About the actual story

Many people are familiar with the story of Cesar Chavez and the United Farmworker’s Movement in California and around the nation. But because the movement was ultimately not very successful in Arizona, you rarely hear that part of the story. So we wanted to document the local farm labor law dispute, which culminated in an effort to recall then Arizona Governor Jack Williams. As part of this effort, Cesar Chavez conducted a 21-day fast here in Phoenix, and helped inspire the local community to take action to bring about social justice.

This should really be a half hour film. The events documented took place over a ten year period, and the political issues are somewhat complex. But those planning the exhibition relegated it to eight minutes, choosing to feature a film documenting the women’s movement in Arizona more prominently, so we did what we could with the time constraints. Which means there is an awful lot going on in the footage. And unfortunately, the local news reels contained more footage airing the point of view of those in power. Watch for contrasts between the voice you’re hearing and the footage you’re seeing – I had to resort to that kind of storytelling quite a bit. I even ended up narrating the piece, while the other project got professional voiceover talent, though this was partly because I could pronounce the surnames and Spanish words correctly, while the hired talent could not.

How we made this

With the exception of recording some voice over and scanning some old news articles, this piece is created entirely from 16mm film news reels from former Phoenix news station KOOL, which used to broadcast on local channel 10. KOOL donated all their film cans and log sheets to the Arizona Historical Society Museum at Papago Park. The museum has a big climate controlled room to store this stuff, and a makeshift film chain that channels the projected footage through an ancient but serviceable video camera and out to … any deck you can connect to the camera output.

Jean’s job directing this project was to do all the research, write the narrative and provide me with important dates on which newsworthy things probably happened. And just because I summarized her job in one sentence, don’t think it was light work.

My job was to check the news logs around the relevant dates in hopes of finding related news footage. Then, as part of the Exhibits Dept. agreement with the Archives Dept., I had to clean any reels I wanted to view. After cleaning, I would watch the entire reel and log it as best I could. If I saw anything related to our story, I’d record it to Beta-SP (best quality deck we had) and later transfer that to Mini-DV as well for a digital back-up.

Jean would review the collected footage, make notes, and often revise the script in order to work some of the best footage into the project. She would also do her best to identify people appearing on the reel, especially those on the MOS B-roll shots, sometimes bringing in people she’d interviewed for oral history to see if they recognized anyone.

The script was rewritten several times, and then I’d re-edit the project. We’d still be over budget on time, so we’d tighten it up some more, reorganize, figure out what to leave out – you editors out there know the drill. The look of the subtitles is inspired by Barbara Kopple’s Harlan County USA.

We were on a treasure hunt together. We were armed with facts. The actual events occurred before we were born to when we were kids (1968 – 1978). Some of the original footage noted in the logs had gone missing. Sometimes we found unlogged material. It was a trip seeing how Phoenix looked back then compared to now.

Even though the end result is imperfect (you’re never finished editing, right? you just stop at some point), I’m proud that this piece is on permanent exhibition as part of Arizona’s history.

If you have any questions I’ll happily answer in the comments.

Now, here’s what this is:

In 2002 and 2003 I worked with local historian Jean Reynolds on this project for the Arizona Historical Society Museum at Papago Park. It’s part of a permanent exhibition called Desert Cities, which chronicles the development of the Phoenix metro area from the end of World War II to the present.

In its final form, the project exists as two separate videos stored on a media server at the museum, and presented on a flat screen built into a section of the museum exhibition. This piece, the intro piece, repeats on a loop to attract museum visitors over, let them know there is a video available, and give them a reason to watch it. If interested, visitors can press a button to make the main video play.

I’ll tell you more about the project in tomorrow’s post, but in case you’re curious about the appearance of the introduction:

• it’s a way to present some facts that had to be left out of the video to bring the running time down
• the colors and fonts match surrounding exhibition graphics
• there is no “old film” effect in use – all the footage is from 16mm news reels

1. it reminds me of good times with old friends (the cast)
2. it’s black and white
3. it’s in a really pretty part of the desert
4. it’s 16 mm film
5. it’s silly, or otherwise playfully creepy (playing with stereotypes)
6. with no dialog, anyone can understand the story

The film was created for a Cinematography class. The assignment was to tell a story in one shot (so we could view them in class without editing), and I chose to shoot it all from one point of view. I bought enough film to shoot multiple takes from each of the cast members’ POV and then use the best one to present in class. But I was in film school to learn editing, so my ulterior motive was to have footage to edit in Portfolio Editing the following semester. Cinematography grade: B. Editing grade: A.

This was my second time shooting 16 mm. The first time was on a wind-it-yourself Bolex. This time was using a Canon Scoopic. My one disappointment for this digital version: my edits are actually a lot better than they appear here. When I up-res’d and exported the project from Avid, something went wrong, and the edits printed to tape about 13 frames off. There’s nothing I can do about that now without going through a big hassle, so it runs as is.

Here’s a slideshow of photos from the shoot:

Created with Paul’s flickrSLiDR.