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Edward R. Feil, Naomi Feil, Nellie Feil, Julius Weil, Vicki Rubin, Betsy Feil, Amy Feil, Edward G. Feil, Maren Mansberger Feil, Ellen Feil, Helen Kahn Weil, David Hellerstein, Harold S. Feil, Herman Hellerstein, George H. Feil, Beth Rubin, Ken Feil, George Feil, Daniel Hellerstein, Susan Hellerstein, Beth Hellerstein, Leslie Feil, Kathryn Hellerstein, Mary Feil Hellerstein, Jonathan Hellerstein
Summary:
Compilation reel of home movies from 1964 to 1967, not edited in chronological order.
1967: Birthday party for Nellie Feil (possibly a joint party with Harold). The family gathers at picnic tables in a yard. Vicki presents a birthday cake to Nellie. Naomi holds a baby Kenny. The Weils are in attendance at this party.
1964: Another birthday party for Nellie. Betsy shows pictures of the Beatles to the camera. Daniel and Susan give a card to Nellie. The children mill about and play in the yard.
1965: Dark footage of a party at Harold Feil home. Guests are friends of the elder Feils - possibly an anniversary party.
Film is cut with leader and shots of Ed in his studio, testing filters on the camera lens.
Edward R. Feil, Naomi Feil, Nellie Feil, Harold S. Feil, George Feil, Mary Feil Hellerstein, Herman Hellerstein, Edward G. Feil, Maren Mansberger Feil, Julius Weil, Susan Hellerstein, Beth Hellerstein, Beth Rubin, Helen Kahn Weil, Kathryn Hellerstein, David Hellerstein, Jonathan Hellerstein, Daniel Hellerstein, Ken Feil
Summary:
A tribute film for Nellie Feil for her birthday. Begins with a biographical sketch of Nellie from "Who's Who of American Women" (4th ed.). Shows black and white photos and ephemera from the Elgutter family, her childhood, college yearbook, a scrapbook containing her articles about cooking, photos of Mary's wedding to Herman, Mary's graduation, and Ed's graduation. Also features a more recent image of Nellie, standing in front of the Ardleigh Drive home. Reel 2 shows Nellie's party, where a large group of friends and family gather to eat in a picnic shelter at a local park.
Footage of Harold S. Feil speaking before members of the Rowfant Club, a bibliographic society in Cleveland. This footage was also used in the 90th birthday tribute for Harold.
Home movie showing aerial views of Cleveland taken from the passenger seat of a helicopter. Shows the helicopter taking off and gaining altitude over the city. Offers views of Terminal Tower, Cleveland Stadium, and Lake Erie.
Edward R. Feil, Edward G. Feil, Ken Feil, Naomi Feil, Vicki Rubin, Beth Rubin, Nellie Feil, David Hellerstein, Amy Feil, Harold S. Feil, Beth Hellerstein, George H. Feil, Helen Kahn Weil, Mary Feil Hellerstein, Ellen Feil, George Feil, Julius Weil, Maren Mansberger Feil, Stanley M. Feil, Kathryn Hellerstein, Daniel Hellerstein, Herman Hellerstein
Summary:
Compilation reel of home movies from 1967-1968. Begins with a family cookout at the Ed Feil home. The children mill about and play in the yard and the neighbor's yard as Vicki grills hot dogs.
Spring 1968 (?): Eddie and a friend play outside while wearing coats. The camera follows Kenny as he toddles about.
June 1968: Naomi and the boys visit a duck pond ; a group of children, including Eddie, Kenny, and Beth play on a swing set and in a kiddie pool in the yard ; A card shows the date as June 19, 1968. The occasion is another family cookout in the Ed Feil yard, this time as a celebration for Nellie's birthday.
Beth and other teenagers perform a German folk dance while wearing traditional costumes. The setting looks like the performance is taking place inside of a high school. Other teens in the background are wearing costumes representing other countries. Students in togas then participate in some sort of game. A crowed of other students and parents watch, including Naomi and Kenny.
Edward R. Feil, Edward G. Feil, Ken Feil, Naomi Feil, Maren Mansberger Feil, George Feil, Mary Feil Hellerstein, Herman Hellerstein, Ann Leslie Jones, Nellie Feil, Harold S. Feil
Summary:
Home movie showing a Halloween party for Eddie, Kenny, and friends. Children wearing costumes play games in the living room at the Ed Feil home. The children then enjoy cider, popcorn balls, and candy at the dining room table. The film then shows a party for Maren Feil's 40th birthday (November 1970). Maren unwraps presents in front of a large group of friends and family and blows out candles on a birthday cake.
Home movie footage taken while driving through Washington DC. Includes brief shots of landmarks from afar, including the Washington Monument and Lincoln Memorial. The film shows aerial views of the capital taken from an airplane window on the trip home. Back in Cleveland, the film shows Naomi backing out of the Feil's driveway.
Brief home movie that focuses on Vicki riding the monorail on a visit to Expo 67 in Montreal. The group passes the Pavilion of Judaism, Kaleidoscope building, and the Pulp and Paper pavilion.
Edward R. Feil, George H. Feil, Betsy Feil, Naomi Feil, George Feil, David Hellerstein, Stanley M. Feil, Mary Feil Hellerstein, Edward G. Feil, Daniel Hellerstein, Leslie Feil, Maren Mansberger Feil, Jonathan Hellerstein, Vicki Rubin, Beth Rubin, Beth Hellerstein, Kathryn Hellerstein
Summary:
Home movie of a party celebrating George H. Feil's 2nd birthday at the Harold Feil. Shows George walking with the assistance of his father (also named George). Naomi is holding a newborn Eddie. Leslie opens gifts for baby George while his sisters and cousins look on.
Edward R. Feil, Beth Rubin, Vicki Rubin, Naomi Feil
Summary:
Shows a clip of Beth bouncing a ball down the front walk. This clip is used in "Where Life Still Means Living". This is followed by a brief clip of residents at Montefiore. Ends with Beth napping in the car as Naomi and Vicki stand outside.
Edward R. Feil, Edward G. Feil, Ken Feil, Beth Rubin, Naomi Feil
Summary:
Eddie, Kenny, and a group of other children visiting Santa at Halle's department store. The children take turns sitting on Santa's lap. The film also shows the decorations around the store, including a Christmas tree.
Edward R. Feil, Edward G. Feil, Naomi Feil, Ken Feil
Summary:
Begins with footage of Kenny riding a horse while wearing a Weehawkin Day Camp shirt. Then shows Eddie’s birthday party at the Feil home. He and his friends eat at the kitchen table. Finally, the film documents Ed and Naomi's trip to the Chautauqua Institution in Chautauqua, New York. Both ride bikes through the town center, Naomi reading in a public park, and a visit to Chautauqua Lake.
Dark home movie footage of the neon lights of Disneyland’s attractions and shops as seen at nighttime. Many of these views are taken from the vantage point of the park's Skyway. The film also shows the interior of the Pirates of the Caribbean ride, Adventure Thru Inner Space, and the spinning teacup ride. A performance at the Sound Castle shows musicians and people dancing. Ends with brief footage of a demonstration at a medical conference featuring the Feil film “Closed Cuff Method of Gowning and Gloving”.
The desert plains of central Idaho bore silent witness to many events in history – the coming of the Oregon Trail, the wars between the whites and the Indians, the events of the Old West, Today they are witnessing a change that is far more important – the coming of atomic power. On the lava plains of central Idaho is the National Reactor Testing Station, famous for “firsts” in nuclear energy. Here electricity was first generated from atomic energy and atomic power first was used to light a town. Principles of nuclear submarine propulsion were worked out in “a ship on the desert” in Idaho. “Challenge” visits the National Reactor Testing Station to look at a power plant of the future, a reactor that makes more nuclear fuel than it consumes. The principle is not perpetual motion. This reactor takes the part of uranium that is not fissionable fuel (more than 99 per cent of the total) and converts it into plutonium, a man made element that is a good nuclear fuel. Because the reactor “breeds” plutonium it is called a “breeder” reactor – Experimental Breeder Reactor-II. How this breeding is accomplished, and how fuel for EBR-II is fabricated by remote control, is explained in this program.
Precision and perfection are the watchwords of today’s Space and Atomic Age. Nothing can be overlooked everything must be checked and rechecked before the “go” signal can be given. A crack in a missile’s fuel line, invisible to the human eye, can be disastrous. A defect in an atomic reactor, while not disastrous, can mean costly and time-consuming repairs. This program examines “non-destructive testing”, a new-comer, yet one of the most important engineering techniques. Non-destructive testing is simply a method of examining an object for defects without destroying it in the process. It is unlike other testing methods such as automobile test, for example, in which the vehicle is pushed to its maximum performance before it ends up on the junk pile. The television cameras are at the Metallurgy Division of the United States Atomic Energy Commission’s Argonne National Laboratory, where scientists are using such non-destructive testing techniques as X-rays, gamma rays, and neutron radiography. At Argonne, neutronradiography is an invaluable aid to pinpoint what happens to uranium or plutonium fuel that sustains a chain reaction in an atomic reactor. The knowledge gained through this technique is important in designing the atomic power plants of today and tomorrow. Also shown are the ultrasonic testing methods used to detect imperfections by “bouncing” sound waves through objects that are being tested. One of these methods converts sound waves into electronic signals to show television pictures of hidden defects. The value of these non-destructive testing methods becomes increasingly more important as the tolerances become smaller and smaller for the new atomic reactors, space vehicles, and aircraft engines that are being constructed.
Home movie documenting the family visiting the newly constructed CN Tower in Toronto. Shows the surrounding railways and storefronts inside the tower. Back in Cleveland, the film captures a brief shot of Naomi and Kenny in the kitchen followed by Beth at a skating rink. Ends with a kinescope recording of a western TV show.
Edward R. Feil, Harold S. Feil, Nellie Feil, Mary Feil Hellerstein, Daniel Hellerstein
Summary:
An event celebrating 50 years of the PTA at Roxboro Junior High in Cleveland Heights. Harold and Nellie walk through an exhibit that has been set up in a classroom with historical documents and photos. Teachers, parents, and sponsors mingle and talk. Outside, student bands members (including Daniel Hellerstein) perform for the crowd.
Edward R. Feil, George Feil, Mary Feil Hellerstein, Harold S. Feil, Nellie Feil
Summary:
Home movie of the Feil family outdoors posing for the camera. Ed is in his army uniform. Nellie picks tomatoes from the garden and Mary tries to juggle them. George, Mary, and friends then drive away. Ends with a brief shot taken from an airplane window.
Edward R. Feil, Mary Feil Hellerstein, Herman Hellerstein, George Feil
Summary:
Begins in Columbus, Ohio, showing Gilbert's Shoes and LeVeque Tower. A group of people, including Herman and Mary, picnic alongside an unknown body of water before canoeing. The film then shows Ed and George on a trip to Madison, showing Bascom Hall at the University of Wisconsin-Madison and the Wisconsin State Capitol building. The brothers take a bike ride down US Route 18.
Footage shows brief shots of an airplane runway and filming from inside of a moving train as it passes through a desert landscape. Exact location unknown.
Footage of the Feil family at Greenfield Village, Michigan. Shows shaky footage of trains and families outside the Smith's Creek depot. The family then rides a train through Greenfield Village.
Edward R. Feil, Herman Hellerstein, Harold S. Feil, Nellie Feil, Mary Feil Hellerstein, George Feil
Summary:
Home movie of two football games (one is the Yale Bowl, Yale vs. Dartmouth) taken from the stands. Students tear down the goalposts at the end of the first game. Shows Ed's friends walking in a park and along the water. Back in Cleveland, Mary and Nellie cook a meal for the family at the Harold Feil home.
Edward R. Feil, Edward G. Feil, Ken Feil, Naomi Feil
Summary:
Ed and Naomi filming the boys watching TV and eating candy. It looks like a rehearsed scene, with the same actions being repeated: Kenny puts sour lemon juice on Eddie's candy and then they roughhouse. In each take, the scene is shot from different angles. The boys then play in the living room and the family dog, Tiger, joins in.
Edward R. Feil, George Feil, Mary Feil Hellerstein
Summary:
Film documents a car trip out West with visuals showing the car's location on a map. Destinations include Yosemite National Park, Mission San Juan, Hoover Dam, Zion National Park, Bryce Canyon, the Grand Canyon, and the Painted Desert.
Exterior of Cleveland airport. Shows aerial footage taken inside the plane. Two men in suits and glasses - one older, with a hat and cigar and one younger. Cut to a wedding (?) and footage taken in Mexico, including an outdoor market, parade, and a waterway with canoes where people are transporting goods. Brief shots of the landscape, cacti, and parrots. Ends with more footage taken over plane wings.
Home movie showing brief shots of the exterior of the Harold Feil home and dark footage of flowers and a wedding cake (possibly from Mary's wedding to Herman). The camera then shows off the interior of a house, including a collection of silver and items in the living room and dining room. Shows of men lounging and sunbathing by a pool. Ends with scenes of a Columbia-Yale football game and shots of the Yale campus.
Home movie footage of France during Ed Feil's military service circa 1946. Shows men in uniform walking in the street with the Arc de Triomphe du Carrousel visible in the background. Also has footage of the Eiffel Tower, Arc de Triomphe, and Unknown Soldier memorial.
Travelogue showing a visit to Los Angeles. Shows a sign for La Casita Del Arroyo in Pasadena as well as a Wilshire Pl street sign. There is also footage of a boat in the water and people on board the boat.
Begins with scenes of a garden, a large evergreen tree, and flowers in a front yard. Child's handwriting on a sign reading "The End", some illegible writing, then "Joe". Shots of an unknown boy and Tiger.
Edward R. Feil, Mary Feil Hellerstein, George Feil, Nellie Feil, Harold S. Feil
Summary:
Travelogue compilation that begins in Belen, New Mexico. Shows footage of a desert landscape with mountains in the distance taken from a moving train. Back in Cleveland, Mary walks with friends in the garden at the Harold Feil home. Ends with the family visiting Hunting Valley, Ohio. Harold and Nellie visit with another couple, Ed and a friend ride bikes.
Edward R. Feil, Naomi Feil, Edward G. Feil, Ken Feil, Beth Rubin, Vicki Rubin
Summary:
Home movie of the Feil family visiting a petting zoo. Shows the kids feeding and petting a variety of barnyard animals. Eddie also rides a pony. Shows a log cabin with furs and antlers on the exterior walls and a sign reading "Daniel Boone's cabin". Ends with footage of the boys and a friend playing with wood blocks at the Feil home.
Footage is very dark (nearly opaque) and shaky. Shows Eddie and a friend (possibly Robbie Cohen) playing Twister in the living room of the Feil home. Also shows a film being projected on the wall.
Edward R. Feil, Edward G. Feil, Ken Feil, Naomi Feil
Summary:
Home movie of the Feil family's trip to Greenfield Village in Michigan. Shows the boys petting horses hooked up to a carriage, the exterior of the Ford Mack Avenue plant ("first factory of the Ford Motor Company"), and a man spinning pottery which the boys then have as souvenirs.
Presents Mr. Nkosi interviewing poet and educator David Rubardiri of Nyasaland and Kenyan poet Joseph Kariuki. Discusses Rubardiri's personal struggle as a creative writer in an emerging nation and the general state of contemporary African literature. Describes native oral tradition involved in African writing, discusses possible future forms, and examines how African literature is taught in the schools.
Examines the French-Anglo Canadian controversy and French-Canadian dissatisfaction with the Anglo-Canadian controlled country, and describes the economic, educational, social, and traditional factors that have ignited the conflict.
Mrs. Eleanor Roosevelt hosts this program and discusses solutions to the Congo crisis with several guests including Adlai Stevenson, US Ambassador to the United Nation and G. Mennen Williams, Assistant Secretary of State for Affrican Affairs.
In this program Professor Woodworth explains the concepts of tonality (the musical key) and modulation (a shift in key) and their place in composing music. The relations between keys, and the use a composer makes of these relations is an element which must be understood if the symphony is to be fully appreciated. The program ends with a comparison of Haydn and Mozart, showing how their musical styles developed, and giving examples of the work of each.
A continuation of the discussion of sonority, in which a full orchestra—strings, wind instruments and tympani—displays the musical effects which can be produced by various instruments. The Cambridge Festival Orchestra performs portions of Haydn's First and 80th Symphonies, and Mozart's 33rd and 34th Symphonies, demonstrating not onlytechniques of performance but also how the instruments themselves contribute to the composer's musical structure.
A return to classical traditions may be considered the hallmark of Brahms' music, declares Professor Woodworth. Brahms himself is reputed to have said that music is a drama in which the only players are musical themes. To implement this, he reintroduced the use of counterpoint, strict construction and an intellectual orchestration based on something more than desire for sonority. These changes, says Professor Woodworth, are apparent in works such as his Third Symphony, which is used as a musical example for this program. Not only is this a new effort in musical composition, it is also an interesting use of a nationalistic spirit in music.
Moving deeply into the German romanticism of the 19th Century, the symphony grew as composers experimented with new methods of orchestration, and an increased expression of feeling and mood. Professor Woodworth illustrates this change as he plays recordings of Schubert's Symphony Number 7, and Mendelssohn's Symphony Number 35. The need to express intense subjectivity in music lead to structural changes in the composition of Mendelssohn's symphonies. This need is one of the key characteristics of German romantic music.
Examines trade unionism in Australia, England, and the United States and pursues in its comparative study what trade unionism has come to mean to Australins.
As the 19th Century progressed and the spirit of nationalism increased, this new emotion began to affect music as much as other activities. Here Professor Woodworth shows the effect of this spirit on the music of four composers: Dvorak, Mahler, Tchaikovsky and Sibelius. While they adhered to the standard forms of musical construction, they drew their thematic materials from sources such as folk songs and religious music to give their compositions a specifically national flavor.
The group will examine in depth the implications of coexistence between the Communist and the non-Communist worlds. What are the possibilities for lifting the Iron Curtain, increased trade? How irreconcilable are long term Soviet objectives with free world objectives?
Focuses on the United Nations' three Secretary Generals: Norwegian Trygve Lie, Sweden's Dag Hammarskjold and U Thant of Burma. Interspersed with film excerpts, photos, and commentary, the show also includes an interview with General U Thant and Andrew Cordiers, Dean of Columbia University's school of international affairs.
To begin a series on the symphony, states Professor Woodworth, one must start at the beginning, with the first movement of the piece. In the classical symphony, the first movement introduces all the musical elements which will be present throughout the four movements of the work. Using the first movement of Mozart's 34th Symphony as an example, Professor Woodworth explains the musical concepts of exposition, recapitulation and coda. He ends by remarking, "A symphony is a structure of sounds in motion in time. It conveys no specific ideas other than musical ideas."
A third kind of American musical composition is the subject of this program. Contrasted with the strongly emotional and nationalistic music of Harris, or the attempts at a resolution of the national-universal conflict in the music of Copland, is the music of Walter Piston, which, the composer explains, is "not intended to convey other than musical ideas." Professor Woodworth uses Piston's comment as a key to understanding his music, and shows by the use of visual aids and recordings how Piston has contrived to write a classical symphony in modern idiom. The use of orchestration, tonality and rhythm supports his efforts to write vital and dramatic music devoid of representational elements, says Professor Woodworth, and he demonstrates these points by examples drawn from Piston's Third Symphony.
In this program the new developments in American music are introduced through a study of Roy Harris' Symphony Number 3. Professor Woodworth interprets this music in terms of a growing American nationalism which express such American problems as the will to succeed, the desire for spiritual assurance, and the materialistic conflict in musical terms. Harris’ rejection of the techniques of Stravinsky, and his return to Baroque musical forms influences all of his music, and particularly this Symphony. Professor Woodworth plays recorded portions of this work to demonstrate some of the unique characteristics of this form of American music.
As the 20th Century opened, symphonic composers faced, among other things, a conflict between nationalism and internationalism. Still nationalist in orientation, says Professor Woodworth, are composers such as Vaughan Williams, while partaking of the new spirit of internationalism is the work of the composer Honegger. But despite this new spirit, the basic construction of the modern symphony remains the same as it was originally conceived in the middle of the 18th Century.
"The understanding of music consists in the responding to music in its own terms." This quotation from music critic Thomas Serret is the keynote not only to this program but also to the whole series. At this point, Professor Woodworth gives a careful and complete analysis of the first movement of Beethoven's Second Symphony. The separate parts of the movement --introduction, exposition, development, recapitulation and coda --are present in almost all first movements of almost all symphonies. Though the idioms or specific ideas may vary, this musical plan has survived for some two hundred years thanks to its symmetry, unity, variety and beauty, explains Professor Woodworth.
Talks about a new anti-discrimation bill going before Parliament. This episode is seen through the eyes, experiences and observations of Sha Jahan, 23 of Pakistan and Rudy Kizerman, a young British subject from Barbados. Discusses hostility towards many Indian, Pakistani and African immigrants and social aspects of race in the country.
Professor Woodworth demonstrates the importance to the composer of the various kinds of sounds made by different musical instruments. He uses the wind instruments as examples, drawing on members of the Cambridge Festival Orchestra who perform passages from works including Haydn's Military Symphony, three pieces by Beethoven including a passage from his Sixth Symphony, and Mozart's Symphony Number 41. The arrangement of instruments, the uses to which they can be put, and the varied effects of solo and group performance are elements in a study of sonority which is the subject of this program.
Professor Woodworth begins the program by declaring that Beethoven's "Eroica” and "Pastoral" Symphonies are examples of Whitman's line, "It is not the sounds alone that move, but their exquisite meaning." The French Revolution, liberation from tyranny, equality, fraternity, heroism—these, says Professor Woodworth, were present in Beethoven's mind when he wrote the Third Symphony and named it "Eroica." Yet it—like the Sixth or "Pastoral" Symphony which took its theme from a holiday in the country—follows strict musical and compositional forms and can be understood even without an acquaintance with the pictorial or poetic background which influenced them.
Records and preserves the essence of an exhibition at the Museum of Modern Art in New York City. Captures the flavor of Indian traditions and philosophy and explores the spiritual significance of art in the everyday life of the Indian people.
Tells the complex story of India's social and political problems immediately after World War II. Shows the overcrowded conditions, how war with Japan brought to a head centuries of strife among various dissident groups in India's conglomerate population, and how tradition has placed oriental luxury side by side with squalor. Enumerates the social and industrial benefits, as well as the abuses, that came with British domination.
Presents a tour of Paris, indicating points of interest and picturing Parisians as they go about their everyday tasks. Views Paris from atop the Eiffel Tower. Shows a diagram of the city and locates various points on the diagram. French language narration.
