Alaska Film Archives

[Dog mushing and travel, Haul Road and skiing 1]
[Dog mushing and travel, Haul Road and skiing 1]
AAF-10401 is made up of several smaller reels of film. Handwritten notes on the original film boxes are as follows: “Dog sledding Alaska M 73/74?” “Coming into Seattle, Wash on jumbo jet, flight back to Fairbanks, snowmobiling with pastor and Roadie in Canwell.” “Chena River.” “B-52 good, Ferrons snow machines.” “Yukon the cat small part of roll.” “Flight to Fort Yukon, Circle, Arctic and cross fox, Lilly, wedding coming out of church – good picture X fox (winter) Atigun Pass, also silver fox gobbler knob, short picture tanker at PS1 flags flying, flying to Fort Yukon with Steve, Bev and I.” “Flight and Wyoming.” “Wyoming, me on horseback, corral.” “Wyoming hunting 3.” This film contains footage of dog mushing near Fairbanks, a helicopter landing, an Alaska Dog Mushers Association and Open North American sign, airplanes and aerial views, snow machines, river travel and an old cabin, a boy fishing, a USAF military airplane, snowmachines, a church, a kitten, aerial views, village scenes, a fox, a wedding, more aerial views, outside travel, Yellowstone National Park, and horseback riding.
[Dog mushing and travel, Haul Road and skiing 2]
[Dog mushing and travel, Haul Road and skiing 2]
AAF-10402 is made up of several smaller reels of film. Handwritten notes on original film boxes are as follows: “Trading post w/ Bev PO etc. – Bev in Gemes[?] stove, winter time.” “Truck Haul Road turning in Coldfoot Camp, Bev with Chena Dogs, Steve S, OK.” “Wild Lake with Gordons, river trip, truck.” “Jon and I skiing, snowmobiling at Chandler good.” “Jon and Dad at Chandlar skiing, cat train good, my new truck with Boss in Fbks.” “Skiing over Camaro, Haul Road winter accidents.” “Jon, Greg, sheep, skiing.” “Greg and Jon skiing down Atigun Pass, Fbks post office.” “Atigun Pass south, Flying with Les Zerbik[?] Waren McAllister.” This film contains footage of airplanes and cabins, a US Post Office, Haul Road scenes, airplanes on floats, fishing, snow machines, skiing, an ice-road train?, ski jumping over a car, overturned trucks on the Haul Road, dall sheep, winter scenes and skiing along the Haul Road, and aerial views of mountains and a road.
[Kermode bears in cave]
[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.”
[Kermode bears]
[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.”
Arctic Haze
Arctic Haze
A documentary about the spread of air pollution into the Arctic from Europe and the Soviet Union. Scientists from around the world work to understand and solve air pollution problems in Alaska and across Northern regions that are caused by industrialization thousands of miles away. Those interviewed include: Matthew Bean of Bethel, Dr. Glenn E. Shaw of the University of Alaska Fairbanks, Alaska bush pilot Dennis Miller, Dr. Kenneth A. Rahn of the University of Rhode Island, Dr. Daniel Jaffe of the University of Alaska Fairbanks, Dr. Brynjulf Ottar of the Norwegian Institute for Air Research, Dr. Tom E. Osterkamp of the University of Alaska Fairbanks, Dr. Juan G. Roederer of the U.S. Arctic Research Commission, and others. Air pollution, acid rain, ozone depletion, the greenhouse effect, global warming, and climate change are all terms that are discussed. The program includes views of tundra regions, research laboratories, and a government observatory for monitoring climatic change located at Barrow.
[Totems, dancing, Prince of Wales Island, fish program]
[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, carver Nathan Jackson]
[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.”
[Ketchikan waterfront]
[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.”
[Saxman totem poles and carvers]
[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.”
[Killer whales, Johnstone Strait]
[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.”
[Carving totem]
[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.”
[Wrangell scenes]
[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.”
[Ketchikan, Nathan Jackson]
[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]
[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.”
[Haines fishing]
[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.”
[1988 ivory carver; BIMA dredge at Nome]
[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].
[1988 ivory carver; BIMA dredge at Nome]
[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].
[Dredge, Nome]
[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."]
[UAF campus views]
[UAF campus views]
Footage includes students at the University of Alaska Fairbanks walking in front of the Elmer E. Rasmuson Library, the Wood Center, Wickersham Hall, and the Gruening Building.
[Chuck Gray film collection addition 1]
[Chuck Gray film collection addition 1]
The original reel and can notes for AAF-10075 are: “Shee fishing, 1987 review, miscellaneous Clearwater, and miscellaneous fishing.” The footage includes the Blankenship Trading Post in Kiana, men eating inside a cabin, people fishing from boats, an airplane on skis, men setting beaver traps, an airplane cockpit, men hunting (in Wisconsin?), a tracked vehicle, a cabin home in winter, fishing and river travel in Alaska, a moose, a fox, people dipnetting, airplanes on floats, and a boat with “Kobuk Camp” painted on the side.
Alaska Review 63
Alaska Review 63
Alaska Review examines the growth and future of Alaska's largest city, Anchorage. The history of the development of the city is discussed, as are present-day problems such as poor transportation corridors and an outdated land-use system. Those interviewed include: Mike Carberry, senior planner for the Municipality of Anchorage; Bob Atwood, publisher of the Anchorage Daily Times; George Sullivan, former mayor of the Municipality of Anchorage; Walt Parker, former member of the Anchorage Assembly; Bill Laria? municipal planning director; Greg Jones, Anchorage planning commissioner; Barry Quinn?, director of capital projects for the Municipality of Anchorage; Tony Knowles, Anchorage mayor; and Scott Hawkins, economist. The program contains many views of historical photos, film clips and maps, and present-day scenes of Anchorage.
[Alaska Environmental Center collection films and videos 1]
[Alaska Environmental Center collection films and videos 1]
The original Betamax videotape is labeled, “Larry Sutton, Northern Alaska Environmental Center; Alpha Video Betacam 3-26-87; Ulrich Ganz, Wilbur Mills.” The video contains silent footage of mountains and rivers in Alaska, kayakers in a variety of settings, people hiking, birds and nests, Dall sheep, bears, caribou, and tundra flowers.
Alaska Review 62
Alaska Review 62
Alaska Review examines problems associated with the growth of Alaska's prison population. Topics of discussion include prison overcrowding, the Cleary v. Smith case, treatment programs for sex-offenders, rehabilitation programs for prisoners, presumptive sentencing, and the possible need for more prisons to be constructed. Those interviewed include: Roger Endell, commissioner of the Department of Corrections; State Representative Don Clocksin of Anchorage; Dr. Allan Barnes of the School of Justice at the University of Alaska in Anchorage; Avrum Gross, former State Attorney General; Nick Maroules, research director for the Alaska Judicial Council; Judge Victor Carlson of the Alaska Superior Court in Anchorage; Timothy Sterns (?), attorney who argued on behalf of inmates in the Cleary v. Smith case; Larry Robbins (?), compliance officer at Cook Inlet Corrections Facility in Anchorage; Susan Humphrey Barnett, director of Statewide Programs; State Senator Pat Rodey of Anchorage; State Representative Fritz Pettyjohn of Anchorage; and the Reverend Alonzo Patterson, chairman of the Alaska Parole Board. The program contains views of Alaskan prison facilities, the Lemon Creek Correctional Center, a graph depicting the growth of the statewide inmate population, court proceedings, the Third Avenue Jail in Anchorage, and the Hiland Mountain Correctional Center in Eagle River.
[Ketchikan]
[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]
[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.”
[Ferry, Tenakee Hot Springs, dock]
[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."
[Ferry from Haines to Skagway, Dyea graveyard and waterfront]
[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 rubber rafts]
[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.”
[Chilkat dancers, totem pole construction]
[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..."
Gardening is great in the north
Gardening is great in the north
This film contains tips about gardening in the North. It includes scenes of man mushing dogs to a cabin, a man and woman talking about hunting and farming, a woman making a phone call using a rotary phone, Virgil Severns of Cooperative Extension Service, gardening site selection tips, vegetable variety tips, a demonstration of starting seeds in foam cups, people shoveling soil and talking about soil sample kits, a man using a roto-tiller in a small garden area, people discussing fertilizer, a man demonstrating how to prepare potatoes for planting, a demonstration of garden planting techniques, hoeing and weeding, a family harvesting vegetables from their garden, and a demonstration of techniques for storing carrots. The credits are as follows: Photographer and editor, Reginald Emmert of UAF Rasmuson Library Media Services, animation and art by Dolores Hutchison, audio by Kevin Hamel, music by Helen Hansen, production assistance by Kathy Kollodge, special thanks to Claire Fejes and Gary Stein and Virgil Severns, and supported by The Alaska Native Human Resource Development Program. A list of gardening publications appears at the end.