THAT'S HOW IT WAS M - 339
SEGMENT A
Fade In On 'A' Hall :00 OUTDOOR P RESENCE FULL j\1use -Argonne Fo"est
(Open... Natural Presence, B. G. :05)
:05 C .. SOUND FULL.. NARRATION....PRESENCE UNDER
NARRATION: "Time is a sort of river of passing events ,
and strong is its current; no sooner is a thing brought to
Dissolve To 'B' (Slowly) :17 sight than it is swept away...... and another takes its / ~ Pull Out From Woods to Canons place, and this too will be swept away." When the Roman
Emperor Marcus Aurelius Antoninus inscribed this
statement, the ravages of war and human suffering were
not an Wlcommon event. But what this inscription begs
for is some technological advancement to somehow 'treeze '
time , a means of recording events in times' vacuum...
so as not to leave them shallow, and without meaning.
:44 'C' SOUND OUT ...PRESENCE CONTIN. B.G.
:48 C SOUND IN
So it is with W' r in retr ospect. II t he imagination is
left to wander , imagine the kind of transitory e mptiness
that would have pervaded this World War One battlefield M-339/tiThat's Bow It Was"
Page 2.
Dissolve to 'A' 1\011(02) 1:04 at. ... Verdun perhaps leaving it with little or no significarlE. 'Guadalcanal Battlefield as it is today' or imagine these Jungles of Guadalcanal where some
~uper 'B' Over 'A ' 1:12 25 ~ 000 men lost their lives in World War Two...!Would W. W. II Men Ducking behind (B&W) Rock in Pacific--Over- we have known today the severity of the battle or the Guadalcanal.. today. human suffering surrounding it if there were no means of
. 1 :12 BRING IN ' MUSIC ' UNDER......
Lose The Super... ',A' 1:22 recording the event as it happened? ?/Perhaps not, . . .
perhaps the only real record that could be preserved
might be found in such tangible objects as these torn and
C. U.'s of oid War remains twisted war remains... or in the not so vivid memories of
surviving soldiers~ .. that today recount war stories to
"friends and relatives. It just might be that such accounts
could be valid in themselves, but what of the real account '
of human suffering and degradation; what then happens to
human knowledge if these often sketchy remembrances of
Dissolve to 'B' (:03) 1 :58 war remain as a "non-visual" entity?? / ------~-- Soldi€ rs Wading As hore 1 :58 'C' SOUND GOES OUT during invasion... (B&W) ------
Dissolve to 'A' 2:04 Fenton's Photo of Balaklava
2:06 'C' SOUND FULL
Fortunately, through the te c hl1 \) lo g~ l1al geniu3 of men s uch
as Daguerre , and Talbot, and Archer , and others , the M-!}39 /Seg. A Page 3.
'r.i.ddle' of Emperor Marcus Aurelius was solved by a
Dissolve 1:0 'B' 2:19 process we know of today as 'Photography' .lAs a result a montage of series of war photographs from Civil . of furthered photographic technology , and the desire of War to Vietnam. some men to affect the course of history, wars have been
photographed in a much more compassionate and realistic
manner than ever before. This is an account of those men ,
who, withAcamera and some film, produced photographs,
'concerned' photographs, which arroused human awareness
and have penetrated deep into the psyche of every man,
woman, and child.
Robert Capa's Photographs of When photographing World War II at Troina, Sicily the Italian Campaign during WWII late War Photographer Robert Capa summed up his feelin g ~
and those of other war photographers when he spoke of the
role of the'concerned' war photographer, .... "This was
the first time I had followed an attack from beginning to
end, and I managed to get some good pictures. They were
simple pictures and showed how dreary and unspectacular
fighting actually is. Scoops depend on luck and quick
transmission , and most of them don't mean anything the
day after they are published. But the soldier.who looks
at the shots of Troina , ten years from now in his home in
Ma.tte: Title ......
7'ake Matte Out...... 3:37 BRING MUSIC UP FlIL L ...... M-339l Seg. A Page 4.
Fade In MONTAGE 3:38 Mattei......
3:43 Fade out All Sound Fade to .-----Black
END SEGMENT A M- 339/"That·s How It Was" Page 5 .
.SEGMENT B
Fade in 'A' Roll ..... :00 Fade up on Effects...... Muffled Canon , and Fire or Music?
:08 'C' Sound NARRATION, Effects Under
NARRATION: In 1861, when the war between the States
Dissolve to 'B'-Roll :13 broke out in America , /Mathew Brady, a young photogra ------~ pher from New York City, who had thus far made his fortw
by taking portraits, had but one ideal \\h. ich burned
Cut to Sl at of Lincoln with fiercely in his heart. .. to photograph the Civil War. officer s.
:26 BRiNG MUSIC UP FULL... 'C' SOUND GOES OUT I
:32 'C' SOUND COMES IN .I
Shots of Union Soldiers Why he had decided to risk his life and fortune to document
his country at war remains a mystery... but, a s he so
Brad~~ 's Men with Wagon simply explained.... "lean only describe the destiny that
overruled me ,by saying that, like Euphorion , I felt I had
to go... A spirit in my feet said. . . 'Go' and I went .. "
Whatever Brady's real motivation to photograph the war
may have been, whether greed, fame , or otherwise , no
one will ever know fo r sure. M-339/Scg. B Page 6.
What is known for sure is that his photographs , and the
photographs of the na ny men who worked under him,
Dissolve to 'A' Roll 1:13 speak for themselves as very personal recordings / that Shot of Man in cenle r of destruction of Gen'I. Hoods show great compassion for a nation torn by civil war. Ordin. Train. 1:18 'C' SOUND GOES OUT IMUSIC UP FULL
One Man standing in midst of MUSIC SELECTION FROM "THE BOYS IN THE OLD wreck BRIGADE"
"\\hen Johnny Comes Marching Home Again" Cut to Union Soldier W ITattered Flag
Dissolveto'B' 1:28 Wide Shot of Atlanta Destruction
CU of Above
Dissolve to 'A' 1:36 Dead Soldier --------.
Dissolve to 'B' 1:40 WS interior of Hospital
Disserlve to 'A' 1 :45 Shot of young Union Soldier and CU
Dis sol ve to . B ' 1 :50 2 Men afte r a batlle looking over horse and Wa gon M-339/Scg. B Page 7.
Dissolve to 'A' 1:55 Shot of Wounded Union Army of the Potomac... WICU
. I Dissolve to 'B' 2:01 Tilt down to midi-ball in crater
Dissolve to . A' 2 :08 slaries of Civil War Dead on Battlefields
2 :08 CROSSFADE TO SLOW MUTED DRUMROLL UP FULL
2:12 (Effects Under) 'C' SOUND FULL NARRATION
NARRATION: As Oliver Wendell Holmes put it: "It is
so nearly like visiting the battle~ields to look over these
vieWS that all the emotions excited by the actual sight of
the stained and sordid scene, strewed with rags and wrecks
came back to us, and we buried them in the recess of our
cabinet as we \\U uld have buried the mutilated remains of
the dead they too vividly represented"
2 :37 'C' SOUND OUT / DRUMROLL UP FULL
Remainder of Civil War Photos To End of Civil War Sequence
Start Slow Fade To Black 2 :48 Slow Fade Out of Sound ------~~.--~------M-339/Seg. B Page 8.
Fade Up On 'A' Holl 2:51 Music Up FULL.. SOMBER DIRGE FOR :02 Then Under Burying civifwai: -Dea"d
2:53 NARnATION: The guns of war were stilled for a while
War aftermath shots and as a stunned and war-weary nation tried to analyze one
of the bioodiest conflicts in history, men were paying
tribute to the photographic genius of Mathew B. Brady.
But this volume of work would be the last "great documen-
Start Fiash-thru of series tation" of war to be seen by man for some 70 years to bf photographs .from Indian Wars Spanish-Am. War etc. come.
Dissolve to 'B' Roll 3:16 CROOSFADE SOUND B. G. TO OTHER PIECE OF MUSIC
-There were, of course, other wars in the meantime... and
other photographers as well. But what was missing in mOE
of the photographs was a real 'concern' , an unc:terstanding
of the social repurcussions of war. To get a better
understanding of what 'concerned' photography is all about ,
Cornell Capa... Photographer, and Executive Director of
the International Fund For Concerned Photography explaim
the ideals of this principle... with the aid of a few example:
of what' concerned' photographs did emerge from The
Indian Wars, The Spanish-American \Var, and the
Mexicau Punitive Expedition.
Dl ~3 s o1ve To 'A' Holl ---3:54--- FAr~E B. G. MUSIC OUT ON DISSOLVE . . . ' C' SOUND CON' M-339 /Seg. B
Page 9 .
Cornell Capa on Cam. .The kind of photography, "concerned photography" is
one that basically is having two major elements, one of
them is aesthetic frame, and its content - it is a visual,
social discipline of our time. It may, it does not have
to be completely standing on its own, it can be combined
with the wo rk of an anthropologist, a sociologist, an
Dissolve to 'B' Roll --;-:------4:26 historian, etc/We can do much with, very good photograpt Photographs of 'Cmcerned' photography principle aesthetic photography, which then has a content, a social
content beyond 1ts aesthetic beauty. Louis W. Hine, the
humanitarian around the turn of the century, has defined
'concerned photography' the best: Louis Hine, said "Two
things I wanted to do - to do things to be appreciated, thing
to be corrected, and on that axis is really what 'concerned
photography' moves on.
5:04 'C' SOUND OUT
Start Fade to Black 5:06 Fade Out
Be Olit at...... 5 :07
Fast Fade Up On 'B' Roll 5:08 Bring Music Under(:02) 'C' SOUND NARRATION COMES It
Fade up on '1'1. W. I 5:10 NATIHATION: When World War One broke out in 1914, it photograph was to be a 'short ' war, "the war that would end all wars".
Cut to Photo W. W. I The "photographic fraternity" took to this war and photographers and came as M-339/Seg. B Page 10.
started vigorously Hooding the world with photographs of
uattle, but when, in 1915, the New York Times newly
created "Mid-Week Pictorial" magazine turned from war
photographs lo feature articles uSing drawings, the
emphasis on photographs of the war diminished. It was
not tU1ti! the late Thirties and Early Fourties, with the
start of World War II, that the most telling and dramatic
photographs re-emerged.
TAKE OUT B. G. MUSIC /
Amongst the strongest photographs, two photographers
Cut to Photos by... Smith and names stood out. .. W. Eugene Smith, and Robert Capa... Capa Not since the days of Mathew Brady and the Civil War
had the world known of such realistic and compassionate
views of war.
Diss01ve to 'A' Roll 6:05 First look at the photographs, and listen to the commentar y 'Porh'ait of Eugene Smith' Dissolve to 'B' Roll 6:10 of W. Eugene Smith. /
Dissolve to 'A' Holl 6 :17 (W. Eugene Smith:) My beliefs , my came ra, and some fil m Se ries of Smith's l)h-o-:t-o-g-ra-p-'I- :-1S---'---~~---~--~--~-"::"-----'------
Di. ssolve to 'B' Roll 6: 21 these we re lhe weapons of my good intentions.l My came_a
Dissolve to 'A' Roll 6:30 and my intentions, stopped no man from falling ,I. .. nor dtd
Dissolve to 'B' Roll 6: 34 they aid him after be had f~llen. lIt could be said that M-339/Seg. B Page 11.
Dissolve to 'A' Holl 6:43 photographs be damned, for they bound no wounds I yet I
reasoned if my photographs could cause compassionate
Dissolve to 'B' R'oll 6:50 horror wHhin the viewer, I they might also prod the . ----~------~ bissolve to . A 'Roll 6:56 conscience of that viewer into taking action/He ran up the
pathway towards us, and the blood sprayed the length of
him, and behind him as he ran, and after he had been
bandaged and placed on a stretcher, he touched the tips of
his fingers together and he began moving his lips as if in
Dissolve to 'B' Roll 7:17 prayer. I We were enemies because government had ------~~------Dissolve to 'A' Roll 7:31 decreed us enemies. I A terrified mother and her child tattered, filthy, starving, their bodies heavily scratched
and insect bitten, trapped in~o a cave by the war they now
had been flushed from it by threats, by promises and by
Disso1ve to 'B' Roll 7:50 grenades. IThis baby was found with its head under a rock, ------~------its head was lopsided and its eyes were masses of pus,
Dissolve to 'A' Roll 8:06 unfortunately it was alive, we hoped that it would die. / Change Focus Shot of Smith's 2 children..... These 2 children are my children. On my 13th invasion I
was severely wounded and 2 ~ years later after more than
Dissolve to 'B' Roll 8:24 30 operations, I did not know Iwhether I was going to be • able to continue as a photographer, and the day I tried for
the first time to make a photograph , I had barely loaded
a role of film into the camera, y et I was determined that ,
that fir~t photograph would contrast to the war photo-
Dissolve to__'A__'_R_o_l_I ______8_:_50 ____ ~g~r_a~p_h_s ~,_a_I_1d__ t_ha_< t__ it_· _w_o_u_ld__ s~'p_ C_8_, k_l_·n__ a_ff_i_r_n1_a_t_i o___o_f_l_if_e_, I M-339l Seg. B Page 12.
Fade to Dlack 8:53 Fade Out All Sound
Fade Up On 'A' Roll 8 :55
8:56 'C' SOUND COMES IN NARRATION
And then, the penetrating works of the Late Robert Capa,
from his book entitled: "Images Of War", with a brief
Dissolve to 'B' Roll 9:05 introduction given by his brother Cornell Capa. I
9:06 'C' SOUND CONTINUES, CORNELL CAPA
It is very interesting and very important to realize how
today's photography, today's war photography is so much
based on the many things that my brother either did or
said. Robert Capa Award, .which Life Magazine and the
overseas press club is giving out yearly, which is a most
coveted award for photography, quote, unquote fo I' excep
tional courage, exceptional enterprise, and superb
photography. They forgot the one most important word of
Robert Capa's Photographs course is, that most important word which is compassion, from book "Image s Of War" Dissclve to 'A' Roll 9:41 because that is really what my brother was about. I
9:41 On Dissolve 'C' SOUND OUT / MUSIC FULL...Beethoven Symp. No.5... Side-2!Cut-2
IlssQlve to 'B' Roll 9:52
Dissolve to ' A ' Roll 9:59
Fast Dissolve to 'H' Holl 10:27 M-339 /Seg. B Page 13.
Fast Dissolve to 'A' Roll 10 :48
Dissolve to 'B' Roll 10:53 CROSSFADE FROM Beethove Symp. #5 . . to BALLET ------~M~. E='=C~A~N1==Q=U~~E~f, ~(=U~n~de· -r~)~S~i~dr-e---ol-1e-7~C~u · ~f~--o-ne------
10:54 'C' SOUND FULL (LIEF) W I MUSIC UNDER
Capa's Indo -China photographs NARRATION: It was 34 years ago that John Morris,
Photographic Editor for the New York Times, first
Dissolve to 'A' Roll 11:02 published a Robert Capa picture I . . He recalls the sense
of shock when he learned.that his good friend and colleague,
Capa, had stepped on a VietMinh land-mine... in a new bissolve to "B' Roll 11:12 and different kind of land-war / that was to be known later a ~
Vietnam...... "......
11 :15 'C' SOUNC OUT I MUSIC UP FULL TO THE END OF SEG. I
Diss. ,To Col.or Bumper 11:18 FADE OUT MUSIC
11:19 'C' SOUND FULL MONTAGE WILL CONTIN. IN A MOME
FADE TO BLACK 11:22 ALL SOUND OUT
END SEGMENT B M,-339/ ltT hat i s How It Was" Page 14.
SEGMENT C
¥ade Up On 'A' Han :00 'B' SOUND UNDER (KEEP VERY LOW)
'C' SOUND FULL /"B' SOUND UNDER
Gen'I. shots of Aud jence NARRATION: On September 30, 1971 a seminar entitled: llnd Participants of Seminar "Vietnam--APhotographic Summary" presented by NYU
and the International Fund for Concerned Photography
brought together the very best of the Vietnam war photogrfP
and their photographers. The Executive 'Director of the
Fund and moderator of the Seminar, Cornell Capa......
COIJNELL CAP A: 'Vietnam - A Photographic Summary' ,
we have invited people who come from different photographi
disciplines within the'concerned photographer' field. I~
included very young people of our current real 'new
generation'. The Central question which had to be
answered for' concerned photography' altogether: Does
photography change things? Can you make the public be
aware of a condition that it can do something about?
'B' SOUND GOES OUT
The work of Eddie Adams who professIonally and excel-
Dissoltre tv 'B' Roll ...--__l_:O_l __l_ ently would do anything to get a great pi.cture because Adams Color Pll~of 'a.irplanes in Sunse.t that's his pro[essi nal job. M-339/Seg. C Page 15.
Starts quick shots of His photograph of the General shooting the Viet Cong in "V. C. being shot"... newspaper front pages the street shocked us into realization what that war was
really about.
'C' SOUND CaNTIN. / EDDIE ADAMS ......
This was the first frame that was made... I just seen
him grab the suspect, so as any photographer, or any
news photographer, you would follow him until he was put
into the wagon or jeep or taken away, in case he would
fall somebody would punch him.. ~ yo u know what's going
to happen. This is every frame on the roll of film. They
spun around the corner, stopped for a minute, and the
General showed up from behind I guess, walked ~)Ver, I
seen him reaching for his gun, and he shot him and walked
away. At the time we turned, I turned in the film to the
office, dropped it off, came back a little later after the
stuff was processed and start moving out, I thought nothing
of the picture...or what we had. In fact ah, I didn't realiZl
what we had wltil the ah tear sheets of the news papers
from around the world started to... coming in.
Dissolye to 'A' Roll 2:18 'C' SOUND OUT
2:20 'C' SOUND CONTIN. (Lief) NARRA TION
:. hotogr aphs by Mark Jury... NARRATION: "The Vietnam P ho to Book" with photographs M-239 /Seg. C Page 16
and commentai'Y by Mark Jury, may well become one of
the most significant accounts of the Vietnam War and our
times. The honesty and the naked reality of Vietnam as
Dissolve to 'B' Roll 2:38 it is today , are in each of his photographs .IHe explained Mark Jury talking at Seminar that he volunteered for the draft , not because he was
in accord with what was happening in Vietnam, but
because he wanted to bring about a change in the course bissolve to 'A' Roll 2:49 of the war by photographing it. Mis photographs shown at th ------~------~~--~~--~ seminar tell the story.
'C' SOUND CONTINUES ...
JURY: When I went to Vietnam I was still under the
impression that ah, to document this properly it had to
be done ah, through combat photographs. And, I was
trying to get into combat quicldy because of the fact that
the war was winding down and they were talking in terms 0
pacification, and Vietnamization and American Troops
pulling back./
3:10 SNEAK IN MUSIC ....B.G. "Rosmini" Album /Side l /Cut 6 EI Funko
And when I reflected on that for a minute , I thought at this
time in history, at this time in Vi9.tnam , . .. There's a . ! whole new war here. So I determined to fo rget about the
co mbat thing and spend the year photographing my
gene ration caught up in a war. M-339/Seg. C Page 17.
3:23' 'C' SOUND OUT /MUSIC UP FULL
Dissolve to 'B' Roll 3:57 CROSSFADE MUSIC PIECES /KEEP UNDER/E. T. BALLET Mech. !Side-l
3:59 'C' SOUND FULL(JURY) SOUND IS LOW--BOOST/MUSIC UNDER
Photographs beggars, whores, And in Vietnam.. ~ the only people who had contact with and thieves...... Cut to Photograph of Viet the G.1. 's were the people who lived around the army Salesman bases or in the major cities and they fell into 3 categories :
beggars, whores, and thieves. This guy says "hey G.!.
what you wa nt? .. and he can get you just about anything.
4:16 .MUSIC (E. T.) UP FULL/ C SOUND CDES OUT
Dissolve to 'A' Roll 4:26
Photo's from Quaker Prosthetics Ward...... 4:31 'C' SOUND FULL/ JURY / MUSIC UNDER
Ah, I didn't, I didn't find what the true spirit of the
Vietnamese people or any people were for that matter
until I got out in a place called Quang Nai City. Ended
up in a Prosthetics ward, was run by the Quakers. One
of the doctors there was telling me that they were making
artificial lcgs out of the windshield of a wrecked heUcopte
using the plcxi-glass. He said it's sort of like turning
swords into plow-shears...... M-339/Seg, C Page 18.
They're also teaching the Vietnamese to make artificial
limbs, because this is a skill the Vietnamese people are
going to need to know for the next hundred years,
5:03 'C' SOUND OUT / MUSIC UP FULL
Start Fade to Black 5:23 FADE OUT SOUND/MUSIC ~~------}3e Out by, , , , , . 5 :24
Fade YJp on 'A' Roll 5:26
5:27 'B' SOUND KEEP WAY UNDER
5:29 'C' SOUND FULL(NARRATION)/'B' SOUND UNDER
FadeJP On Seminar/Haeberle ~NARRATION: Ronald Haeberle, the ex-G. I. photographer Dunctn responsible for the poignant photographs at Mylai, flew
in from his home in Cleveland, Ohio to playa major par-t
in the Seminar. Haeberle's photographs prompted the
most discussion.... The main point emerging from this
had to do with, , , "Public-Awareness" - Cornell Capa
Explains. , .. , , ..', ......
5:49 'B' SOUND OUT
Dissolve to 'B' Roll 5:50 'C' SOUND FULL/CORNELL CAPA ----~----- , ------------
The great controversy about how it got into public view,
has many ramifications, which again don't matter as far
as we are concerned, because the important thing was M-339/Seg. C Page 19.
that the American public suddenly realized that an alleged
masacre, ..... Suddenly because of the existence of
actual documentation, or photographs, ceased to be alleged
it was true.
6:16 MUSIC UP FULL... "Ballet Mechaniqe"... Side
Dissolve to 'A' Roll 6:32
Dissolve to 'B' Roll 6:40 MUSIC CONTIN. UP FULL
Dissolve to 'A' Roll 6:56
D. ssolve to 'B' Roll 7:01
Dissolve to 'A' Roll 7:07
Disso.ve to 'B' Roll 7:14 ,
FADE TO BLACK 7:42 FADE OUTALL SOUND (MUSIC) ------
END SEGMENT C l M-339 /tlTI1at s How It Was II Page 20.
SEG MENT D
Fade UE-gn . A' Rol. ~l __ :00
:01" ' C' ffJUND FULL/MUSIC..• "BUFFY-SAINTE-MARIE.• ------UN-tVE RSAL SOLDIERii
! .) Matte: Title (Start) :40
~L) NaTrator: Leif Ancker
~.) H. Schwartz / To Morris
~l.) D. Goulden / D. Mrzen~__
~.) T .. D~ -Schneider/ Audio-Moravek
~7.) Montage {~knowled g (. · s Assist. of:
!3.) CO~ltribu ti ng Photog:raphers:
.~).) MqNTAGE
F INISH MA T ~ ' E S...... 1 :20
Dissolve to 'B' Roll 2 :02 --_._- 2 :0 3 'c' SOUND COMES IN FULL (LIEF) "The W. Eugene Smith - ---·-. souild urril-stri i~~--:-courf.e-sy-or-S-CIlolast1(;- MagazT11e-:' ~~- ---- Page. 21.
FADE TO BLACK._--- 2 :08 'C' SOUND OUT •.. Fade All Sound Out
END SEGMENT D •.. END OF SHOW