https://peertube.dngr.us/videos/watch/5f61138d-9e1f-4ff2-bdf7-ff0dce5a2620 Want to support this channel and help us preserve old films? Visit https://www.patreon.com/PeriscopeFilm Visit our website www.PeriscopeFilm.com This 1972 color educational short produced by Coronet Films uses footage of Chicago, Illinois and staged documentary-style interviews to comment on evolving attitudes about ethnic minority groups. By today’s standards, the film provides screen time to cringe-worthy, scripted racist and anti-racist perspectives, while blurring definitions of race and ethnicity (TRT:13:51). The Chinese-style architecture of the Pui Tak Center Building on Wentworth in Chicago, Illinois (0:10). The San Juan theater, aka the Biltmore, aka the Alameda, in West Town. The marquee advertises “Jaime Sanchez en La Palomilla” (1970) and “Trampa Para Un Cadáver” (1969) (0:23). Opening titles over the streets of West Town (0:35). A black man with an afro looks across a city street towards an ad for Kent Menthol cigarettes: “The Together Smoke,” which features a smiling black couple. Also, another ad: “Bufferin is Bad. Baby. (And That’s Good.) Pan to elderly African Americans in urban Chicago” (0:40). Italian newspapers. People exiting a subway station (0:52). A tall, white, bald man sticks out above a crowd of pedestrians near a chain location of “Wimpy, The Glorified Hamburger” (1:30). Women flight attendants. One white, one Asian, one Black (1:39). A high-rise apartment complex. More Chicago pedestrians (1:48). Vox Pops / Street Interviews: A woman in a babushka speaks on the subject of “social power” (2:09). A black man in a turtleneck speaks about prejudice (2:28). A white man in a raincoat speaks on deprivation (2:37). An Asian woman speaks on racism (2:52). A man speaks on business exploitation (2:58). A white man with a heavy Irish accent speaks on discrimination (3:10). A Broadway bound city bus (3:22). Interviews continue (3:32). A woman with dark hair says that Italians self-identify as a minority (3:57). Women pedestrians. A nun. Men in fedoras (4:09). Japanese men. One enters a building marked, “Japan Trade Center.” Elderly men and women (4:46). A sweaty white man squints into the sun. Another man walks by wearing a shirt with a wide collar. The narrator invites us to guess at his religious background. The strange game continues with another man in a raincoat smoking a pipe (5:33). Next, women are given the ethic profiling challenge (6:18). A statue of the Virgin Mary in front of a Catholic church (6:53). A Jewish Temple. A Buddhist “Zen Center.” The Fourth Presbyterian Church of Chicago. A political rally (7:08). School, library, and classroom scenes (7:30). A man wearing goggles works at a polishing wheel. A nurse fills a syringe . A typist at an electric typewriter. A doctor (7:47). Interviews resume. A drive-by view of residential, suburban homes. People shoveling snow and working in a junkyard (8:20). Pedestrians distorted reflections in a mirrored building (10:20). A white man in an office denies that there is a “majority” in United States society (10:33). Decrepit and destroyed residential midwestern buildings (11:21). A white woman speaks from her front door, a young girl behind her. She blames minorities for problems they “bring on themselves” and asserts that they “take advantage of the situation” over shots of looting (11:29). National Guardsmen on patrol outside “Joyland - Available for Dances.” White policemen arrest a black man (11:47). A skeptical man with a thinly-veiled racist attitude claims “they” want “special rights'' while changing tires. He claims there is discrimination against people who “pay their taxes” and “earn what they get” (11:57). More footage of Chicago pedestrians. A racially diverse montage of closeups (12:18). “The End” and Credits. Script: Tom Ascher; Direction: J. William Walker and James Cullen; Photography Wayne A. Kolar; Editing Paul K. Basten (13:25). The film also credits “Educational Collaborator” Arthur Mann, Ph.D., Professor of American History at the University of Chicago. Motion picture films don't last forever; many have already been lost or destroyed. We collect, scan and preserve 35mm, 16mm and 8mm movies -- including home movies, industrial films, and other non-fiction. If you have films you'd like to have scanned or donate to Periscope Film, we'd love to hear from you. Contact us via the link below. This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com Source: https://www.youtube.com/watch?v=9xnCrwtHzH0 Mirrored from Periscope Film (https://www.youtube.com/@PeriscopeFilm) Sat, 13 Jun 2026 13:17:13 GMT https://validator.w3.org/feed/docs/rss2.html PeerTube - https://peertube.dngr.us https://peertube.dngr.us/lazy-static/avatars/41a6fee9-7f57-42d0-a5fc-5db4f1af2e31.png https://peertube.dngr.us/videos/watch/5f61138d-9e1f-4ff2-bdf7-ff0dce5a2620 All rights reserved, unless otherwise specified in the terms specified at https://peertube.dngr.us/about and potential licenses granted by each content's rightholder.