121:(1953), and various films to accompany "Dick and Jane" stories in the early 1950s. Weisenborn's career was highly influenced through his friendship with John Barnes and his wife Selma Revsin, and with them he created several films. Weisenborn and Barnes ended up splitting ways after a while of working together. The split geared Weisenborn towards sponsored films as well as industrial ones. Weisenborn began teaching at
230:(1969) for the television program The Metooshow, which aired on Chicago Public TV. The film is one of four short educational films that were produced by the Erikson Institute for Early Childhood Learning. The optimistic film is shot around Chicago and uses experimental methods and media. Using water as a motif, the film was intended to inspire children to learn through experience and connect them with their feelings.
101:, and built important relationships with other documentary filmmakers, including George Stoney. Over the course of his career, Gordon Weisenborn tried his hand as director, cinematographer, editor, writer, and producer, specializing in educational and sponsored films. He worked closely with his wife, Selma Revsin, on numerous films, including
22:(March 20, 1923 – October 4, 1987) was an American director, producer, writer, and cinematographer specializing in sponsored and educational films. His works express a style that blends naturalism and lyricism with modernist abstraction. Many of Weisenborn's films address race and issues of diversity, and his film
198:. The film was nominated for "Best Documentary Feature" at the 29th Academy Awards in 1957, and won the Robery J. Flaherty Award at the Edinburgh Film Festival and a Special Award at the Venice Film Festival. The film discusses the history of the camera and photography from invention through development.
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a film
Weisenborn shot and directed which is notable for its focus on social and ethnic diversity in the United States and is credited as being the first educational film to present children of diverse races interacting with each other. Although the film makes use of stylistic techniques typical of a
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as part of a multimedia campaign. Weisenborn was cinematographer for the work, and he worked alongside Fred Lasse and George Stoney in the creation of this piece. The award winning film was considered semidocumentary narrative in form and intended to promote public health within the
African American
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and its prevention. It was seen by as many an estimated one million viewers and incorporated into mobile testing units to drive testing for and treatment of the condition. Film director
Raymond Spottiswoode praised the work for treating the usually overdramatized subject through a simple and frank
204:(1960) is considered one of Weisenborn's better known films. Weisenborn directed the film, and cowrote it with his wife, Selma Revsin. The award winning film, which was shot in and around Chicago, was produced by the Fred A. Niles Communications Center and sponsored by
139:(1944) with producer Stuart Legg throughout his early career while he worked at the National Film Board of Canada. It was produced towards the end of WWII, and presents a Western perspective on Asian nationalism. The film also discusses ending colonialism.
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and
Fritzie Weisenborn, who were both figures in the arts communities. Weisenborn's father was an internationally recognized Chicago Modernist painter and art instructor who is credited with creating the first abstract painting to be exhibited at the
81:, at 64 years of age. Before his death, Weisenborn gave the rights to his films to Jack Behrend, an industrial filmmaker who he was good friends with. The rights to both Weisenborn's films and Behrend's films are currently held by the
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in the 1960s. In 1970, Weisenborn started his own production company, Gordon
Weisenborn Productions, Inc. Under his company, Weisenborn continued to produce sponsored and educational films.
219:. The film placed an emphasis on plot and character, and is credited as being the first feature film to be shot and produced entirely out of Chicago after the closing of
36:(1953), and won over 70 national and international awards for films and productions. He was listed as one of the top 20 makers of specialized film by the
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Weisenborn, Gordon; Cohn, Norman; Three Prong
Television Productions; Erikson Institute; Facets Multimedia (Chicago, Ill.) (2015).
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approach, but the NAACP opposed the distribution of the film for fear it would worsen stigmatization, segregation, and inequality.
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Films You Saw in School: A Critical Review of 1,153 Classroom
Educational Films (1958-1985) in 74 Subject Categories
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Britannica Films and explored the solutions to city planning issues and other urban problems in
American cities.
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Filming
Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46
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documentary, it incorporates a somewhat mythic storyline as it traces ethnicities down the
Mississippi River.
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Weisenborn began his filmmaking career at the age of 19 as an assistant to pioneering documentary filmmaker
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Stoumen, Louis Clyde; Massey, Raymond; Bernstein, Elmer; Camera Eye Pictures, Inc (1980),
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Another film Weisenborn worked on with John Barnes was the Academy Award nominated film
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337:"Rudolph Weisenborn | Artists | Modernism in the New City: Chicago Artists, 1920-1950"
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The Sleaze Merchants: Adventures in Exploitation Filmmaking from the '50s to the '90s
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for the purpose of promoting the city of Chicago as a major tourist destination.
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Weisenborn worked as associate producer for another Academy Award nominee,
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113:(1973), and with John Barnes, with whom he made numerous films, including
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635:. San Francisco, CA: National Film Preservation Foundation. p. 32.
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903:"RIP Herschell Gordon Lewis, the godfather of gore | Sight & Sound"
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146:(1948), which was sponsored by the Mississippi Board of Health and the
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Weisenborn also directed the feature length horror exploitation film
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953:"'Seventeen' and 'Cooley High': No Easy A's, but Powerful Lessons"
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Ellis, Jack (1968). "The Young Grierson in America (1924-1927)".
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301:. McFarland & Company, Incorporated Publishers. p. 21.
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community and, more specifically, educated the community about
97:. Under Grierson's wing, Weisenborn began making films for the
386:"LibGuides: Archives and Special Collections: John Grierson"
69:, where he majored in theatre. The Weisenborns befriended
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Oscars.org | Academy of Motion Picture Arts and Sciences
603:. Englewood Cliffs, New Jersey: Prentice Hall. pp.
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in the creation of several films. One of these films is
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Another important work Gordon Weisenborn filmed was
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181:(1953). The film was produced for
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747:. Biblo & Tannen Publishers.
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503:. Columbia College Chicago. 1964.
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107:Girls Are Better Than Ever
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