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Discusses the life of Durer and the pivotal point he represented in connecting the artistic development of Italy and Northern Europe. Presents examples of his work that show his passage from the Middle Ages to the Renaissance. Develops the idea that through a study of his work the fusing of his Gothic inheritance and the organic Renaissance can be observed.
The format of this final program is different from that of the preceding three. On the sound track is a pre-recorded conversation with Steichen, and on the screen is a series of Steichen’s own photographs, and those of other photographers, from the “Family of Man” collection. Steichen’s remarks form a commentary explaining and describing some general principles of photography, and the details of completing this particular exhibit.The basic element, says Steichen, is love: love of life and of mankind.
In this program, Mrs. Roosevelt talks of her husband and his philosophy, religion, friendships and courage. She tells of D-Day in the White House, Pearl Harbor Day, and FDR’s moments of relaxation. She talks about Communism, war, leadership in the world today, and about the future.
Richard Rodgers was brought up in a passionately musical family. His mother was brilliant pianist; his father, a doctor, sang. They would sing and play the comic operas of the day. He was weaned on “The Merry Widow” and “Chocolate Soldier.” “These are the happy memories of childhood.” When he was sixteen years old, he met 23-year-old Lorenz Hart, who proceeded to explain his theory of lyric writing. Rodgers was proud that the age of sixteen he understood Hart. Rodgers played a couple of tunes for him and that was the beginning of a 24-year partnership. Nothing has ever been more gratifying than his first success to its fullest ... loved every minute of it. Everything that’s come along since, I’ve loved. I roll success around in my mouth like a piece of candy.” He hates failure –but thinks it’s the result of being alive –and readily admits to several: “Chee Chee,” “Pipe Dream,” and “Higher and Higher.” “I love it when it’s good and I hate it when it’s bad,” he says. Another Rodgerism: “In writing for people, there are two facets –one is emotional, the other is intellectual.”
Teaching Film Custodians abridged classroom version of a Cavalcade of America television series episode, "Riddle of the Seas" (season 2, episode 24), which originally aired April 6, 1954 on ABC-TV. Relates the mid-nineteenth century story of the life work of Matthew Fontaine Maury, founder of the United States Weather Bureau, who advanced and proved his revolutionary theory that the paths of the sea--winds, currents, and temperature--could be accurately predicted and charted. The teaching objectives included are: to introduce the study of weather and related field of oceanography and meteorology; to illustrate scientific methods of research; to demonstrate the practical applications of reflective thinking; to inspire interest in the work and the character of a significant American scientist.
Teaching Film Custodians abridged classroom version of a Cavalcade of America television episode, "The Great Gamble" (season 3, episode 1), which first aired October 12th, 1954 on ABC-TV. Presents the work of Cyrus W. Field in organizing and directing the project to establish a system of rapid communications between Europe and America by means of the Trans Atlantic Cable, and his courageous perseverance to succeed in spite of several unsuccessful attempts.
Teaching Film Custodians abridged classroom version of a Cavalcade of America television episode, "The Last Will of Daniel Webster" (season 2, episode 8), which first aired November 14th, 1953 on ABC-TV. The film is a re-enactment of Webster's political career, as it influenced and was influenced by the slavery issue from 1830 until his death in 1852. It presents his relationships with Senators William Seward and Henry Clay and provides a basis for assessing his motivation in supporting Clay's Compromise of 1850. The film begins with an 1830 meeting between Webster, the presidential hopeful, and a newspaper publisher who offers support if Webster compromises in order to unite factions; Webster refuses. The film later presents Webster's conflicting stands on slavery before, after, and as communicated in, his controversial speech of March 7, 1850 that supported Senator Clay's compromise bill.
Presents a fictionized story woven about episodes in the life of Robert Burns. Includes Burns's trip to Edinburgh to visit wealthy patrons and his ill-treatment at their hands. He recites to them "A Man's a Man for a' That." Returning to his native village, he stops the wedding of his sweetheart to another man.