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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: [Haines, totem poles, etc. 4]; The filmmaker's original labeling scheme has AAF-20058 numbered as Bacon 12-6 and titled "Haines, Chilkat Indian Dancers: ECN [Eastman Color Negative]-300 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. Whale House clan at Klukwan inside Whale House..."

: [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."

: [Haines, totem poles, etc. 6]; The filmmaker's original labeling scheme has AAF-20060 numbered as Bacon 12-8 and titled "Miner Joe with gold, Fort Seward, Lynn Mountains, craft center: ECN [Eastman Color Negative]-350 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: "...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..."

: [Harry Carter on Alaska Native Lands Claims history and issues]; AAF-13176 is a 1/2-inch open reel videotape labeled "Master Tape February 1972 Harry Carter AFN on Native Land Claims." Harry Carter, the executive director of the Alaska Federation of Natives, speaks about the history of land claims settlement, the AFN, land allocation, poverty, economic development, and other related issues.

: [Harry Leonard’s Wiseman films]; These films were made by prospector and miner Harry Leonard primarily during the 1930s and 1940s at Fairbanks, Alaska, and at or near Wiseman, Alaska, a small mining community along the Middle Fork of the Koyukuk River in the Brooks Range about 270 miles north of Fairbanks. In 2019, the original films were preserved through funding from the National Film Preservation Foundation (NFPF); Reflex Technologies of Burbank, California, scanned the reels of original 8mm film and created digital DPX files, which were then output to new 16mm internegative and answer print film stocks by Video & Film Solutions of Rockville, Maryland. The original films, new internegative and answer print films, and digital files are all being preserved by the Alaska Film Archives at University of Alaska Fairbanks. Many of the following identifications are from film donor George Lounsbury. AAF-1865 scenes include a fire in a Fairbanks building, Harry Leonard’s wife Savannah Leonard standing near car, Harry Leonard approaching the camera, cabins and sled dogs, Savannah Leonard with a broom and with snowshoes at the Leonard home on Dunkel Street in Fairbanks, and Harry Leonard waving. A pilot starts a Stearman bi-plane airplane on skis, followed by aerial views of Wiseman and mountains. Images back at Fairbanks include fire at the Hotel Alaska. Koyukuk region images include a small dam, large pump and pipe, and Harry Leonard with hydraulic giant moving material at Archibald Gulch on Nolan Creek. AAF-1866 scenes include a dog team on the Chena River at Fairbanks, Soviet aviator Mavriky Slepnyov walking to camera with unidentified men, with Savannah Leonard, and with Harry Avakoff (in dark suit). Harry and Savannah Leonard and other men pose with airplanes at Weeks Field in Fairbanks, and then an airplane on skis takes off. In the Koyukuk region of Alaska, men at the Wiseman Roadhouse include (left to right) unidentified, Phil Sundquist, Ace Wilcox, Poss Postlethwaite, Albert Ness, Martin Slisco and unidentified. On the final pan of the men, Harry Leonard is the last man on the right. Next are images of Wild Lake, Phil Sundquist with rifle, and the Hope Family at camp, including Ludi Hope and her adopted son Henry, who was the son of Japanese whaler and miner James Minano. Following scenes of a lake are men including Ace Wilcox and Vern Watts at sluice box, Biner Wind’s mining camp, Biner Wind on the runners of a dog sled, Harry Leonard with dog in front of tent, Phil Sundquist sharpening a saw, spring breakup on the Koyukuk River, miners shoveling ore into sluice boxes at Biner Wind's mining operation on the Hammond River, Ike English by sluice box, and people gathered around an airplane at Wiseman. Next are scenes of Roshier H. Creecy panning a sample in a washtub over a campfire and standing by a cabin during the winter at Gold Creek. Roshier Creecy, born just after the Civil War ended, was one of the few known African Americans who made their living by prospecting and mining in Alaska in the early 1900s. Following this are scenes of Roshier Creecy pulling a sled over ice and then dogs pulling a sled on snow, Harry Leonard waving to camera, Roshier Creecy waving to camera, Wiseman as viewed from the hillside, a dog yard, a log church (possibly at Allakaket?), and aerial views during a winter flight in a biplane. Images at Fairbanks include the Chena River breaking up downtown, and airplanes at Weeks Field. After scenes of people posing for the camera, are images from the Wiseman area including Tishu Ulen and Joe Ulen and their family, self-tripping dam on Gold Creek, a snared black bear, moose, and Harry Leonard prospecting with pack dog. Next is a scene of people posing by an airplane on floats flown by Wiley Post with Will Rogers while it is parked on the Chena River at Fairbanks. This is followed by scenes of a grouse, mountains near Wiseman, hunters with caribou antlers and meat, and Harry Leonard with a sled hauling firewood in winter. AAF-1867 images from the Wiseman area include high water running over Harry Leonard's Gold Creek dam, mining camp with small sluice boxes and prospect boiler, man shoveling ore into sluice boxes, and Harry Leonard at hunting camp with three moose heads. Images at Fairbanks include people at Weeks Field getting into single engine Wien Alaska Airlines airplane piloted by Herman Lerdahl, Richard Wien as a boy running toward the camera, and a Mirow airplane on skis. Images outside of Alaska include a United Airlines Mainliner and travel to cities at several locations. Scenes of travel across the United States from Key West, Florida, to New York City and El Paso, Texas, were possibly filmed by a friend of Leonard’s borrowing his camera.

: [Haul Road, Fairbanks, Sam and Judy Little, John and Joan Wild]; This footage features scenes of people dancing at a bar as a band is playing, Haul Road scenes, a crane removing pipeline sections from a semi trailer, black smoke from a fire, a trucker (named "Billy Goat" according to notes accompanying the film) in the cab of a truck, men working on a truck and changing a tire, pipeline construction scenes, trucking and truckers, downtown Fairbanks, Haul Road views, a record cover for singer Sam Little, Sam playing guitar, Sam and his family (the woman is identified as Judy in notes accompanying the film), the family's trailer home, the family going car shopping at Aurora Motors in Fairbanks, a woman (identified as Joan in notes accompanying the film) being interviewed, a woman and child, Sam and Judy being interviewed, views of their home's interior, kids playing, a woman and man (identified in notes as John and Joan Wild) being interviewed and working at a cabin, man in a canoe, and a woman at a cabin.

: [Haul Road scenes]; Specific dates and other information noted on the original film are given here in parentheses. Footage includes a truck on the Haul Road in winter, men in an office, trucks on the Haul Road (segment titled "Kamikaze Trail outs, Great 80' pipe shots"), a truck parked at Sunset Strip (segment titled "Best Pipedriver"). a still image of a woman pouring coffee (segment titled "Sam and waitress"), a bumper sticker, hanging tire chains, a sign, the Tundra Inn, signs, a logo, a man, the Yukon Bridge in winter, a pump station and road (segment titled "Antigun"), a pass in the road (segment titled "Ice cut"), a trucker, still images of truckers (titled "Stutte," "Col. Custer," "Sourpuss hands," "Canadian," Kid Lyndoms," and "Riggles"), a worn tire, a mechanic, a Hilltop Roadhouse coffee cup, a man (segment titled "Hooking up brakes"), still images of truckers (segments titled "Squint," "Pudgy 1-2," "John Appleseed," "Lancaster," and "kid and Shader"), a buckle and ring, a still image of a woman (segment titled "Muleskinner"), still images of truckers (segments titled "wholesome," "Phil," and "Big Bust 1-2"), a logo, the Haul Road, a can of chewing tobacco, a boot kicking a tire, a logo, a steering wheel, a belt buckle, still images of truckers (segments titled "boots," and "Stutte buckle"), mechanics, truck chains, still images of truckers (segments titled "Burk," "Kid's buckle," and "Mr. Ardee"), logos, still images of women and men (segments titled "Fox cook 1-2," "John's buckle 1-2," and "John - several shots"), men changing a truck tire along the Haul Road, a sign, a truck, still images of a man in a truck (all titled "Sealang Hostler"), scenery and trucks along the Haul Road, camps, and signs (segment titled "Kamikaze live action).

: [Haul Road truckers, Muleskinner's, interview scenes]; This footage shows trucks hauling pipeline segments along the Haul Road in winter, men and boys carrying firewood and buckets of water, a woman working in a garden, a stream and homestead (in an area known as "Muleskinner's" according to a label on the film), flowers, a man and woman being interviewed, a woman cooking in a cabin, a woman serving chicken and biscuits to people seated at a table, men and a woman being interviewed, a child's drawings of a truck, men entering a cabin as children watch, the interior of a truck cab, a trucker driving a truck, and a man being interviewed at a cabin.

: [Haul Road, trucks and scenery]; Footage contains views of semi-trailers traveling on the Haul Road, workers loading empty barrels into a semi-trailer, a man in a cowboy hat, men working on trucks, semi-trailers on the Haul Road, a warehouse, workers loading barrels, road and pipeline construction, road graders, a Finger Mountain sign, a Franklin Bluffs sign and other road signs, Brooks Range scenery, and a Deitrich Camp sign.

: [Hetherington films, reel 1]; This film contains scenes of military or government-supported activity in the Interior and on the North Slope of Alaska, perhaps related to exploration work. It includes scenes of early helicopters, large tent camps, men setting up towers and talking on radios, aerial views of tundra and mountains, and a cabin or building engulfed in flames as a crowd of men watches.

: [Hetherington films, reel 2]; This film contains scenes of a large military parade in downtown Fairbanks, a sign for "US Navy Petroleum Exploration NPR4," military equipment on display near the Lacey Street Theatre area in downtown Fairbanks, a Cat train, military aircraft and pilots, sailors near an Interior dredge in operation, people standing around a burned airplane (with all the fabric burnt off), a blanket toss in Barrow, large equipment including barges and backhoes at work along the beach (construction of NARL?), Navy ships along the coast, Quonset huts, and another blanket toss in Barrow.

: [Hill family films]; This film reel is made up of 12 smaller reels of film. Reel 1 is labeled “Ivory Carving of Pt. Barrow” with postal markings on the box indicating a film processing date of 1949. It contains footage of men making ivory carvings, a dog, carvings on a shelf, and a sunset. Reel 2 is labeled “Skee pictures, Mexico fishing, seal” with postal markings on the box indicating a film processing date of 1949. It contains footage of people skiing, scenes from outside of Alaska, dogs, and people on boat. Reel 3 is labeled “Fish camps, good pictures of Bear Hill and cabin with picturesque” with markings on the box indicating an approximate film processing date of 1950. It contains footage of river travel, men at a cabin with a bear hide, and people with dog team. According to Cynthia Hill Reed in 2013, the bear-skinning scene occurs near Rampart and includes: Cynthia's grandmother, Mary Shanahan Hill; Cynthia's father, Jay G. Hill; Cynthia's uncle, Jack (John) Hill; and possibly Cynthia's grandfather, Rudy Hill. Reel 4 is labeled “Parachute Jump and Dog Races” with markings on the box indicating an approximate film processing date of 1950 to 1952. It contains footage of a parachute jump and dog races on the Chena River in Fairbanks. Reel 5 is labeled “Fairbanks, Our Big Bear, and Skiing” with markings on the box indicating a film processing date of approximately 1950. It contains footage of downtown Fairbanks, people skiing, and a ski lift. Reel 6 is labeled “Construction Polaris Building, Pregnant Betty, Melinda, Dogs and Cats, Betty Unpregnant coming home from [?] with Genneg[?]” with markings on the box indicating a film processing date of approximately 1952. It contains footage of the Polaris Building's construction in Fairbanks in 1952. According to Cynthia Hill Reed in 2013, the Polaris Building was built by her grandparents, Mary and Rudy Hill. Reel 7 is labeled “Native Dancers Fairbanks” with markings on the box indicating a film processing date of approximately 1954. It contains footage of Alaska Native dance scenes as filmed from bleachers. Reel 8 is labeled “Dog Races 1952 – Horace Smoke won with Kenja (leader) – Very Good – Terry” with markings on the box indicating a film processing date of approximately 1954. It contains footage of dog mushing and spectators. Reel 9 is labeled “Dog Races and Fair” with markings on the box indicating a film processing date of approximately 1955 or 1956. It contains footage of dog races. Reel 10 is labeled “Hospital – Johnny Mike – Summer Outing – Fishing Trip – Salmon" with markings on the box indicating a film processing date of approximately 1954 or 1955. It contains footage of family scenes and fishing. Reel 11 is labeled “Jax Mary and Rudy first film guy at SP with crane” with markings on the box indicating a film processing date of approximately 1956 or 1957. It contains footage of people posing and a crane at work. Reel 12 is labeled “Walt and Me in LA” and “Mary Hill Carmen - Very Good of Mary Terry” with markings on the box indicating a film processing date of approximately 1963. It contains footage of a crane at work, people posing, and a show with trained seals.

: [Home Owner's Insurance interviews]; Footage features homeowners and officials, interviews with people about problems with home owner's insurance in Fairbanks, and many documents dated 1977 (title of segment is "Home Owner's Insurance 1976?") (sound).

: [Hunting and Alaska scenes]; This film reel made up of 15 smaller reels. Reel 1 contains scenes of musk oxen, men feeding musk oxen, a man and sheep, and a bridge (very overexposed). Reel 2 is labeled "Military class, children, trip up the Chena, University reindeer, crane," and it contains views of children playing, children riding in a car, children pulling a wagon, a child in snowshoes, reindeer, cars on a road, a small boat with outboard motor on a river, and a man fly fishing. Reel 3 is labeled "Airplane hunting trip" and "February 12, 1933." It contains aerial views during winter, an airplane on skis, landscapes, a cache, mountains, cabins, dog teams and passing by a Northern Air Transport ski plane, a family walking on a road with a child pulling a sled, and cabins. Reel 4 is labeled "Circle trip, caribou, children, hunting, September 1933," and it contains footage of a family fishing, siphons and pipes on Davidson Ditch, a man with a pack and a gun, a man with a sheep's head, a man dragging a dead caribou, a caribou strapped to a car, and people posing near small game tacked to a shed. Reel 5 is labeled "Huffman's - Dog Derby March 1933," and it contains scenes of dog races and dog teams on the Chena River, downtown Fairbanks, Cushman Street bridge, the Samson's Machinery building, NC buildings, people on the river and bridge, and the church and hospital. Reel 6 contains scenes of people, cabins, a placer gold mining operation, and children playing on a cable spool. Reel 7 is labeled "Carnival, skiing, children, July 4, 1937," and it contains views of a ski jump, children with a dog, 4th of July children's races on Second Avenue, children swimming, and a dog pulling a child on a wagon. Reel 8 contains views of a child, a canoe, a baby in a crib, people boating on a lake, and a dog sled (very overexposed). Reel 9 is labeled "1950 Carnival Parade and ski jumps," and it contains views of the Ice Carnival parade on Cushman and Second Avenue, the carnival, and a ski jump. Reel 10 is labeled "March 1951 Donn skiing," and it contains views of crowds watching cross-country skiers at the Alaska Agricultural College & School of Mines (University of Alaska Fairbanks), and a downhill ski race. Reel 11 is labeled "Donn's wedding, June 195 [1?]," and it contains views of the Huber wedding. Reel 12 is labeled "Wendy and Chena and pups," and it contains footage of a woman as well as a child and puppies. Reel 13 is labeled "Waterskiing July 1955, Chena's pups," and it contains views of a family, people waterskiing on a lake, and puppies. Reel 14 is labeled "Super-XX Nov. 11, 1955," and it contains footage of a car, a family, a camper, travel, and sternwheelers in Whitehorse. Reel 15 is labeled "Children skiing winter 1934-1935," and contains footage of people skiing.

: International 500; This film was made during the International 500 snowmobile race from Saint Paul, Minnesota to Winnipeg, Manitoba.

: [Jeanie of Alaska – original reel 1]; This film includes scenes of Bud and Connie Helmericks traveling with their young daughter, Jeanie, throughout northern Alaska. The date of 1952 was confirmed by Jean (Jeanie Helmericks) Aspen in 2015. Detailed summary information was provided by the filmmakers. According to these notes, the films include scenes of Bud, Connie, and their daughter Jeanie (just turned two years old) walking toward their airplane; an airport in Montana; the family en route to Alaska; scenes from Takahula Lake, including the Helmericks’ log cabin home in the Brooks Range (Jeanie had never seen it before); Connie lifting Jeanie out of an airplane; Jeanie’s first view of the Arctic following a five-day flight from the U.S.; Jeanie wearing a factory-made brown alpaca parka with a hood; the next day, Jean on her tiny snowshoes watching her daddy cut a hole through the four-foot ice of the lake; Ice-fishing; Connie in rubber boots carrying Jean through water to get out on the lake ice in May; Bud gassing up the airplane; ice on Takahula Lake getting slushy and treacherous, and so they must go north because the airplane’s landing field on the frozen lake is disappearing; arriving at the still-frozen Arctic Ocean, 300 miles directly north of the cabin; Bud setting up an Explorers Club flag on a staff; pitching a tent and making a polar camp; Jean watching from a gas can seat dressed in a new caribou fur parka; a dog team driven by a friend arriving from the shore by arrangement; Jean walking on her snowshoes; hunting seals; Jean helping her mother fetch a bucket of snow for melting; on sunny days, camp gear and bedding hung out over the airplane to dry out the dampness of living on the salt ice; Connie hanging child’s diapers to dry on the airplane prop; Bud stalking and killing a polar bear; Jean and her toy seal; ice getting dangerous; on shore again after two months; Oliktok Point, on the north coast of Alaska, changing the landing gear for summer flight; inside a tent – Nannie, Martha, and George; a summer evening on the Koyukuk River and an aerial view; a trading post at Hughes for mail and supplies; over the Brooks Range; a sunset rainbow over Takahula Lake in summertime; building a dock and steps to the cabin; planting a garden; Bud hanging moose antlers up on a gable; Connie and Jeanie paddling through the waters of Takahula Lake in a seven-foot homemade kayak, which was very tippy; on the Arctic coast in summer - the Helmericks family camping with a tent; mosquitos on Bud’s back; Point Barrow - a tractor pushing off a boat; two views of the polar ice pack as it looks in summer; a walrus hunt; a bull walrus charging the boat; and a walrus being harpooned and butchered.

: [Jeanie of Alaska – original reel 2]; This film features an airplane in flight from underneath, showing the floats; the word HELP written on the ground at remote Anaktuvuk Pass in the Brooks Range; Chandler Lake people, dressed in summer parkas, are worried about a very sick baby (Bud flies the baby to the nearest hospital at Point Barrow - not shown); a view of landing on Takahula Lake; the family examines a new electric generator weighing 800 pounds which was flown in 100 miles from the trading post; painting the big yellow canoe; Jeanie crawling over an ancient mastodon tusk on the lake shore; Bud motoring up the Alatna River in the big yellow canoe; caribou and sheep; Bud felling a giant spruce tree; Bud hoisting an enormous eight foot log on his shoulders and carrying it; Bud filling a 20 gallon water tank inside the house; Connie at her twin aluminum sinks inside the cabin with piped water; Jeanie sampling the pie dough; Bud cutting moose steak from a moose Connie shot in the fall; Connie, author of books on the northern wilderness, at her typewriter inside the cabin; the cabin at treeline is used as a base for northern explorations as much as for a home; Jean sleeping in her little sleeping bag; outside, the first snow of winter begins to fall; barricading the cabin and lying a plank with spikes in front of the door to ward off bears; Bud and an unidentified man at Hughes, the trading post, pulling a plane from the Koyukuk River by tractor; ice cakes running in the Koyukuk; flying through Anaktuvuk Pass over the Brooks Range once more to the Arctic Ocean to meet with commercial fishing partners and friends, George and Nannie; landing on sand beach of the Colville River delta and waiting for the Arctic Ocean to freeze for ice fishing; friends looking at the power generator brought for them; their old house and a view of their new frame house (lumber was ocean-freighted from Point Barrow, 240 miles to the west); Connie pulling 12-year-old Lydia and Jeanie on a sled across the new ice of the Colville River channels; Apiak, the oldest son, pulling another sled; George, the father, using an ice chisel to work at a fishing hole; sculpins, or “Irish Lords,” inhabit all the oceans and are a great nuisance to fishermen - they are worthless, covered with spines, and it takes valuable time to disentangle them from nets; tossing fish into the sled lined with a caribou skin to hold them; skinloads of fish are upset onto the ice, making piles of frozen fish all over the river delta to be picked up at will; Jean with George and Nannie, her “Eskimo grandparents,” inside the new frame house - looking at the Sears catalog is a popular pastime; Nannie and her sewing machine; grace, taught by Presbyterian missionaries at Point Barrow, is said before a meal with all participants seated on the floor; Bud draining the oil out of the “Arctic Tern” when the temperature turns 30 below zero; Jean and Lydia in their warm caribou parkas playing house in the discarded airplane cowling as Bud works; Bud’s tool kit - he must do all work on the airplane and make all checks himself without the benefit of a CAA inspector, for the nearest repairs or authorities are 520 air miles away in Fairbanks; Jean scrambling about in her double parkas - the outside parka she wears over caribou is of fancy grey rabbit – she also wears caribou pants, caribou stockings, and caribou booties; the instrument panel upon which the lonely pilot depends; the airfield at Barrow is marked by two lines of empty oil drums on the snow; scenes at Point Barrow: a tractor is used to haul Arctic Ocean ice (fresh) for drinking water for the village - lakes can’t be used because they are too distant and are tainted with salt from the ocean - but ocean ice “turns” fresh when it is over one year old; a sign for Barrow Theater - there are three motion picture houses in Barrow at this time, all owned and operated by an Eskimo businesswoman - the theaters run 24 hours a day, and fresh films are flown in daily from the U.S.; a panorama of Barrow shows a city without sidewalks or streetlights - garbage and sewage disposal is by truck and sled, carrying the city’s refuse out on the Arctic ice to be carried away - permanently frozen sub-soil makes a flush system impossible; Barrow Post Office and children getting mail; polar bear cubs in Barrow await shipment to some zoo; Ice blocks are stacked for the year’s water supply beside the school; a panorama shot of Barrow village, ending with the white framed Presbyterian church whose diocese covers an area the size of England and the British Isles; an Eskimo businessman who owns much stock in the cooperative Native Store enterprise; an American flag; Connie, Jean, and Bud walking through the snow in full winter dress consisting of two parkas; and The End (written in the snow).

: [John Burns collection addition]; Footage includes walrus hunting, catching birds with nets, a commercial fishing boat, men pulling a net, a man with a small skiff and black lab dog, a blank spot on the tape, a swampy area with canals, and bridges.

: [Julius & Opal Fowler Harkey Collection]; Black and white footage from Kotzebue (?) includes sled dogs, buildings, boardwalks, children leaving school and playing, and a baseball game. Color footage from Shishmaref (?) includes people travelling in a skin boat, outdoor games including running and walking on stilts and rolling fuel drums, and men pulling an umiak across ice with sled dogs. Additional footage includes men hunting seals and walruses, people processing meat, a Norseman airplane landing on a beach, people unloading mail, and an airplane departing.

: [Juneau]; This film contains views of the Juneau area, including the harbor, homes and buildings, government buildings, boats, wildlife, and the Mendenhall Glacier (undated) (silent).

: [Juneau, Hogatza, and Delta]; Footage includes Juneau streets and a news story about construction in Juneau, children practicing for a play, a post office and buildings in Hogatza, an elderly couple in a greenhouse, aerial views of rafts during the raft race from Fairbanks to Nenana, school buildings, and students in Delta.

: [Juneau, Legislature]; Some segments of film contain sound, and others are silent. Specific information noted on the original film is given here in parentheses. The footage includes a story about the possible move of Alaska's capital, views of Juneau construction, the state capitol building, boats in a harbor, an airplane flying over boats, mountains and fog, town streets, the Red Dog Saloon, traffic and people, maps of Alaska, people in a meeting, construction, a reporter at the capitol building, a reporter overlooking the town, boats (silent and sound), views of Juneau, Bullwinkle's, buildings and a courtyard, flags being raised by the state office building (silent), a boat harbor in Juneau, the ferry "LeConte," men in a rowboat (silent), views of Juneau (silent), people in meetings, the legislature in session (segment titled "State House/State Senate") (silent), the legislature in session, and an Alaska senator being interviewed about outside interests in protecting Alaska's undeveloped areas as well as about conservation efforts in Alaska (silent and sound).

: [Kenai – with Roy and Ethel Koshney]; The original narrated DVD is titled “Kenai.” The original silent film is labeled “Roy Koshney Kenai.” This is the narrated version. The film contains footage of Roy Koshney planting a garden and mending nets for commercial fishing, Roy heading out in an old cannery boat to the fishing grounds on Kasilof or Kenai River, Roy running nets out from his fishing boat, Roy pulling in nets, a sunset over the inlet, a boat hold full of fish, Roy moving fish using a peugh, men offloading fish at a cannery, Roy and Ethel Koshney cutting up salmon, Roy and Dina or Deena Koshney picking berries, the fishing boat PG 78 in a dry dock, and fishermen baiting and running out longline for halibut. An un-narrated scene at end includes a small fishwheel along a river and a man with a string of salmon.

: [Kennecott, Eagle, Haul Road scenes, winter trucking and wildlife 1]; AAF-10403 is made up of several smaller reels of film. Handwritten notes on original film boxes are as follows: “1986 Tim Walcott and I flying to P Bay.” “Ketchev plane flying alongside back to Prospect Camp with church people.” “Glacier Bay 1983, excellent falling, Glacier Bay 1.” “Haines eagles, flying to and from Anchorage, Mt. McKinley from air.” “Jim’s river boat, McCarthy, Teklaneka 79.” “End of D. King trip to Isreal – Anchorage, sheep at Glenn Hwy, bear near truck, Bill Chesley wh[?] fishing.” “Good D King and I cutting logs on So Fork, DK landing on So Fork winter time, good pictures at PB on taxi way lots of activity, Good taxi way P Bay, cutting logs with D King.” “Winter view mt from house 6mi, Little at Eagle in Dawson Parade.” “Good activity at Deadhorse Airport P Bay, small sheep, Larissa, beginning of D King logging.” This film contains footage of an airplane and the sign “Jim River DOT,” the pipeline, airplanes, tankers, a fishing boat, seals, calving glaciers, an eagle, mountains at sunset, children with a sled and snowmachine, McCarthy store lodge, Kennicott Glacier and Kennecott Mine, a family boating, dall sheep, a bear at close range trying to climb into a truck, a man chasing a grizzly, a bear and a truck on the Haul Road, cutting up trees, an aircraft, trucking, scenes in Eagle, a helicopter, a sternwheeler riverboat, a parade, and airplanes and trucks at a busy Deadhorse/Prudhoe Bay Airport.

: [Kennecott, Eagle, Haul Road scenes, winter trucking and wildlife 2]; AAF-10404 is made up of several smaller reels of film. Handwritten notes on original film boxes are as follows: “Going down Atigun Pass N side winter time, north of Atigun, Haul Road winter, snow covered trees, good scenery.” “Arctic fox, Dad changing tires on truck.” “Coming down Atigun and Chandler good scenery.” “Papa driving Haul 78/79.” “Haul Road avalanche.” “101 mile Steese Xing Eagle [?] with Kenworth, caribou, going into mine at Wiseman, good picture of grizzly at my truck, moose and calf N of Brooks Range, lots of caribou.” “Good picture coming from Franklin B to Prudhoe B, winter state clearing road, Jon driving Atigun to Dietrich pass wide load down Atigun on left side, driving to and around Prudhoe.” “Good picture of sheep pawing in snow, caribou in winter, Larry Lilly and babies at trailer park McGrath, Livia new baby.” “End of grizzly, beginning of flying trip to Anaktuvuk Pass umiat, slope mt Atigun Pass.” This film contains footage of scenic mountains and snow covered trees, Haul Road trucking scenes, a tire being changed, helicopters, a snow machine, a fox, a bear, trucking on a snowy road, deep snow on a roadside, bears, moose, caribou, family scenes, a bear, a woman with a duck in a truck, and aerial views.

: [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.”

: [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.”

: [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, 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.”

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Alaska Film Archives

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