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This film, shot in 1955, focuses on a small band of /Gwi San living in the arid landscape of the central Kalahari Desert in present-day Botswana.
This film focuses on a black burglary suspect who, during interrogation by police offers his services as an "undercover" informant - providing the police will suppress his charge.
The police, looking for a suspect, question the wrong youth.
An ethnographic documentary following four Ju/’hoansi (!Kung) men during a multi-day giraffe hunt in the Kalahari Desert, filmed during the Smithsonian–Harvard Peabody expedition of 1952–53.
This film consists of sequences from the Pittsburgh Police footage intercut with a panel discussion moderated by Professor James Vorenberg of Harvard Law School. Community organizers, police, students and lawyers discussed the issues raised by four sequences, including the implications of the 4th and 5th Constitutional amendments, and the Exclusionary Rule of Evidence for search, seizure, and interrogation procedures. The film demonstrates the multiplicity of roles in police work, and examines the conflicts between how the police define their duties and what the public expects of them.
Follows police patrol cars 901 and 904 as they ply the streets of Pittsburgh, responding to diverse situations.
This film provides a broad overview of Ju/'hoan life, both past and present, and an intimate portrait of N!ai, a Ju/'hoan woman who in 1978 was in her mid-thirties. N!ai tells her own story, and in so doing, the story of Ju/'hoan life over a thirty year period. "Before the white people came we did what we wanted," N!ai recalls, describing the life she remembers as a child: following her mother to pick berries, roots, and nuts as the season changed; the division of giraffe meat; the kinds of rain; her resistance to her marriage to /Gunda at the age of eight; and her changing feelings about her husband when he becomes a healer. As N!ai speaks, the film presents scenes from the 1950's that show her as a young girl and a young wife. The uniqueness of N!ai may lie in its tight integration of ethnography and history. While it portrays the changes in Ju/'hoan society over thirty years, it never loses sight of the individual, N!ai.
In a crime-plagued neighborhood near Miami, brutal, bare-knuckled backyard fights give young men a chance to earn money -- and self-respect.
Director Michael Apted revisits the same group of British-born adults after a 7 year wait. The subjects are interviewed as to the changes that have occurred in their lives during the last seven years.
A look at the "Hell House" performed annually in October by the youth members of Trinity Church (Assemblies of God) in Cedar Hill, Texas (a Dallas suburb) — seen by over 10,000 visitors each year.