Feb 1, 2016

Orphans X: Tours of the National Audio-Visual Conservation Center, April 6, 2016

See and Hear
the grand workings of the LOC A-V operations. 


On Mount Pony.

Orphan Film Symposium attendees arriving on the afternoon of Wednesday, April 6, are welcome to tour the Library of Congress Packard Campus for Audio-Visual Conservation starting at 3:00 pm. Library staff will guide us through all three preservation labs (audio, video, and film), as well as storage vaults, the data center, and other aspects of the collections. 

The symposium kicks off Wednesday evening with a screening at 8:00 pm.

Thursday, Friday, and Saturday, the symposium runs from 9:30 am through the evening. 

Register now for the discounted rate -- and while seats remain. 

Jan 26, 2016

Update: the program for the 10th Orphan Film Symposium (April 6-9, 2016)

Register now


NYU and LOC convene 
the 10th Orphan Film Symposium

Orphans X : Sound
April 6-9, 2016 at the Library of Congress
Packard Campus for Audio-Visual Conservation
Culpeper, Virginia

New York University Cinema Studies and its Moving Image Archiving and Preservation Program join with the Library of Congress National Audio-Visual Conservation Center for the tenth international gathering of archivists, scholars, preservationists, curators, technical experts, and media artists devoted to orphan films -- an eclectic variety of neglected moving images and sounds. The theme of “Orphans X” is SOUND, broadly conceived.

Full program will be announced soon. 

Among the many presentations:

Robert Gitt & Robert Heiber (Chace Foundation) A Century of Sound: The Histories of Sound in Motion Picutres, an evening of screenings

Matt Soar (Concordia U) Sound the Standardized Film Leader: Lost Leaders #18, Handwritten Universal (PH22.55-1966)

Greg Wilsbacher (U of South Carolina Moving Image Research Collections) The Movietone Project, and a screening of British Actors and Actresses -- outtakes (Fox Movietone News, 1928)

Screenings by the 2016 Helen Hill Award recipient Sasha Waters-Freyer, filmmaker

Bill Morrison Interviewing the LOC Paper Print Collection curators Howard Walls and Kemp Niver as research for The Film of Her (1996)

Sandra Schulberg Rediscoveries from IndieCollect

Dennis Doros & Amy Heller (Milestone) Ronald K. Gray's NYU student film, Transmagnifican Dambamuality (1976)

Julie Brown (U of London) & Julie Hubbert (U of South Carolina) Music Silent Films

Anke Mebold (Deutsches Filminstitut) Tonbilder from the Neumayer Collection, 1908-09: Synchronizing Discs and Films from Deutsche Bioscop and Alfred Duskes

Céline Ruivo (Cinémathèque française) Restoration of Premier nocturne en fa dièse majeur de Chopin (Gaumont-Petersen-Poulsen, 1928) with pianist Victor Gille

Paula Félix-Didier, Andrés Levinson, Leandro Listorti (Museo del Cine de Buenos Aires) Variedades sonoras Ariel N 1: "Mosaico Criollo" (Eleuterio Iribarren, 1929) et al.

Heather Sabin (Academy Film Archive): Academy preservation of The Sound Man (1950) and Walter Damrosch Visits Schenectady and Sees Picture of Sound (1929)

Hilde D'haeyere (University College Ghent, Belgium) "Cannibals of the Deep”: Mack Sennett's The Trail of the Swordfish (1931)

Stephen Bottomore (independent researcher) The Selsior System Dance Films: [Ernest Belcher/Dorothy Edwards dancing] (Boris Sagal, 1913-14)

Arber Jashari (National Library of Kosova) Preservating Kosova-film: Lost Sound and The Dance of the Rufais

Margaret A. Compton (U of Georgia) A Mute Talkie Meets the Digital Humanities: Wedding on the Volga (1929) Yiddish theater star Mark Schweid’s directorial debut

Gregory Zinman (Georgia Tech) The Archival Silences of Nam June Paik’s Etude (1967-68), "one of the earliest digital artworks ever created by an artist who was not first trained as a computer engineer." + a screening of Paik's Electronic Opera #1 (1969)

Susan Courtney (U of South Carolina) on the sound of Operation A-Bomb (RKO, 1952)

Viviana García Besné, Paulina Suárez-Hesketh, Michael Ramos AraizagaMorelos Mezcla: The collective of Permanencia Voluntaria Archivo Cinematográfico presents fragments of Mexican cinema (1930s-70s)

Sound and Color: Parallels and Intersections, Technology and Aesthetics
• Joshua Yumibe (Michigan State U) Color Film and the Coming of Sound
• Ulrich Ruedel (U of Applied Sciences, Berlin) Film Sound and Color since 1929
• Heather Heckman (U of South Carolina) Continuous Monochrome: The Problem of the Soundtrack in Chromogenic Color Printing

Rick Prelinger (UC Santa Cruz) Silences within Moving Image Archival Practice

Josephine McRobbie (NCSU) with Andy Uhrich (Indiana U) New Sounds for Old Films about Sound, video remix and live performance of educational films about sound

Evan Meaney (U of South Carolina) introduces Big_Sleep™ (2015, with Amy Szczepanski)

The Radio Preservation Task Force: New Histories of Radio
Josh Shepperd (Catholic U), Stephanie Sapienza (Maryland Institute for Technology in the Humanities), Shawn VanCour (NYU), Jenny Doctor (Syracuse U), Alan Gevinson & Rachel Curtis (American Archive of Public Broadcasting), Brian DeShazor and Joseph Gallucci (Pacifica Radio Archives)

Nico de Klerk, Joachim Schätz, & Katalin Teller (Ludwig Boltzmann Institute for History and Society, Vienna) Travel Lecture Films of Colin Ross ‘mit ohne Sound’. Screenings to include Achtung Australien! Achtung Asien! Das Doppelkontinent des Ostens (Attention Australia! Attention Asia! The Twin Continents of the East, 1930)

Genevieve Havemeyer-King (Wildlife Conservation Society, NDSR) and Pamela Vizner Oyarce (Second Run Media Preservation, Santiago) Audio Reconstruction for Andrea Callard's Super 8 Film Some Food May Be Found in the Desert (1977)

Bill Brand (BB Optics) Preserving Reflections (Madeline Tourtelot, 1955; music by Ed Bland) for the Flaherty Film Seminar, Chicago Film Archives, and NYU MIAP Program

Jeff Martin (New Art Trust) Recorded Voice of Lt. Edward W. Stewart (1943): Amateur Recordings Short-Wave Broadcasts from Japanese POW Camps
&
Matt Barton (LOC) U.S. Marine Corps Combat Recordings, 1943-1945
&
Melissa Dollman (Media Research Archivist) Listening to 175 Rosies: Audio from the Records of The Life and Times of Rosie the Riveter Project, 1974-1980

Dan Einstein & Mark Quigley (UCLA Film & Television Archive) Preserving (presumably lost episodes of) The Goldbergs: 600 original vinyl transcription disks

Walter Forsberg (Smithsonian National Museum for African American History and Culture) & Charles Musser (Yale U) Music in the Henry Wallace Campaign of ’48: Count Us In (Union Films, 1948)

Blake McDowell (Smithsonian NMAAHC) Paul Bowles Film Scores; and the amateur film, Venus and Adonis (Harry Dunham and Jules V. D. Bucher, 1935)

David Gibson (LOC) The Question of Abandonware in Video Game Preservation

Mona Jimenez (NYU APEX Ghana) Seprewa Discoveries - Access In Action (2015, Seth Paris and Fidelia Serwaa Ametewee) music from the JH.K. Nketia Archives, U of Ghana

EYE Film Museum, Guy Sherwin, Optical Sound Films (1971-2007)

Laurie O'Brien (Rochester Institute of Technology) Peephole Cinema installation, "Kinetoscopic Records" (2015)

+ the state of and stakes in Orphan Works legislation and copyright reform.

Jan 24, 2016

PICTURING LEE DICK: The Hunt Continues

by guest blogger Tanya Goldman  


When I submitted my preliminary piece on the career of nonfiction filmmaker Lee Dick for publication with Feminist Media Histories in December 2014, I called it “Picturing Lee Dick,” a nod as much to the endeavor of envisioning her career as it was to the irony that I had no confirmed photograph of my elusive object of study.

The photo of “Lee Burgess” from 1954 that I opted to include in the original article was an educated guess, for she peters out of the historical record nearly a decade earlier after her divorce from husband Sheldon and the end of production on a cycle of government nurse training films. Given that her maiden name was Burgess, she was a Midwesterner by birth, and that she had led the financial committee for the Association of Documentary Film Producers in New York, it seemed reasonable to infer that “Lee Burgess,” treasurer of the Sooner Chapter of American Women in Radio and Television, could be the filmmaker formerly known as Lee Dick. This remains speculative on my part.

While the contours of her post-1945 career are still waiting to be unearthed, I am happy to report that I recently found two confirmed photographs of Lee from 1933, accompanying engagement announcements published in the Omaha World-Herald and Chicago Tribune in April 1933. (She also, I learned, was better known in Omaha as “Pi.” Who knew?!) When the couple married the following month in New York City, their nuptials received brief mention in the New York Times wedding section. (I happened upon these photoson Thanksgiving while checking Ancestry.com on an unrelated inquiry; on a whim, I returned to Margaret Lee Burgess’ entry and voilà! It appears an anonymous distant relative uploaded these articles this past summer.)











I have also found two additional projects that the Dicks worked on during the early forties.

While researching a separate project at the National Archives this summer, I stumbled upon a March 1942 letter sent from filmmaker Joseph Losey to Arch Mercey, Deputy Coordinator of Government Films. In the letter, Losey pitches the production of a series of nonfiction films to be used for national defense. Dial Films Inc. -- the company founded by Lee and Sheldon Dick in 1940 for the production of sponsored film Day After Day -- is referenced as one of Losey’s available filmmaking units. In this letter, Dial Films is said to be working on a film for the Port of New York Authority. No word yet on if this film still exists. 

I also recently discovered that Sheldon directed film The Trimbles of Maple Street (1942) for the Office of Civilian Defense. The film is available online from Indiana University’s Moving Image Archive.

Happy viewing!
http://collections.libraries.indiana.edu/IULMIA/items/show/52







Original article citation: 
Tanya Goldman, “Picturing Lee Dick: A Nonfiction Film Pioneer,” Feminist Media Histories 1.2 (Spring 2015): 125-134. http://fmh.ucpress.edu/content/ucpfmh/1/2/125.full.pdf.


* * * * *

Tanya Goldman is a second-year doctoral student in cinema studies at New York University. In 2015, she introduced a screening of Lee Dick's Men and Dust (1940) for the Orphan Film Symposium's annual screening at the Museum of Modern Art's To Save and Project International Festival of Film PreservationHer dissertation will focus on the career of independent film distributor Tom Brandon. Contact her: tlg260@nyu.edu.

Dec 28, 2015

Filmmaker Sasha Waters Freyer receives 2016 Helen Hill Award

For the 10th Orphan Film Symposium, NYU Cinema Studies and the University of South Carolina Film and Media Studies Program, present the 2016 Helen Hill Award to independent filmmaker Sasha Waters Freyer.

The biennial award honors the legacy of artist Helen Hill and her accomplishments as a filmmaker, educator, and animator. Named in honor of the South Carolina-born artist and citizen of the world who inspired many, the juried award supports independent media artists of exceptional talent whose work embodies Helen Hill’s creative spirit, passion, and activism.

The jury found Sasha's body of self-described work "about outsiders, misfits, and everyday radicals" deeply engaging in style and content. Her films resonate with Helen's in several ways, including their desire to involve children in filmmaking and theater as well as their simultaneous devotion to both social justice and lyrical modes of expression. Sasha's productions also share interests of the orphan film movement, often, as she puts it, "remixing images and sound culled from home movies, educational, and medical films." And they do this while self-aware of how 16mm film and early home video formats work as "dead and dying analog media." (See her website, pieshake.com.)

A maker of more than a dozen film, video, and audio pieces, both experimental and documentary, she chairs the Department of Photography & Film at Virginia Commonwealth University.

Sasha Waters Freyer will introduce and screen a selection of her works for the Orphan Film Symposium's international audience of more than 200 artists, archivists, scholars, students, curators, collectors, producers, distributors, and others devoted to saving and screening neglected media. The symposium convenes April 6-9, 2016, at the Library of Congress National Center for Audio-Visual Conservation in Culpeper, Virginia.

Registration is open to all.  Read more about the dozens of films and their presenters here and here.




New!  Please chip in.

Since 2008, the Helen Hill Award Fund has allowed us to host 8 deserving awardees during the four-day Orphan Film Symposium. Help us continue to bring independent filmmakers and media artists to screen their work at this biennial forum for artists, archivists, scholars, students, curators, collectors, critics, technologists, preservationists, programmers, producers, distributors, and others devoted to neglected media. All funds go only to support travel, accommodations, and meals for award recipients.

Give by visiting this web page for the Helen Hill Award Fund.


Thank you.



Nov 25, 2015

Orphans at MoMA: Animation and Activism. The final program looked likethis.

Orphans at MoMA: Animation and Activism
Ten Rediscoveries from the Orphan Film Symposium
To Save and Project
The 13th MoMA International Festival of Film Preservation
Museum of Modern Art,  11 W. 53rd St. NYC
November 24, 2015, 7:00 pm


Katie Trainor (MoMA) Welcome

Dan Streible (NYU Cinema Studies, Moving Image Archiving and Preservation)
1. Edison Kinetoscopic Record of a Sneeze, Jan. 7, 1894 (W. K-L. Dickson, 1894) aka Fred Ott’s Sneeze, 10 sec., si., b/w, DCP. Restored by the Library of Congress.
2. [Fred Ott Holding a Bird] (Dickson, Edison, 1894) 8 sec., si., b/w, MOV
            Lobster Films (Paris) made a 2K scan of the 16mm negative held at the Academy Film Archive in the Blackhawk Film Collection. Merci Serge Bromberg et David Shepard.

John Canemaker (NYU Kanbar Institute of Film and Television, Animation Area)
3. [Roaring Richard logo] (John McIntyre, ca. 1985) 8 sec. color, MOV

Canemaker offered the following about "Roaring Richard" in his Orphans at MoMA tribute: "The little film recalls the great affection and admiration that students and colleagues of Richard held for him, his films, and the animation program, which he established in the late 1970s at NYU. The short was screened at NYU’s annual Spring Animation Showcase in June 1985.  Six years later, Richard Protovin succumbed to AIDS at the tragically young age of 46."

The whereabouts of the original film is unknown. (John McIntyre verified it is not in his garage.) At some point the 16mm film was transferred to Beta SP or 3/4" U-matic videotape, which was dubbed to a VHS cassette ("Richard Protovin Animation Retrospective  5/4/1993") which Canemaker donated to the NYU George Amberg Memorial Film Study Center in 2015). The Study Center digitized the VHS and created a DVD-R copy, from which I ripped an MPEG-4 file, used to create the QuickTime movie seen here.  4. Straw Pib (Richard Protovin, 1979) 8 min. 16mm, color, NYPL for the Performing Arts 5. Fan Film (Richard Protovin, 1985) 12 min. 35mm, color, MoMA Film Study Center Kimberly Tarr (NYU Libraries) & Kate Donovan (Tamiment Library)
6. [Photographic Unit of the 15th International Brigade] (Harry Randall, 1937–38) 12 min., 16mm, silent, b/w; with audio interview of Randall, 2002.
Three reels of 16mm film were preserved with the support of Rickard Jorgensen and Carol-Jeanette Jorgensen. The Harry Randall: Fifteenth International Brigade Films and Photographs Collection is part of the Abraham Lincoln Brigade Archives at NYU. Charles Musser (Yale) & Walter Forsberg (Smithsonian NMAAHC)
7. Count Us In (Union Films, 1948) 10 min. 16mm, b/w
The Pearl Bowser Collection, National Museum of African American History and Culture             A Young Progressives of America presentation of a Union Films Production. Produced by Carl Marzani. Directed by Max Glandbard. Written and music by Bob Claiborne and Adrienne Claiborne. Camera: Vic Komow, Jack Gottlieb, Leroy Silvers. Sound: Richard Patton [Andy Cusick?]. With Bob Claiborne, Henry Wallace, Pete Seeger, Paul Robeson.

            
Henry Wallace’s presidential campaign on the Progressive Party ticket in 1948 included a series of films produced by Marzani. Several were filmed in Philadelphia during the party convention. Bob Claiborne’s on-camera introduction was shot in New York, at the Union Films studio on West 88th Street.
Walter Forsberg (National Museum of African American History and Culture)
8. [Bedford-Stuyvesant Youth In Action] (unknown, 1967) 6 min. 16mm, silent, b/w
            Amateur footage from the Pearl Bowser Collection, preserved in 16mm. Associated with filmmaking workshops by Brooklyn-based Hortense "Tee" Sie Beveridge (1924-1993), the unedited footage has recently been found to have companions. About an hour of silent 16mm film, much of it in color, documenting Youth in Action, also resides in the Bowser Collection. Tee Beveridge attended NYU School of Film in the early 1950s, became a professional editor and the first woman of color to join the cinema technicians' union. (Her husband Pete joined us at the MoMA screening. See his memoir about their life together: Lowell P. Beveridge Jr., Domestic Diversity and Other Subversive ActivitiesMill City Press, 2009.)
Tee & Pete, in Domestic Diversity
Blake McDowell (Smithsonian NMAAHC / NYU MIAP)
9. Venus and Adonis (Harry Dunham & Jules Bucher, 1935) 10 min. MOV, b/w Cast: Anne Miracle, Victor Kraft, Eric[k] Hawkins. Music: Paul Bowles.
Victor Kraft and Erick Hawkins. Movie Makers magazine, Aug.1935.
            An amateur production by two filmmakers who went on to significant careers in documentary. For this screening, the Library of Congress made a 2K scan of MoMA’s 16mm sound print.  The next step in the restoration of Venus and Adonis involves the Library scanning a silent print from its Aaron Copland Collection, which has superior visual qualities, and marrying that to the MoMA soundtrack.            Joining us at the screening was Mr. Van Bucher, son of two filmmakers, Jules Bucher and Miriam Bell Bucher. 
Tanya Goldman (NYU Cinema Studies) 10. Men and Dust (Lee Dick, Inc. 1940) 16 min. 35mm, b/w Direction: Lee Dick and Sheldon Dick. Commentary and photography: Sheldon Dick. Narration: Storrs Haynes, Will Geer, Eric Walz, Robert Porterfield. Music: Fred Stewart. Editing and Montage: Jules V. D. Bucher. Assoc. Editor: Edward Anhalt. Based on the findings of the Tri-State Survey Committee, this aesthetically ambitious labor advocacy film exposes the plight of lead and zinc miners afflicted with silicosis in Missouri, Oklahoma, and Kansas. Although seldom scene, it was added to the National Film Registry in 2013. Preserved in 35mm by the National Archives and Records Administration.  
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

NYU hosts the 10th Orphan Film Symposium at the Library of Congress National Audio-Visual Conservation Center April 6-9, 2016. Register at www.nyu.edu/orphanfilm.

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Celebrating the 50th Anniversary of NYU Tisch School of the Arts

Nov 23, 2015

Orphans at MoMA: bonus film -- "Fred Ott Holding a Bird"!

New addition to the Orphans at MoMA screening, Tuesday, November 24, 7:00 p.m.


Ott with owlet. West Orange, New Jersey, 1894.

Fred Ott Holding a Bird!

I say it with an exclamation point because this is one of the earliest motion picture recordings ever made but has only become viewable in the last few days. The silent footage, shot in 1894, runs about 8 seconds but the story of how it came to light takes longer to tell.

Charles Musser's book Edison Motion Pictures, 1890-1900: An Annotated Filmography  (Smithsonian Institution Press, 1997) assigns Edison production no. 20 the title [Fred Ott Holding a Bird]. Ray Phillips mentions the title in his book Edison's Kinetoscope and Its Films: A History to 1896 (Greenwood, 1997).  Unlike many other Edison incunabula, almost no documentation survives about this film. It is not in the Library of Congress Paper Print Collection. Placing it at number 20 in the chronology of kinetographic recordings is an estimate. Perhaps it was shot in March 1894. Paul Spehr, author of the definitive biography of William Kennedy-Laurie Dickson, suggested (when I asked him) it is most certainly an early test film and perhaps one of the first (the first?) shot outside of the Black Maria studio.

Although the Musser book lists the film as extant, no one was sure where. [Fred Ott Holding a Bird] doesn't appear in the known Edison film compilations. However, I recently discovered by happenstance (via the UCLA Film and Television Archive's catalog) the title appears in something called, The Operator Cranked -- The Picture Moved: Glimpses of Some Pioneer Producers and Their Work, an obscure and undated 16mm compilation of silent films distributed by Blackhawk Films. (The only other holding mentioned in WorldCat: The library of Binghamton University holds a Super 8mm copy, running 15 minutes. That is hardly a random place for a small-gauge film copy of early cinema to appear. See Scott MacDonald's new book Binghamton Babylon: Voices from the Cinema Department, 1967-1977.) Mark Quigley at UCLA reminded me that the Academy Film Archive holds David Shepard's Blackhawk collection.

May Haduong confirmed that the Academy has a 16mm black-and-white print, duplicating negative, and a fine grain master, each a little over 400 feet in length. I then spoke with Serge Bromberg of Lobster Films in Paris, who is also David Shepard's business partner. He generously offered to make a 2K scan from the best element, asking the Academy to include it in the next shipment of film materials being sent to Paris. He also reports that Shepard does not know how the Edison test film came to be part of a Blackhawk production.

Voilà! Thanks to Lobster, the Fred Ott bird-holding clip from The Operator Cranked will open the "Orphans at MoMA" screening alongside Fred Ott's Sneeze.

-- Dan Streible


* * * * 

Orphans at MoMA: Animation & Activism
Screening at the Museum of Modern Art (11 W 53rd St. NYC)
Tuesday, November 24, 7:00 pm 

“Orphans at MoMA” is the affectionate name for the NYU Orphan Film Symposium screening the Museum includes in its film preservation festival, To Save and Project. The 13th edition of TSAP runs now through November 25, 2015. 

This year the annual collaboration between the Museum and the Symposium also celebrates the 50th anniversary of NYU's Tisch School of the Arts. Several Tisch programs -- Cinema Studies, Film & TV, Animation, and Moving Image Archiving and Preservation (MIAP) -- are represented by alumni, students, and faculty. 


Academy Award–winning filmmaker John Canemaker, who heads NYU's Animation


Caricature of Richard Protovin,
courtesy of Tisch alum John McIntyre.
program introduces two films by his unit's founder, Richard Protovin (1945-1991): Straw Pib (1979), preserved in 16mm by the New York Public Library, and Fan Film (1985), a 35mm print from MoMA's collection. 

Kimberly Tarr* (NYU Libraries, Media Preservation Unit) and Kate Donovan (Tamiment Library) present photos and newly-preserved 16mm films (1937-38) shot behind the lines during the Spanish Civil War by Sgt. Harry W. Randall Jr., an American volunteer in the storied Abraham Lincoln Battalion and head of the photographic unit for the anti-fascist 15th International Brigade. The remarkable footage was preserved with the support of Rickard Jorgensen and Carol-Jeanette Jorgensen. The collection of Harry Randall: Fifteenth International Brigade Films and Photographs is part of the Abraham Lincoln Brigade Archives (ALBA) at NYU. 


Harry Randall, standing, left.
15th International Brigade Photographs Collection, Tamiment Library, NYU.

The Smithsonian's new National Museum of African American History and Culture premieres two 16mm restorations. Eminent film historian and NYU Cinema Studies alumnus Charles Musser (Yale) and Walter Forsberg* (NMAAHC media archivist) introduce the recently uncovered Count Us In (1948), a presidential campaign short for the Progressive Party, produced by Carl Marzani's leftist collective Union Films. (The Marzani Papers are housed at NYU, but Count Us In comes from the Pearl Bowser Collection at NMAAHC.)
Filmmaker unknown. Frame courtesy of NMAAHC.

The National Museum of African American History and Culture also presents amateur film footage documenting the Bedford-Stuyvesant Youth in Action community workshop, ca. 1965. 

Blake McDowell* (Smithsonian) introduces a rare amateur surrealist erotic film, Venus and Adonis (1935), shot around New York City by young filmmakers Harry Dunham and Jules Bucher. While researching his NYU MIAP master's thesis on Bucher, McDowell found that the Museum of Modern Art possessed a 16mm print, which includes the soundtrack Paul Bowles composed for the work. The Library of Congress National Audio-Visual Conservation Center digitized the material for this Orphans at MoMA screening, perhaps the first time Venus and Adonis has been seen in nearly 80 years. Co-director Harry Dunham went on to make China Strikes Back (1937, edited by Jay Leyda, later an NYU Cinema Studies professor, and mentor to Charles Musser), and to shoot Too Much Johnson (1938) for Orson Welles. 

The program concludes with a second film edited by Jules (J. V. D.) Bucher. Men and Dust (1940) is a stylistically fascinating labor exposé made by the wife and husband team of Lee and Sheldon Dick. Named to the Library of Congress National Film Registry in 2013, Men and Dust has had few screenings, but the National Archives and Records Administration has preserved the film and provides a 35mm print for this Orphans at MoMA show. NYU Cinema Studies PhD student Tanya Goldman, who has researched the career of the elusive pioneer woman documentarian Lee Dick, introduces Men and Dust. 

Dan Streible, director of the Orphan Film Symposium, hosts the program with Katie Trainor (MoMA Film Collections Manager) and also presents the recent Library of Congress reconstruction of the oldest surviving copyrighted motion picture, Edison Kinetoscopic Record of a Sneeze, Jan. 7, 1894. 




*Tarr ('09), Forsberg ('10), and McDowell ('14) are all graduates of NYU's Moving Image Archiving and Preservation Program.  Streible currently is the program's director. 




Nov 20, 2015

Updates to the 10th Orphan Film Symposium

NYU and LOC convene 
Orphans X : Sound
April 6-9, 2016 at the Library of Congress
Packard Campus for Audio-Visual Conservation
Culpeper, Virginia

New York University Cinema Studies and its Moving Image Archiving and Preservation Program join with the Library of Congress National Audio-Visual Conservation Center for the tenth international gathering of archivists, scholars, preservationists, curators, technical experts, and media artists devoted to orphan films -- an eclectic variety of neglected moving images and sounds. The theme of “Orphans X” is SOUND, broadly conceived.

Among the many presentations:

Anke Mebold (Deutsches Filminstitut) Tonbilder from the Neumayer Collection, 1908-09: Synchronizing Discs and Films from Deutsche Bioscop and Alfred Duskes

Céline Ruivo (Cinémathèque française) Restoration of Premier nocturne en fa dièse majeur de Chopin (Gaumont-Petersen-Poulsen, 1928) with pianist Victor Gille

Hilde D'haeyere (University College Ghent, Belgium) "Cannibals of the Deep”: Mack Sennett's The Trail of the Swordfish (1931)

Stephen Bottomore (independent researcher) The Selsior System Dance Films: [Ernest Belcher/Dorothy Edwards dancing] (Boris Sagal, 1913-14)

Margaret A. Compton (U of Georgia) A Mute Talkie Meets the Digital Humanities: Wedding on the Volga (1929) Yiddish theater star Mark Schweid’s directorial debut

Gregory Zinman (Georgia Tech) The Archival Silences of Nam June Paik’s Etude (1967-68), "one of the earliest digital artworks ever created by an artist who was not first trained as a computer engineer." + a screening of Paik's Electronic Opera #1 (1969)

Viviana García Besné, Paulina Suárez-Hesketh, & Michael Ramos Araizaga, Morelos Mezcla: The collective of Permanencia Voluntaria Archivo Cinematográfico presents fragments of Mexican cinema (1930s-70s)

Sound and Color: Parallels and Intersections, Technology and Aesthetics
Joshua Yumibe (Michigan State U) Color Film and the Coming of Sound
Ulrich Ruedel (U of Applied Sciences, Berlin) Film Sound and Color since 1929
Heather Heckman (U of South Carolina) Continuous Monochrome: The Problem of the Soundtrack in Chromogenic Color Printing

The Radio Preservation Task Force: New Histories of Radio
Josh Shepperd (Catholic U), Stephanie Sapienza (Maryland Institute for Technology in the Humanities), Shawn VanCour (NYU), Jenny Doctor (Syracuse U), Alan Gevinson (American Archive of Public Broadcasting), Brian DeShazor and Joseph Gallucci (Pacifica Radio Archives)

Nico de Klerk, Joachim Schätz, & Katalin Teller (Ludwig Boltzmann Institute for History and Society, Vienna) Travel Lecture Films of Colin Ross ‘mit ohne Sound’. Screenings to include Achtung Australien! Achtung Asien! Das Doppelkontinent des Ostens (Attention Australia! Attention Asia! The Twin Continents of the East, 1930)

Genevieve Havemeyer-King (Wildlife Conservation Society, NDSR) and Pamela Vizner Oyarce (Second Run Media Preservation, Santiago) Audio Reconstruction for Andrea Callard's Super 8 Film Some Food May Be Found in the Desert (1977)

Bill Brand (BB Optics) Preserving Reflections (Madeline Tourtelot, 1955; music by Ed Bland) for the Flaherty Film Seminar, Chicago Film Archives, and NYU MIAP Program

Jeff Martin (New Art Trust) Recorded Voice of Lt. Edward W. Stewart (1943): Amateur Recordings Short-Wave Broadcasts from Japanese POW Camps
&
Matt Barton (LOC) U.S. Marine Corps Combat Recordings, 1943-1945
&
Melissa Dollman (Media Research Archivist) Listening to 175 Rosies: Audio from the Records of The Life and Times of Rosie the Riveter Project, 1974-1980

Dan Einstein & Mark Quigley (UCLA Film & Television Archive) Preserving (presumably lost episodes of) The Goldbergs: 600 original vinyl transcription disks

Walter Forsberg (Smithsonian National Museum for African American History and Culture) & Charles Musser (Yale U) Music in the Henry Wallace Campaign of ’48: Count Us In (Union Films, 1948)

Blake McDowell (Smithsonian NMAAHC) Paul Bowles Film Scores; and the amateur film, Venus and Adonis (Harry Dunham and Jules V. D. Bucher, 1935)

David Gibson (LOC) The Question of Abandonware in Video Game Preservation

Rick Prelinger (UC Santa Cruz) Silences within Moving Image Archival Practice

Josephine McRobbie (NCSU) with Andy Uhrich (Indiana U) New Sounds for Old Films about Sound, video remix and live performance of educational films about sound

Mona Jimenez (NYU APEX Ghana) Seprewa Discoveries - Access In Action (2015, Seth Paris and Fidelia Serwaa Ametewee) music from the JH.K. Nketia Archives, U of Ghana

Academy Film Archive, The Sound Man (1950) and Walter Damrosch Visits Schenectady and Sees Picture of Sound (1929)

EYE Film Museum, Guy Sherwin, Optical Sound Films (1971-2007)

+ the filmmaker receiving the 2016 Helen Hill Award, TBA

+ the state of and stakes in Orphan Works legislation and copyright reform.