Mar 27, 2014

Everyone at Orphans 9 gets one of these loaded Kingston 8GB drives.


Orphans 9 souvenir:
Weeshuis-quaestie (The Orphanage Question)

Table of Contents
40 movies
on the
Kingston DataTraveler 8GB USB drive

Kingston Technology supports the Orphan Film Symposium with this USB Flashdrive that stores 8 gigabytes of data. In other words, it's an orphaned item in the marketplace of 1 terabyte drives the size of your thumbnail. But 8GB is enough for the Orphan Film Project partners and symposiasts to give you the following digital and digitized items. Video files are MPEG-4 unless noted otherwise. 

MOV files from EYE:
A Theatre revue: 8 films shot by Emile Lauste for Netherlandsche Biograph en Mutoscope Maatschappij in 1899.
Weeshuis-quaestie (The Orphanage Question)
Naar ‘t Tolhuis (To the Tollhouse),
Een trambestorming op zondag op den Dam (Rushing the Tram on Sunday at the Dam)
Watersnood in buurt YY (Flood in the YY Neighbourhood)
Amsterdams´s vreemdelingenverkeer (Amsterdam’s Tourist Traffic)
De zieke gemeente- ambtenaar (The Sick Civil Servant)
Tolhuis! Kiele! Kiele! (Tollhouse! A Close Shave!)
Mark-Paul Meyer’s 1996 compilation Bits & Pieces. Nrs. 405 t/m 412
Trailer for East Is West restoration (1:47)
Compilation of Maarten Visser films (3:41)
Promo for EFG 1914  (3:00)
eye support film  (1:34)

From the San Francisco Silent Film Festival
              Trailer for The Last Edition  (Emory Johnson, 1925) 1:45 (720x480, MOV, 119MB]
            The original 1925 trailer, with 2013 restoration credits. Music added in 2014 by Joseph Twist, NYU Film Scoring Program, for the Orphan Film Symposium. 
AmazingsTales from the Archives (2013): Restoring the The Half-Breed (1916) HD, 43:51
                        Rob Byrne (SFSFF) on his restoration of the Douglas Fairbanks film.
            Amazing Tales from the Archives (2013): Le Phono-Cinéma-Théâtre (1900) HD, 20:26
            Celine Ruivo (Cinémathèque Française)

5 Things Seen at Orphans 9
Edison Kinetoscopic Record of a Sneeze, Jan. 7, 1894 (W.K. L. Dickson, 1894) b&w/color, sd. 0:13 (MOV, 16MB)
Library of Congress YouTube channel 

Edison Kinetoscopic Record of a Sneeze, January 7, 1894 / Thomas A. Edison, Inc. (David Shepard,1971) 35mm, silent, b/&w, 169 ft.
Alternate title: The Films of Thomas A Edison presented by Raymond Rohauer
Source: Library of Congress
            Music added by George Willeman, 2013 (MOV, 154MB)

Lost Leaders #14 (Matt Soar, 2014) sound by Jackie Gallant. HD, color, sd. 1:42

Promo for Staging the Amateur Dispositif (Home Movies Project, 2014) color, sd., 0:56

Career of a Salesman (Harry Foster, 1951/52), 35mm, b/w, sd., 10:49
(MOV, 640x432, 229MB)
Source: Sony Pictures Entertainment; also found in the stock footage library Archive Films, now part of Getty Images, from Prelinger Archives. Sometimes misattributed as a Jam Handy production of the 1960s with the same title.           

20 Other Obsolescent Objects

Small Town (1960, Sandia Corp., US) 16mm, color, sd., 15:29 (640x360, 305MB)
Alternate titles: Small Town Espionage, Small Town Surveillance, Main Street, Main Street, USA
Sources: U.S. National Archives and Records Administration; Prelinger Archives; New York Police Museum
            U.S. Central Intelligence agency film purporting to show “Winizia, school for spies, Small Town, USSR.”  Presented by Julia Kim (NYU MIAP) and Rachel Moskowitz (the Winthrop Group) as part of a screening enttield “Surveillance,” for UNESCO World Day for Audiovisual Heritage, Brooklyn Historical Society, Oct. 27, 2013.
MPEG2 version (639 MB) available at

What is a Bastard Film? Definition, Rationale, Controversy (Dan Streible, 2013)  color, sd., 3:30 (1920x1080, 69MB)
            The Bastard Film Encounter’s keynote speaker Andrew Lampert distinguishes “bastard films” from “orphan films.” Raleigh, North Carolina, April 25, 2013. Also on YouTube.

[Andy Lampert’s Invocation at the Bastard Film Encounter] (2013) color., sd., 6:48 (1920x1080, 518MB)

Men and Dust (Lee Dick, 1940) 35mm, b/w, sd., 16:01 (624x464, 271MB)
Producer: Tri-State Survey Committee Inc.; Camera and script: Sheldon Dick. Narrators: Storrs Haynes, Will Geer.
Source: U.S. National Archives and Records Administation
                        Presented by Dan Friedlaender and Adrianne Finelli at the 2012 Orphan Film Symosium (Made to Persuade). Stylistically daring labor advocacy film drawing attention to the industrial diseases plaguing zinc and lead miners in Kansas, Missouri, and Oklahoma. In the public domain.

The 16mm Motion Picture Projector: Care and Maintenance (U.S. Air Force Photographic and Charting Service , 1961) 16mm, b/w, sd., 13:10 (592x480, 276MB)
Source: Prelinger Archives,

The Future of Obsolescence (Benjamin Peeples, 2014) video, color, sd., 1:25 (960x720, 35MB)
            Students from the NYU Moving Image Archiving and Preservation Program train on obsolete technologies; 16mm projectors and video decks, in both Ann Harris’ Moving Image and Sound class, and at the 2012 Home Movie Day 2012, Museum of Modern Art.

Computer Chronicles: A Compilation (Benjamin Peeples, 2014) video, color, sd., 13:46 (640x480, 328MB)
              The U.S. public television series Computer Chronicles (1983-2002) showed new technologies and applications possible during the early days of home computers. Clips here selected from episodes running from 1984 to 1992.

The B-Film Keeper (Gerda Johanna Cammaer, 2009) 35mm/video, b/w, sd., 12:44 (640x480, 328MB)
            A transformative work using clips from an unknown German silent educational film about beekeeping that the filmmaker saved from a scrapheap at the Instituto Nacional de Cinema Maputo, Mozambique, in 1999. See Cammaer, "Afterimages and Afterthoughts about the Afterlife of Film: A Memory of Resistance," PhD dissertation, Concordia University, 2010. See also the essay in L'avenir de la Mémoire: Patrimoine, Restauration, Réemploi Cinématographiques, edited by André Habib and Michel Marie (Éditions Septentrion 2013). 

S.O.S. Sviluppo [S.O.S. Super8 Developing] (Karianne Fiorini, Bologna, IT, 2012) Super8, b/w, si., 3:58 (1920x1080, 172MB)

200 (Vincent Collins, 1975) 16mm, color, sd., 3:15 (640x480, 57MB)
Source: A/V Geeks
              A USIA commissioned piece for the United States Bicentennial of 1976. Presented by Skip Elsheimer at the 2008 NYU Orphan Film Symposium.

The March in [on] Washington (U.S. Information Agency, 1963) 16mm, b/w, sd. 20:26
Source: U.S. National Archives and Records Administration (identifier: 49737)
            Footage from August 1963.  Catalog description: “Scenes from Civil Rights March in Washington, D.C., August 1963. People walking up sidewalk; gathering on Mall, standing, singing. Lincoln Memorial, Washington Monument, crowd gathered on the Mall. People marching with signs, many men wearing UAW hats. People at speakers podium, men with guitars. Crowds outside of the White House, sign: The Catholic University of America. Band, people marching down street. Many signs, including All D.C. wants to vote! Home Rule for DC; Alpha Phi Alpha; and Woodstock Catholic Seminary for Equal Rights. Lincoln Memorial with crowds gathered around reflecting pool. People singing and clapping at speakers platform. Signs, people clapping. Man speaking, woman playing guitar and singing at podium. More speakers and shots of the crowd. A chorus, NAACP men in crowd. Close-ups of people in crowd with bowed heads. Shots taken from above of White House. More speakers, including Rev. Martin Luther King, Jr. Women at podium singing We Shall Overcome. Crowd swaying, singing, holding hands.”
            Not to be confused with the USIA’s 33-minute film The March, directed by James Blue, which was added to the Library of Congress National Film Registry in 2008, and digitally restored by NARA in 2013, viewable at See Audrey Amidon, “Making The March,” Media Matters: The Blog of the Naitonal Archives’ Special Media Archives Services Division, Aug. 20, 2013:

Felicia (Robert Dickson, Alan Gorg, Trevor Greenwood, 1965) 16mm, b/w, sd., 12:22 (640x480, 211MB)
Source: A/V Geeks,
            + MP3 of Marsha Gordon and Allyson Nadia Field introducing the screening of Felicia at Orphans Midwest: Materiality and the Moving Image, Indiana University, 2013.
            Notes by Gordon & Field:
            This documentary marketed as an educational film, is an exceptional document of life in the Watts neighborhood of Los Angeles prior to the rebellions that took place in the summer of 1965. The filmmakers were UCLA film students at the time this 16mm film was independently made. Most educational films about race made in the 1960s and 1970s focus on African American males in an urban environment, so from the outset Felicia’s concentration on a female protagonist and point of view sets the film apart. Felicia is built around the first person narration of Felicia Bragg, a high school student of African American and Hispanic descent.  The film was made in the documentary tradition, largely using non-synchronous, first person voiceover along with footage of her actual family home, mother and siblings, high school, and neighborhood.  The filmmakers created a relevant time capsule of cultural and historical significance, thanks largely to the articulate, soft-spoken young woman who openly shared her feelings about growing up in a neighborhood that would become a symbol of national unrest by the end of the year it was released.  

Wolf Vostell’s 130 à l’heure from the series 9 Nien-deColl/agen (1963, as revisited in 1998) 16mm, b/w, si. 2:10 (592x480, 33MB)
Source: Tina Bastajian

[demo:  making 9.5mm film from 16] (David Landolf, 2013) video, color, sd., 0:49. (1920x1080, 13MB)
            Paul Goy, president of Film Club 9.5 (Bern, Switzerland) demonstrates a machine that converts16mm film prints into 9.5mm perforated film.

[unidentified film clip] (b/w, si.) :35
Source: Matěj Strnad

[Erotisk kompilation] (1920) b/w, tinting, sil. 1:06
Source: Danish Film Institute

How to Recycle Videotape ( 1:03

31 Seconds of Sadness (Richard Frank) color, si., MOV. 1:02

Trailer for Errol Morris: A Lightning Sketch (Charles Musser, 2014) HD  2:31

The Great Swindle (Union Films, 1948) 16mm, b/w, sd., 21:19 (57MB)
Directed by Carl Aldo Marzani, for the United Electrical, Radio, and Machine Workers of America.
Source: Prelinger Archives,
            Included here in recognition of Charles Musser’s on-going research on Marzani’s Union Films production company. Writing Union Films back into the historiography of American documentary, Musser has also presented rediscovered or newly-preserved editions of these short works at each Orphan Film Symposium since 2008: People’s Congressman (1948 film, found by Alice Moscoso in NYU’s Tamiment Library, Marzani Collection); A People’s Convention (ditto); The Investigators (1948); and, in 2014, Industry’s Disinherited (1949).

6 PDFs

Necsus European Journal of Media Studies, no. 4 (2013): 321-625. Special section: WASTE, co-editors Alexandra Schneider and Wanda Strauven.  

Programs from “The Real Indies: A Close Look at Orphan Films,” Academy of Motion Picture Arts and Sciences, Linwood Dunn Theater, Hollywood, May 10-11, 2013. Curated by May Haduong and Dan Streible.

Program from Orphans Midwest: Materiality and the Moving Image, a symposium at Indiana University Cinema, co-presented by New York University Cinema Studies and Indian University Libraries Film Archive. 

Reports (2) from the Media Presevation Intiative, Indiana University, 2011.

“The ‘Ten Best’ Winners, 1930-1994, from the Amateur Cinema League and American International Film & Video Festival.” Compiled by Alan D. Kattelle, published in Film History, 15, no. 2, Small-gauge and Amateur Film (2003): 244-51.
            See annotations on this PDF.  We are seeking to find titles from this list, in part for an on-line exhibition of ten amateur films (