politics? when the berlin wall goes up, and the book is not about president obama, it is about disappointment, the current frame the curse there is an economic philosophy that governs this country. that has it has produced disposable people. watch "booktvtv" every weekend. >> next, learn about the prelinger archives, a collection produced from the 1920's through the 1960's. the second of the state of-part program looks primarily an amateur home movies and industrial films produced by corporations. >> america, industrial miracle

, the product of forest, mine, and field. >> this is the internet archives, a public digital library in san francisco, and mission is universal access to all information forever. this building formerly was the church of christ scientist. the church was an aging congregation and put it on the market. we purchased it and refitted it both as offices and workspaces for our engineers and also a space for scanning and for our servers. this is our scanning center where we convert books, microphone, and motion picture films to disk. in this room, people are working on scanning books, also

manuscripts, microfilm, and also digitizing home movies. yvonne is operating a state of the arts film scanner. it is taking a digital image of every frame. later, the images get knit together into a video. she is doing high-definition recording. simple,ine looks quite but it's quite sophisticated. she controls brightness and quality of the image. and that's about a terabyte of raw scans per day. a huge amount of data, really. this is a home movie from an american family. we don't know who it is. these are films that just turned up at an estate sale.

we have not looked at them yet, we do not know what is on them. but it is certainly a record of american life. after the film is scanned, the original film will go into cold storage for long-term preservation. that is where i keep all of my material. we will do a content test to make sure it is ok to put online. and we will build a record for it with what we know about it. sometimes that's not very much. then we will upload it to the archive for people to look at it too used to study. films do not come with a life story. loose can of film. -- they are usually just a loose can of film. who are these people? why did someone spend money to make this work? sometimes they write in. they comments.

railroad buffs tell us a lot. students ofre background music can tell us exactly what that selection is. crowdsourcing has yielded a tremendous amount of information about films. at this point, we now have an archive of about 9000 home movies, which is constantly growing. home movies are very special kinds of film. a lot of people think that home movies are just records of christmases and birthdays and banal family gatherings, but it's much more than that. home movies are personal expressions. they are not corporate expressions. no focus group sat down to decide what would be in a car movie -- in a home movie. if they actually were not there on the day that something happened, they pictured america and the effects on everyday life

in the way that we live, work, and play. i have come to realize almost nothing escapes the home movie camera, and so our collection has grown. as our collection has grown, i have found astonishing things i could not believe. one of the things that makes home movies are expensive. but then in the 1930's, kodak began to put out 35mm film a lot cheaper. rural people, as you would think in the 1930's would not have the spare income to shoot home movies, but it turns out the canvas that home will reveal is tremendously diverse and absolutely fascinating. it has become frankly, the only kind of film i care deeply

about. i work with home movies. we have a volunteer group in this building. who prepares home movies for scanning. i do regional and local history events in san francisco and detroit. i have a feature film as well. it's completely made out of home movies as well. >> when i did a lost landscape show last year in detroit, and audience member commented the provocation. for me, this sums up much of what i love about home movies and much of their value. rick: i like the neighborhoods. there is practically unlimited footage of the golden gate bridge. fisherman's wharf and the cable cars. but it's when you get into the neighborhoods, you see san

francisco as an immigrant city, and ethnic city, ethnic organizations penetrating every aspect of life. when you see kids in school, when you see japanese-americans before they were forcibly moved 1942 -- these are all tremendously fascinating things. i'm not the only one who is interested. they say, how about our stuff? amateurs were present in many historical events, and they film them when they can. that story kind of begins and in swiss visa brood of film, which is probably the most famous home movie, -- begins and inns with the zapruder film, which is probably the most famous home movie. home movies of life in camp, which are now in the japanese-american museum in los angeles. these are significant events in the history book.

it's the notion of history from below. it is the notion of individuals documenting what is around them with the very individual point of view that is in no way a objective. it is personal. it is a personal nature. that is where the value resides. you know who made it. it is a known author. it's an individual trying to interpret what is around them. there are quite a lot of home movies on the internet archive. i think there are 8000 or 9000. we are going to put up just about everything we can let our collection. if you go to archives.org and search for home movies -- you will find enough to occupy you for years. in the same way that every

american company or organization has a website today, almost every american corporation or institution made films, and most of those films do not exist anymore, that the ones that do are sometimes the most vivid and fun record of our cultural and social history. general motors made thousands of films. >> this car practically drives itself. want to try? says but i'd love to. >> how is that for magic? >> ooh. ooh! >> the 1961 pontiac! [applause] rick: some of them were soft sell advertising. they might have a chevy logo at the end. here's an interesting little science experiment, here is a film about tv that will change our lives from 1941.

>> thanks to the newest marvel of modern science, television, you can lean back in a comfortable chair in the theater or your own favorite charity home, relax, and watch the game. out at the stadium, the television cameramen are seeing to it that you can follow every detail. inside the television camera is a magic electric eye called the icon a scope. the most important part of which is the sensitive plate. it is a rectangular piece of mica covered with millions of photoelectric cells arranged like this. the beams being televised go through the camera lens and fall on the camera lens. --

the photoelectric cells. rick: henry ford was a big filmmaker. he made weekly newsreels that circulated throughout the united states. there are also institutional films to push it a point of view, which could be anything from your local chapter, the united fund, the united way, a prounion film coming out of the afl-cio. >> the promises made during the war of the president of general electric. >> after the war is won, take-home pay on a 40-hour a week basis must eventually represent the higher levels of pay that prevail. narrator: things were not what bill had hoped for. roosevelt was gone, and his enemies were there to threaten the victory. threats at home, threats abroad. bill did not like it.

rick: oren & a union film by general -- or an antiunion thrombi general electric. >> automation pays for itself over time. automation increases efficiency. machines can be kept running longer at full capacity without shutdowns or delays for loading or unloading. workers are upgraded. the emphasis of a shift from manual to mental skills. rick: every kind of great idea, technology. if you look hard enough, you can find a film. a lot of these films are quite wonderful. i like, for example, a film sponsored by westinghouse in 1939. it is called "the middleton family at the new york world's fair." it is a 55-minute featurette about the middleton family from indiana that comes to new york to go to the world's fair and they spent all of their time in

the westinghouse pavilion. in the westinghouse pavilion, they see robots. >> will you tell your story please? >> who, me? >> yes, you. >> ok, toots. [laughter] ladies and gentlemen, i will be very glad to tell my story. i am a smart fellow. as i have a very fine brain of 48 electrical relays. it works just like a telephone switchboard. the time-- you see

capsule which is meant to tell the story of our time -- you see the time capsule, which is meant to tell the story of our time. you see the battle of the century between ms.'s modern and mrs. drudge. this is modern has a dishwater. mrs. drudge washes dishes by hand. >> is getting a little dangerous. a blow-by-blow account of what is going on. the contest is over in exactly seven minutes, 58 seconds. in that time, mrs. modern has washed 50 dishes and 40 pieces of silverware. it is all over, mrs. drudge. you might as well rest now. [laughter] rick: the daughter who is going out with her communist art teacher learns that free enterprise is not such a bad thing and inns up cooking up for the hometown boy from indiana. >> why don't you tag along and learn something? there is plenty of time before we meet the folks. >> i don't know. it might be fun. >> all right.

but don't expect me to be amused. there's nothing funny about the tools of capitalism. rick: a film about free enterprise, a film designed to reassure people that innovations -- a film designed to pull people away from trusting the government to get people to start trusting corporations again. it is a deep film. it is hilarious. they must've spent half $1 million making it back in 1939. >> you would be right if you called it a frankenstein's monster. >> that's a movie. >> think of the number of people who would be working if we did not have these power looms. >> i guess every woman in america would be working in a sweatshop making homes for -- making clothes for their family. like they were before we had power looms. >> i don't think i would like that. rick: my uncle who is 96 -- when he was younger, he was a union

projectionist and he put that film out in special rejection then -- projection then. you would open up the back and there would be a screen, and you would project from the van and they would show up at public events, county fairs, schools, and so on, and you would show the film. it was a big pr effort. it was viral marketing. these films played a tremendous role. think of the west as movies. that is what sponsored films were about. most corporations did not pay for their films. there are a few. gm has an archive, which is incomplete. they farmed it out to a contractor. general electric went to a museum. most of them are gone. no one on staff actually cared. the at&t archives are still in pretty decent shape, but a lot of the smaller companies --

gosh, films just showed up all over the place. as i said, we are a tremendously media rich country and americans do not like to throw things away. they show up in attics. they show up in the states. a lot of times, filmmakers' families kept them. ephemeral films offer tremendous opportunities for the makers today. most of them are not in copyright. some were not copyrighted originally. often for competitive reasons, so the footage cannot be used by somebody competing with a product. and some educational films were copyrighted if the producers thought they would be evergreen, but most were not. very few of them were renewed. america is an atypical country. we have a huge body of moving image material in the public domain.

once anything is in the public domain, anyone who was acquired -- anyone who has lawfully acquired a copy can use it for anything they want. the things that we put on the internet archives, we offer a creative commons public domain license saying, this material is not an copyright and you may use it as you please. i am especially fond of a film made by at&t, the bell system in about 1941. it is called "long-distance." it is a film that explains what happens when a operator makes a long distance call for you. but it's far more than that. it's also about how the growth of the telephone network follows the growth of western expansion, so that the european occupation of the american continent moving from east to west, houthi -- how a communications infrastructure was set up in the wake of the pioneers, and then it is just about the people at

the telephone company and its is symphony of sound and music. very well done. >> and so long-distance means many things. waves, wires, antennas, buildings. many parts, many skills, many functions. instrumentality ready for the task ahead. given this instrumentality, life, and energy, the spirit that moves men and women everywhere to undertake the duty of communication. rick: another film, one of the first films from our collection that was put on the national film registry is a film called "master hand" made by the jam handy organization. this is a full-fledged industrial symphony showing how automobiles are made.

from the founder reid being lighted to the finished chevys driving obvious and we want. -- driving off the assembly line. ♪ rick: it is a film that just has a musical track. i think it has one line of .arration so you are meant to contemplate this incredible coordinated production as he watched these cars being made. it was made the same year as "triumph of the will" and

"modern times." and it has a lot to do with those. and another thing that is kind of grate, this was made in the midst of the organizing efforts -- another thing that is kind of great, this was made in the midst of the organizing efforts. michael moore grew up. you can extrapolate from that one of out of every 10 of the people you see was secretly receiving payment to report on fellow workers about union organization. in committee hearings it was revealed one out of every 10 workers was a spy. it is a sense of all these things happening. ♪

rick: we have preserved it with library of congress, and they put it on the national film registry. every year, the national film preservation board meets. they recommend a number of films to the librarian of congress, films that are culturally, historically, or aesthetically significant and every year the librarian picks 25 items. it's a way of building -- i don't really want to say a cannon, but a list that shows the diversity of american cinema and calls attention to films of special merit and should be preserved. and typically they are preserved. it is not just feature films. it can be documentaries,

important, unedited footage. it can be home movies. for example, home movies of the world war ii concentration camps for japanese-americans on the registry, "master hands," " african queen" is on the registry. humphrey bogart and katherine hepburn is on the registry, but so is an interesting amateur film made in wisconsin. it is a very wonderful, diverse list, which right now i think it is in the neighborhood of 500 or 600 titles. "master hands" was selected and another great film called "the house in the middle," a film made in 1954 by the national cleanup, paint up, fix up bureau. it suggests if you keep your house clean and freshly painted, it is much more likely to survive a nuclear attack. it is a moral argument for a civil defense. it is hilarious. narrator: a series of civil defense tests were made to study

the effects of atomic heat on american homes. i'm going to show you how protective measures can protect your home from an atomic explosion. two homes -- one a fire trap. the other, fresh cap. -- cleaned up and fresh with debtor, safer housekeeping. in the house on the right, all the earmarks of untidy housekeeping. house on the left, identical to the other, but spake and span. both ready for the test bomb. the flash, the heatwave, and the blast tears away parts of each roof. the cluttered room on the right first center flames. -- bursts into flames. in a few moments, the interior is completely ablaze. the fire that started inside spreads to the house itself.

the house on the left shows no exterior flames. now our third test. three identical houses, all the same distance from the point of the explosion. the house on the right, an eyesore. you have seen the same conditions in your own home town. in a moment you will see the results of an atomic heat flash on this house. the house on the left, typical of many homes across the nation -- heavily weathered, dry wood, and rundown conditions. the house on the left, a clean, on littered yard. the exterior has been painted with ordinary, good quality house paint. it protects the wood from moisture and weather damage.

two houses are a total loss, but and painted house in the middle still stands. rick: when we think of ads on film, we think of the tv commercial. the ancestors of the tv commercial worthies theatrical ads -- were these theatrical ads shown before the main attraction. they were called minute movies. not so many survived. the ones that survived -- the -- the ones that survived are great. i think of the singing esso man. >> ♪ e-s-s-o makes your cargo >> happy motoring. rick: i think of the cynical, dripping with cynicism films --

for the singer sewing center. >> this is walter o'keefe. take it away, kitty. >> oh, john, i am so discouraged. how can i ask anybody to this house the waiter furniture looks? >> it does look pretty awful, but i don't suppose we can buy much with our money. >> not unless a miracle happens. >> there is the miracle. hurry, hurry, hurry. answer that doorbell. that's the first time i ever saw but it isin a suit, the singer man. he will center to the nearest singer sewing center. a few simple lessons on the sewing machine, her house will look so attractive, they will probably sell it at a profit. rick: i think of the breakfast pals, which are the characters associated with kellogg's rice krispies. >> gee, i'm glad you stayed all night, bobby. don't you like this cereal?

>> yeah, but it is mushy. it's not crisp like the kind my breakfast pals serve me at home. >> breakfast pals? >> sure. come every morning when i whistle. watch. [whistles] >> i'd snap. >> and crackle. >> i'm pop. rick: and the marching cigarettes from lucky strike. we have a bunch of those online as well. >> ♪ right left honey, right left, around you go, lucky strike ♪ rick: i would hope that when people use the internet archive that they come out with the realization that we are not all simply consumers of knowledge, but we can make it as well. take the material, we can

take the cultural heritage of the past and make something of our own, if it is for our own families or for the community or for the world because we have this amazing distribution system that allows us to speak to the world if we want, so let's intervene. let's use the material of history to intervene in the present and change the future. >> you can explore the prel inger archives and view thousands of films at archive.org. c-span's campaign 2016 is taking you on the road to the white .ouse for the iowa caucuses monday, february 1, our live coverage begins on both c-span and c-span2, taking your phone calls, tweets, and tests. then we will take you to a republican caucus on c-span and

2.democratic caucus on c-span stay with us and join the conversation on c-span radio and c-span.org. >> each week leading up to the 2016 election, "road to the white house rewind" brings your archival coverage of presidential races. 1980 a look at the campaign with interviews from the race,icans in ronald reagan, george h.w. bush, john anderson, and howard baker. high school students in new hampshire, the interviews played on cable access and parts of new hampshire. it's the first time they have been aired on national television. we start with ronald reagan who went on to win the new hampshire primary on his way to securing the gop presidential nomination. he then defeated incumbent resident jimmy carter and the presidential election to win the presidency.