United States Information Agency (USIA)

The March, also known as The March to Washington, is a 1964 documentary film by James Blue about the 1963 civil rights March on Washington. It was made for the Motion Picture Service unit of the United States Information Agency for use outside the United States – the 1948 Smith-Mundt Act prevented USIA films from being shown domestically without a special act of Congress. In 1990 Congress authorized these films to be shown in the U.S. twelve years after their initial release. In 2008, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". (Wikipedia)

This film explores freedom of speech in the United States of America

Journalist Burrito and scientist Manolin visit the “Red Planet” and are given special glasses with which to view the planet’s flourishing society. Burrito removes his glasses to reveal the “Red Planet” for what it really is, and Burrito and Manolin flee back to their home planet.

Burrito and Manolin defend their ranch against the cattle rustlers, Lios and Chente. A neighboring pig farmer named Don Inocente refuses to join their cause in the name of neutrality. In disguise, the cattle rustlers befriend Don Inocente, rob him of his pigs, and then use his farm as a means to sneak into the undefended side of Burrito and Manolin’s ranch. Once again, Burrito and Manolin stop the villians and come to the rescue of the unsuspecting neutral character. In this clip, Lios and Chente spy on their intended victim, Don Inocente.

Train conductor Manolin warns passengers Don Fiero and his daughter Ava about local bandits and asks them to bear arms in defense of the train. Don Fiero declares that defending the train is not their responsibility, and the two literally hide their heads in buckets of sand and post signs reading “Neutral, Do Not Disturb.” The neutral passengers are the first to be robbed by the bandits, Lios and Chente.

Made for the United States Information Agency (USIA). Shot all over the globe.

The Numbers Start with the River is a 1971 American short documentary film about small-town life in Iowa. Produced by Donald Wrye for the United States Information Agency, it was nominated for an Academy Award for Best Documentary Short.

This film, produced in Indonesia and based on the old Japanese folk saying that "a man's happiness depends upon a knife, house, horse, wife, and singing bird," tells the story of the restoration of a young man to his rightful place in his society and nation, and depicts basic Indonesian traditions while outlining Indonesia's successful fight against malaria (with U.S. cooperation). The film follows Amin, a village youth who attempts to earn a living in the city. However, he is unsuccessful, and so he returns to his village to live with his wife-to-be, Marlina. Before the couple can marry, Marlina falls ill with malaria, and only after she is cured are they able to wed. The film was directed by Miriam Bucher and is a joint production of the U.S. Information Service (USIS) and Produksi Film Negara (PFN).

Armando Lios recruits Chente to steal Manolín and Burrito's sheep under the premise of liberation

A psychedelic animated short celebrating America's bicentennial.

The life and work of Rear Admiral Samuel Eliot Morison, the official historian of U.S. naval operations in World War II and a Pulitzer Prize-winning scholar of maritime history.

The Spirit of America is a 1963 American short documentary film produced by Algernon G. Walker about the Spirit of America, the trademarked name used by Craig Breedlove for his land speed record-setting vehicles.. It was nominated for an Academy Award for Best Documentary Short.

The story of how a soap box derby car is built and raced, told from the perspective of Clarence Carter, Jr., a derby participant in Washington, D.C.

This United States Army film tells the story of a Japanese woman who marries an American serviceman and moves with him to the United States.

A local sheikh tells a story to a fellow coffeehouse patron who is suspicious of Western influences in his country. Hoja, who is known for his own strange ways, wisely uses his donkey to convince a conquering emperor that the Hoja should be allowed to lead and represent his own town.