Edited by: Dan Lovins
Consultants: John Adair (Anthropology, Cornell University), Larry Moore (Community Services, Navajo Tribe), and Evon Z. Vogt (Anthropology, Harvard University)
Establishing shot: Camera fades into a black and white scene with a man working on a film reel. The camera tracks this man as he approaches another colleague. [Same establishing shot at 'The Navajo – Part 1]
Edited by: Dan Lovins
Consultants: Dr Ralph Patrick, Research Associate, Washington University; John Adair, Anthropology, Cornell University; Larry Moore, Community Services, Navajo Tribe; and Evon Z. Vogt, Anthropology, Harvard University.
Establishing shot: Camera fades into a black and white Steenback viewer with a man working on a film reel. The camera tracks this man (Hartzell) as he approaches Dr. Patrick.
NOTE: This film contains demeaning language and may not be suitable for all viewers. It reflects stereotypes of Native peoples prevalent in the 1940s. Its attitudes are not those of the American Indian Film Gallery.
Establishing shot: Extreme long shot of the landscape the Navajos live in. In the background a group of mountains can be seen. In the middle ground a man can be seen on horseback on top of a sandy mount. A rider can be seen on screen right, and on screen left a closer mountain can be seen. Clouds can be seen in the sky.
Named locations: Monument Valley; Utah; Arizona; Navajo Indian Reservation; Navajo Mountain; San Francisco Mountain; La Plata Mountain;
Major themes covered: The cultural significance of sandpaintings
Sound and Editing: Hoyt Griffith
Cinematography / Photography: Jack Breed
Establishing shot: Extreme long shot of a canyon region of the Navajo reservation
Named locations: Kin Teel Trading Post, Wide Ruins, Arizona.
The Wide Ruins and Pine Springs trading post records are archived at Northern Arizona University’s Cline Library in the Special Collections and Archives Department; collection number: NAU.MS.260.
Establishing shot: Extreme long shot of the Navajo reservation. On screen right a scraggly desert tree can be seen, and in the background a large mountain (Navajo Mountain) can be seen in the center of the frame.
Named locations: Santa Fe, New Mexico; Navajo Mountain.
Major themes covered: The cultural significance of sandpaintings
Establishing shot:
Named locations: Window Rock, Arizona
Major themes covered: Economic and social conditions on the Navajo Reservation.
Establishing shot: Navajo man sits on frame left, brushing his hair with his fingers. In the background a mountainous range can be seen.
Named locations: Southwestern United States; New Mexico; Arizona.
Establishing shot: Mountains covered with the last snow of winter. The high peaks of the mountain are to the left of the frame, to the right of the frame the beginning of a valley can be seen. More mountains can be seen in the background. This shot then cuts to grazing sheep.
Named locations: No named locations
Major themes covered: Overview of the Navajo people and their agricultural practices; moving between winter and summer hogans; transhumant seasonal activities.
Photography: Avalon Daggett
Establishing shot: Full frame map of the United States, which then cuts to a close up of different states (including New York, Arizona, and New Mexico)
Named locations: America; Northern Arizona; New Mexico.