Strip - Script
1967
A documentary that looks at the unglamorous life onstage, and behind the scenes, in the Phoenix Club, a striptease venue in London’s ‘swinging’, 1960s Soho.
vf_sselwivwet
Strip - VHS Sleeve
1967
A documentary that looks at the unglamorous life onstage, and behind the scenes, in the Phoenix Club, a striptease venue in London’s ‘swinging’, 1960s Soho.
vf_jspsuirmus
Studio Demonstration - Takeo Yamashiro, Themba Tana
1984
Joint studio session and demonstration footage (unedited) at the University in Vancouver.
vf_ldcmubqwyt
Summer camp, man face painting two children
1983
Items relating to the history of the New York Catskill Mountains’ Jewish resort area – the Borscht Belt.
vf_lbsasverdx
Summer cottages, shrub, trees
1982
Items relating to the history of the New York Catskill Mountains’ Jewish resort area – the Borscht Belt.
vf_iwwzcbrmuw
Sumter, South Carolina, abstract, child’s baby doll arm in puddle
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_pgqegipdpt
Sumter, South Carolina, abstract, child’s baby doll arm in puddle, street view
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_zckwdcsffy
Sumter, South Carolina, children on way to school, Na’s Washerette shop
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_unpbetnlyc
Sumter, South Carolina, children on way to school, portrait, looking at camera
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_wosvtaidog
Sumter, South Carolina, children on way to school, portrait, smiling
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_sppzynzecd
Sumter, South Carolina, children playing on wooden porch
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_erkwecgemy
Sumter, South Carolina, city park, pigeons
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_qtdstbmunm
Sumter, South Carolina, house front, washing machine
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_dqqpvxvxqt
Sumter, South Carolina, housing, broken shed, Rock Hill Baptist Church bus
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_fuclzhyzju
Sumter, South Carolina, housing, washing on the line
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_mjxnnpgksn
Sumter, South Carolina, rural housing, woman walks outside
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_kmiaapfkir
Sumter, South Carolina, rural porch, two women
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_bqmlxytogl
Sumter, South Carolina, rural street scene, winter
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_nylwxvfpof
Sumter, South Carolina, rural street scene, winter, Atlantic and Sumter
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_vqweqeihgp
Sumter, South Carolina, rural street scene, winter, housing, children on house front
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_uhncmdzhgi
Sumter, South Carolina, rural street scene, winter, housing, children on house front steps
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_yuknpjlnwk
Sumter, South Carolina, rural street scene, winter, housing, gardens, broken fencing
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_llxjbmdizh
Sumter, South Carolina, rural street scene, winter, housing, gardens, chickens
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_gryzuticbs
Sumter, South Carolina, rural street scene, winter, housing, gardens, wide-shoty
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_oxszpxolen
Sumter, South Carolina, rural street scene, winter, outside school hates
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_trtdeszrjw
Sumter, South Carolina, rural street scene, winter, shop front
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_geqrnhrbju
Sumter, South Carolina, rural street scene, winter, two boys look at camera
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_rwjvfnxtnq
Sumter, South Carolina, rural street scene, winter, wide-shot, children leaving school
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_junqumlify
Sumter, South Carolina, rural street scene, winter, wide-shot, children play
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_imflstqpul
Sumter, South Carolina, rural street scene, winter, wide-shot, children run to school
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_awsgzzwdej
Sumter, South Carolina, rural street scene, winter, wide-shot, children, store
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_cbvpwdpbqa
Sumter, South Carolina, rural streetscene, children, play, puddles
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_rpfzqbceip
Sumter, South Carolina, rural streetscene, children, play, puddles, girl looks back
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_jsqtovpvvw
Sumter, South Carolina, single house
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_dddenvszrn
Sumter, South Carolina, single house, woman sweeps outside
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_zqequtnvfr
Sumter, South Carolina, street scene, car, houses
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_xawcswcxxt
Sumter, South Carolina, street scene, housing, STOP sign
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_shjddmzfiz
Sumter, South Carolina, street scene, man outside storefront
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_zvoyplynrl
Sumter, South Carolina, street scene, mansion, trees
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_ppygkodizw
Sumter, South Carolina, streetscene, men congregate outside Bradley’s Barber Shop
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_xbdrfowmml
Sumter, South Carolina, urban, boy at top of hill looking down to city
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_leindsalzg
Sumter, South Carolina, wooden house, long-shot
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_tpnzotmjfw
Sumter, South Carolina, wooden house, wide-shot, children, CITY LIMT sign
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_dqhmemkdle
Sumter, South Carolina, wooden house, wide-shot, CITY LIMT sign
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_ilumkuecdx
Sumter, South Carolina, wooden house, wide-shot, washing on the line
1964
Photos taken by cinematographer and film-maker Robert Elfstrom during the year of 1964 in New York, and the Deep South of the United States of America, at a time of Civil Rights protest and campaigning. Elfstrom was making a documentary for Swedish TV at the time, Sons Of Uncle Tom.
vf_cibhusxtar
Susumu
1989
A documentary on jazz pianist Sumi Tonooka’s poem “Out From The Silence” about the effects on the people of Japanese descent interned after the bombing of Pearl Harbor.
vf_mscbbhucfy
Sutton Manor hotel, abandoned, exterior shot
1980s
Items relating to the history of the New York Catskill Mountains’ Jewish resort area – the Borscht Belt.
vf_ldmgwanbol
Sutton Manor hotel, abandoned, exterior shot
1980s
Items relating to the history of the New York Catskill Mountains’ Jewish resort area – the Borscht Belt.
vf_gpyrayzlne
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_pvjrnpnkda
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_cdfvuezzmo
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_ngrqageqnv
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_umbledhbio
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_vnuwlngacq
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_hguvcjhdub
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_nvvqreojdf
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_wwgegsvqqe
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_dtxgisswov
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_ayecsvklqt
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_vpgluifiid
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_pxltraymyo
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_nmgktrovja
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_kximehmxra
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_ioqrcgzkwx
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_dodwacecqm
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_sxqdgdcfyl
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_mooludiana
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_cllkffavjy
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_rfnstrilao
Symbol of Sacrifice, Production still, Anglo-Zulu war
1918
Symbol of Sacrifice is a 1918 film dramatisation of the 1879 Anglo-Zulu War. It follows English soldier Preston Fanshall from the British defeat at the Battle of Isandlwana to Rorke’s Drift where he participates in the defence of that post.
vf_tzvqgwzvam
Taking Back The Waves
2005
Surfing and apartheid past and present told through the experience of a black surfer.
vf_atjidevepo
Taking Haart
2000s
The struggle for access to AIDS treatment in South Africa.
vf_ptrlvqzdtr
Tanzania, Dar es Salaam, cityscape, high view
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_tzefeihijp
Tanzania, Dar es Salaam, landscape, boat on beach
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_obwzyqzigl
Tanzania, Dar es Salaam, landscape, dwelling, orange
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_dlupkralqe
Tanzania, Dar es Salaam, landscape, harbour, wide-shot
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_hxxscimvtu
Tanzania, Dar es Salaam, landscape, modernist building, central
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_iybhwlwkja
Tanzania, Dar es Salaam, landscape, modernist building, street scene
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_blapmtwncs
Tanzania, Dar es Salaam, landscape, sea shell vendor
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_vupybkrgip
Tanzania, Dar es Salaam, landscape, tin roof amd street scenes
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_ukvyygeiat
Tanzania, Dar es Salaam, landscape, wide shot, apartments and sea view
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_leoxjhqudl
Tanzania, Dar es Salaam, portrait, young man
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_exzubguxey
Tanzania, PAC, Pan Africanist Congress camp, Elias Ntlodibe
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_rsvmawfsfk
Tanzania, PAC, Pan Africanist Congress camp, Elias Ntlodibe, portrait
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_wxunayctfr
Tanzania, PAC, Pan Africanist Congress camp, men in lecture
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_svhlttdyfx
Tanzania, PAC, Pan Africanist Congress camp, men in lecture, sunset
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_zhzxqxjmai
Tanzania, PAC, Pan Africanist Congress camp, men reading pamphlets
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_sjgynhazpp
Tanzania, PAC, Pan Africanist Congress camp, men, portarit
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_acloocysdn
Tanzania, PAC, Pan Africanist Congress camp, mountains
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_rtyymezccy
Tanzania, PAC, Pan Africanist Congress camp, standing and talking
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_liivnkfisb
Tanzania, PAC, Pan Africanist Congress camp, sunset
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_oaxmqjjbeu
Tanzania, PAC, Pan Africanist Congress camp, trees
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_hgbpsyxwbi
Tanzania, PAC, Pan Africanist Congress camp, trees and buildings
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_tvozbkhhxj
Tanzania, PAC, Pan Africanist Congress camp, wide-shot
1978
Images taken by Peter Davis during the filming of Generations of Resistance. Davis went to film with Pan Africanist Congress (PAC) members. The PAC camp was in a secret location (to hide from the South African ANC rivals).
vf_lutsamkgal
Taos, New Mexico, American Painter Dorothy Brett, in Western clothes, portrait
1960s
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
vf_gsfcfyzbid
Taos, New Mexico, D.H. Lawrence Farm house, landscape
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
vf_hryaitelzl
Taos, New Mexico, D.H. Lawrence Farm house, landscape
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
vf_hryaitelzl
Taos, New Mexico, D.H. Lawrence Farm house, landscape
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, D.H. Lawrence friend, portrait of Joe
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, D.H. Lawrence friend, portrait of Joe 2
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, D.H. Lawrence friend, portrait of Joe 3
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, D.H. Lawrence friend, portrait of Joe 4
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, D.H. Lawrence friend, portrait of Joe 5
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, D.H. Lawrence friend, portrait of Joe 6
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, Mabel Luhan’s home, Dovecote
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, Mabel Luhan’s home, Dovecote
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, Mabel Luhan’s home, Dovecote
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, portrait, Max Evans, shadows
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, portrait, tractor, Max Evans
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, ranch interior
1920s
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, ranch, Frieda Lawrence tombstone
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, ranch, window ornaments
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, Rancho de Taos, Postcard, church
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, Rancho de Taos, Postcard, church
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, Rancho de Taos, Postcard, church
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, Taos elder playing drum
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, women on horseback, mountains
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, women on horseback, mountains
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico, women on horseback, mountains
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico,woman on horseback, mountains
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico,woman on horseback, mountains
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Taos, New Mexico,woman on horseback, mountains
1969
Images taken (and acquired) during the production of a documentary about D.H. Lawrence and his time settled in Taos, New Mexico where he lived on a mountain ranch.
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Thami Mazwai, portrait
1989
Boston, USA. Anti-apartheid activist.
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Thami Mazwai, portrait
1989
Boston, USA. Anti-apartheid activist.
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Thami Mazwai, portrait
1989
Boston, USA. Anti-apartheid activist.
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Thato
2011
Portrait of a woman waiting for her second child in South Africa. His fear of seeing him die of AIDS as his firstborn is drawn on his face throughout the duration of the film.
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The 13th Guest
1970
A group of middle-class Americans gather for dinner, and discuss and dispute the tortured state of America in 1970, during the Vietnam War. Cinematographer Robert Elfstrom’s take on a divided nation.
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The 4th International Environmental Film Festival - Bodrum - Poster
2000
The 4th International Environmental Film Festival - Bodrum - Poster.
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The African Inkspots, I’m Jealous of You, production still
1948
The African Inkspots, I’m Jealous of You, production still
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The Anatomy Of Apartheid
1965
‘The Anatomy Of Apartheid’ aimed at generating positive propaganda for the apartheid government and defending its policy of separate development. An introduction to the ‘3 phases’ of the apartheid system in South Africa, culminating in the Bantu Self-Government Act.
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The ANC: A Time For Candour
1980s
A critical look at the philosophy, leaders, and activities of the African National Congress making the case that the ANC encourages violence, is a “peddler of the Soviet slant” and a communist organization. Examines links between the ANC and the United Democratic Front (UDF).
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The Battle For Johannesburg
2010
The severe social struggle during the lead-up to the football World Cup of 2010 (two versions, 50 and 72 mins).
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The Battle For Johannesburg - DVD Sleeve
2010
DVD Sleeve for The Battle For Johannesburg. The severe social struggle during the lead-up to the football World Cup of 2010 (two versions, 50 and 72 mins).
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The Chopi Series: A Spirit Here Today - A Scrapbook of Chopi Village Music
1994/2021
This lively and haunting film is a bittersweet memoir of Chopi life before civil war and drought took their devastating toll.
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The Chopi Series: Mgodo Wa Mbanguzi
1974
This film is a unique, real-time, two-camera documentation of entire Mgodo performances, filmed in the villages of Mbanguzi and Mkandeni, Mozambique, 1974..
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The Chopi Series: Mgodo Wa Mkandeni
1974
This film is a unique, real-time, two-camera documentation of entire Mgodo performances, filmed in the villages of Mbanguzi and Mkandeni, Mozambique, 1973.
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The Chopi Series: Song of Sadness (Ndando Yawusiwana)
1980
A personal lament from Chopi composer Venancio Mbande about the murder of his sister.
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The Chopi Series: The Chopi Timbila Dance
1980
This film is a fascinating, insightful look at the structure, instruments and rhythms of Chopi xylophone orchestral music and dance.
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The Condemned Are Happy
1958
Y
By director Jamie Uys (who later would make THE GODS MUST BE CRAZY) this is the apartheid government’s whitewashed presentation of African forced removals.
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The Dixie Mission
1970s
What happened to the Foreign Service officers who appear in Mission To Yenan, and who reported favourably on co-operation with the Chinese Communists in the war against Japan, and how they were blacklisted.
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The Dixie Mission - Script
1970s
What happened to the Foreign Service officers who appear in MISSION TO YENAN, and who reported favourably on co-operation with the Chinese Communists in the war against Japan, and how they were blacklisted.
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The Fox Has Four Eyes
1959
Y
Witchcraft and the South African penal system, by director Jamie Uys. Imcomplete.
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The Gospel Road - June Carter Cash - Poster
1973
Johnny Cash brings to the screen the story of Jesus of Nazareth…filmed in the Holy Land where it happened.
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The Gospel Road - Poster
1973
Johnny Cash brings to the screen the story of Jesus of Nazareth…filmed in the Holy Land where it happened.
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The Gospel Road - Robert Elfstrom as Jesus - Poster
1973
Johnny Cash brings to the screen the story of Jesus of Nazareth…filmed in the Holy Land where it happened.
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The Gospel Road - Robert Elfstrom as Jesus, crucifix - Poster
1973
Johnny Cash brings to the screen the story of Jesus of Nazareth…filmed in the Holy Land where it happened.
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The Gospel Road - Robert Elfstrom as Jesus, Saul Holiff - Poster
1973
Johnny Cash brings to the screen the story of Jesus of Nazareth…filmed in the Holy Land where it happened.
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The Gospel Road - Soundtrack - Poster
1973
Johnny Cash brings to the screen the story of Jesus of Nazareth…filmed in the Holy Land where it happened.
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The Gospel Road - Soundtrack - Poster
1973
Johnny Cash brings to the screen the story of Jesus of Nazareth…filmed in the Holy Land where it happened.
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The Gospel Road, production stills, Jesus on cross
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Jesus on cross, centurions
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash in water, baptism
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash on rock face, with Bible
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash standing, in black, portrait
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash with Robert Elfstrom, off-set
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, cast member
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, crew coming down aeroplane steps
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, crew coming down aeroplane steps, Cash holding child
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, crew, Jesus in background
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, crucifix, crowd watch on
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, in the river with Cash, baptism, June Carter
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Jerusalem street, polaroid
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, portrait
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom and woman smiling
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom camera, Cash
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus backlit, camera
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus in crowd
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus in gown
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus in gown
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus on pedestal
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus on pedestal looking down
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus, on crucifix, black and white
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus, polaroid
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus, preaching
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus, raised on crucifix
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, Jesus, Saul Holiff
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, June Carter Cash
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, June Carter Cash, other woman
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Johnny Cash, Robert Elfstrom, off-set
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, polaroid, crew shot
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom director, actor as Jesus, crown of thorns
1973
Exclusive images from the production of The Gospel Road.
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The Gospel Road, production stills, Robert Elfstrom, Jesus, children
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, Jesus, in boat
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, Jesus, in boat, long-shot
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, Jesus, on shore, crew
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, Jesus, preaching, black and white
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, Jesus, preaching, black and white, behind tree
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, Jesus, preaching, children
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, keffiyeh
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, keffiyeh, portrait
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, off-set
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Gospel Road, production stills, Robert Elfstrom, portrait
1973
Exclusive images from the production of The Gospel Road. Johnny and June Carter-Cash invited Bob Elfstrom to film their life of Christ, Gospel Road, the ultimate expression of their religious beliefs. As an expression of their evaluation of Elfstrom, as well as having him produce and shoot their film, they invited him to play a part of Jesus.
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The Guguletu Seven
2001
Powerful story of a police murder conspiracy during the apartheid era, with scenes from the Truth & Reconciliation Commission. Cape Town.
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The Guguletu Seven - DVD Sleeve
2001
Powerful story of a police murder conspiracy during the apartheid era, with scenes from the Truth & Reconciliation Commission. Lindy Wilson.
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The Gun Runner, Production still, silent film, Hendrick Andries, Katje du Toit, Rodriguez de Zazos
1916
Production images, promotional materials, and behind the scenes stills from a series of South African and American films.
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The Gun Runner, Production still, silent film, Hendrick Andries, Katje du Toit, Rodriguez de Zazos
1916
Production images, promotional materials, and behind the scenes stills from a series of South African and American films.
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