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roz payne's archives

Roz Payne Archives
POBox 164
Richmond, Vermont 05477 USA

(802) 434-3172

updated 7nov07


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s the ag

Newsreel film & Photographic & Paper Archives

A rare, and rather complete collection of the early films made by NEWSREEL (aka: Camera News Inc.) in the late 1960's. This body of work is available, both on Beta, 3/4 inch and VHS formats.

The archives are located in Richmond, Vermont and consist of 50 films, thousands of photographs, hundreds of posters, buttons, T shirts, and primary source documents that consist of articles, pamphlets, small press booklets, leaflets, and other documents. The films were made and distributed by Newsreel, a documentary film group that began in l967. Newsreel groups and distribution centers were set up across the United States including Vermont. Presently Third World Newsreel, California Newsreel, and the Vermont Archives and Distribution Center are in existence.

There is a special collection of released Counterintelligence documents on African Americans from l967-l971. These documents consist of a computerized index of 350,000 pages. Scholars make use of the extensive files that exist. They are broken down by subject, city, and time lines.

The majority of the archives are concerned with the political movements of the '60's through '80's. For more information about the photographs please call or write.

Roz Payne
POBox 164
Richmond, Vermont 05477






select film for description

Columbia Revolt
Community Control
El Caso Contra Lincoln Center
El Pueblo Se Levanta
Free Farm
High School
High School Rising
Los Siete de la Raza
Make It Real
Make Out
Mayday (Black Panther)
McDonnel Douglas
Mighty Mouse and Little Eva
No Game
Off the Pig (Black Panther)
Only the Beginning
Open for Children
BDRG: Boston Draft Resistance Group
Richmond Oil Strike
People's Park
Peoples' War
Pig Power
Por Primeria Vez (For the First Time)
Seventy-Nine Springs of Ho Chi Minh
She's Beautiful When She's Angry
Strike City
Summer '68
The Case Against Lincoln Center
The Earth Belongs to the People
The Woman's Film
Two Heroic Sisters of the Grassland
Up Against the Wall Miss America
You Don't Have to Buy the War, Mrs.Smith
Young Puppeteers of South Vietnam
Young Lords


The l960's are remembered as the age of activism - a period of tumultuous upheaval in our country. During those years a small band of film makers created a body of independent work that helped define and explain the times.

They were not journalists in the conventional mechanistic sense - but advocates and activists who used the medium of film to bring the voices and the issues of their times to public attention. They saw film as a weapon to put a the service of movements and struggles although many of their productions were high quality and artistic.


They called themselves NEWSREEL

Working in decentralized film collectives in several cities, they produced many, many films, mostly shot on l6 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.

These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the "intellectual property" everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system. D. Schechter




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