Archival Spaces

245: Strawberry Statement’s 50th

Archival Spaces 245

50^th Anniversary, The Strawberry Statement (1970)

Downloaded 19 June 2020

The Strawberry Statement (1970, Stuart Hagmann), based on a bestselling book by James S. Kunen, premiered 50 years ago on 15 June 1970. That academic year I was a college freshman in Athens, Ohio, when reading the novel was de rigeur. as were other youth movement favorites, including One Flew Over the Cookoo’s Nest (1962, Ken Kesey), Been Down So Long It Looks Like Up to Me (1966, Richard Fariña), Getting Straight (1967, Ken Kolb), and Electric Kool-Aid Acid Test (1968, Tom Wolfe). I read them all, was active in the peace movement, traveling to Washington in November 1969. Early March saw large demonstrations at Ohio U. against a planned tuition hike, where local farm boys were given badges and billy clubs to beat up students. Two months later, the University closed prematurely, due to four days of partially violent anti-war demonstrations, in the wake of the invasion of Cambodia and the Kent State killings at our sister school. Naturally, I had to see the movie, The Strawberry Statement.

Starring Bruce Davidson, Kim Darby, and Bud Cort, Statement’s locale was moved by Hollywood from Columbia University, the site of book’s action to a fictitious university in Stockton, CA, representing San Francisco State, a hotbed of student radicalism at that time. In the film, an apolitical male student joins campus protests, because he is getting a lot of sex meeting young women at demonstrations. Even though the film won a Jury Prize at Cannes, The Strawberry Statement flopped miserably, attacked by American critics, and shunned by under 30 audiences as completely inauthentic. With a production budget of $ 1.5 million, the film’s domestic gross amounted to $ 804,274, a $ 2 million loss, if you add advertising costs. For me and my friends, the film was a typical Hollywood cop-out, which disappointed as much as the studio adaptations Getting Straight (1970, Richard Rush) and Been Down So Long It Looks Like Up to Me (1971, Jeffrey Young) would be. In truth, I remember very little about The Strawberry Statement, except for the climactic scene which featured John Lennon’s Plastic Ono Band performing “Give Peace a Chance,” while riot police toss tear gas and beat up students.

The Strawberry statement would hardly be worth a mention, much less a blog, except for the fact that the film had a strange afterlife. In the Communist German Democratic Republic, of all places, a dubbed version became a huge box office hit, a symbol of resistance for young people living under East Berlin’s authoritarian regime. I first heard this story from Prof. Jörg Schweinitz, who had grown up in East Germany and I met at a conference in Leipzig in 2016. He later sent me an article, published in 2010 in an anthology on film reception, “Ein amerikanischer Spielfilm als ‹Kultfilm› in der DDR” (https://www.researchgate.net/publication/278749912_Ein_amerikanischer_Spielfilm_als_Kultfilm_in_der_DDR_1968_The_Strawberry_Statement_und_die_Dialektik_der_Rezeption). According to Schweinitz, the West German synchronized version of Strawberry, Blutige Erdberren (Bloody Strawberries), premiered in the GDR on 3 March 1973. While West Germans have no cultural memory of the film, hardly any East German who entered adulthood in the 1970s has forgotten it, many having viewed it multiple times. Even after German reunification, the “cult film” remained popular in the East, a worn out 35mm print playing weekly for years in an East Berlin cinema. As late as 2003, the German distributor purchased a new print, specifically for screenings in East Germany.

For Germans born in the GDR in the postwar period to 1960, The Strawberry Statement became a part of their collective imaginary, identifying them as a community, much as The Rocky Horror Show (1975) functioned for British and American kids coming of age around the same time. The question is why? Schweinitz notes that the GDR under Erich Honecker was going through a particularly repressive period, during which the Communist government rigorously controlled all aspects of daily life, especially public media. The Strawberry Statement offered youth there a vision of sexual liberation, “a playfulness, desire to break out, youthful romance, moral commitment, and gentle irony” (Schweinitz, p. 459), so completely different from the humorlessness and prudishness of Stalinist bureaucrats. The film’s soundtrack alone, featuring rock stars John Lennon, Crosby, Stills, and Nash, Neil Young, Buffy St. Marie, and Thunderclap Newman, presented songs that were unavailable for purchase and could only be heard on West German radio.

Like Cat Ballou (1965), To Sir With Love (1967), and Kramer vs. Kramer (1979), The Strawberry Statement was one of the few American films purchased by the Communist state film distributor for screening in the GDR. One can speculate that the government thought the film’s unflattering view of the United States fit in with its anti-American policy. But as Schweinitz notes, the reception context is everything. Whereas American youth saw the film as a disingenuous product of Hollywood fantasy, East Germans viewed the film in an environment of a repressive regime. East German youth clearly identified with the students in The Strawberry Statement, seeing their (sexual) revolution for the hell of it in stark contrast to the tired, old revolutionary slogans of their elders, and offering them a powerful fantasy of liberation.

Kristen Van Buren and Bruce Davison in *The Strawberry Statement* (1970)

Given the film’s importance in the collective imaginary of his generation, Schweinitz makes the final theoretical point that we must modify our parochial notions of national cinema, including not just domestic productions, but also widely distributed foreign titles, if we are to understand how cinema enters into our cultural memory. I would add that moving image archivists should probably be preserving dubbed versions of foreign language films that have had a demonstratively similar impact on the collective imaginary, a practice that is rarely implemented at the moment.

244: Orphan Film Symposium 2020

Archival Spaces 244

Orphan Film Symposium Online 2020

Uploaded 5 June 2020

Due to the COVID-19 pandemic, this year’s Orphan Symposium, which was to be held in Amsterdam from 23-26 May, was moved online via Vimeo, beginning Tuesday, May 26^th and continuing for four days. The original interrelated Symposium themes, “Water, Climate, and Migration” were kept for the live streamed version, although I’m assuming the event was slightly abridged, given time constraints and rights issues. For Orphan founder and organizer Dan Streible, Professor at New York University’s Moving Image Archive Program (MIAP), however, it was no small feat to move online, after almost a year of planning with the Eye Institute in Amsterdam, the Symposium’s announced host. Thanks to former MIAP students, Paula Suárez, now Director of the Mexican documentary group, Ambulante, and Walter Forsberg, the Symposium was able to piggy back on Ambulante’s online film festival infrastructure, ably assisted by Edgar Domínguez and Manuel Guerrero. As a result, the Orphan Symposium ran like clockwork, except for a few minor streaming glitches, and was rewarded with an online audience of usually more than 100 participants for any individual event.

Being on West Coast time, I missed the first morning’s live stream, although I didn’t actually know it initially, because I mistakenly watched a couple pre-recorded presentations, including a 1911 Thanhauser film about death and destruction caused when the Bayless Damn broke in Austin, Pennsylvania. By the afternoon session, I had gotten into the groove, although it wasn’t until the next day that I figured out how to get into the simultaneous chat room (on the left side of the screen), which was a really great feature, because it allowed all the participants to comment, ask questions, and communicate with each other, as the presentations were unfolding, making for an extremely lively and interactive experience. For those that missed the Symposium, some of the films and presentations are still available (https://vimeo.com/user5490513).

**If the Antarctic Ice Cap Should Melt?** **(1929, Fox Newsreel)**

One of the most iconic images of the Symposium, seen repeatedly in the opening trailer, was of the Statue of Liberty sinking into the ocean, an image taken from a 1929 Fox newsreel outtake, If the Antarctic Ice Cap Should Melt?, introduced by MIAP students Shiyang Jiang, Zoe Yang, & Zhen Lai. Apparently never published at the time for being too phantasmagoric, 90 years later the image has become very real. Water as both a life-sustaining and hostile force informed other interventions, including Thanhouser’s Thirty Leagues Under the Sea (1914), William Beebe’s Bathysphere in Haiti and Bermuda (1927-1934), Heinrich Hauser’s The Aran Islands (1928), and Les Blank’s The Ways of Water (1971).

Ironically, Tuesday afternoon began with Linda Tadic of Digital Bedrock discussing the adverse environmental impact of digital archives (and by extension) the digital infrastructure that made the Symposium possible. While we often assume that digital is “clean,” it in fact leaves a huge carbon footprint from tons of ewaste containing heavy metals to extreme energy needs for cloud servers. Digital technology does come at a cost to the planet, just as previous forms of modernization have.

**Becoming Ocean (2018, Scott F. Foley)**

In just how the present ecological disaster is taking its total on all forms of human life was visualized by Eiren Caffall in a brave and shocking film. In Becoming Ocean (2018), she maps planetary climate change onto her own body in painful detail: she has a rare kidney disease and is “drowning” from within. That Caffall has outlived doctor’s predictions for decades, suggests a ray of hope for the earth.

That became clear watching Jennifer Lynn Peterson’s presentation of two 1927 National Parks Service films on road building, Wheels of Change and Roads in Our National Parks, which both still exuded optimism about future development. The Public Health Service’s Sources of Air Pollution (1962) and Countdown to Collision (1972) offered nearly apocalyptic and surprisingly prescient visions of our present ecological crisis. The latter film contains an ingenious scene of someone peeling off layers and layers of packaging, capturing in a visual nutshell our religion of waste. Equally prescient, if more depressing, was Rolf Forsberg’s short fiction film, Ark (1970), in which a man attempts to create a sustainable biosphere in an industrial wasteland, where survival is only possible with a respirator and a clear plastic hazmat suit, only to have it destroyed by other humans. Wildlife conservation and the Anthropocene was also the subject of a group of silent-era German nature films (Bird Images at Feather Lake, Around the World in 2 Hours, 1914-15), the former title featuring Lena Hähnle (1851-1941), an early leader in nature conservation,, as well as Western Greenland (1935) .

A completely different perspective on water was offered by Charles Musser and Walter Forsberg who presented the Union Films production of The Case of the Fisherman (1947), a previously lost film, recently found in the Pearl Bowser Collection at the Smithsonian’s National Museum of African American History and Culture. Shot in San Pedro, CA. for CIO’s fisherman’s union, the film countered the government’s suit to convict the union of Sherman Anti-Trust violations, claiming the fisherman were businessmen, rather than workers engaged in collective bargaining. Given the virtual disappearance of fishing industry in San Pedro, the film seems as anachronistic as the following film, the Soviet Let’s Get Acquainted (ca. 1972), which visualized fresh water fisherman in a pre-industrial never-never-land. On the other hand, Fisherman’s discourse on labor issues is as relevant today as ever.

**Case of the Fisherman** (1947, Carl Marzani, Union Films)

Labor, but also migration, informed the somewhat strange, industrial film, Hands Across the Border (1963), made by the Great Western Sugar Company about the so-called “Braceros,” Mexican workers imported by the agricultural industry from the 1940s to 1964. As presenter Jessie Lerner noted of this new digital restoration, the film is tinged with racism, even as it tries to assuage the white fear of brown people. Equally disturbing for their revelation of subconscious societal racism were Polish Settlements in Brazilian Wilderness (1933), which treated aboriginal people as fauna, Schwertmühle (1967-69), about migrants living in Germany in temporary displaced persons housing from the 1940s, and the Swedish, Medical Age Assessment (2017), whose subject were Middle Eastern émigrés.

*Polish Settlements in the Brazilian Wilderness* (1933)

However, the Orphan Film Symposium 2020 offered not only darkness, but also light in the guise of a series of remarkable avant-garde films, including Helen Hill Award winners Martha Colburn and Jaap Pieters, as well as the films of Tatjana Ivančić, Zora Lathan, and a sneak preview of Bill Morrison’s in progress The Village Detective. Apart from the films still available on line, I should mention the great Orphan Symposium blogs, which can be read at https://wp.nyu.edu/orphanfilm/.

243: Hugo Haas’ The White Sickness

Archival Spaces 243

Hugo Haas’ The White Sickness (1937) restored; a Plague Allegory

Uploaded 22 May 2020

Thanks to my archivist colleague and friend, Adrian Wood, I learned that the Národní filmový archive in Prague has restored Bílá nemoc (1937) from the original nitrate negative (the sound came from a nitrate print) and made it available online on their You-Tube channel with English subtitles (https://www.youtube.com/watch?v=HJMUIBEzYnI). An adaptation of a play by Karel Čapek, The White Sickness or Skeleton on Horseback, as it was called in the United States, was one of the few films my dad consistently mentioned to me when we talked about films that he remembered from his youth. I was also interested in the film, because it was directed by Hugo Haas, who fled Czechoslovakia after the Nazi occupation in 1939 – he was Jewish – and had an interesting career in Hollywood as an actor and low-budget filmmaker, one of many Central European refugees. Finally seeing the film, I realized that it visualized a worldwide pandemic as a political allegory.

The film opens with a superimposition of soldiers marching towards the camera and a camera moving into a balcony where “the Marshall” gives a bellicose speech, while a large crowd cheers below; he declares the nation ready to enlarge the country’s borders by force. The camera then pans down over the crowd, where we see a bearded gentleman, who we learn later is Dr. Galen, turning away. In the following scene, the camera tracks horizontally from a crucifix to medical charts hanging above bedposts, as patients below muse off camera about their illness which first appears as a form of leprosy with white dermatological spots, but inevitably leads to death. Hugo Haas thus sets up through contrasting camera movement two harbingers of death: 1.) An unnamed fascist regime that glorifies war rather than peace, consciously symbolizing Adolf Hitler and Nazi Germany; 2) A highly communicable, mysterious, and deadly disease, for which there is no apparent cure and which originates in China and is expanding to a worldwide pandemic through hand-shaking. Fascism sacrifices the youth of humanity, the virus kills the elderly who are usually responsible for making wars, i.e. war is like the virus. Indeed, we never see the concrete manifestations of the disease, just as the war itself remains hidden off-screen, amplifying the allegorical nature of the narrative.

Dr. Galen (Hugo Haas), who we see in the first scene, has found a cure, but he is not ready to make it public unless the Marshall and other world leaders agree to forsake their armies and all wars. Instead, he only treats the poor who are unable to pay and are most often the victims of war. The ensuing conflict rages between the forces of the military-industrial complex which are unwilling to give up war profits for peace, and the doctor who steadfastly refuses to treat the representatives of power, as they successively succumb to the white disease. It is only when the country’s megalomaniac dictator becomes ill after he has attacked a small neighboring country (clearly Czechoslovakia) with disastrous effects for his army, that there seems to be hope to end the plague. However, the masses crazed by mindless nationalism have other ideas

Born in 1890 in what is now the Czech Republic, Karel Čapek achieved world renown with his expressionist play, “R.U.R.” (1920), which coined the term robot, and his satirical dystopian science fiction novel, War with the Newts (1936). In 1937, his anti-Nazi play, “Bilá nemoc,” premiered at the Czech National Theatre in Prague, starring Hugo Haas, who also directed. Haas then wrote the screenplay and hired virtually the whole cast of the original for his filmed adaption, which premiered on 12 December 1937. The film was partially funded by the Czechoslovak government, certainly a courageous move at the time. While the film was banned in Nazi Germany, it was released in other European countries before World War II began in Europe. While Čapek died in December 1938, just before the Germans invaded Czechoslovakia in March 1939, – the Gestapo tried to arrest him only to learn he was already dead – Haas supposedly smuggled a print into the United States when he emigrated; it was released by Carl Laemmle in 1940.

Baron Krog – the Capitalist Arms Manufacturer and his nameless secretary

Given its theatrical origins, Bilá nemoc is heavily dialogue driven, but is striking for both its leftist political stance – the capitalist armaments manufacturer Baron Krog (Vaclav Vydra) is clearly identified as a willing supporter of the militarist dictator (Zdenek Štepanek), who believes himself to be the savior of the nation and immune to any disease. He recklessly and knowingly shakes hands with the stricken Baron Krug. Thus, the rich and powerful fall prey to their own machinations, while the film saves its sympathies for the urban poor. However, the film ends on a highly cynical note when the masses protest the Marshall’s call for an end to the war. However, for today’s audiences, the film’s depiction of the pandemic, the overriding sense of fear it engenders in the not yet afflicted, the helpless victimization of the innocent, and the incredible arrogance of a leader who believes he is immune with an “I don’t need to wear a mask” attitude, all strike a very contemporary chord for anyone living in coronavirus America.

JEALOUSY (1945, Gustav Machety) Jane Randoph, Nils Asther and Hugo Haas

An incredibly popular star in Czech cinema in the 1930s, Hugo Haas would play mostly supporting roles in Hollywood during the 1940s, but in 1951 saved enough money to set up his own independent film production company, where he began producing, directing and starring in a series of lurid, low budget melodramas. Most are variations on the theme of older men who form liaisons with much younger, often amoral women, including Pickup (1951), The Girl on the Bridge (1951), Strange Fascination (1952), The Other Woman (1953), and Hit and Run (1957).In 1961 he returned to Europe, settling in Vienna, where he occasionally appeared on Austrian television; he died there in December 1968. The White Sickness remains his most enduring work, one of the only anti-Nazi films made in Europe before the Holocaust

For my dad as a seventeen-year-old high school student in Prague,Bila nemoc probably represented a political awakening; less than two years after the film’s premiere, he was incarcerated in KZ Sachsenhausen-Oranienburg and would eventually be active both in the anti-Nazi and the anti-Communist underground.

242: Movie Theatres & the Pandemic

Archival Spaces 242

Will Movie Theatres Survive the 2020 Plague?

Uploaded 8 May 2020

On Thursday, 30 April, Ross Melnick and the Carsey-Wolf Center at the University of California at Santa Barbara hosted an online panel discussion, “Moviegoing in the Age of COVID-19,” with Manohla Dargis (New York Times) and Alison Kozberg (Art House Convergence) about the future of movie theatres. While there was some pessimism about the present state of cinema culture, the general tenure of the discussion was positive, noting that they (and hopefully many other people) miss not seeing films with an audience in a big theatre and that the hunger of moviegoers for that experience will survive the present plague. Such a positive attitude is not surprising, given their expressed nostalgia for movie theatres and their professional attachment to them. But this may be a minority view of patrons, certainly of those under the age of 30, who seemingly prefer smart phone viewing. The fact is that Disney, Warner Brothers, and Universal are now launching online platforms for the release of new films, as well as their back catalogs. Indeed, Universal released the new Trolls movie online, leading AMC to ban Universal from their screens.

These developments make me less optimistic about the survival in this country of all but art houses and subsidized non-profit screening spaces. In an article in the San Francisco Chronicle (5-3-30), Jonathan Kuntz, himself a long-time moviegoer, notes that the present pandemic is accelerating online delivery of moving image entertainment, and that except for special event screenings, “everything else will be streaming.” What is certain is that this crisis will change the film industry, just as the Spanish Flu pandemic of 1918 had huge consequences for the structure of the film business. The 1918 influenza pandemic killed 50 million people across the globe, including 675,000 Americans in 1918/19.

Richard Koszarski was the first modern day film historian to remind us of the Spanish Flu’s horrific influence on film-going in the 1918 pandemic, a fact that film historians, like Benjamin Hampton, Maurice Bardèche/Robert Brasillach, and Lewis Jacobs took for granted. In an article in Film History (2005), Richard noted that “Photoplay estimated that 80 percent of the movie houses in the United States and Canada had closed for between one and eight weeks, losing $40,000,000 in revenue and putting 150,000 employees temporarily out of work. Production in California was said to have been cut by 60 percent, while the eastern studios ‘ceased completely’.”

https://pmcvariety.files.wordpress.com/2020/04/variety-magazine-flu-pandemic.jpg

While the first outbreak of the Spanish Flu in the United States may have been on a military base in Kansas is early 1918, the Flu raged mostly in Europe until September, when it hit Boston, New York, and Philadelphia hard. Surprisingly, theatre owners refused to close until ordered by city officials, although New York’s theatres remained open with show times staggered to avoid crowding on subways in and out of Times Square. It also banned smoking and standing-room admissions in theaters but allowed theatres to fill seats without social distancing. However, even where cinemas stayed open, the audiences stayed away for fear of contracting the deadly virus, attendance dropping often below 50%. By November 1918, the Flu was everywhere, although some cities, like St. Louis, which had instituted social distancing early, had significantly fewer deaths than San Francisco, which reopened prematurely. Los Angeles had closed all theatres and places of amusement on 11 October, later mandating the wearing of masks. Many other cities, like Indianapolis, also ordered the wearing face masks, although they seemingly did little to stop the spread of the virus.

https://cdn1.thr.com/sites/default/files/2020/03/spanish_flu_4_embed.jpg — Seattle Tram Conductor with face mask (Courtesy NARA Archices)

The National Association of the Motion Picture Industry announced an embargo on their release of new films in October, and film production in and around Hollywood ground to a halt during October and November, while the shooting of crowd scenes was banned even longer. Even though film production recovered by early 1919, many smaller producers and countless mom and pop exhibitors went out of business. So how did the Spanish Flu change the industry structurally?

Even before the virus hit, Paramount’s Adolph Zukor was in a huge struggle against First National Exhibitors’ Circuit, a distribution network formed in 1917 to amalgamate 26 first-run cinema chains. Adolph Zukor, who had been producing films since 1912 through Famous Players, and distributing films through Paramount Pictures since 1914, saw his theatre clientele suddenly disappearing. According to Benjamin Hampton, Walter Irwin told Zukor that he could destroy First National, if he built first-run cinemas in every city where First National owned theatres. After a merger with First National failed, and the incredible losses independent theatre owners suffered during late 1918 and early 1919, due to the flu pandemic, Zukor went into action. He secured a $ 10 million loan from Wall Street and purchased 135 theatres in the Southern States in 1919; by 1921, Paramount-Publix had acquired a total of 303 first-run theatres in major cities across the country, creating the first vertically integrated film company in the United States, controlling production, distribution, and exhibition. Given that in Europe Nordisk, Pathé Frères, and UFA had previously already gone that route, which would become the model for all the American majors by the mid-1920s, it is likely that Zukor would have consolidated, regardless of the pandemic, but it undoubtedly created an economic opportunity.

New York’s IFC Film Center on COVID-19 hiatus

Similarly, the move to digital distribution of movies directly into the home is a trend that has been accelerating for the past ten years, but the corona virus pandemic of 2020 may actually deal the coup de grace. AMC Theatres, which is carrying $ 4.9 billion of debt, is likely to file for bankruptcy shortly with its stock plummeting. John Fithian, CEO of the National Association of Theatre Owners, predicted in a speech to Congress in late March that the great majority of this country’s theatre owners will go bankrupt if Congress does not give them financial relief in Corona Virus rescue legislation. If we are witnessing the death of cinema(s), I will be in mourning. Unlike my daughter’s generation who has grown up watching movies on smart devices, I have always been happiest in a darkened space where dreams can be real.