Feb 24, 2019

Register for RADICALS: June 6-8, 2019

Register now for RADICALS,
a special edition of the
NYU Orphan Film Symposium
at the Austrian Film Museum
in Vienna,
June 6-8, 2019.

Click here for registration
 information, with discount for early payment.

Thursday, June 6:
Symposium registration includes free admission to the 7:00 pm screening of Dutch experimental films curated by Simona Monizza (EYE Netherlands Film Museum).
An Örphans opening reception follows in the lobby and al fresco bar area (with drinks & nibbles) at das Österreichische Filmmuseum.

Here’s a first look at some of the presentations and screenings slated for RADICALS throughout Friday, June 7 & Saturday, June 8.

Kimberly Tarr (NYU Libraries)  Angela Davis Report (DDR, 1972) Premiere of new 16mm preservation from the Communist Party of the United States of America Records at NYU Tamiment Library

Rommy Albers, Simona Monizza (EYE), & Floris Paalmen (U of Amsterdam) Cineclub Amsterdam Freedom Films at the International Institute for Society History

Mara Mattuschka & Hans Werner Poschauko (Maria Lassnig Foundation) Maria Lassnig's “Films in Progress”: An Artist's Approach to Restoring Unfinished Works

Grazia Ingravalle (Brunel U London) British or Indian Colonial Film Heritage? Towards a Decolonization of Film Archiving and Curation. Panorama of Calcutta, India, from the River Ganges (Warwick Trading Co., 1899) and excerpts from Around India with a Movie Camera (Sandhya Suri, 2018)

Masha Godovannaya (media artist, QFAAG Unwanted Organization) Necrorealism in the USSR: Films and Photos by Yevgeniy Yufit: Werewolf Orderlies (1984), Woodcutter (1985), Spring (1987), and Suicide Monsters (1988)

Caroline Fournier (Cinémathèque Suisse) Debut screening of a 1930s nitrate iteration of Hans Richter’s Every Day (1929)

Joachim Schätz (Ludwig Boltzmann Institute for History and Society) Avant-garde Mimicry: Mit unbekanntem Ziel [Destination Unknown] (Austrian Chamber of Commerce & Institute for the Promotion of Trade, 1963)

Virgil Widrich & Martin Reinhart (U für angewandte Kunst Wien) Time and Space Reversed on Screen: tx-mirror at Twenty (new productions)

Martin Reinhart (U für angewandte Kunst Wien) What Is the Data Loam Project?

José Miguel Palacios (U Alberto Hurtado, Chile) & Elizabeth Ramírez-Soto (San Francisco State U) Chilean Filmmakers in Exile after 1973: La femme au foyer (Valeria Sarmiento, France, 1976), La piedra crece donde cae la gota (Patricio Castilla, Cuba, 1977), Le soulier (Jorge Fajardo, Canada, 1980)

Eva Näripea (National Archives of Estonia) & Hardi Volmer (artist) Päratrust [Butt Trust] Estonian Punk Band films, 1979-1983: Kalkar (satire of Tarkovsky’s Stalker) and Tsar of the Flies

Brian Meacham (Yale Film Study Center) & Josh Morton (filmmaker) Radical Theater: The Black Panthers, New Haven, and Puppet Show (Josh Morton, 1970)

Tania López Espinal (Cineteca Nacional México) Viva Cristo Rey! Manuel Ramos, 9.5mm Films, and the Cristero War, 1926-1929

Thomas Christensen & Katrine Madsbjerg (Danish Film Institute) Unidentified International Socialists, or: How Uncle Sam Traveled from Vienna to Copenhagen. Debut of new preservation: Onkel Sams Wienerrejse (1931)

Léa Morin (L'Atelier de l'Observatoire, Casablanca) An Unknown Moroccan Cinema: Mostafa Derkaoui’s Student Films in Poland, 1969-71

Jacob Perlin (Metrograph NYC) Saint Clair Bourne’s documentary The Black and the Green (1983)

David Landolf & Brigitte Paulowitz (Lichtspiel / Kinemathek Bern) Amateur Filmmaking for a Greater Cause: René Betge’s Propaganda Films for the Lebensreform Movement „die neue zeit,“ 1929-1939

Enrique Fibla-Gutierrez (Filmoteca de Catalunya) & Pablo La Parra-Pérez (Elías Querejeta Film School, San Sebastian) The Wretched of the Spanish Earth: Fragments from Spanish Film Archives, 1930s-1970s

Kaveh Askari (MSU) & Hadi Gharabaghi (NYU) Michigan State University and National Iranian Radio and Television’s Iran Film Series: Ancient Iran: Part 2, 3000-800 BC (Margaret Mehring and Mohammad Ali Issari, 1977). New preservation from the University Archives

Hieyoon Kim (U of Wisconsin) The Seoul Film Collective and Activism in the 1980s (excerpts from 8mm films)

Tara Merenda Nelson (Visual Studies Workshop) Robert Frank at Visual Studies Workshop in Rochester, New York:  About Us (VSW, 1972)

Sandra Ladwig (U of Applied Arts Vienna) The Amateur’s Attention to the Inconspicuous: Irrsinn rot weiss gelb [Frenzy in Red, White, Yellow] (René Tajoburg, Super 8mm, ca. 1970)

Giorgio Trumpy, Josephine Diecke, David Pfluger, & Barbara Flueckiger (U of Zurich) Reconsidering Rigid Procedures of Color Film Digitization: Toning, Lenticular Processes, Chromogenic Stock, and Mroz-Farbenfilm

Stefanie Zingl (OFM) The Short Life of Mroz 9.5mm Color Amateur Film: Testfilm (Josef Mroz, 1930) and Farbenfilmversuche (Josip Sliskovic, 1931-32)

and others TBA . . .

Evening screenings curated by Jurij Meden & Michael Loebenstein (Austrian Film Museum) with Dan Streible (NYU Cinema Studies)

Jan 18, 2019

Screening Orphans at MoMA, MLK Day 2019

Orphans at MoMA
Monday, Jan. 21, 2019  (MLK Day)
6:30 pm

Museum of Modern Art (11 West 5rd Street, NYC)
To Save and Project: 16th International Festival of Film Preservation

Beloved Community:
Rarities of African American and LGBTQ Cinema—and More
highlights from the Orphan Film Symposium on Love

Piano accompaniment by Ben Model

Three American Beauties (Edison, 1906) 35mm, 1’      
MoMA’s restoration of an original hand-colored print; directed by Edwin S. Porter and Wallace McCutcheon.
Museum of Modern Art

Welcome by Josh Siegel (MoMA)
Intro by Dan Streible (NYU Cinema Studies, Orphan Film Symposium)

video greeting from Barbara Hammer
Sarah Keller
(U Mass Boston) introduces three of Barbara Hammer's earliest Super 8 films. 3’ each.

Contribution to Light (1968), Aldebaran Sees (1969), and Death of a Marriage (1969)
Electronic Arts Intermix

Something Good—Negro Kiss (Selig Polyscope, 1898) 35mm, 1'
         The film rediscovery of the year, from archivist Dino Everett (USC) and scholar Allyson Field (U of Chicago), who identifies this kiss between performers Saint Suttle and Gertie Brown as cinema’s earliest known depiction of black intimacy. The Library of Congress added it to the National Film Registry in 2018.
University of Southern California Hefner Moving Image Archive

Lan Linh Nguyen Hoai  (NYU MIAP) introduces
Fee (Walther Barth, 1929) 8’
            A charming, inventive, and intimate amateur film shot in Zschornewitz, Germany, in which Dr. Barth (an Agfa film engineer) and a companion pose for his 16mm camera amid a field of poppies near the world’s largest brown-coal-fired power station. One of 101 films in the Barth Collection, researched by Louisa Trott (University of Tennessee).
Tennessee Archive of Moving Image and Sound

Juana Suárez (NYU MIAP) introduces
Leopold Godowsky Jr. home movies (1930s-40s) mosaic by Becca Bender, 4’   
        Becca Bender, while an NYU Moving Image Archiving and Preservation student, uncovered a cache of 150 reels of 16mm film in the Lincoln Center archive. She identified them as those of Leopold Godowsky Jr. (1900-1983), noted musician and co-inventor of the Kodachrome film process. With archivist Bonnie Marie Sauer, she reunited the collection with the estate. This mosaic shows Godowsky’s father (famed concert pianist) and wife Francis Gershwin (sister of George and Ira), as well as family friends Albert Einstein, Leon Trotsky, and Arturo Toscanini.
Lincoln Center for the Performing Arts Archive

Bonnie Marie Sauer (Lincoln Center for the Performing Arts)
[Elsa & Albert Einstein at Warner Bros.- First National Studio] (1931) 3’
            A lone reel of 35mm nitrate film among the Godowsky material at Lincoln Center, this never-released footage was scanned by the Library of Congress and repatriated to the Einstein Archives. (Thanks also to Cineric lab and to archivist Roni Grosz.)
Albert Einstein Archives, the Hebrew University of Jerusalem

Brianna Jones (NYU MIAP) Martin Luther King on Voting (WIS-TV, 1966) 35mm, 6’
           On May 9, 1966, Dr. Martin Luther King, Jr. spoke in Kingstree, South Carolina, urging residents to “march on ballot boxes” in the upcoming election. Newsfilm outtakes from a Columbia television station, the 16mm original was preserved in 35mm by Monaco Film lab with audio restoration by Chace Audio for the Orphan Film Symposium.
University of South Carolina Moving Image Research Collections

Dan Streible introduces
Martin Luther King at Santa Rita [Peace Pickets, Original, fragment] (Leonard Henny, 1968) with Martin Luther King at Santa Rita (KPFA-FM, 1968) audio
          For this screening only, a 16mm silent fragment from EYE is accompanied by non-synchronized audio recorded at the same place and time by KPFA radio. On January 14, 1968, Dr. King visited Joan Baez and others arrested for anti-war protests. He spoke to those keeping vigil outside. The film ends with David Harris (Baez's husband) meeting King for the first time; KPFA captured their informal conversation at the same moment.
EYE Netherlands Film Museum & Pacifica Radio Archives

Introduction by John Klacsmann and Ina Archer  
A People’s Playhouse (American Negro Theatre, 1944) 16mm, 5’
            Ruby Dee is among those seen in this fundraising promotion for New York’s A.N.T.  Jointly preserved by the National Museum of African American History and Culture (NMAAHC) and Anthology Film Archives from an AFA print.
Anthology Film Archives

Claire Fox (NYU MIAP) introduces
Behind Every Good Man . . . (Nikolai Ursin, 1967) 16mm, 9’           
        This rediscovered independent short is a pioneering portrait of the everyday life of an African-American trans woman. Restored by the Outfest UCLA Legacy Project with a grant from the National Film Preservation Foundation.
UCLA Film & Television Archive

Introduction by Ina Archer (NMAAHC) DCP,  31’
* Elder Lightfoot Solomon Michaux and the Church of God (Willie P. Johnson, 1940s-1950s)
* Cab Calloway home movies (1930s-1950s)
* Ella Fitzgerald on the television show Kreisler Bandstand  (ABC, 1951)
Smithsonian National Museum of African American History and Culture

Three American Beauties (Edison, 1906) 1’
        This new digital restoration of a complete print includes the surprise ending.
National Library of Norway

The Orphan Film Symposium is a production of the NYU Tisch School of the Arts Department of Cinema Studies.   orphan.film

Oct 12, 2018

“Orphans of New York” at Film Forum

Ephraim Horowitz in his amateur film, 1979  &  What's Happening in Harlem? (CPUSA,  1949)

Orphans of New York.” That's what Bruce Goldstein, Director of Repertory Programming at New York's influential* nonprofit indie moviehouse Film Forum, entitles our show of 22 entertaining but previously neglected films shot around the city from 1899 to 1979.

 Join us on Sunday or Monday.

Tickets are available online at filmforum.org or at the box office.
Film Forum, 209 W. Houston St.
Sunday, Oct. 14, 3:10 pm
repeats Monday, Oct. 15, 7:00 pm

Introductions by Bruce Goldstein (Film Forum) & Dan Streible (NYU Cinema Studies) + special guests
Piano accompaniment for silent films by Steve Sterner

Library of Congress Paper Print Collection, new scans and other early cinema:
* Across Brooklyn Bridge (1899) American Mutoscope Co.
* New Brooklyn to New York Via Brooklyn Bridge no. 1 (1899) Edison Co.
* What Happened on Twenty-third Street, New York City (1901) Edison
Panorama of Flatiron Building (1903) AM&B
Opening Ceremonies, New York Subway, Oct. 27, 1904 (1904) Edison 
* The Deceived Slumming Party (1908) Biograph
* Actors' Fund Field Day, at the Polo Grounds, New York City, August 19, 1910 (1910) Vitagraph Co. of America, with Bert Williams and Annie Oakley

Dawson City Collection newsreel fragments, Library and Archives Canada, selected by Bill Morrison (maker of the acclaimed Dawson City: Frozen Time.)
* The “Uplift” of the Horse (Universal Animated Weekly, 1917)
* Negroes’ Protest a Silent Parade (Universal Animated Weekly, 1917)
* Anarchists Bomb Wall Street (British Canadian Pathé, 1920)

* [Elsa and Albert Einstein at Warner Bros. – First National Studio 1931] a never-ever-released, charming-as-all-get-out document with the Einsteins enjoying a flying motor trip around the world. Becca Bender found the nitrate reel in a family collection long stored at the archive of Lincoln Center for the Performing Arts.

* a new 35mm print of the storied NYC Street Scenes and Noises outtakes (1929) Fox Movietone News, University of South Carolina Moving Image Research Collections

* Broadway by Day (1932) Magic Carpet of Movietone, 16mm

* New York University (ca. 1952-65?) Willard Van Dyke, for the NYU Alumni Association, reel 3 of 3 of an otherwise lost film.

* The Making of Pelham One Two Three (1974) featurette narrated by NYPD detective-turned-actor Carmine Foresta. 16mm print from the Academy Film Archive.

Young Filmmakers Foundation, 16mm prints
* Black Faces (1970) Studio Museum, Harlem
* Life in New York (1969) Alfonso Pagan & Luis Vale
* Ellis Island (1975) Steve Siegel & Phil Buehler
Sunday intro by Elena Rossi-Snook (New York Public Library for the Performing Arts)

* What’s Happening in Harlem? (1949) Communist Party USA. A hard-hitting political short about the exploitation of and violence against African American and Puerto Rican residents of Harlem.

* Venus and Adonis (1935) Harry Dunham &  J. V. D. Bucher's amateur surrealist film. Music by Paul Bowles.

* EPH 4/27/16 (1979) Ephraim Horowitz's masterful amateur film memoir.
Monday intro by Kimberly Tarr (NYU Libraries). (Read about its preservation in time for the centennial of Eph's birth.)

* Three American Beauties (1906) A stencil-colored Edison beauty with the complete original ending recently restored by the National Library of Norway.

SOURCES (It takes a village.)
Academy Film Archive
Albert Einstein Archives, Hebrew University of Jerusalem
Craig Baldwin / Other Cinema Archives
estate of Ephraim Horowitz (via Fandor.com)
Library and Archives Canada (via Bill Morrison)
Library of Congress
Lincoln Center for the Performing Arts
Museum of Modern Art
National Library of Norway
New York Public Library for the Performing Arts
New York University Libraries
Prelinger Archives
Richard Scheckman
University of Iowa Libraries (via Andrew Sherburne, Tommy Haines, Saving Brinton)
University of South Carolina Moving Image Research Collections

Thanks to the film whisperers and NYU alumni of the Moving Image Archiving and Preservation Program whose research led to some of these discoveries: Becca Bender, Genevieve Havemeyer-King, and Blake McDowell.

* See Sara Aridi, "How Influential Is Film Forum? Christopher Nolan and Others Explain," New York Times, July 31, 2018,

May 10, 2018

Museo del Cine: Syncing Stephen Horne & "Galería Cinematográfica Infantil" (1927)

This delightful GIF became an emblem of the 2018 Orphan Film Symposium devoted to love. 

GIF from Galería Cinematográfica Infantil 1927 
Courtesy of @MuseoDelCineBA 

It then became an Orphans 11 T-shirt.

Cappa in T-shirt. 
Archivist Carolina Cappa introduces the film. 

A happy marriage resulted from the April 14th screening at the 11th Orphan Film Symposium -- and the Museo del Cine has already debuted it online.  Stephen Horne played musical accompaniment (accordion, piano, and glockenspiel) for the museum's restoration of the silent film Galería Cinematográfica Infantil (ca. 1927), introduced by Carolina Cappa.  The Buenos Aires team has married that raw live New York recording, complete with audience laughter and applause,  to the newly-restored 12-minute portrait of a hundred kids living in the town of General Pico, La Pampa, Argentina, all filmed by Domingo Filippini

Enjoy it on a big screen!

Apr 9, 2018

Love ahead!

This just went out to everyone registered to attend the Orphan Film Symposium on Love. 

Gentle colleagues:
A first greeting and informational note to everyone registered for the NYU Orphan Film Symposium at Museum of the Moving Image, April 11-14. An exciting week of Love ahead! The dates and times on the Orphans 11 booklet (attached) match what is published at NYU.edu/orphanfilm.

Enter MoMI at  36-01 35 Ave. (at 37 Street) in Astoria, Queens.

All symposium events are in the museum, with the exception of Thursday’s catered dinner (6pm at nearby Zenon Taverna). You will also get a separate email about visiting the new Kodak film lab, a short walk from the museum, on Wednesday before the symposium’s opening reception (7pm at MoMI). You can sign up to schedule your visit individually.

Registration: Pick up name badge & stuff at the Registration table (left of the lobby as you enter). Please wear your Orphans name badge to ease access to the events, including the meals. Register whenever you first arrive, regardless of the day or time.

7:00 pm MoMI Reception (wine & hors d’oeuvres; thanks, Kodak!)
8:00 pm Opening screening (early Jim Henson, two never-seen films of Einstein, Girl Scouts in 1926, home movies from the inventor of Kodachrome!

Thursday, Friday, & Saturday: 9:30 am start time, with screenings at 8:00pm nightly. Dinner breaks 6pm. We cater dinner Thursday (Zenon) and Saturday (MoMI). Friday is “dinner on your own.” We’ll have a printed list of restaurants within walking distance to assure you have time to get back for the 8pm screening. The museum’s “Where to Eat in Astoria” is here.
            Coffee/tea will be available all day near the registration table, with light nosh before 9:30am. Catered lunches in the museum each day. (For other food and drinks on your own, the museum’s café is open all afternoon.)

Getting to MoMI: The nearest (and most reliable) subway stop is called STEINWAY, with the M & R trains stopping there (Steinway St. & 34th Avenue in Queens). The E train connects to M & R. Less than 5 minutes to walk from STEINWAY to the museum.
           Less reliable but near MoMI is the BROADWAY station (Broadway & 31st Street, Queens) on the N & W trains. (The W stops there only on weekdays.) To verify service changes check The Weekender site.
          Although car service can be expensive from Manhattan, it is quite affordable from other subway stations, such as Queensboro Plaza. Smart phone apps are generally reliable guides, even with recent subway changes. The MoMI Travel Directions are detailed for all modes and routes.

There is no central symposium hotel, although many of you are staying at The Paper Factory Hotel. Here's the Orphans guide to Hotels near Museum of the Moving Image.

See you soon!

Dan Streible
NYU Orphan Film Symposium director (917) 754-1401

Apr 4, 2018

Lichtspiel • Ernst • 17.5

When Brigitte Paulowitz of Lichtspiel / Kinemathek (Bern, Switzerland) films from the Richard Ernst Collection of 17.5mm and 35mm Family Films, 1914-1932, we'll see thirty minutes of sophisticated home movies.  And one show-at-home film the grandfather bought, a French travelogue of the Philippines. 

She tells us that the English translation of the intertitles in Aux îles Philippines (Pathé, 1914) are: 

  T1:The ferryman
  T2: Banks of the river Pasig
  T3: Return from the market
  T4: Hemp being the principal industry in the Philippines, the ropemakers are numerous
  T5: Laundry
  T6: Bathing children

Although we won't get to take advantage of the meticulously produced High Frame Rate DCP the Kinemathek has produced, we'll see some handsome scans of these unique films, re-creating what a home movie program might've looked like in the Ernst home three generations ago. 

Honeymoon trip to the Soviet Union in 1932, as well as a purchased reel (ca. 1921) that has a shot of Trotsky!

Leningrad 1932

Honoring Mrs. Alice B. Russell Micheaux, April 11, in Rye, New York

The Orphan Film Symposium begins Wednesday evening, April 11. During that same morning Terri Francis and Lina Accurso have organized this significant event in nearby Rye, New York.  They will also talk about the Alice B. Russell Micheaux project on Saturday, April 14, 9:30am, as part of the Orphan Film Symposium at Museum of the Moving Image in Astoria, Queens, NYC.  They will be joined by film historian Charlene Regester of the University of North Carolina.

Terri shares the news below and invites you to this special event.

Honoring Mrs. Alice B. Russell Micheaux
from the website of Indiana University Black Film Center / Archive

Through the efforts of BFC/A director Terri Francis, independent silent film historian Lina Accurso, and a generous community of individual donors, arrangements are in place to set a memorial headstone at the unmarked grave of Mrs. Alice B. Russell Micheaux in 2018.

Mrs. Micheaux was a pioneering film actress and film producer, as well as the second wife of renowned African American filmmaker, Oscar Micheaux. Alice Micheaux performed in The Broken Violin (1927), and in Oscar’s films including Murder in Harlem (1935), God’s Step Children (1938) and The Betrayal (1948). She collaborated with her husband as script supervisor and casting associate on Lying Lips (1939) and miscellaneous crew on Swing! (1938), Murder in Harlem (1935), Ten Minutes to Live (1932) and The Girl from Chicago (1932).

Mrs. Micheaux spent her final years as a ward of the state suffering from dementia, and was buried in 1985 in an unmarked pauper’s grave at the Greenwood Union Cemetery in Rye, New York.

On April 11, 2018, at 11:00 am, we invite you to gather at the site in Greenwood Union Cemetery, Rye, NY, for a meaningful remembrance of Mrs. Micheaux’s life and her vital contributions to early African American cinema as a producer, actress, script supervisor, and spouse to Oscar Micheaux. We plan to honor Mrs. Micheaux with a floral arrangement, music from Jasmine Muhammad, and a blessing from Rev. Martha Cruz, a member of St. Paul’s Lutheran Church, local to Rye. Please join us and share the event information linked here.

Due to the long New York winter, we unfortunately will not be able to pour the foundation for the rose quartz marker on this occasion, but it will be in place by the anniversary of Mrs. Micheaux’s birth on June 30.

About BFC/A
The Black Film Center/Archive at Indiana University was established in 1981 as the first archival repository dedicated to collecting, preserving, and making available historically and culturally significant films by and about black people. The BFC/A's primary objectives are to promote scholarship on black film and to serve as an open resource for scholars, researchers, students, and the general public; to encourage creative film activity by independent black filmmakers; and to undertake and support research on the history, impact, theory, and aesthetics of black film traditions.

Symposium info at www.nyu.edu/orphanfilm.