Alaska Film Archives

About the Collection

Over the past half century, the University of Alaska Fairbanks has built the largest collection of archival films in and about Alaska. The collection combines hundreds of donations of film and videos to UAF by individuals, organizations and institutions. Materials range from professional productions to amateur home-movies, made in and about Alaska from the earliest days of filmmaking through today. Since 1993 these materials have been held by the Alaska Film Archives, a unit of Alaska and Polar Regions Collections & Archives in the Elmer E. Rasmuson Library. Films and videos selected for this portal project are a sampling of the thousands available for checkout on DVD through the Rasmuson Library. Unless otherwise noted, items are presented here in their entirety, unedited and uncut. Short, popular clips from the collection can be viewed on our YouTube channel. Read more about the Alaska Film Archives.

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: [Saxman totem poles and carvers]; The filmmaker's original labeling scheme has AAF-20068 numbered as Bacon 14-03 and titled “Saxman Totem Poles, Rock Oyster, Nathan Jackson, Dave Jensen Carving.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Museum of all the old totem poles they could save before they deteriorated - The Rock Oyster Totem is a famous totem pole that shows a guy with his hand caught in the jaws of a giant oyster - Street scenes of Dolly’s at Creek Street - She was a prostitute that lived on Creek Street and there used to be a saying that this is where the men and the salmon come up river to spawn.” Notes on the film box are as follows: “Ketchikan Totem Museum, Nathan Jackson’s carving, trees, rainforest, pulp mill, totem poles, rock oyster totem” and “Reel 3: ECN, marked Original, Saxman totem poles, rock oyster, Nathan Jackson, Dave Jensen carving.”

: [Wrangell scenes]; The filmmaker's original labeling scheme has AAF-20063 numbered as Bacon 13-02 and titled “Wrangell, Petroglyphs, Lumber Mill, Chief Shakes House.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Bight Saxman Museum and Nathan Jackson family - He is one of the greatest Tlingit artists - He is a carver - Film of him carving on a totem.” Notes on the film box are as follows: “Ketchikan, totem poles, Saxman, Nathan Jackson family - Wrangell, petroglyphs, Chief Shake’s house, town shots” and “Reel 2: Original, ECN, Wrangell, overall shots of town, petroglyphs, Cha Johnson, street scene in rain, lumber mill, and Chief Shake’s house.”

: [Killer whales, Johnstone Strait]; The filmmaker's original labeling scheme has AAF-20066 numbered as Bacon 14-01 and titled “Killer Whale, Johnson Straits.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Museum of all the old totem poles they could save before they deteriorated - The Rock Oyster Totem is a famous totem pole that shows a guy with his hand caught in the jaws of a giant oyster - Street scenes of Dolly’s at Creek Street - She was a prostitute that lived on Creek Street and there used to be a saying that this is where the men and the salmon come up river to spawn.” Notes on the film box are as follows: “Ketchikan Totem Museum, Nathan Jackson’s carving, trees, rainforest, pulp mill, totem poles, rock oyster totem” and “Reel 1: ECN, Killer whale, Johnson Straights.”

: [Haines fishing]; The filmmaker's original labeling scheme has AAF-20045 numbered as Bacon 10-05 and titled “Haines, Fishing, People, Bears, Fish, Mining.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Carl Heinmiller repairs mask - He started the saving of the Tlingit culture - Carl was a WWII veteran - He came back and bought the houses for Chilkat at Haines - He bought two or three of the quarters that the army used and had them repaired - State ferry coming into Haines, pass by North Star landing at Skagway, the old pilings at the waterfront at Skagway; that is where the ships used to come in - It is all worn out now - This is where they used to have the dock.” Notes on the film box that pertain to this film are as follows: “Reel 5: Haines, fishing – people, bears, fish, mining scenes, scenery, leaving Haines for Skagway, Klukwan.”

: [Kermode bears]; The filmmaker's original labeling scheme has film AAF-20352 numbered as Bacon 87-01 and titled “Kermodei Bear.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about this film is based on Bovee's notes from that interview: “Kermode bears are all white at the San Juan Islands off of Canada - This is the only place in the world where you can find these bears - It’s a white black bear - Bill spent days looking for them and finally a guy said what are you looking for - Bill told him the Kermode Bear - The guy said, ‘Oh go to the dump they are there every night,’ and sure enough that’s where he found them - Great story - Reel 1 contains very rare footage - Valuable - There is only one other guy who has film of these bears.” Notes on the film box are as follows: “Kermode Bear – black bear mother with cubs/cave” and “Reel 1: Original, ECN, Kermode bear.”

: [Kermode bears in cave]; The filmmaker's original labeling scheme has film AAF-20353 numbered as Bacon 87-02 and titled “Black Bear Mother w/Cubs Playing Outside, Inside Cave.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about this film is based on Bovee's notes from that interview: “Kermode bears are all white at the San Juan Islands off of Canada - This is the only place in the world where you can find these bears - It’s a white black bear - Bill spent days looking for them and finally a guy said what are you looking for - Bill told him the Kermode Bear - The guy said, ‘Oh go to the dump they are there every night,’ and sure enough that’s where he found them - Great story - Reel 1 contains very rare footage - Valuable - There is only one other guy who has film of these bears.” Notes on the film box are as follows: “Kermode Bear – black bear mother with cubs/cave” and “Reel 2: Black bear mother with cubs outside cave – playing – inside cave.”

: [Carving totem]; The filmmaker's original labeling scheme has AAF-20051 numbered as Bacon 11-05 and titled “Carving Totem for Japan World's Fair.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Chilkat dancers, carving on the largest totem pole - The Japanese were having a World’s Fair and they wanted to have the largest totem pole so they went to Haines to have it carved; it was huge - Inuit Circumpolar Conference meeting in Nuke, Greenland in 1980, beluga hunting in Kotzebue - In the evening when the hunters bring in the whales they cut them up and hang them to dry - Nome inside shots of Omiak - When he went to Egg Island, big Omiak Eskimos climbed up the cliffs and got the bird eggs, puffin and seagull eggs - They get up there and drop the eggs down to a guy that catches them, and then he gives them to a guy in a boat where he has a basket with grass in it and they fill up the baskets - Bill got up the hill and it was so slippery from bird droppings that he kept slipping so he could not get down - They had to go around and climb up to the top and drop a rope down to him and pull him up - Says it was really embarrassing.” Notes on the film box are as follows: “Barrow Nulakatuk, ICC Meeting Inuvik NWT Canada 1960, ICC meeting Nuuk Greenland July 1, 1980, Eskimos going to ECC Island out from Nome 1950, Kotzebue beluga hunters return at night 1950” and “Reel 5: Carving totem, Chilkat dancers, carving on largest totem pole outside, Eskimo dance at Nulakatuk, blanket toss, beluga kill.”

: [Ketchikan, Nathan Jackson]; The filmmaker's original labeling scheme has AAF-20062 numbered as Bacon 13-01 and titled “Ketchikan, Totem Poles, Bight, Saxman, Museum, Nathan Jackson Family, Dave Jensen.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Bight Saxman Museum and Nathan Jackson family - He is one of the greatest Tlingit artists - He is a carver - Film of him carving on a totem.” Notes on the film box are as follows: “Ketchikan, totem poles, Saxman, Nathan Jackson family - Wrangell, petroglyphs, Chief Shake’s house, town shots” and “Reel 1: Work Print, Outs, Ketchikan 1986, totem poles, Bight Saxman Museum, Nathan Jackson family, Dave Jensen.”

: [Klawock]; The filmmaker's original labeling scheme has film AAF-20064 numbered as Bacon 13-03 and titled “Klawock.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Bight Saxman Museum and Nathan Jackson family - He is one of the greatest Tlingit artists - He is a carver - Film of him carving on a totem.” Notes on the film box are as follows: “Ketchikan, totem poles, Saxman, Nathan Jackson family - Wrangell, petroglyphs, Chief Shake’s house, town shots” and “Reel 3: Work Print, Klawock.”

: [Totems, dancing, Prince of Wales Island, fish program]; The filmmaker's original labeling scheme has AAF-20065 numbered as Bacon 13-04 and titled “Totems, Dancing, Prince of Wales Island, Fish Program.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Bight Saxman Museum and Nathan Jackson family - He is one of the greatest Tlingit artists - He is a carver - Film of him carving on a totem.” Notes on the film box are as follows: “Ketchikan, totem poles, Saxman, Nathan Jackson family - Wrangell, petroglyphs, Chief Shake’s house, town shots” and “Reel 4: ECN, Klawock, Prince of Wales Island, totems, Indian kids dancing, and fish program.”

: [Ketchikan waterfront]; The filmmaker's original labeling scheme has AAF-20070 numbered as Bacon 14-05 and titled “Ketchikan Waterfront, Ferry, Polly's, Pulp Mill.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Museum of all the old totem poles they could save before they deteriorated - The Rock Oyster Totem is a famous totem pole that shows a guy with his hand caught in the jaws of a giant oyster - Street scenes of Dolly’s at Creek Street - She was a prostitute that lived on Creek Street and there used to be a saying that this is where the men and the salmon come up river to spawn.” Notes on the film box are as follows: “Ketchikan Totem Museum, Nathan Jackson’s carving, trees, rainforest, pulp mill, totem poles, rock oyster totem” and “Reel 5: ECN, marked Original, Ketchikan waterfront from water, ferry dock and docking, street scenes, Polly’s, Creek Street, Totem Bight, Saxman Nathan Jackson, pulp mill, David Jensen.”

: [Ketchikan, carver Nathan Jackson]; The filmmaker's original labeling scheme has AAF-20071 numbered as Bacon 14-06 and titled “Ketchikan Totem Museum, Nathan Jackson, Pulp Mill.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Museum of all the old totem poles they could save before they deteriorated - The Rock Oyster Totem is a famous totem pole that shows a guy with his hand caught in the jaws of a giant oyster - Street scenes of Dolly’s at Creek Street - She was a prostitute that lived on Creek Street and there used to be a saying that this is where the men and the salmon come up river to spawn.” Notes on the film box are as follows: “Ketchikan Totem Museum, Nathan Jackson’s carving, trees, rainforest, pulp mill, totem poles, rock oyster totem” and “Reel 6: ECN, marked Original, Ketchikan Totem Museum, Nathan Jackson carving at home, street scenes, tour ships – split level sidewalk, Nathan’s home for dinner, steps, trees, rainforest, pulp mill.”

: [1988 ivory carver; BIMA dredge at Nome]; The filmmaker's original labeling scheme has film AAF-20,005 numbered as Bacon 1-01 and titled "Eskimo carver with old bold [bow] drill: WP [workprint]-100 feet." AAF-20,005 has not yet been digitized - it is the workprint for AAF-20,006, which the filmmaker's original labeling scheme has numbered as Bacon 1-02 and titled, "1988 ivory carver with drill in mouth: ECN [Eastman Color Negative]-100 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "Box 1 - 3 Small Reels, 1 Large Reel - Kotzebue, Nome, Original reels and Work Prints. BIMA is a floating dredge. Huge dredge was digging up gold bearing sand off Nome. Also other shots of Nome on same reel, ivory carver Pat, close up of head shots of dogs, dog team packed with dogs, tourists panning for gold and riding dog sleds, breakwater, tug and barge coming into channel, Front Street of Nome, ivory shop cut in to ivory carver, downtown Nome, the Nugget Inn on Front Street of Nome, Dredge 5 working." [Note that this description does not entirely match actual footage on reels - it is likely that portions of this description were meant for AAF-20,084].

: [Dredge, Nome]; The filmmaker's original labeling scheme has film AAF-20,084 numbered as Bacon 19-2, and it's titled, "Dredge: 600 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "Box 19 - 2 Medium Reels - To do with the mining in Nome 1988." [Note that description information for AAF-20,008 was likely intended for AAF-20,083 -- AAF-20,084 as follows: "BIMA is a floating dredge. Huge dredge was digging up gold bearing sand off Nome. Also other shots of Nome on same reel, ivory carver Pat, close up of head shots of dogs, dog team packed with dogs, tourists panning for gold and riding dog sleds, breakwater, tug and barge coming into channel, Front Street of Nome, ivory shop cut in to ivory carver, downtown Nome, the Nugget Inn on Front Street of Nome, Dredge 5 working."]

: [1988 ivory carver; BIMA dredge at Nome]; The filmmaker's original labeling scheme has film AAF-20,008 numbered as Bacon 1-04 and titled "BIMA dredge: ECN,ECL-1,200 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "Box 1 - 3 Small Reels, 1 Large Reel - Kotzebue, Nome, Original reels and Work Prints. BIMA is a floating dredge. Huge dredge was digging up gold bearing sand off Nome. Also other shots of Nome on same reel, ivory carver Pat, close up of head shots of dogs, dog team packed with dogs, tourists panning for gold and riding dog sleds, breakwater, tug and barge coming into channel, Front Street of Nome, ivory shop cut in to ivory carver, downtown Nome, the Nugget Inn on Front Street of Nome, Dredge 5 working." [Note that this description does not entirely match actual footage on reels - it is likely that portions of this description were meant for AAF-20,084].

: [Ferry, Tenakee Hot Springs, dock]; The filmmaker's original labeling scheme has AAF-20041 numbered as Bacon 10-01 and titled “Ferry Pass-Bys, Tenakee Hot Springs, Dock Ferry.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Carl Heinmiller repairs mask - He started the saving of the Tlingit culture - Carl was a WWII veteran - He came back and bought the houses for Chilkat at Haines - He bought two or three of the quarters that the army used and had them repaired - State ferry coming into Haines, pass by North Star landing at Skagway, the old pilings at the waterfront at Skagway; that is where the ships used to come in - It is all worn out now - This is where they used to have the dock.” Notes on the film's box that pertain to this film are as follows: “Reel 1: 1986, Original, Ferry pass-by’s, Tenakee hot springs from the water, on ground – flying kites, street scenes, dock ferry, people selling on the dock."

: [Ketchikan]; The filmmaker's original labeling scheme has AAF-20069 numbered as Bacon 14-04 and titled “Ketchikan, Boats, Fish, Float Homes, North Star, Totem.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Museum of all the old totem poles they could save before they deteriorated - The Rock Oyster Totem is a famous totem pole that shows a guy with his hand caught in the jaws of a giant oyster - Street scenes of Dolly’s at Creek Street - She was a prostitute that lived on Creek Street and there used to be a saying that this is where the men and the salmon come up river to spawn.” Notes on the film box are as follows: “Ketchikan Totem Museum, Nathan Jackson’s carving, trees, rainforest, pulp mill, totem poles, rock oyster totem” and “Reel 4: ECN, marked Original, Ketchikan – salmon derby, boats coming in, weighing fish, state fish check them over, float homes, North Star at dock taking on supplies, Totem Bight, people in the rain, cruise ships, overall shot of boat harbor, IP ‘86, pulp mill, salmon pix on rock, salmon ladder, harbor, street scenes, waterfront from water, people on ferry looking.”

: [Totem pole carving, dancing]; The filmmaker's original labeling scheme has AAF-20046 numbered as Bacon 10-06 and titled “Haines, Air Shots, Indian Art Center, Carving Totem Pole and Silver, Ermine Head Dress, Charley Jimmy Painting, Carl Heinmiller Repairing Mask, Dancing.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Carl Heinmiller repairs mask - He started the saving of the Tlingit culture - Carl was a WWII veteran - He came back and bought the houses for Chilkat at Haines - He bought two or three of the quarters that the army used and had them repaired - State ferry coming into Haines, pass by North Star landing at Skagway, the old pilings at the waterfront at Skagway; that is where the ships used to come in - It is all worn out now - This is where they used to have the dock.” Notes on the film box that pertain to this film are as follows: “Reel 6: 1986, Work Print, Haines, air shots of Indian, Indian Art Center shop, artist carving totem pole, Sue carving silver, repairing head dress made of Ermine, Charley Jimmy painting, Carl Heinmiller repairing mask, dancing in big hall, dancing outside for Bill special.”

: [Haines rubber rafts]; The filmmaker's original labeling scheme has AAF-20044 numbered as Bacon 10-04 and titled “Haines Rubber Raft.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Carl Heinmiller repairs mask - He started the saving of the Tlingit culture - Carl was a WWII veteran - He came back and bought the houses for Chilkat at Haines - He bought two or three of the quarters that the army used and had them repaired - State ferry coming into Haines, pass by North Star landing at Skagway, the old pilings at the waterfront at Skagway; that is where the ships used to come in - It is all worn out now - This is where they used to have the dock.” Notes on the film box that pertain to this film are as follows: “Reel 4: 1986 Rubber rafts in Haines.”

: [Ferry from Haines to Skagway, Dyea graveyard and waterfront]; The filmmaker's original labeling scheme has AAF-20042 numbered as Bacon 10-02 and titled “Ferry from Haines to Skagway, North Star, Dyea Graveyard, Water Front, Old Buildings.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Carl Heinmiller repairs mask - He started the saving of the Tlingit culture - Carl was a WWII veteran - He came back and bought the houses for Chilkat at Haines - He bought two or three of the quarters that the army used and had them repaired - State ferry coming into Haines, pass by North Star landing at Skagway, the old pilings at the waterfront at Skagway; that is where the ships used to come in - It is all worn out now - This is where they used to have the dock.” Notes on the film box that pertain to this film are as follows: “Reel 2: 1986, Ferry from Haines to Skagway, Old Dyea, LeConte State Ferry leaves Haines for Skagway, pass by North Star, landing at Skagway, Dyea graveyard, Dyea old piles at waterfront, Dyea old buildings.”

: [Haines, totem poles, etc. 3]; The filmmaker's original labeling scheme has AAF-20,057 numbered as Bacon 12-4 and titled "Inside Whale House: Rev EF Orig-100 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "...Different upright poles; they had moved the old Whale House. They had four posts and one was a Strong Man Totem that describes a man pulling a killer whale apart and his father fell out of the whale. A Girl and Worm Totem pole; she was put into the totem pole to save until she became eligible for the chief to marry. She wanted to get out so a worm came along and ate all around the wood so she could escape. Potlatch trough was a huge log approximately 30 feet long. They dug all the wood out, carved it with head on the front, legs on the back and that is where they put all the food for a potlatch..."

: [Haines, totem poles, etc. 2]; The filmmaker's original labeling scheme has AAF-20,055 numbered as Bacon 12-2, and titled "Haines, Sue Silver Carver: 50 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "...Silver carver and more inside the Whale House..."

: [Hanes, totem poles, etc. 7]; The filmmaker's original labeling scheme has AAF-20,061 numbered as Bacon 12-9, and it's titled "Haines, Indian craft center, Carl Heinmiller: ECN [Eastman Color Negative]-200 feet." See AAF-20,004 for an associated item originally labeled Bacon 12-5. Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "Box 12 - 9 Reels, 1 black & white picture - Picture in box of Carl Heinmiller dancing. Picture doing the bear dance. Whale House clan at Klukwan inside Whale House. Different upright poles; they had moved the old Whale House. They had four posts and one was a Strong Man Totem that describes a man pulling a killer whale apart and his father fell out of the whale. A Girl and Worm Totem pole; she was put into the totem pole to save until she became eligible for the chief to marry. She wanted to get out so a worm came along and ate all around the wood so she could escape. Potlatch trough was a huge log approximately 30 feet long. They dug all the wood out, carved it with head on the front, legs on the back and that is where they put all the food for a potlatch. Silver carver and more inside the Whale House. Miner gal with gold, air shots of Fort Seward in Haines, shots along the Lynn Canal, work in Indian Craft Center, fishing at Haines, people come there and fly fish. Chilkat River, Klukwan Village."

: [Haines, totem poles, etc. 5]; The filmmaker's original labeling scheme has AAF-20059 numbered as Bacon 12-7 and titled "Haines fishing, Chilkat River, Joe Jurgelite Miner, Klukwon: ECN [Eastman Color Negative]-250 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "...fishing at Haines, people come there and fly fish. Chilkat River, Klukwan Village."

: [Bush pilot John Thompson]; The filmmaker's original labeling scheme has AAF-20080 numbered as Bacon 18-01 and titled “Bush Pilot John Thompson.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Stan Price at his home - He is an old-timer who lived on Saxman Island - There were these bears and he knew them and he could walk around and they never bothered him because he knew them - He had a garden there - There is his obituary in the box - Riverboat in Nenana - It was put in down river from the bridge - They wanted to bring the riverboat up to Fairbanks so they had to wait until high water to get the boat up to Chena but it could not fit under the bridge - There was a big pole in the way so they had to take a big saw and cut enough of the pole to make it under the bridge - Homesteader Paul Elbert’s new D9 cat. He is cleaning his farmland outside of Fairbanks in a place called ‘Happy Valley.’" Notes on the film box are as follows: “Stan Price at his home with the bears, Rusty Heurlin at his log home in Ester June 1974, break-up 1961, Riverboat Nenana under the bridge in Nenana, coming up the Chena River tying up in Fairbanks, Obituary of Stanton Price” and “ Reel 1: Bush pilot John Thompson.”

: [Chilkat dancers, totem pole construction]; The filmmaker's original labeling scheme has AAF-20,004 numbered as Bacon 12-5 and titled "Chilkat Indian Dancers, World's Largest Totem Pole Construction, Carl Heinmiller, Whale House, Klukwon, Potlatch Trough: Orig [original]-300 feet." See AAF-20,054 -- AAF-20,061 for associated items originally labeled Bacon 12-1 through 12-4, and Bacon 12-6 though 12-9. Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "Box 12 - 9 Reels, 1 black & white picture - Picture in box of Carl Heinmiller dancing. Picture doing the bear dance. Whale House clan at Klukwan inside Whale House. Different upright poles; they had moved the old Whale House. They had four posts and one was a Strong Man Totem that describes a man pulling a killer whale apart and his father fell out of the whale. A Girl and Worm Totem pole; she was put into the totem pole to save until she became eligible for the chief to marry. She wanted to get out so a worm came along and ate all around the wood so she could escape. Potlatch trough was a huge log approximately 30 feet long. They dug all the wood out, carved it with head on the front, legs on the back and that is where they put all the food for a potlatch..."

: Trial of the Jeff A; The filmmaker's original labeling scheme has AAF-20466 numbered as Bacon 132-02 and titled “B wind dupe neg, Brian Production, ‘Trial of the Jeff-A’: DN-800 feet." It contains scenes of the hovercraft "Jeff A" in operation in the Harrison Bay area of Alaska's North Slope in winter, repair and testing of the craft, and interviews with officials related to the project. Ballad of the "Jeff A" is written and sung by Karsten Rodvik.

: [Kotzebue]; The filmmaker's original labeling scheme has film AAF-20,085 numbered as Bacon 20-1, and it's titled "Kotzebue, fish camp, museum drummers, blanket toss, ivory carver, tundra, Alaska Airlines: WP[workprint]-1,100 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "Box 20 - 2 Large Reels - The Hotel used to be the Alaska Airlines Hotel." Notes accompanying the reels are as follows: "Reel 1 - WP, ECL, Kotzebue, cutting up salmon, fish camp, Dave’s family, interior museum drummers –- dance blanket toss, tourist fish camp, Eskimo man talking about his childhood, tundra long shot, ivory carver with bracelet, waterfront exterior of museum building, exterior of hotel, Front Street fisherman, scenes of over bay, tourist getting off of Alaska airliner, museum stuffed animals, tourists going from bus into museum, Eskimo woman with baby on back, museum hallway."

: [Alaskans]; The filmmaker's original labeling scheme has AAF-20081 numbered as Bacon 18-03 and titled “People - Alaskans.” Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about the group of films that includes this film is based on Bovee's notes from that interview: “Stan Price at his home - He is an old-timer who lived on Saxman Island - There were these bears and he knew them and he could walk around and they never bothered him because he knew them - He had a garden there - There is his obituary in the box - Riverboat in Nenana - It was put in down river from the bridge - They wanted to bring the riverboat up to Fairbanks so they had to wait until high water to get the boat up to Chena but it could not fit under the bridge - There was a big pole in the way so they had to take a big saw and cut enough of the pole to make it under the bridge - Homesteader Paul Elbert’s new D9 cat. He is cleaning his farmland outside of Fairbanks in a place called ‘Happy Valley.’” Notes on the film box are as follows: “Stan Price at his home with the bears, Rusty Heurlin at his log home in Ester June 1974, break-up 1961, Riverboat Nenana under the bridge in Nenana, coming up the Chena River tying up in Fairbanks, Obituary of Stanton Price” and “Reel 3: People – Alaskans.”

: [Haines, totem poles, etc. 1]; The filmmaker's original labeling scheme has AAF-20,055 numbered as Bacon 12-2 and titled "Haines, Sue Silver Carver: 50 feet." Reed Bovee interviewed filmmaker Bill Bacon in 2010, and the following information about these films is based on Bovee's notes from that interview: "Box 12 - 9 Reels, 1 black & white picture - Picture in box of Carl Heinmiller dancing. Picture doing the bear dance... Different upright poles; they had moved the old Whale House. They had four posts and one was a Strong Man Totem that describes a man pulling a killer whale apart and his father fell out of the whale. A Girl and Worm Totem pole; she was put into the totem pole to save until she became eligible for the chief to marry. She wanted to get out so a worm came along and ate all around the wood so she could escape. Potlatch trough was a huge log approximately 30 feet long. They dug all the wood out, carved it with head on the front, legs on the back and that is where they put all the food for a potlatch..."

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