertising, educational and industrial film production company that for nearly half a century was one of the largest and most successful film producers of its type in the United States.
In filmmaking, found footage is the use of footage as a found object, appropriated for use in collage films, documentary films, mockumentary films and other works.
An orphan film photos is a motion picture work that has been abandoned by its owner or copyright holder. The term can also sometimes refer to any film that has suffered neglect.
An industrial video is a video that targets industry as its primary audience. An industrial video is a type of sponsored film which prioritizes pragmatism over artistic value. While the primary purpose of an educational film is to inform an audience, the purpose of an industrial video can vary depending on the client.
Collage film is a style of film created by juxtaposing found footage from disparate sources. The term has also been applied to the physical collaging of materials onto film stock.
Robert Cedric Binkley was an American historian. As chair of the Joint Committee on Materials for Research of the Social Science Research Council and the American Council of Learned Societies in the 1930s he led several projects in the areas of publication using new near-print technologies, microphotography, copyright and archival management, many under the aegis of the Works Progress Administration. His theoretical writings on amateur scholarship and the ways non-experts could contribute to scholarship have been influential on recent thinking about digital humanities and web publishing.
Last Clear Chance is a 1959 American short film produced and directed by Robert Carlisle. Sponsored by the Union Pacific Railroad, Last Clear Chance is a safety film intended to warn young drivers to be careful at railroad crossings. The film's cast consists of William Boyett, Harold Agee, Mrs. Harold Agee, Tim Bosworth, William Agee, Christine Lynch, and Lou Spraker. Written by Leland Baxter, the film was shot in parts of Idaho. Wondsel, Carlisle & Dunphy Inc, based in New York City, served as the film's production company.
Megan Prelinger is a cultural historian and archivist. She is the co-founder of the Prelinger Library in San Francisco and author of two books: Another Science Fiction: Advertising the Space Race 1957–1962 and Inside the Machine: Art and Invention in the Electronic Age.
Cinécraft Productions, Inc. is a privately held American corporate film and video production studio in Cleveland, Ohio. One of the hundreds of production houses in the United States, the studio specialized in producing sponsored films during the mid-20th century. In Cleveland alone, at least 13 sponsored film studios made films at the height of the area's film production era.
Gordon Weisenborn was an American director, producer, writer, and cinematographer specializing in sponsored and educational films. His works express a style that blends naturalism and lyricism with modernist abstraction. Many of Weisenborn's films address race and issues of diversity, and his film People Along the Mississippi (1952), produced with John Barnes, is credited as being the first classroom film to depict interracial friendship. He worked with John Barnes on the Academy Award nominated film The Living City (1953), and won over 70 national and international awards for films and productions. He was listed as one of the top 20 makers of specialized film by the Directors Guild.
Something Good – Negro Kiss is a short silent film from 1898 of a couple kissing and holding hands. It is believed to depict the earliest on-screen kiss involving African Americans and is known for departing from the prevalent and purely stereotypical presentation of racist caricature in popular culture at the time it was made. The film was a lost film until its rediscovery in 2017, and was added to the American National Film Registry in 2018.
Paul Zils was a German-Indian documentary filmmaker who played a major role in the development of the Indian documentary filmmaking movement.
Margaret (Trudy) Carlile Travis (1921-2011) was an American director and scriptwriter of numerous short educational, documentary, and industrial and other sponsored films. She wrote the script for the film Leo Beuerman, which was nominated for an Academy Award for Best Documentary short in 1970.
Panorama Ephemera is a 2004 collage film by film archivist Rick Prelinger.