Jan 13, 2017

Announcing the Program for Orphans 2017 in Paris



La Cinémathèque française & New York University host a special edition of the Orphan Film Symposium. Join us in Paris on the mornings of March 2, 3, & 4, 2017. 

Register HERE.


Orphans 2017 / Orphelins de Paris:  
Tests, essais et expérimentations
Cinémathèque française, 51 Rue de Bercy
March 2-4, 2017  




The program will look something like this. 


jeudi / Thursday, 2 mars
9:00 am Welcome & Introductions
Premier nocturne en fa # majeur de Chopin, Interprété par Victor Gille (1928)
Pauline De Raymond (Cinématheque française) Welcome to la Cinémathèque française  
Dan Streible (NYU MIAP) Introduction to the Orphan Film Symposium
Lydia Pappas (University of South Carolina) Fox Newsreel Outtakes of Paris, 1922-1929

9:30 am Proto-cinema
Dan Streible (NYU) Fred Ott Camera Tests: Edison Kinetoscopic Record of a Sneeze and [Fred Ott Holding a Bird] (1894)
Céline Ruivo (Cinématheque française) Étienne-Jules Marey rediscovered: new restorations of 90mm films (ca. 1890-1900)

10:00 am Medical Attractions
Antonia Lant (NYU Cinema Studies) Dr. Eugène Louis Doyen Surgical Films (1898-1912)
Claudia Gianetto (Museo Nazionale del Cinema, Torino) Les films neuro-pathologiques du Professeur Camillo Negro (1906-1918)

11:00  am  Break

11:30 am – 1:00 pm Experimental Artists 
Alexis Constantin & Alice Moscoso (Centre Pompidou) Super 8 films by Artist Teo Hernandez, 1963-1992
Annamaria Licciardello (Cineteca Nazionale, Roma) Anna Expanded: From Film to the Videotape Archive of Alberto Grifi and Massimo Sarchielli’s Anna (1975)  
Simona Monizza (EYE Filmmuseum) Restoring the Abstract Films of Joost Rekveld: #2 (1993) and #3 (1994)
Nicolas Rey (L’Abominable) Images Inédites de David Dudouit


vendredit / Friday, 3 mars
9:00 am Silent Rushes from the Old Masters / Rushes des Vieux Maîtres
Elodie Tamayo (Université Sorbonne Nouvelle - Paris 3) Ecce homo d’Abel Gance (1918, rushes 35mm) : un projet à la recherche de son «médium» / Rushes from Abel Gance’s film maudit Ecce homo (1918)  
Thomas Christensen (Danish Film Institute) Benjamin Christensen’s Double-Exposure Tests for Häxan (ca. 1920)  
Manon Billaut (Cinémathèque française) Le témoignage d’un tournage : les rushs de L’Hirondelle et la mésange (1920) d’André Antoine / Testimony of a Location : The Rushes for André Antoine’s The Swallow and the Titmouse  

10:30 am  Break

11:00 am – 1:00 pm Newsreel and Documentary Leftovers 
Elżbieta Wysocka (Filmoteka Narodowa) More than could be shown: Unused Materials [nieużytki] from Polish Newsreels, 1944-1994  
Mila Turajlic (filmmaker) Stevan Labudović: Yugoslav Newsreels and the Non-Aligned Movement in Algeria   
Lina Kaminskaitė-Jančorienė (Vilnius University) The Leftovers [liekanos]of Memory: Outtakes from Robertas Verba‘s Šimtamečių godos /The Dreams of Centenarians (1969)
Theodore Kennedy (independent) & Amy Sloper (Wisconsin Center for Film and Theater Research) B.F. Skinner Plays Himself: Outtakes from a Film Biography, The Skinner Revolution (1978)


samedi / Saturday, 4 mars
9:00 am  Amateur Film and Home Movies in WWII
Kay Gladstone (Imperial War Museum) Clandestinity: Amateur Films of Secret Subjects in France and Belgium during the Second World War
Lydia Pappas (University of South Carolina MIRC) Identifying Amateur Films by Members of the U.S. Army in WII: J. B. Doty Collection (Italy, 1944) and For This We Die (India, 1944)
Rachael Stoeltje (Indiana University Libraries Moving Image Archive) John Ford’s Home Movies of Mexico, 1941-1948  

10:30 am  Break

11:00 am Remarks for the Good of the Order
Thomas Christensen (Association des Cinémathèques Européennes) Report on the Conclusion of Project FORWARD and an EU-wide Audiovisual Orphan Works Registry

11:15 am – 1:00 pm Tests, essais et experimentations
Elżbieta Wysocka (Filmoteka Narodowa) Krzysztof Kieślowski’s Klaps (Slate, 1976)
Dennis Doros & Amy Heller (Milestone Film) Project Shirley: In Paris Parks (1954) is actually three films.
Paul Fileri (NYU) Paulin Vieyra’s Student Film C’était il y a quatre ans [Four Years Ago] (1954): A Test between Colonial French West Africa and an African  
Enrico Camporesi (Centre Pompidou) & John Klacsmann (Anthology Film Archives) Un film est une bobine / A Film Is a Reel: Barbara Rubin’s [Untitled, Rolls 5347 and 5350] (1964?)
Walter Forsberg (Smithsonian National Museum of African American History and Culture) Building a Collection via Archival Partnerships: A People’s Playhouse (American Negro Theatre, ca. 1944)
Rachael Stoeltje (Indiana University Libraries Moving Image Archive) Outtakes from the Peter Bogdanovich Collection: What’s Up, Doc? (1972) and At Long Last Love

others to be announced.  


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Registration for the symposium is open to all. The fee is $200 USD ($100 USD for students, retirees, and the underemployed). 
Simultaneous French and English translations provided. Symposium registration also comes with access to all five days and nights of  Toute la mémoire du monde, International Festival of Film Restoration (March 1-5).   REGISTER HERE.

The Toute la mémoire du monde festival features 90 screenings, roundtables, master classes, and cine-concerts, as well as an international symposium about the future of cinémathèques and other presentations. The 2017 festival pays tribute to CinemaScope, Soviet melodramas (35mm prints from Gosfilmofond), Finnish filmmaker Valentin Vaala, the American silent-era studio Triangle Film Corporation, and more. Parrain du festival (patron) Joe Dante; invité d'honneur (guest of honor) Wes Anderson.
  


Jan 8, 2017

Orphans 2017 / Orphelins de Paris: Registration open.

Orphans 2017 / Orphelins de Paris

La Cinémathèque française and New York University host a special edition of the Orphan Film Symposium, in Paris, March 2, 3, & 4, 2017.

Newly restored and previously unseen 90mm films by Étienne-Jules Marey, ca. 1894-1900, will debut at Orphans.









T
The theme: Tests, Essais + Expérimentations

The symposium will take place during three mornings at the Cinémathèque française during Toute la mémoire du monde, International Festival of Film Restoration (March 1-5).

REGISTRATION is open now.

The Orphan Film Symposium convenes archivists, scholars, and artists devoted to saving, studying, and screening an eclectic variety of neglected cinema artifacts. “Orphan films” include works abandoned by their owners as well as the many motion pictures outside of the commercial mainstream that have been neglected by history. Updates about Orphelins de Paris will be posted to both the NYU Orphans  website (www.nyu.edu/orphanfilm) and this blog.

Registration for the symposium -- open to all -- comes with access to all five days and nights of the big festival. The fee is $200 USD  ($100 USD for students, retirees, and the underemployed). Simultaneous French and English translations provided. REGISTER HERE.

Take in the Toute la mémoire du monde festival's 90 screenings, roundtables, master classes, and cine-concerts, as well as an international symposium about the future of cinémathèques, and other presentations. Toute la mémoire du monde pasy tribute to CinemaScope, Soviet melodramas (35mm prints from Gosfilmofond), Finnish filmmaker Valentin Vaala, the American silent-era studio Triangle Film Corporation, and more. Parrain du festival (patron) Joe Dante; invité d'honneur (guest of honor) Wes Anderson.

Worth noting:

March 1: An international symposium on the future of the cinematheques hosted by Centre national du cinéma et de l'image animée (CNC).

February 27-28:  The second FIAF (International Federation of Film Archives) Winter School on Programming, a follow-up to the first in 2016, a training course in programming cinematheques.

***

Orphans 2017 / Orphelins de Paris

La Cinémathèque française et New York University accueillent une édition spéciale de l’Orphan Film Symposium (Colloque sur les films orphelins), à Paris, du 2 au 4  mars 2017.

Newly restored and previously unseen 90mm films by Étienne-Jules Marey, ca. 1894-1900, will debut at Orphans.






x
Le thème: Tests, Essais + Expérimentations.

Les chercheurs, étudiants, archivistes ou historiens du cinéma exploreront les fonds cinématographiques méconnus : ceux qui proviennent d’utilisations alternatives et expérimentales du film ; les tests techniques de toutes sortes ; des éléments de tournage qui incluent des prises coupées ou alternatives, des essais d’acteurs, des rushes ; les films maudits qui ne sont jamais sortis ou qui n’ont jamais été achevés ; les œuvres non montées ou non identifiées ; des extraits compilés ou du found footage ; les films indépendants, techniquement ambitieux.

Le colloque se tiendra  durant trois matinées à La Cinémathèque française, dans le cadre du festival international du film restauré Toute la mémoire du monde.


INSCRIPTION

Quels sont les enjeux de la conservation et de la valorisation de ces fonds cachés ou négligés, bien souvent volumineux ? Comment archiver, cataloguer ou rechercher ces éléments films ? Comment resituer les tests, essais et expérimentations dans les histoires du cinéma et dans la culture visuelle ?

Le colloque annuel sur les films orphelins, réunit les archivistes, chercheurs et artistes dévoués à la sauvegarde, l’étude et la valorisation d’un corpus éclectique d’éléments. "Orphan films" inclut des travaux abandonnés par leur propriétaire ainsi que la plupart des œuvres filmiques produites en dehors d’un circuit commercial dominant et qui ont été historiquement négligées.

Les inscriptions sont ouvertes à tous, incluant l’accès gratuit aux cinq jours de festival. Les frais d’inscription sont $200 USD et $100 USD (pour les étudiants). Traduction simultanée français/anglais à disposition. Inscrivez-vous ici.

Le festival Toute la mémoire du monde se tiendra du 1er au 5 mars et proposera plus de 90 projections, un colloque international sur l’avenir des cinémathèques et de nombreuses autres rencontres. La programmation rendra hommage au CinémaScope ou aux débuts de l’écran large, au mélodrame soviétique (avec des copies 35mm des collections du Gosfilmofond), à l’un des plus importants cinéastes finnois, Valentin Vaala, qui débuta sa longue carrière dans les années 1930, et à la Triangle Film Corporation, l’un des premiers studios américains. Joe Dante, Parrain du festival; Wes Anderson, Invité d'honneur.

A noter : 

1er mars : colloque international sur l’avenir des cinémathèques proposé par le CNC.

27-28 février : FIAF Winter School. Formation de deux jours sur la programmation (2ème volet)

La Programmation  complète du festival sera annoncée le 1er février


Nov 23, 2016

Huérfanos del cine: the Orphan Film Symposium at the Mar del Plata Film Festival

It's holiday time in the United States, but it's also the week of the 31º Festival Internacional de Cine de Mar del Plata, in Argentina. Programmer Fernando Peña invited two programs from the NYU Orphan Film Symposium as part of the festival's "Revisiones" section.  And the Museo del Cine de Buenos, thanks to museum director Paula Félix-Didier (NYU MIAP graduate), is co-presenting the screening. In particular, she will translate English to Spanish as needed -- and tweet!




The PDF of both programs pops up here.

The Friday program, "Amateurs & Animateurs," mixes home movies and amateur films (from Canada, the U.S., Uruguay, and the Soviet Union) with animation by DIY filmmaker Helen Hill (including Rain Dance her 1990 student film restored in 2007 by NYU Moving Image Archiving and Preservation students with Bill Brand and Paul Gailiunas).

The Saturday lineup, "Nontheatrical Nonfiction" consists of nine pieces, from Albanian, China, and the U.S., including a musical performance recorded in 1928 in Argentina. This Fox Movietone News outtakes, from the University of South Carolina Moving Image Research Collections, has never been publicly screened before.

Exciting!


--
Dan Streible
Orphan Film Symposium director
NYU Cinema Studies / MIAP Program

Nov 5, 2016

Nov. 19 Screening: THE INNER WHIRLED OF ORPHAN FILMS

Orphans at MoMA
The Inner Whirled of Orphan Films
Saturday, November 19, 2016
4:15 p.m  [tickets here]
Museum of Modern Art, Titus Theater 2
11 W. 53rd Street, New York

Part of To Save and Project: The 14th MoMA International Festival of Film Preservation

Combining highlights from NYU’s 10th Orphan Film Symposium and its theme of sound with even newer rediscoveries, this eclectic program of short films is inspired by the creativity and experimentation found among works not made for theaters. "The Inner Whirled" is more than an allusion to the whirling of sound and of film projectors. The word play is also from experimental film maestro Ken Jacobs, who called his quartet of short films with Jack Smith The Whirled (1956-63). In 1969, Jacobs and filmmaker Larry Gottheim founded the Department of Cinema at SUNY Binghamton, where an avant garde film culture flourished. Among the eclectic mix of movies that entered the classroom there was an outlier that captivated Gottheim, the educational film The Inner World of Aphasia (1968), from Cleveland-based Edward Feil Productions.

We've just learned that the creative team of Ed and Naomi Feil will make their way from Eugene, Orgeon, to New York for this special screening. Ed began making films in World War II and went on to make dozens of nonfiction films -- documentary, educational, scientific, technical, industrial. When he and Naomi married in 1964, they began collaborating on scripts, editing, and soundtracks. She gives a powerful performance as the protagonist of The Inner World of Aphasia. 


Katie Trainor (MoMA) & Dan Streible (NYU MIAP)
Welcome & introductions

John Klacsmann (Anthology Film Archives)
“Jiffy” Film: SMPTE P16-PP-C (197?) 5 min.
Produced for the Society of Motion Picture and Television Engineers.
          Anthology's archivist introduces its rare vintage 16mm print of a test film meant to be seen and heard only by projectionists.

James Irsay (WBAI-FM)
Der Bajazzo: Duett der Nedda (ca. 1908) 3 min.
Produced by Deutsche Bioscop, Germany. Cast unknown.
Vocal by Emilie Herzog and Baptist Hoffmann. Gramophone Monarch Record, 1907.
Restored by DIF - Deutsches Filminstitut, Anke Mebold.
          The host of WBAI's "Morning Irsay," pianist, music historian, and raconteur sets the context for this recent recoupling of a 1907 phonograph recording (a duet from Pagliacci) and a 1908ish German motion picture  meant to be projected (more or less in synch) with the sound.

Deutsches Filminstitut - DIF                                                           Cinémathèque français
Premier Nocturne en fa # majeur de Chopin, Interprété par Victor Gille (1928)
Produced by Gaumont-Petersen-Poulsen, France. 4 min.
Restored by Cinémathèque Française, Céline Ruivo.
          Irsay also contextualizes this newly restored film of pianist Gille (1884-1964)

Robert Anen (NYU MIAP) &  Rachael Stoeltje (Indiana University Libraries)
[NY Fair 1964-1965]
Home movie filmed by Edward Feil. 11 min.
Preserved by Indiana University Libraries Moving Image Archive (IULMIA).
          The director of IULMIA and the NYU student-intern explain how the Edward and Naomi Feil Collection came to Indiana this year and how a home movie reel found there helped the Library of Congress reassemble the parts of of a multi-screen Eames production at the World's Fair.

Frames from Feil fair film.
Left: Naomi, Ed, and his camera captured in reflection; right, in IBM's Ovoid Theater for the Eames multi-screen Think.

George Willeman
(Library of Congress)
Think (1964) 10 min.
Directed by Ray Eames and Charles Eames for the IBM Pavilion, New York World's Fair. Reconstructed in 2016 by Amy Gallick at the Library of Congress.

Popular Science, July 1964.
The Ovoid, where Think was projected and in which Feil filmed some of it in black-and-white 16mm. 

Ken Feil
(Emerson College) with special guests Ed & Naomi Feil 
The Inner World of Aphasia (1968)  24 min.
Filmed, directed, and edited by Edward R. Feil.
Written by Naomi Feil. Cast: Naomi Feil as Marge Nelson. Named to the National Film Registry in 2015. Indiana University Libraries Moving Image Archive.

End credits. Naomi Feil (right) as nurse Marge Nelson.
Genevieve Havemeyer-King (New York Public Library; NYU MIAP '15)
EPH 4/27/16 (1979) 26 min.
Directed by Ephraim Horowitz.
Scanned by Colorlab for Fandor and the NYU Orphan Film Symposium’s Amateur Cinema Project. Named one of the Ten Best amateur productions of 1979.

Frame from the opening sequence of EPH 4/27/16. 
The 1964-65 New York World's Fair, constructed at Flushing Meadows Corona Park in Queens, may not have had the cultural impact of the 1939 World's Fair, but it was a touchstone for many of its 50 million visitors. Thousands shot home movies there, Horowitz as well as Feil. Ephraim Horowitz began his lifelong hobby of filmmaking in the 1930s and shot beautiful color 16mm film at the '39-40 fair. His movie club friend Richard Post told me recently that Eph lived and worked near the fairgrounds -- and therefore frequently lunched there during '64-65. These World's Fairs became part of his identity, including that side of him that was a collector of memorabilia. Shots of his collectibles -- coins, photographs, films, ephemera -- constitute much of EPH 4/27/16.

Ephraim Horowitz also appears in a short documentary: Amanda Murray's World Fair (2013), viewable at worldfairfilm.com. It begins with Horowitz's 1939-40 footage, with him talking in the 2000s. We see him at home and among the objects he lays hands on is a can of 16mm film labeled "64/65 Fair."  Compare to the label on the can of film Robert Anen saw in the Indiana University archive while processing the Feil Collection this summer. (Here's that story as told in the New York Times earlier this week.)

Top: Horowitz's hands as seen in a frame from Amanda Murray's World Fair.
Bottom: Snapshot of Ed Feil's labeled can. (See Anen's IULMIA blog post of August 5.) 


As described in my blog post on Horowitz's 100th birthday, EPH 4/27/16 caught the interest of we amateur film history researchers and seekers because it was on the filmography "The 'Ten Best' Winners, 1930-1994 from the Amateur Cinema League and American International Film & Video Festival," published in Alan D. Kattelle's "The Amateur Cinema League and Its Films," Film History 15, no. 2 (2003). The whereabouts of surviving prints of those more than 600 titles are almost entirely unknown. Seeing a film from the Ten Best list is rare. The blog post of 4/27/2016 also describes Genevieve Havemeyer's success in tracking down the Horowitz films some three years after her fellow NYU MIAP graduate Kimberly Tarr told me about this unique filmmaker.

As with the 2014 Orphans at MoMA program -- An Amateur Cinema League of Nations -- this showcase is the culmination of years of collaboration among archivists, curators, scholars, and students dedicated to finding and saving these orphan films. In addition to the students and alumni of NYU's Moving Image Archiving and Preservation master's degree program, others who have been working on the history of amateur films include Charles Tepperman, University of Calgary professor and architect of a grant-funded three-year project, "Mapping an Alternative Film History: A Database of Significant Amateur Films (1928-1971)."



Home movies and amateur films have always been part of the Orphan Film Symposium. As it happens, the "Orphans" origin story includes a tangential connection to the 1964 New York World's Fair. The final dinner reception at the first symposium in 1999 took place atop the University of South Carolina's Capstone House. The dining space called the Top of Carolina is a rotating restaurant with grand views of the campus and the city of Columbia. It was too novel not to put to use at the conclusion of the four-day soiree. The novelty proved a hit. People began to put notes to one another on the window sill, whose rotation carried them to neighboring tables. Funny, even flirtatious, notes and totems multiplied as the evening went on. The symposium finale returned to this space a couple more times, with some visiting New Yorkers choosing to disbelieve the placard noting that the entire golden rotating restaurant had been moved from its original site in Queens at the 1964-65 World's Fair.

Here's what the University of South Carolina website says.

"Housing the first, and only, revolving restaurant in North and South Carolina, Capstone gave the area an attraction comparable to those in several major cities. The rotating platform and mechanism were acquired from an exhibit at the [1964] New York World's Fair and were gifts of a South Carolina manufacturer, Robert G. Wilson."

In 2011, I caught a short glimpse of the rotating restaurant in a home movie shot at the '64 fair and shown at the Queens Museum during Home Movie Day. Several NYU MIAP students co-organized that event, which transpired during the time when Karan Sheldon (Northeast Historic Film) was working with the museum and George Eastman House on a grand-funded project to document and preserve amateur films shot at the 1939-40 World's Fair.

Ephraim Horowitz, who passed in 2012, was a long-time member of the Queens Museum [of Art]. And it wouldn't be surprising if his Flushing fair films wound up in its permanent collection.



-- Dan Streible 
Director, NYU Moving Image Archiving and Preservation Program
Director, the Orphan Film Symposium



Nov 1, 2016

Lost Snippets of Film History Need a Lot of Helping Hands to Get Found-- and Preserved.


It's not every day that a major news outlet runs a film preservation story that doesn't focus on restoring a classic feature film or rediscovered silent-era motion picture. So I would be remiss if I didn't relay here this New York Times story:  "A Lost Snippet of Film History, Found in a Home Movie Shot in 1964," October 30, 2016."

James Estrin / The New York Times
 It's part of writer James Barron's "Grace Notes: A bimonthly column that captures the essence of the people and places of New York."

The report is well written and entirely accurate, so no need to recap it here. As Mike Mashon of the Library of Congress said in related post, "Sometimes it really does take a village." The films mentioned in the Times piece -- a home movie shot by professional filmmaker Ed Feil, Ray and Charles Eames's Think (1964), and Feil's The Inner World of Aphasia (1968) -- involved many mutually supportive institutions and people.

Two not mentioned in the story who deserve much credit are Rachael Stoeltje and Andy Uhrich of Indiana University Libraries Moving Image Archive. As IULMIA Director, she acquired the Feil Collection and got the processing work underway earlier this year. As Film Archivist, he led the work and also mentored Robert Anen during his summer internship for his NYU degree. There's double continuity there, since Uhrich is a graduate of that same NYU MIAP master's program and a board member of the Center for Home Movies.

The Times page does not link to the 18-minute home movie, so here it is, streaming from the Indiana University site.




See it "live," as part of To Save and Project: The 14th MoMA International Festival of Film Preservation.


Orphans at MoMA
Sound: The Inner Whirled of Orphan Films
Saturday, November 19, 2016, 4:15 p.m.
Museum of Modern Art, Titus Theater 2
11 W. 53rd Street, New York

Combining highlights from NYU’s 10th Orphan Film Symposium, and its theme of sound, with even newer rediscoveries, this eclectic program of short films is inspired by the artful and creative flair found among works not made for theaters. Sound and vision serendipitously connect the work of two couples – partners creative and marital: the acclaimed designers Ray and Charles Eames and the prolific but little known Naomi and Edward Feil. Added to the National Film Registry this year, The Inner World of Aphasia (1968) is the Feils’ empathic medical education film, directed with poetic dimensions and a powerful lead performance by. When Ed Feil shot home movies at the World’s Fair of 1964-65, he captured a rare look at the multi-screen installation Think, which the Eameses created for the IBM pavilion – and which the Library of Congress now unveils as a single-screen reconstruction. Also newly restored, and in time for the filmmaker’s centennial, is EPH 4/27/16, Ephraim Horowitz’s sophisticated, wry Super 8 memoir, named one of the Ten Best amateur films of 1979. Rounding out the program with panache are a seldom-seen projection test, a 1908 German film synched to a 1907 opera record, and the Cinémathèque Française’s superb restoration of an early synchronous-sound film of pianist Victor Gille performing Chopin.  


Katie Trainor (MoMA, Film Collections Manager) Welcome
+
Dan Streible (NYU MIAP) Opening remarks: The Sounds of Orphan Films

  
John Klacsmann (Anthology Film Archives) 
“Jiffy” Film: SMPTE P16-PP-C (197?) 
Produced for the Society of Motion Picture and Television Engineers. Vintage 16mm print from Anthology Film Archives. 5 min. 

James Irsay (WBAI-FM) introduces to classical music films
Der Bajazzo: Duett der Nedda (ca. 1908)
Produced by Deutsche Bioscop, Germany. Cast unknown. 
Soundtrack: Vocal by Emilie Herzog and Baptist Hoffmann; conductor Bruno Seidler-Winkler, from Gramophone Monarch Record 044064 II (disc), 1907. 
Restored by DIF - Deutsches Filminstitut, Anke Mebold. DCP. from 35mm. 3 min. 
     
Premier Nocturne en fa # majeur de Chopin, Interprété par Victor Gille (1928) 
Produced by Gaumont-Petersen-Poulsen, France. 
Restored by Cinémathèque Française, Céline Ruivo. DCP from 35mm. 4 min.

Robert Anen (NYU MIAP)
[NY Fair 1964-1965] 
Home movie filmed by Edward Feil. Preserved by Indiana University Libraries Moving Image Archive. Digital from 16mm. 11 min. 

George Willeman (Library of Congress)
Think (1964) 
Directed by Ray Eames and Charles Eames for the IBM Pavilion, New York World's Fair. Reconstructed in 2016 by Amy Gallick at the Library of Congress. Digital. 10 min. 

Ken Feil (Emerson College) and Rachael Stoeltje (Indiana University)
The Inner World of Aphasia (1968) 
Filmed, directed, and edited by Edward R. Feil. 
Written by Naomi Feil. Cast: Naomi Feil as Marge Nelson. Named to the National Film Registry in 2015. 16mm print from Indiana University Libraries Moving Image Archives. 24 min.

Genevieve Havemeyer-King (New York Public Library; NYU MIAP '15)
EPH 4/27/16  (1979) 
Directed by Ephraim Horowitz. 
Super 8 film scanned by Colorlab for Fandor and the NYU Orphan Film Symposium’s’ Amateur Film Project. 26 min.  







Oct 29, 2016

Orphans 2017 / Orphelins de Paris, la Cinématheque française, March 2-4

Very exciting news about a special event we can call "Orphans 2017" and/or "Orphelins de Paris." The grandest of showcases, la Cinémathèque, historic and spiritual home for cinéphiles, cinéastes, preservationists, and film historians. Now, it's welcoming a line-up of orphan films in the midst of its glorious restoration festival. Merci! 


(a rough draft of a logo)
In addition to unveiling some restored rarities from the Cinémathèque's own collection, the symposium will include presentations from other nations -- and content to be determined by responses to this Call for Presentations.

* * * * *

The Cinémathèque française and New York University host a special edition of the Orphan Film Symposium, in Paris, March 2-4, 2017.

The theme: Tests, Essais, et Expérimentations

The symposium will take place during three mornings (9am to 1pm) at the Cinémathèque française during Toute la mémoire du monde, International Festival of Film Restoration (March 1-5).

Scholars, researchers, and archivists will explore a variety of neglected films: those derived from experimental and alternative uses of film; technical tests of any sort; production elements, including outtakes, alternate takes, screen tests, dailies, and deleted footage; unreleased or incomplete films maudits; unedited or unidentified footage; compilation reels and found footage; avant-garde cinema and nontheatrical films.

What are the challenges of preserving and presenting these voluminous but often hidden collections? How should we document, archive, and research these film elements? How can we situate tests and experimentation in the histories of cinema and visual culture?

We invite one-page proposals for presentations (15 to 40 minutes) that include the screening of seldom-seen material. Presentations may be in French or English. Proposals should summarize the argument or rationale and identify AV materials by title and format. E-mail a file attachment to orphanfilmsymposium [@] gmail.com. We ask presenters to attend all three mornings of the symposium. Deadline: December 10, 2016.

Registration -- open to all -- gives access to both the Orphan Film Symposium and all five days and nights of Festival Toute la Mémoire. The fee is 200 USD  ($100 for students). Simultaneous French-English translation provided. Symposium registration begins November 21 via www.nyu.edu/orphanfilm.

The 2017 Toute la Mémoire du Monde runs March 1 through 5, offering more than 90 screenings, as well as roundtables, master classes, cine-concerts, and an international symposium on the future of cinematheques. The program pays tribute to CinemaScope and the origins of widescreen, Soviet melodrama (with 35mm prints of Gosfilmofond), leading Finnish director Valentin Vaala, the American silent-era producer Triangle Film Corporation, and more. The complete program will be announced February 1.

Worth noting: 

March 1st includes an an international symposium on the future of the cinematheques proposed by the CNC -- Centre national du cinéma et de l'image animée. 

February 27-28: The second FIAF (International Federation of Film Archives) Winter School on Programming, a follow-up to the first in 2016, a training course in cinematheque programming. 


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La Cinémathèque française et New York University accueillent une édition spéciale de l’Orphan Film Symposium (Colloque sur les films orphelins), à Paris, du 2 au 4  mars 2017.

Le thème: “Tests, essais et expérimentations.” 

Le colloque se tiendra  durant trois matinées à La Cinémathèque française, dans le cadre du festival international du film restauré Toute la mémoire du monde. 

Les chercheurs, étudiants, archivistes ou historiens du cinéma exploreront les fonds cinématographiques méconnus :  ceux qui proviennent d’utilisations alternatives et expérimentales du film ; les tests techniques de toutes sortes ; des éléments de tournage qui incluent des prises coupées ou alternatives, des essais d’acteurs, des rushes;   les films maudits qui ne sont jamais sortis ou qui n’ont jamais été achevés ; les œuvres non montées ou identifiées ; des extraits compilés ou du found footage ; les films indépendants, techniquement ambitieux.  

Si vous souhaitez présenter un film ou un fonds en particulier,  vous pouvez nous envoyer une proposition d’une page (entre 15 et 40 minutes) qui inclut la projection d’un matériel rare. Les propositions peuvent être envoyées dès maintenant et ce jusqu’au 10 décembre 2016 à l’adresse suivante orphanfilmsymposium [@] gmail.com.

Quels sont les enjeux de la conservation et de la valorisation de ces fonds cachés ou négligés, bien souvent volumineux ? Comment archiver, cataloguer ou rechercher ces éléments films ? Comment resituer les tests, essais et expérimentations dans les histoires du cinéma et dans la culture visuelle?

Le colloque annuel sur les films orphelins, réunit les archivistes, chercheurs et artistes dévoués à la sauvegarde, l’étude et la valorisation d’un corpus éclectique d’éléments.  Orphan films inclut des travaux abandonnés par leur propriétaire ainsi que la plupart des œuvres filmiques produites en dehors d’un circuit commercial dominant et qui ont été historiquement négligées.


Inscription (accréditation pour Orphan et le festival): 200 USD (~ 183 euros)
Inscription étudiant (accréditation pour Orphan et le festival): 100 USD (~ 91 euros)
Les inscriptions seront ouvertes à partir du 21 novembre 2016 via www.nyu.edu/orphanfilm.

Traduction simultanée français/anglais à disposition.

Festival Toute la Mémoire du Monde
L’auditoire pourra aussi bénéficier du riche programme du festival (projections, tables-rondes, master class et ciné-concerts) dans la mesure où l’inscription inclut l’entrée au festival. Le festival se tiendra du 1er au 5 mars et proposera plus de 90 projections, un colloque international sur l’avenir des cinémathèques et de nombreuses autres rencontres. Le programmation rendra hommage au CinémaScope ou aux débuts de l’écran large, au mélodrame soviétique (avec des copies 35mm des collections du Gosfilmofond), à l’un des plus importants cinéastes finnois, Valentin Vaala, qui débuta sa longue carrière dans les années 1930, et à la Triangle Film Corporation, l’un des premiers studios américains. Programme en cours.


A noter : 

1er mars : colloque international sur l’avenir des cinémathèques proposé par le CNC.

27-28 février : FIAF Winter School. Formation de deux jours sur la programmation (2ème volet)

La Programmation  complète du festival sera annoncée le 1er février.

Oct 11, 2016

Careers in moving image archiving, an NYU MIAP Information Session Oct. 20

Since the Orphan Film Symposium is a production of Cinema Studies at New York University and the department's Moving Image Archiving and Preservation master's degree program, I'd offer the following information about our upcoming Information Session. RSVP here

-- Dan Streible, MIAP Director and Orphan Film Symposium Director



NYU’s MIAP Program is now accepting applications for its Master of Arts degree. MIAP is a two-year, interdisciplinary course of study that trains future professionals to manage and preserve collections of film, video, new media, and digital works.MIAP is situated within New York University’s Department of Cinema Studies in the renowned Tisch School of the Arts.

Our application deadline for fall 2017 admission is December 1. You can learn more about the program and application process by visiting our prospective students page, where you can also access MIAP faculty bioscourse descriptions and syllabiinternship summariesexamples of student workalumni testimonials, and more. MIAP provides intensive professional development and prepares its graduates for rich and varied work in archives, museums, libraries, production companies, the art world, and other organizations. 

We will provide an overview of MIAP and answer questions during an Information Sessions on October 20, starting at 6pm EDTPlease join us in person, by phone, or online to learn about the field and our exciting, interdisciplinary graduate degree program! RSVP here.
  
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