 Hello everyone. I'm Brian Reel and I am an Assistant Professor of Information and Library Science at Southern Connecticut State University. I'm one of several co-organizers for this conference. The others are Oliver Geichen of the University of Maryland, Martin Johnson of the University of North Carolina, Chapel Hill, and Audrey Amadon and Heidi Holmstrom of the National Archives and Records Administration. We've been helped along the way by additional staff members of the National Archives, some of whom are taking a visible part in the conference, and others who have remained behind the scenes. This conference would not have been possible without the tremendous institutional support we have received from both the National Archives and the University of Maryland. Several of us who are involved in this conference are members of the Association of Moving Image Archivists, also known as AMIA, and a major part of that organization's conferences is its archival screening night. After all, if you spend a few days talking about how to do the work of motion picture archiving and preservation, it's nice to actually see some of the archives' holdings. While this served as a model for us, AMIA's archival screening night is usually something of a grab bag from different archives, while for this evening, we are primarily focused on the holdings of the National Archives. Audrey, Heidi and I picked a few things just because we thought they were cool, but for the most part, we let our conference participants offer feedback and guide our selection process. Heidi will speak more on that in a moment. We are showing extended clips for the most part, to allow our program to have a bit more variety. We are extremely grateful for Dennis Doros and Amy Heller of Milestone Film & Video for hosting this screening for us through their Vimeo account, and especially for their steadfast work in supporting film and media archivists over the years. As you watch these films, please remember that they are available because of the work done by archivists. This is a team effort that goes beyond just film and media archivists. Without the work of archivists to arrange, describe, and provide access to paper records and other documents, we would not have the information needed to contextualize and understand many of the films we are showing this evening, and that our presenters will discuss during the conference. And with that, I will turn things over to Heidi. Thank you, Brian. My name is Heidi Holmstrom, and I am a film preservationist in the National Archives' Motion Picture Preservation Lab. Films made by the U.S. government were intended to document, educate, and persuade, and we will be showing you selections from many films tonight to illustrate these different types. I worked with Brian and Audrey Amidon, also from the Motion Picture Preservation Lab, to choose films that help illustrate the themes of the Films of State Conference. We will see films about the U.S. government's relationship to the land, the activities of the military, and the government's communications with people both at home and abroad. Special thanks go to Andrew Simpson, Bert Bloom, Lindsay Zarwell, Hadi Garabaki, Yunju Strumpfels, and Dongyun Kim for helping us to enhance your viewing experience tonight. We are going to open the screening with Land of the Lofty Mountains, a silent park service film that has been given a wonderful new score by pianist Andrew Simpson. And with that, let's roll the film. Save valuable energy dollars. Apply weather stripping, storm windows, and storm doors. Then caulk all cracks and small holes. Energy-saving home improvements can eventually pay for themselves in lowered fuel bills. You will also help save our energy sources. If you don't have the cash, you may qualify for a HUD-insured Title I home improvement loan. Write HUD Energy Saver Washington, D.C. 20410. It was early morning in Georgia. Long before daybreak in a lone house at the edge of the forest, a boy lay awake with excitement, for this was to be an important day in his life. He had hardly slept the night before, but not his brother, Harry. In all fairness, you couldn't blame Harry. For him, it was just another day of work. But for the boy, it was the first day of his vacation from school, and he was going to make the most of it. His father was still asleep, and he took care not to wake him. In the kitchen, his mother was making breakfast, and it would soon be ready. Though the boy and his family lived on a small farm, they were people of the forest. His father and brother made their living with the stroke of the axe and the pull of the saw. And today, for the first time, the boy was to work at their side in the forest. Often say, you're as old as you feel. Today, the boy felt like a man, and he was ready and anxious to prove it. It felt good to the boy having wonderful people for a family. His mother made me a gentle woman who gave loving care to her family. His father, Louis, a kind man, who was as wise as he was strong. And his brother, Harry, who worked hard and said little. Together, they were the Hunter family. For over 80 years, the Hunter family has owned this farm. The boy's grandfather and his father before him cleared this land and planted cotton and tobacco. But ever since James's father was old enough to lift an axe, he had been a woodsman, cutting and hauling logs. His tools were the simple tools of the forest, the axe, and the two handle saw. I can remember when this was clear. Looks like some dirty birds were here. Looks like somebody dumped oil into the stream. Someone through paper cuts me to it too. You can't build a pop can. Why do people do this with you? Well, Greg, they just don't think. They forget to be careful. But that's how we can help. Now, if we see a mess, help clean it up. But most important, don't make a mess in the first place. Come on, kids, let's get busy. Help would be spread the word. Never be a dirty bird. No matter where you go, you can let some people know to give a hoot. Don't pollute. Never be a dirty bird. In the snow or on the sand, don't keep America looking, Greg. Oh, help would be spread the word. Never be a dirty bird. No matter where you go, you can let some people know to give a hoot. Don't pollute. Never be a dirty bird. In the snow or on the sand, don't keep America looking, Greg. Hello, boys and girls. I have a special message for you from the President of the United States. Let me read it to you. I salute the boys and girls who are buying United States savings stamps and bonds through the Treasury School Savings Program. They're learning the lessons of practical citizenship and of why his money management, and they're giving important support to the cause of freedom and the men who fight for us in Vietnam. That message is on this wallet-sized U.S. Savings Bonds pledge card, which you'll get in school as soon as you begin to buy U.S. savings stamps. Let's get started today. What do you say? Today, you can safely say that a tactical map is also an Army film distribution map, stretching for countless miles in every direction. But this is only the beginning. From here on, the films and equipment must be moved to the interior, must be moved by whatever modes of transportation are available, and those that can be improvised. Naturally, much is contingent on the risk and terrain, but it can be said that wherever supplies are moved, by what means they are moved, so the films are carried right up to the threshold of battle. In the skies over the battle-scarred southwest Pacific area, film containers are part of the cargo en route from New Caledonia to a strategic island outpost. Below is Bougainville. Similar landings are made throughout the Solomon Islands and surrounding areas, where our hard-fighting troops are making it hot for the Japs. The welcome passengers begin the last leg of their journey, moving right up with a mail bag. Letters from home and movies tonight at the Bougainville Roxy. The films are greeted like long-lost friends. Weary but eager warriors converge on their little theater as the word races through camp. A brief lull means that some of the men can see the new show, while others keep up the jungle watch. The names of these island battlegrounds are familiar to all who follow the war in the Pacific. Yet how many know that men star for entertainment are carving their own makeshift theaters out of a tangled wilderness. These scenes and all that follow were photographed by combat camera crews. This is the real McCoy, spot coverage that breeds realism into all that has been written about the average GI and his craving for motion pictures. Wire reels for seats, coconut logs for seats in a palm grove selected for added atmosphere to even line up all the empty gas barrels in sight. Anything that can be sat on, ingenuity born of necessity, and their arrangement makes good sense right up to the placement of the projection booth. Sometimes rear echelons can go in for fancier and more permanent structures. This is the best in the area. But fancier otherwise the same results are produced. Countless thousands of war miles, millions of troops, heterogeneous in other respects, yet maintaining a mutual interest in screen entertainment. This is the story of a young man who discovered his true calling in the war-torn skies of Europe. Wilbur Bloom of Oxford, Ohio volunteered for the US Army Air Corps in 1943. After completing flight school, he was assigned as a bomber-deer on the B-25 medium bomber. In March 1944, he arrived in recently liberated Corsica, home of the 340th bomber group, and was soon flying his first combat missions. One of the most remarkable things about the Second World War was the degree to which it was documented on film. Many Hollywood directors and cameramen had volunteered for service. In addition, hundreds of young men with an aptitude for photography and cinema were identified and pulled together to form combat camera units. They operated in every theater of the war. Lieutenant Bloom, a camera enthusiast, was transferred to the newly formed 9th Combat Camera Unit in June 1944. He got his hands on IMO and Mitchell cameras, and began making movies. That summer, the commanding officer of the 340th assigned him to produce a short documentary called Training During Combat. The objective was to show how continued training in forward combat zones contributed to the group's success. I was keen to see this example of my father's early work. I also had reason to believe that the film contained unseen wartime footage of another young bomber-deer, Joseph Heller, who gained fame two decades later as the author of Catch-22. In 2014, my search led me to NARA. To my surprise, they rapidly located nine reels of unedited footage from training during combat that was shot by Lieutenant Bloom. The combined running time of this footage is nearly 73 minutes. Of this, over eight minutes contained scenes showing Joseph Heller in uniform. It is unclear whether the film was ever completed. What you see here is an edit that the NARA team made based loosely on the script. A C-47 has just pulled up on the landing strip. An eager replacement crew piles out of the plane. Young Joseph Heller, playing a new bomber-deer, is the second man down the steps. Excited and a little cocky, the guys throw their baggage into an open truck and drive off to the operations building. The new crew gape at veteran airmen returning from a mission. The next moment, they encounter the group commander who welcomes them. A wacky grin breaks across Heller's face as he shakes the commander's hand. The men are eager for action, but they can save their bravado for later. The Colonel has recommended a regimen of lectures and training sessions. The gunners work out on trainers armed with dummy machine guns that squirt pressurized water at moving model planes. This one simulates combat for a ball turret gunner. The pilot and bomber-deer practice their coordination for bomb runs, crawling over a cement floor aboard a special training device. Here you can see Joe Heller operating the top-secret Norden bomb site. Between missions, the pilot sharpens his skills on the link trainer. Inside this dark gyrating capsule, he flies on instruments alone. This gunner is getting more practice on the tailgun trainer so he can shoot enemies attacking from the rear, emblazoned on the device is the squadron emblem. In case of a hydraulic system failure, crews can lower the landing gear using a manual crank. In this scene, enlisted men and officers use a REC B-25 as a demonstration model. Concentric steel hoops define fire zones for top-side gunners. These are some of the finest shots of young Joseph Heller in the film. They depict the new bomber-deer's visit to the squadron navigator for a few pointers. It was an important relationship because the bomber-deer had to do most of his own navigation during the bomb run. For targets that were especially difficult to identify on the final approach, models were built to study the features of the terrain. The time has come for the new men to put their skills to the test. All the crews listen intently as officers conduct the briefing. The new crew huddles for a final confirmation of the plan before loading their bombs. They're ready to go. The pilot fires up the engines and taxis to the end of the runway, lining up with the other ships from the squadron. To the roar of its twin engines, the plane picks up speed. Take off! Once airborne, the pilot joins three other B-25s in a box formation. In the plexiglass nose, the bomber-deer looks out the window and confirms the target. Bombs away! Today is just a final test. The target, an uninhabited rock in the sea. The bombers peel off for home. Their crews confident and well-prepared for combat. The brief and exciting year with the 9th Combat Camera Unit was the springboard for Wilbur Bloom's career. Returning to civilian life, he enrolled in the graduate program at the University of Southern California Cinema Department. Upon graduation, he joined the faculty at USC Cinema where he taught for 10 years. His first major triumph came in 1956, when his short film, The Face of Lincoln, was awarded an Oscar by the Academy of Motion Picture Arts and Sciences. Bloom produced films for the U.S. Air Force during the 1960s, working out of Lookout Mountain Air Force Station, a secret production facility in the Hollywood Hills. Projects included a series of people-to-people films for the Pacific Command. In 1973, he joined the USIA as production manager of the Motion Picture and TV service. He enjoyed the frequent collaboration with overseas filmmakers, actors, and writers. In the final phase of his government career, Wilbur T. Bloom was director of Motion Picture and Television Policy at the Department of State. He retired from the Foreign Service in 1981. In his later years, he taught public policy and communication at the United States International University in San Diego. He had seen a lot of the world, influenced students, filmmakers, and public diplomacy, and made many, many friends. What a jerk. Dr. Bush wants to see you, Lucas. Sit down, Lucas. Thank you, sir. You know, Lucas, I've been wondering about you. During the week that you've been here, I've noticed that, unlike the other men, you don't talk in our group sessions. What is it to talk about, sir? Lots. You hear the other men getting quite a few things off that chest. You should be able to see that they feel better by so doing. What ship were you on, Lucas? The Montandan, sir. The Montandan was sunk, wasn't she? Yes, sir. Last May, south and into now in a high sea, torpedo at. And you were a fireman? I am, sir. Certainly. And it's a tough job being a fireman. Always below decks, you never see what goes on. That's why I'm fed up. Nobody gets it. Nobody. Maybe not. And yet there may be some of us, even among those of us who haven't been there, who do understand. What do you, sir, know about what it feels like to be a fireman? What does anybody know what it feels like to be a fireman except a fireman? You've got to be there to know. You've got to feel that goddamn heat. On the Montandan there was always 128 degrees below decks. 128 degrees of sweat and more sweat. No place to go or to move to. Those guys topside have it soft. They can breathe air, move around, see the enemy. Hell, we don't know whether the next minute will bring a bomb or whether there's a torpedo coming for us right now. What was your job in the engine room? I was striking for water, Tender. I was the lines feeding water to the boilers. That's why I couldn't move. I had to stay with those goddamn valves. The guys topside and take it out on the enemy. They can shoot a gun. All I could do was wish I could twist a valve, but I couldn't because I'd wreck the boiler. Right, you get so you got to do something and I'll all you end up with is a burning feeling in your guts and your hands shaking. Goddamn it, look at me. Stitch isn't me, doctor. How did you feel, Lucas, when you knew you were safe in the water? How did I feel? Yes. I was damn glad to get out of that hole. Anybody would have been. No, Lucas, not everybody would have been. That's something you've got to face. Furthermore, you didn't really find relief, did you? I said I was glad to get out of that hole. Perhaps for a while. But I doubt it for long. How about it, Lucas? How about it? I got the feeling I let my buddies down. That's it, Lucas. And that's something you've gotten away to feel proud of. You were in a tight, tense situation. And quite naturally, you were afraid. You and every other man on that ship. Your buddies in the engine room, the gunners topside, you were all afraid. Because that's what happens to men in a battle. You were no different from any other man on that ship. Only most of them accepted their fear. You fought against yours. If I only could have been topside, if I could only have moved around. It would have made no difference. You see, you let your fear get control of you. You wanted to get out of the engine room. That's why you felt relieved when you were in the water. Even though you'd been blown from the engine room, as far as you were concerned, you were the state. In your mind, you felt that you deserted your buddies, your ship. As a result, you feel guilty. Yes, sir. That's a feeling that you have to face and conquer. And the only way you can do that is to understand that the real cause of your being here is your normal fear and time of battle. Fear which you didn't learn to handle properly. That you're continuously short tempered, even mean. With your handshake, you'll have a burning sensation in the pit of your stomach. All stemmed from this cause. Now, in order to start getting well, you have to realize this. And in realizing it, remember that fear and the thoughts that it makes you think at the time are normal. Nothing to be ashamed of. Shared by all of the other men who were with you on the mountain. As well as by the men on all ships. A ticking bomb means trouble for Batman and Robin. Holy, breaking and entering. It's Batgirl. Quick, Batgirl. Untie us before it's too late. It's already too late. I've worked for you a long time and I paid less than Robin. Same job, same employer means equal pay for men and women. No time for jokes, Batgirl. It's no joke. It's the federal equal pay law. Holy act of Congress! If you're not getting equal pay, contact the Wage and Hour Division, U.S. Department of Labor. As we approach the 21st century, there is much to learn about our world and ourselves. This learning occurs best in a climate of equal opportunity. In that sunny climate, human intelligence, trust and total commitment can prosper. We become the winning team. For purposes of testing equipment and we no longer had a need for that, we gave that up about three years ago. But that is where the water immersion facility will be built if you will be. I would like to go into space for a couple of reasons. The space program meets my particular academic needs. It gives me something that's intellectually challenging, also physically challenging, but much more important, I think, that man needs something to dream about. We've explored our world fairly thoroughly. I realize that there are oceans remaining in that three quarters of our world, but there's really just two frontiers left, the ocean and space, and I'd like to be part of that effort. I certainly feel that women are here to stay as part of the space program. This time, all the women selected were selected as mission specialists. I certainly feel that in future selections with women training as pilots that there will be women selected as pilots. I think we're here to stay. Who is to say who will succeed or fail in any task we earthlings undertake? For is there really any difference between the minds of males and females? The women of NASA don't think so, and neither does NASA. For it is generally agreed that differences in performance occur when there is a difference in opportunity to learn and to gain experience. When I was picked about a year or so ago to be a backup payload specialist on a dress rehearsal of a space shuttle flight, I was afraid at that time because I thought, well, maybe I really can't do it. But as it turned out, I was picked because of the investigators who had submitted experiments, just as it'll be for an actual flight. The payload specialists, the scientists, astronauts are chosen because maybe there's some particular characteristic of their own experiments that would make them themselves be the best person to conduct that experiment and also because their background, their educational background is varied enough to be able to adequately carry out other people's experiments on board. And as we went through the simulation I found out that I could learn what I had to learn, that I was doing just fine. As we approach the 21st century, drifting through the universe at almost a thousand miles per minute, increasingly we are coming to realize that equal opportunity, intelligence, excellence, and teamwork, rather than race, creed, color, or sex, are the keys to success in space travel. Whether we happen to be aboard a space shuttle or on board our mothership. Alright. He gets all over your pants and shirt. I don't think that I will talk. I don't talk all by himself. Don't you know? I will. It's no everything. Closer, because I've got something to show you. Now, what's it worth to me? What's it worth? It's worth 20. Now listen, folks. What you got to show us? She's going to show you how he does that. Well, I have a movie to show you, Mr. Home Run King. How do you do that? Now, I started to tell you I've got this movie to show you. That's just great. What's this about? Lottery? Wait, let me go get the dream book. No, not that kind of thing. Social Security number every morning. It keeps me dry all day. Well, the Social Security number I'm talking about won't let you down either, friend. And this is a film about Social Security that I want you to see. And what it can mean to you. Make way for the old folks. They need this more than we do. Come on here just a second. Uh, says... Uh, says this ain't for old people. And listen, if they want to. Security has something for those about. But it also has important benefits for young people, too. Or to your mother. That does it. I'm leaving. Hey, let the owl talk. Just stay with me, folks. This film also has information that's important to know when you're working. Say, that little girl in red in the back, she's awful cute. But how are you going to take care of her if something happens to you? And you can't work. I don't know. I guess somebody will have to go out and get a second job, I guess. Well, like I said, why don't you listen to this film? Because Social Security has something for everybody. And this film will show you just what I mean. Are you ready? One of the best sounds around was the People Crackers' plant number five marching band and groove society. Hal Hippo blew first sousaphone. And Robert Rabbit hit lead block and spiel. They were really fine days. The band was doing gigs all over the town. And Hal and Robert were kept busy every weekend. During the week, they were kept busy at the world's largest maker of People Crackers, a big favorite of all the animals. But when they weren't working, they always found time for fun. The good times did roll. And the hippos and rabbits enjoyed the good life all the way. One fateful day. It happened. Harry and Robert were working a big Independence Day celebration with all the works. Hal Hippo gone almost a month now. And Robert Rabbit still unable to walk. The doctor still thinks it might be as much as two more years before Rabbit is back to normal health. Mrs. Rabbit is worried because they're using their savings for day-to-day expenses. Then one fateful day. This is where I come in again. Excuse me, folks, you mind if I come in? Uh, Mr. Walrus, the funeral director. And Mr. Raff, the teacher down at the school. Well, they told me about your problems. Mr. Raff was very worried because she hasn't seen the children for some time. Normally people come to us about their benefits. But I think your case is special. I'm from Social Security. But I'm not retiring. Oh, quite right. But Social Security isn't just for retirement. It protects your family at any age. For example, why aren't the children in school? They're all looking for part-time jobs. Because Robert isn't going to be able to work for at least two years. And our savings won't carry us that long. They should still be going to school. Who'd work then? Mrs. Raff and I have the little ones to take care of. And we have to eat and pay that rent. That's why I'm here. Both Hal and Robert had Social Security at the plant, didn't they? Sure, for retirement. Uh, you forget now. I said there are other Social Security benefits. Seven people from Iran who had received the best education from more than 310 people in their studies spent the last week spending the United States on the future of their high-quality education in New York. The fact that the difference in education between the different universities in Iran for the next year, in one of the universities in the United States that have been chosen, the special relations that have been established so that more information and experiences can be more beneficial to the future of our services and more effective. Today, 22 people from Iran are living in poverty from Shoradi, who are free to live in their own poverty. These 22 people are the representatives of thousands of Iranians who, most of them in their youth, have become the best of them during their time in Shoradi, living in poverty, poverty, poverty, and poverty. The United States of Shahan Shahi of Iran for Iranians living in poverty from Shoradi, living in poverty, poverty, poverty, in their own poverty, in their own poverty, is a great opportunity. I hope that the Iranian people will continue to live in poverty from the grace of safety, freedom, and security. The United States of Shahan Shah is the North wing trat In the United States of Shahan Shahi of Iranが私犠推の耕识 At last, under the supervision of Mr. Burji, the head of the entire Islamic State of Tehran, at the age of understanding and understanding, at the University of Pahitahumme, the majority of the students have been selected. Today, the increase of the number of students in the Islamic State of Tehran and the Islamic State of Tehran is the result of the new knowledge that has become a problem for the United States of America. In the next year, in the next year, in the new administration of Tehran, the head of the entire Islamic State of Tehran, only the members of the Islamic State of Tehran have been selected. There is no doubt that the number of students in the Islamic State of Tehran is the result of the full attention of the entire Islamic State of Tehran. The year of the election of 1338 and 1339 is the beginning of the election. In Paitahumme and the cities of Estonia, The U.S. is in Tehran for your warm-heartedness. This is a revolution. My dear son! Mashallah Baba! Don't you worry! May God protect you from the war! May God protect you from the future! These children have been raised in the presence of their parents and great children. And in the absence of their parents, they have become leaders. The U.S. is in Tehran for your warm-heartedness. Hill and Gully Rider, Hill and Gully. The U.S. anti-Iranian anti-Iranian variant, which was published in Tehran a few days ago, has been proven to be a good example for the people of Tehran to come to the scene again. The news of Iran has shown other parts of this variant for its dear viewers. The U.S. anti-Iranian anti-Iranian anti-Iranian anti-Iranian variant, and God forbid, it is confirmed to be a legal anti-Iranian anti-Iranian anti-Iranian variant. The families of these families had died in the name of the school in which many French-made anti-Iranian students were presented. It is also an American-made anti-Iranian anti-Iranian thatans the role of one of the U.S. US officials in Iran will be held on the 10th anniversary of the revolution. With the anniversary of the murder of Mr. Hossein Hamadanyan Navazande Marouf, the program of the UNARI version of Iran-Iran will be broadcast to the public. I'm writing you a letter from a land not far away. A land that is rich and full of promise. The earth is fertile. In some places, the top soil is 30 feet thick. Three crops of corn can be grown in a year. Three crops of cotton, tobacco, sugarcane harvesting never stops. Above the earth and below it, riches to equal a king's ransom. The coffee, the world drinks, and the emeralds madame wears to the opera an opening night come from here. Here, from this land of potential abundance. I'm writing you this letter from Colombia. I have come here to make one of those films about progress that you see from time to time. New housing, industry, machinery. Progress with a big P that you can measure in tons of bricks and miles of road. This is about my search for that progress, what I found, and where I look to find it. Here there was much left to be done in this land where death was accepted as a part of daily life. These are children's coffins. The official face of progress is the inauguration where dignitaries speak at openings of new schools, or housing projects, or health centers. But what one needed to know when President Balanchier placed a brick in celebration of the 5,000th house to be built in one development was what is the real nature of Columbia's progress. A family of 12 crammed into a bamboo hut. They live here while they build a new home. The Colombian government has had an effect for some time, a program to provide housing for people like these. A loan is made to the family to build a home in a supervised housing development. In most cases, the people do the work themselves. This woman had eight children. Four of those children had the mom's and her oldest son had been bitten by a dog and she took him every morning to the clinic for shots, four miles on foot because she couldn't pay the car fare, and still she smiled. And for the first time in Columbia, I stopped to look closely at her face. Today, Columbia is a part of the Alliance for Progress, but long before any such alliance existed, Colombians had decided that they would progress. They worked out a plan to see what they could do themselves to take the steps so vitally needed to make Columbia into a modern nation. The Calca Valley. Hundreds of square miles of the richest farmland on earth, badly farmed, badly irrigated, much of it lay in waste. The Colombian plan started with the land. Along the Calca River, pumping stations are being constructed as part of the enormous Calca Valley flood control land reclamation project, which is now underway. The development of the valley is making new industry possible. The establishment of new plants, which will not only provide jobs on their own right, but will stimulate jobs in other fields better utilizing the strength of the nation and giving the worker better pay. While that goes on, others are learning more about the earth beneath their feet. How crops grow, how to grow new ones. There are three schools in Columbia now forming young men into teachers of agriculture. Many of them begin training as young boys. They will stay five years. They come from families that earn only a few cents a day from a few rows of potatoes on a hillside or from a little bit of platinus or sugar cane or a few coffee trees badly cared for. A few orange trees growing wild. These are the sons of campesinos upon the faces in this school, an intense look of learning. Remember that look. We'll find it later somewhere else. After five years, the students become teachers in small villages, rural areas. They use their knowledge to awaken interest in the community and new farm techniques instructing children in modern farm practices and the adults in the solutions to their particular problems.