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December 19, 2013

CICERO MARCH…an educational film

As mentioned in our previous post, CICERO MARCH was one of a seven part “module” or educational film series (“The Urban Crisis and the New Militants”) produced by the Chicago-based Film Group Inc. The majority of the series dealt with the 1968 Chicago Democratic National Convention, while two of the films (Cicero March and Black Moderates, Black Militants) are concerned with similar issues of civil rights and civil disobedience but were not filmed during the Democratic Convention.

The Urban Crisis series gains further meaning when placed in this educational context, or rather, when you consider the targeted audience of the films – junior high, high school and college aged students. Being a kid of the ’80s and ’90s, it’s hard for me to imagine sitting in my social studies classes and being presented with direct cinema or cinema verité style educational films. In a downstate public school (don’t get me wrong, I’m proud of my public school roots!), our classroom audio-visual selections were often limited to straightforward talking head documentaries produced alongside textbooks, or if we were lucky, a program distributed by PBS (I even remember watching Newsies in my high school U.S History class?!).

For me, CICERO MARCH and the Urban Crisis series gain power when I consider their place within the classroom. These films presented tough, raw and REAL content to students, and let them figure it out, or at least consider it on their own terms. Giving teenagers this interpretive power would have provided such a valuable space for them to explore various issues surrounding racism, citizens’ rights, social protest, police brutality, the media industry and politics at large, to name a few.

It’s hard to say how many schools and libraries purchased or rented the series or individual films when they were released in the late ’60s. According to the Film Group’s surviving member, Bill Cottle, the series unfortunately didn’t have many sales. Also frustrating the search is the fact that the films’ distributor, Henk Newenhouse Inc, is now defunct, with their main operating years being between the years 1967 and 1969. The Chicago Public Library circulating film collection (now housed at CFA) contained and rented the whole series, while a quick WorldCat search shows that York University Libraries in Toronto is the only other institution who currently has a print of CICERO MARCH. Who knows how many prints from the series have been de-accessioned over the years, or even properly cataloged and entered into a union catalog like Worldcat. I pass this investigation along to whomever is inclined…possibly an empowered student!

Below are promotional materials from Henk Newenhouse Inc. These would have been provided to schools and libraries to entice them to purchase or rent the film and/or series. Click on the images to view them in more detail. HUGE shout out to Andy Uhrich for the scans!

You can stream the entire Urban Crisis series on our site here, or over on our Youtube channel.

 

       

 

     

 

December 18, 2013

CICERO MARCH IS SELECTED FOR NATIONAL FILM REGISTRY

Cicero March (1966, Film Group)

Each year the National Film Preservation Foundation board names 25 films that are culturally, historically or aesthetically significant to our national heritage. CHICAGO FILM ARCHIVES is honored and pleased that CICERO MARCH has been chosen to join the list of films that make up the National Film Registry.

CICERO MARCH is visceral and relentless in its portrayal of barely contained racial violence during a civil rights march in a middle-class suburb of Chicago. Filmed during the time that Dr. Martin Luther King, Jr. came to organize for fair housing in Chicago, it undeniably reflects elements of our community psyche in 1966 — racism, gathering black push back, and a building sense of necessity (and obligation) by authorities to protect non-violent black civil rights marchers in the then hostile and mostly white streets of Cicero, Illinois.

It is well documented that Chicago city officials, including Mayor Richard J. Daley, negotiated a Fair Housing agreement with Dr. King in exchange for the cancellation of this march.  Nevertheless, Robert Lucas and other members of the Congress of Racial Equality (CORE) felt that the march was strategically necessary and proceeded with it anyway.  It is also important to note that if the Chicago-based Film Group had not made the decision to document this march, very few traces of this event would remain today.

This film is part of a seven part module or educational film series (“The Urban Crisis and the New Militants”) produced by the Film Group that, “teach by raising questions rather than by attempting to answer them.” The modules tell their story through editing rather than voice-over narration and show “real events, with real people acting spontaneously,” as the Group explained to an educational film distributor.

Discovered in CFA’s Chicago Public Library Collection, CICERO MARCH was first screened in 2005 at CFA’s second film screening ever, CHICAGO IS…”. In 2006, CFA sought out and received funding from the National Film Preservation Foundation to photo-chemically preserve this powerful piece of cinema vérité. This 16mm restoration print now resides in CFA’s Film Group Collection.

This year CFA submitted CICERO MARCH for consideration for the Registry. It is a fitting time for the film’s acknowledgment. The confluence of historical and social forces that brought about this incident and its documentation was partially embodied in two men whom we have recently lost. Robert Lucas, who chaired the Chicago branch of the Congress of Racial Equality (CORE), led the volatile march in Martin Luther King, Jr.’s absence. Lucas passed away in March of last year. Filmmaker and author Mike Gray, who documented this march in Cicero and who also leaves behind a legacy of activism, died this past April (more on Mike Gray and the Film Group here).

Mike Shea (1925-1995), a Chicago LIFE Magazine photojournalist who transitioned into cinematography with the Film Group, shot CICERO MARCH. Shea went on to become a cinematographer on feature-length films in LA. He died in a helicopter crash while working on his last film.

Heartfelt congratulations go to William Cottle who is the surviving principle member of the Film Group. He and his wife Judy live in Winnetka, IL.

In the video below, Robert Lucas recalls the 1966 march in Cicero after a CFA Screening (“To Bear Witness: The Question of Violence”) held at the ICE Theater in 2006.

 

CICERO MARCH is available for viewing both on CFA’s website and Youtube channel.

December 4, 2013

Giving Thanks

CFA has a lot to be thankful for this holiday season. This week we learned that CFA was awarded three grants – one from the National Endowment for the Humanities (NEH), one from the Gaylord & Dorothy Donnelley Foundation and another from the Richard H. Driehaus Foundation.

The NEH grant ($6000) will go towards purchasing steel archival shelves for two massive collections – the Frank Koza Newsreel Collection and the Robert & Terry Davis Travelogue Collection. Combined, these two collections have over 2,700 film & audio elements. We are delighted (and thankful!) to give these collections a nice and stable home within our temperature controlled vault.

A treat from CFA’s Robert & Terry Davis Collection, OBEY YOUR AIR RAID WARDEN (1942, Robert Davis & Harry Hilfinger):

We are also excited to announce that the Gaylord & Dorothy Donnelley Foundation matched our recent NEA grant of $20,000 with $34,500 to digitize the remainder of the Ruth Page Dance Collection. This collection contains dance rehearsals and performances that date back to 1922 including footage of Rudolph Nureyev soon after his defection from the Soviet Union, Balinese dances filmed during Page’s 1928 Asian Tour, and performances of The Merry Widow on the Ed Sullivan Show. It also contains the original and master tapes of numerous interviews with dance critics such as Clive Barnes and John Martin, dancers such as Larry Long, Delores Lipinski, Anne Kisselgoff and Maria Tallchief, and a comprehensive series of interviews and oral histories with Page herself that date from 1957 through 1987.

A portion of the inspected 16mm films in CFA’s Ruth Page Collection

Combined, the NEA & Donnelley grants will help fund the digitization of over 900 unique moving image and audio items, including 16mm films, rare video formats (including 2″!), Betacam SP tapes and a handful of 1/4″ audio reels. This Donnelley Foundation grant also allows CFA to strengthen our digital storage and digitization workflows, making it easier for us to get these digitized materials streaming on our website and therefore accessible to you.

And speaking of access…also in the works is a Midwest dance program, featuring the work of Ms. Page alongside the provocative work of the talented dancer-choreographer Sybil Shearer (1912-2005). (More on this 2014 screening soon!)  In the mean time, though, you can view 63 freshly digitized Ruth Page films & videos on our site, including two recently restored 1928 Ravinia performances (here and here), a handful of television appearances by Ruth Page & Co (view one here), home movies filmed during Page’s 1928 Asian Tour (view one here) as well as a sprinkling of rare 1″ and 1/2″ video tapes digitized by Bay Area Video Coalition.

And! last night we learned that the Richard H. Driehaus Foundation awarded CFA an $8000 grant for 2014 General Operations. SO SO THANKFUL! Chicago Film Archives is a 501(c)(3) non profit and depends on grants like these AND the support from our followers to thrive. Please consider donating to CFA here. Each contribution both large and small is critical to our continuing work.

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