15 (1965–1966) 16 mm, color, silent, 10 min. Animation of Seminole patchwork. No. 16: Oz - The Tin Woodman's Dream (1967) 35 mm widescreen (scope), color, silent, 14:30 min. Consists of The Approach to Emerald City (cf. note on No. 13) followed by about 10 minutes of kaleidoscopic footage shot ca. 1966. See also No. 20. No. 17: Mirror Animations (extended version) (1962-76 or 1979) 16 mm, color, 12 min. Features Thelonious Monk's "Misterioso". Extended version of No. 11 printed forward-backward-forward. No. 18: Mahagonny (1970-1980: shot 70-72, edited 72-80) 16 mm, color, tetraptych screen (initially with four 16 mm projectors, now composited onto a single 35 mm strip), 141 min. (edited down from over 11 hours of material). With Allen Ginsberg, Jonas Mekas, Patti Smith and images of Robert Mapplethorpe installations. "A mathematical analysis of Marcel Duchamp's The Large Glass, expressed in terms of Kurt Weill and Bertolt Brecht's opera Rise and Fall of the City of Mahagonny" upon which it is loosely based. Smith divided the images into four groups (Portraits, Animations, Symbols and Nature) and, with the assistance of Khem Caigan, arranged them as a series of procedural permutations in relation to the opera: every reel contains twenty-four scenes forming the palindrome PASA-PASNA-PASAP-ANSAP-ASAP-N. Note that the entire series hinges on Nature. Extended version of No. 14 (it also uses the same 1956 German language recording) Smith considered this film to be the ground-breaking harbinger of his unfinished masterwork, which was to have been an explication of the Four Last Things. No. 19 (1980) 35 mm widescreen (scope), color, silent. Untraced excerpts from No. 13. See also No. 20. No. 20: Fragments of a Faith Forgotten (1981) 35 mm widescreen (scope), color, silent, 27 min. Consists of No. 16 and No. 19. Archive In 2013, the Getty Research Institute announced its acquisition of the Harry Smith papers. This wide-ranging archive consists of writings on film projects and ethnography, documents and photographs related to Smith's early interest in Pacific Northwest Indians as well as a complete collection of his most significant films, audiotapes, and ephemera. Among the archive there is a collection of paper airplanes that Smith found in the streets of New York. Jason Fulford of The New Yorker described this collection as "one of the oddest": The "samples", as Smith called the planes, are delightfully varied. The papers are intriguing—scraps and junk mail bear the fingerprints of history,