AV Geeks 16mm Lunch 7-22-2025

[Music] [Music] Maria, [Music] Miguel Grande in for the production. [Music] Fore Harlo. Foreign speech. Foreign speech. Foreign speech. protection. Princess inclusiv. for [Music] automat. CL. [Music] Princess Heat. Heat. [Music] resist. condition is the [Music] Yes, Juaness. for mechanis. [Music] Foreons. Foreign speech. Foreign speech. Foreign speech. [Music] Super operator. Fore speech. I see. control manos. [Music] Magnificas. accessor.chech. Fore [Music] prince. Fore speech. Electronica. [Music] Electromagnetis. Control electron magnet. [Music] Control interruptor. for foreign manufactur. Inspectoral. [Music] Fore administration. [Music] Ola. Um, hi. I'm Skip Alzheimer. Welcome to the AV Geeks lunchtime streaming show where we watch old 16mimeter films. And we start off with uh a film that I re recently discovered. It had it didn't have a can. It was taped on the outside that said punch press. Um and so we scanned it last night and uh one I don't know if you noticed the amazing uh leader lady at the beginning or leader ladies at the beginning, but also um how very strange this film was. Uh and it's also in Spanish. So, um, that's why we started off with that. Uh, let's see. What are we going to watch today? I'm pre-recording again because we are moving stuff. Moving stuff and I'm not going to be able to guarantee that I'll be at a place where I can uh uh stream from reliably that won't be noisy. Um, so we're just doing it this way. Uh so the next film we're going to watch is going to be Invisible Walls. And I showed this about four or five years ago, but it's so great. It's a wonderful sociological experiment um where uh we test or the main people test personal boundaries uh as far as physical boundaries. Um fascinating. Uh then um we're going to watch uh Rod Serling uh make a mortgage payment with the film Patterns of Time where he narrates uh a film about veneer hardwood veneers. Then we are going to go uh so that first film was a Canadian film the uh um one which is called yours to keep and to protect. Uh this next film is also a Canadian film and this one is off the rails. Um this one has uh singing, dancing, uh animation, some people in costumes, maybe some puppets, I don't know. uh and uh autoharp. So this is um probably was made for uh Canadian uh educational television and certainly was distributed in the United States. But uh yeah, this one has lots of songs in it, lots of toetappers maybe, question mark. And it's called you bring your lunch and I'll bring mine. Uh, and it's part of a series of which I can't remember the name of the series. It's someone's name, a woman's name. So, anyways, it is folksy, a little hippie-dippy, and just whacked out. So, I figured you guys would dig this. Uh, thanks for watching today. Uh, we are moving films back into the archive. Uh, and that's why we are recording uh, the show. Anyways, if you like what you saw, hit the thumbs up, hit the like button. You can also uh support us by using the superth thanks button. That cash will go towards buying us bottled water because it's so hot outside. Uh also, um you can donate coffee via the ko-fi.com/avgeeks or patreon.com/avgeeks. Those are great ways to support us as well. Um but I will see you live sometime this week. I don't know when it's going to be. It It might not be tomorrow either. Uh we'll just kind of see how uh the weather and logistics go, but please know that I enjoy you watching and I appreciate you guys and your comments and your eyeballs. And we'll see you tomorrow. Everybody take care. Bye. Social interaction within a society is made possible through the expectations its members have about each other. Thus, only a boar gives us a medical report when asked, "How are you?" Much of our shared behavior makes little sense in itself. Today there is no reason why grasping the right hand should indicate greeting and green for go has no intrinsic meaning. However, life in America is made easier because everyone responds the same way to these arbitrary actions. As a child grows up, he learns a series of behavior patterns unique to his culture. These patterns both identify him as a member of this culture and allow him to interact easily with his neighbors. Every successful member of a society is aware of the meaning of a large number of gestures and facial expressions. Many of us could construct a dictionary of non-verbal communication. We are thus able to convey a wide range of attitudes by the way we use our bodies and our features. Just as we express ourselves with our bodies, we also communicate with the space around us. Everyone learns to consider a distinct area surrounding him as his own. This area known as personal space differs from culture to culture. In the United States, we mentally encase ourselves within an invisible wall that we build about 18 in from our bodies. Although few of us are aware of this wall, in most instances, we feel uneasy when it is breached. >> Yeah, you like this very much. Would Would you say that this is as fancy or as nice as uh Tanga Plaza? Well, it's a little different at Bang Plaza, but it it's they're both nice places. >> Yeah. Yeah. >> I shop in both. >> How about Sentry City? Do you think that's a fancier place than this place is? >> Well, it's a new >> in the sequence that you are seeing, our actor is violating the personal space of an unsuspecting subject. >> Notice that as the actor continues to breach his invisible wall, the subject becomes more and more uncomfortable. However, rather than make a verbal protest, >> he expresses his displeasure with his body. >> As is usually the case, the subject is not completely aware of the vocabulary he employs. Still, his use of body communication is quite expressive. >> Thank you very much, sir. >> Oh, yeah. >> Our actors randomly stopped unsuspecting people. Then they advanced into their personal space while pretending to conduct a consumer preference survey. We were concerned only with the subject's reaction to the actor's aggression and not with how people react to different types of people or different settings. Our actors therefore adhered to conventional modes of dress and grooming. The camera was hidden and all sequences were shot in similar shopping centers. Everything was planned so that the subjects would react in the most unaffected manner possible to the advances of our actors. It turns out that most people have similar reactions to violations of their personal space. Our subjects reacted with a pattern of body stances and retreats, eye aversions, and limb movements. When initially stopped by the actor, most subjects immediately adopted a stance. Many, like the woman you are watching, stood facing their acoster. As the actor began bearing down on the subjects who faced him, they all averted their eyes, then shifted their weight or began to fidget. They were being forced to choose between retreating or standing firm and the choice made them nervous. Some chose to stand firm but leaned away from their aoster. Others also held firm but positioned their arms in front of them. They touched their faces, crossed their arms, or put their hands on their hips. A few stepped into the one arm thrust out position that you were watching. Their guard now established, most subjects once again look the actor in the eye. Of course, many subjects did not hold their ground, but chose instead to retreat. Often, as they stepped back from the actor, they tried to recapture his glance. Generally, they tried again to stand firm. On the other hand, those subjects who originally stood firm eventually began to retreat. For example, this woman repeatedly assumed a stance, averted her eyes, stepped back, caught the actor's glance, and then resumed her stance. Thus, each subject who faced the actor displayed some variation of a basic stance, retreat, stance pattern of reaction to violations of their personal space. Some subjects did not initially face the actor. A few of them were never able to set their bodies firmly. They started to retreat even before he began his advance. The other subjects who did not initially meet the actor headon, over half the men and a few women, assumed a stance with one shoulder pointed toward the actor. When he began to violate their personal space, these subjects stood very firm. They rarely used their arms or leaned away from the actor. In fact, they often allowed him to brush right against their sides. However, from the beginning of the interview, they kept their eyes averted and refused to face the actor directly. Eventually, almost everyone who stood with one shoulder toward the actor began to fidget, retreated a little, and then reestablished his stance. Thus, the facing the actor reaction and the shoulder to the actor reaction are most likely two variants of the same pattern. This pattern of body movements enables the subject to escape an unpleasant situation while subtly expressing his displeasure. The girl you are watching can deny being impolite if she is challenged for she has not verbally stated her annoyance. Men and women respond differently to violations of their personal space. Our women's subjects reacted the same way to both the actor and actress. The majority of them faced their acoster, quickly retreated, and then tried to regain eye contact. In responding to the actor, men normally turned one shoulder toward him and then held their ground. While they were able to stand much firmer than women, they preferred not to look their accostertor in the eye and usually tried to avoid directly facing him. However, when men were accosted by our actress, they reacted nearly the same way that the women did. Companions of the subjects reacted in at least two different ways as their friends were accosted. They either watched with a disinterested air or they showed a fair amount of concern. Sometimes we do not object when our personal space is violated. For example, in the United States, the customs of some amusements, the infirmities of age, or the requirements of some occupations will all cause us to let others breach our invisible walls. People are not born encased in invisible walls. Thus, children in the United States will usually get closer to each other than will typical American adults. They will also touch more people and will permit a greater amount of physical contact than their parents will. In fact, adults respond to this by touching children more than they touch each other. Since children develop by emulating the adults of their culture, it is these adults who often unwittingly teach them their notions about correct personal space. This is why attitudes about personal space differ from culture to culture. Compared to people living in crowded countries, Americans are quite physically aloof. This may mean that as our population continues to increase, our present amount of personal space will become a luxury few of us can afford. Either we must face the prospect of enduring constant trespass of our personal territory or we can learn to enjoy physical closeness. [Music] For centuries, man has made the conquest of the universe the focus of his aspirations. At last, he has begun to achieve his dreams and explore what awaits him beyond the familiarity of his own planet. It is a limitless dream. But from what we now know, the new terrains will be similar in appearance to our great deserts. Even today, as man explores the regions of space, he returns to find security, comfort, and beauty in the luxury of his own environment. It is an environment of natural abundance, which man has been able to mold to his own image and needs. My name is Rod Serling. As a writer, I'm particularly sensitive to contrasts and contradictions in human behavior. Occasionally, I wonder what it is that drives man to leave the extraordinary beauty of this earth for a journey toward some distant and desolate planet. But of course, the answer is obvious. The desire for knowledge and adventure is insatiable. But as the space explorer must leave home, so too he must return. And when he does, his experience has taught him to appreciate what he has left behind. What he has left behind, among other wonders of nature, is something that has been an important and meaningful part of his life since childhood, the forest. Since the beginning of history, forests have played an essential part in the development of man. They have sheltered and fed him and provided him with a continual source of material for the creation of beautiful things. Let's examine how we have used our technological skills to make the forest a part of our own lives. The evergreens or softwoods supply almost all our lumber for construction. But it is the leafbearing trees or hardwoods which provide us with the woods of great beauty used in fine furniture and interiors as well as a surprising number of other products. In our world of mass-roduced products and design, we look to nature for materials which are immune to imitation. Nothing from nature brings such lasting enjoyment as the world's great treasure of hardwood trees. Flowers fade, but the beauty of wood ages with increased melaness and richness. The eye is pleased, the touch is comforted, and the mind continually seeking the original and the individual is satisfied by this material so uniquely fashioned by nature. Hardwood trees come from forests all over the world. Walnut from our Midwestern plains. Myrtle from the Pacific Northwest. Mahogany from tropical America and Africa. Teik from Burma. Satinwood from son and India. Lacewood from Australia. Zebrawood from Africa. And rosewood from the Amazon. The list is almost endless. Elm, maple, oak, pecan, birch, cherry, kativo, luan. In fact, there are more than 90,000 species of hardwoods in the world. There is an infinite variety of natural markings and figure patterns in fine hardwoods, from the elaborate to the very simple. But first, the log must be opened to determine whether it is suitable for fine veneer. Veneering is the method of achieving more beauty and greater utilization from hardwood trees. In this way, the log can produce greater surface quantities from our valuable woods. But first, an exciting moment of discovery. Will it be of high enough quality? However experienced and skilled, the men find the answer to their question only by opening the log and examining the color and grain of the wood. Logs that are rejected or later cut into lumber. [Music] In the final analysis, the beauty of the figure depends largely upon man's skill in anticipating the patterns produced by each log when cut by the various methods. A log may produce only unexciting patterns when cut in one way, while the same log, when turned a few inches and cut at a different angle, may develop a delicate, much prized figure. This piece comes from the trunk. Other figures are found in the stump, the burl, and the crutch. These variations in the physical structure of the tree are one reason that wood from the same species of tree can look so different. The other reason is the ingenuity of man in revealing these variations. So the cutting methods are very important. The most common is flat slicing which produces a variegated cathedral pattern. The half log is mounted against the knife which rapidly slices off layers that run parallel to the axis of the log. In the rotary lathe process, great sheets roll from the knife like peeling an apple and the pattern is a rippling effect. Half round slicing results in a cut slightly across the annual growth rings of the tree to produce figure characteristics of both rotary and plain sliced veneer. In rift cutting used primarily on oak, the quartered log is cut to create a combike effect. Man first discovered the art of veneering some 4,000 years ago. And although modern techniques have perfected the art to a degree never imagined before, the basic concept remains the same. The veneer is shipped from the mill to paneling manufacturers, furniture makers, and other users. The veneer slices are kept in their natural sequence so that as they come from the log, each slice is almost an exact duplicate of the one next to it. Various techniques are used to achieve a wide range of handsome effects made possible only by veneer construction. This man is book matching consecutive pieces of veneer for cabinet doors. He achieves this effect by turning alternate sheets similar to opening a page of a book. A repeating pattern is created by slip matching one sheet of veneer to the right of the one beneath it. Of course, the grain and figures of the veneer depend upon the part of the tree from which they are cut, as well as the type of cut. To the designer of fine hardwood products, there is available an infinite number of species, figures, colors, and matching techniques. Each one individual and striking. Each one capturing the natural beauty of the forest which defies imitation. This is called a diamond match for a tabletop. The veneers must now be given a permanence which will enable them to endure through the years. Man uses his technological ability in preserving what he has so skillfully taken from nature. Modern adhesives are the essence of modern plywood and are actually stronger than the wood itself. Veneers are bonded under extreme heat and pressure into plywood panels which are actually sandwiches consisting of an odd number of layers of veneer so that the grain direction of each ply runs at 90° to the grain of the adjacent ply producing a panel with lasting strength, dimensional stability and splitting resistance. Finally, the hardwood panels are cut to dimension and sanded. Finishing has two goals. To protect the wood and to enrich the natural wood colors. In the last few years, special coatings have been developed which protect against scratches, chemicals, and the heat of serving dishes and cigarettes, yet still provide the matchless beauty of genuine goods. For special purposes, hardwood plywood can take on an infinite number of shapes to suit man's wide range of needs. from the concert grand piano. Sturdy yet capable of capturing and amplifying the subtlety of every tone and chord to the sportsman's golf club which can hit a ball over 100 m an hour. This flexibility of use is only one of many attributes. Hardwood plywood has strength, stability, and durability. But most important, it captures perfectly the naturalness of the world's most beautiful woods. Hardwood veneers have been used in the great furniture over the ages. These pieces were made by craftsmen like Chippendale, Hoite, Sheran who understood the extraordinary possibilities of veneering. Modern production methods have made it possible for everyone to afford hardwood veneered furniture. A luxury once only available to the very rich. Today, almost all of our finewood furniture is made by the hardwood veneering process. Because many slices of veneer come from the same log, almost identical patterns can be matched within a whole grouping of furniture. And yet there is a subtle changing in the figure from one group to another so that each is both original and individual. As designs of a new group of furniture develop, the ideas for matching the face veneer, inlaid borders and other features are sketched and finally reproduced in veneer. The field of architecture and interior design is drawing more heavily upon fine hardwood plywood. The architects of the new Metropolitan Opera at Lincoln Center in New York City selected exotic cavazingo wood paneling. All of the valuable properties of wood have been used here from its beauty to its acoustical properties. The range of effects which are possible through a complete understanding of the textures, colors, grains, figures, and patterns of hardwood plywood is infinite. Wherever we choose to use fine hardwood, our motivation is usually the same. To make the natural world a greater part of our own life, man has never been able to successfully imitate hardwood figure patterns, which are truly nature's masterpieces. Today, more than ever before, artisans and scientists have jointly succeeded in making one of man's most ancient materials one of his most modern. It offers the economy of many square feet of fine face veneer from one log and therefore the ability to match grain patterns. It has strength and stability far surpassing that of lumber. It withstands temperature and humidity changes. It can be shaped. Even in this age of synthetics, hardwood plywood serve us in a way no other material can. Houses, furniture, yes, even boats from bow to stern are made from hardwood plywood. Not surprising considering the virtues of this versatile material. Man has indeed come a long way in his appreciation of wood since the days when he first used it only for shelter and fuel. He has learned not only to surround himself with the beauty of the forest, but to shape it to serve his many needs, whatever they may be. As man ventures into the unknown regions of space, he knows that he can always return to the richness and comfort of his own natural world. Although the demand for hardwood is great, man has finally understood the need to conserve this resource which is so vital a part of his life. Through careful management and programs of reforestation, we will always have an abundance of fine hardwoods here on Earth. Whatever awaits us in the limitless world beyond [Music] La all the The world's children. All the world's children need love. Laing. All the world's children. All the world's children need love. [Music] What are you going to be when you grow up? >> Oh, I don't know. Probably a butterfly like my old man. I'll be a moth. My mother's a moth. >> Are all these things caterpillars? Are all you guys caterpillars? >> You betcha. Will we all be butterflies? Some may be moths. >> Moths? How do you know what you're going to be when you grow up? I guess we have to wait and see. We'll know after we've been cocoons. That's the next step. >> Cocoon. I'm just getting used to being a caterpillar. But we all have to be cocoons before we are butterflies or moths. That's how we grow in stages. >> Is everyone here going through the same stages? >> You beta. >> Even the moth. >> Even the moths. >> We've got this new guy at school. He's very quiet and doesn't say anything to anyone. We thought maybe he didn't talk at all until today. >> Poseidon, what does >> Mr. Mackey asked him a question and he said the answer out loud. It was the wrong answer and we all laughed. >> Give him a check. Maybe maybe it is a nude lady. >> Then Mr. Mackey gave us a lecture about being mean >> and we have to be more understanding. It's his interpretation and maybe we'll find out that he isn't that wrong. >> I looked at the new kid. >> He looked worse during the lecture than he did when we were all laughing. >> After school, I saw the new kid by himself with his name. >> Nicole. >> Say it louder. >> Nicole. >> Louder than Matt. >> Nicole. >> As loud as you can. >> Don't want to do that one. >> Nicole. Say it very quietly. >> Not cool. >> Say it the way a lion would say it. >> Not cool. >> How would a lion say her name? >> What is her name? Everyone. >> Very good. All right, let's have somebody else. If you would like to play, put your finger on your ear and I might pick you. Isa, would you like to play? Could you stand up on your knees, please? >> What is your name, little boy? Little boy, what is your name, little boy? Is it Nelson or Tony or Shawn or Aaron? Is it Anoir or Michael? What is your name little boy? What is your name? >> Isa. >> Say it louder. >> Isa. >> Louder than that. >> Isa. >> As loud as you can. >> Say it very quietly. >> Say it the way a mouse would say it. >> Who can say his name the way a mouse would say it? Let's hear you. Let's hear it. >> What is his name? Everyone, >> good. Thank you, Isa. Now, it's time for everybody to play the game. I'm going to ask, "What is your name?" And when there's a space, I want to hear all of you say your names. And I'll say my name, too. What is your name? Everyone. Everyone. What is your name? Everyone. Is it Noel or Tanya or Rachel or Louis? Is it Brian or Steven? What is your name? Everyone, >> what is your name? Sandy. Say it louder. >> Sandy. Louder than that. >> As loud as you can. >> Maria. Say it very quietly. >> Say it the way a lamb would say it. >> Good. What is your name everyone? >> I think I know you all now. That was very very good. Okay. Hey little bird sitting in a tree. Let's have lunch together and me. How about a pizza? That's what I said. No, said the bird. Let's go hunting worms. Worms. Yuck. I said to the bird. That sounds quite absurd. Pizza said the bird. That's the silliest thing I ever heard. Hey little bird sitting in a tree. Let's have lunch together. You and me. You bring your lunch. I'll bring mine. And together we'll have a happy la. [Music] You bring your lunch, I'll bring mine. And together we'll have a happy time. It's so nice to have a cuddle with a person that you love. Feels so good to have a snuggle with a person that you love. When I'm happy or in trouble, I run fast right on the double just to sit and have a cuddle with a person that I love. >> I got this feeling that I'm going to become a cocoon soon. >> Me, too. Maybe we should look for a place to attach. Coming with us. >> I'm too young to be a cocoon. There are things I've got to do. Games I got to play. >> Let's play statues. [Music] Hey, let's play a statue game. No one move the same. You can run a jump or hop. When I say statue, you stop. You have to stand very still. Don't move now. And maybe you never will. But now there's an itch on your head. Scratch it. That's what I say. >> Let's play a statue game. No one move the fame. You can run or jump or hop. When I say statue, you stop. You have to stand very, very still. Don't move now. And maybe you never will. But now there's an itch on your nose. Scratch it before it grows. >> Let's play a statue game. No one will the same. You can run or jump or hop. When I say statue, you stop. You have to stand very still. Don't move now. And maybe you never will. But now there's an itch on your fingers. Scratch it. Don't let it linger. >> Let's play a statue game. No one move the same. You can run or jump or hop. But when I say statue, you stop. You have to stand very very still. Don't move now. Maybe you never will. But now there's a hitch on your knees. Scratch them. Oh, won't you please? >> Let's play a statue game. No one move the same. You can run or jump or hop. When I say statue, you stop. You have to stand very still. Don't move now. And maybe you never will. But now there's an itch all over you. Scratch it. Take your time. Cuz this game is through. La. All the world's children. All the world's children need love. La love in all the world's children. All the world's children need love. La love la.