LOST FOOTAGE

A DOCUMENTARY ABOUT THE HOLLAND POPFESTIVAL IN KRALINGEN

By Ferri RONTELTAP

RONTELTAP FILM & TV - as PROD

Documentary - Pre-Production 2008

‘Lost Footage’ is the search for the remaining material of the film ‘Stamping Ground’ and the evaporated ideals of ‘no more war, hate and malice’ of the Sixties.

    • Year of production
    • 2008
    • Genres
    • Documentary
    • Countries
    • NETHERLANDS
    • Languages
    • DUTCH
    • Duration
    • 90 mn
    • Director(s)
    • Ferri RONTELTAP
    • Writer(s)
    • Ferri RONTELTAP
    • Synopsis
    • I was 16 years old in 1970 when the Dutch Pop Festival burst onto the scene in the Kraling Woods. Curious but too scared to climb over the fence, I didn’t see how the hippies were creating a new order and giving it form.
      A film was made about the festival, called ‘Stamping Ground’. This film is mainly oriented towards the music and also woven with images from the film ‘Sky over Holland’, in which Dutch locations, such as the Children’s Dyke and the Amsterdam canals, are used. This makes the film ‘Stamping Ground’ appear more like a promotional film of Holland than painting a picture of the three days in the Kraling Woods in June 1970. The magical feeling created at the Dutch Pop Festival, though, was recorded by broadcasting networks and private individuals.
      The Dutch directors who took part in the making of the film ‘Stamping Ground’, amongst others, George Sluizer, Jacob Bijl and Erik van Zuylen, also made recordings of the festival but these were lost in the editing-room.
      By searching for the remaining material and by introducing the key figures using archive material, we come across the ideals of the two young, enthusiastic, originators from Rotterdam, who, in their impertinence, wanted to organise a Dutch Woodstock. We also see the ideals of the subcultures who came to the festival to use it as an arena to express their ideas of Love & Peace. This group came in contact with a new phenomenon, namely, the multinationals who experimented for the first time with sponsoring. What is special is that the first signs of a new tradition of ‘tolerance’ appeared during the festival. The presence of the local health departments and the drug team Release being there to offer information and help in the use of drugs was an absolute first.
      What happened behind the fence and remained invisible to me, defined the rest of my life and the society in which I grew up.
      What I wasn’t able to see then and what was lost in the film ‘Stamping Ground’ is what I now want to go looking for.
      Format
      The story is built up chronologically and contains various content ‘layers’ which are strongly connected. There is the story of the festival itself and how that developed against all the obstacles that arose. There is the interaction with society as it was at that time and how people reacted to the influx of thousands of long-haired hippies. But the most important layer is the search for the remaining material of the film ‘Stamping Ground’. We see fragments from the film and hear how the makers now look back at that time.
      The underlying element and driving force of the documentary is the question:
      “What were the ideals of the Sixties and what has become of them?”
      The posing of this question runs parallel to the search for the remaining material of the film and is from the perspective of the maker as a young man looking over the fence who doesn’t dare climb over it and thus sees none of the events taking place.
      In the process of my film, I want to use a storyline using associated images in which my question runs as a narrative throughout the chronological events.
      During the staged scenes the camera continues running and directing instructions are given. In this way, the presence of the maker is felt.
      In spite of there being no remaining material of the film ‘Stamping Ground’ found up till now, there is however a lot of other footage material recovered, from known (television) as well as unknown (private footage) sources.
      The search for ‘Lost Footage’ is the timelock of the documentary and the metaphor for the ideals of the period.
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