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
jeudi / Thursday, 2 mars
9:00 am 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
9:30-10:00 am Proto-cinema
La Cinématheque's restoration of a hand-painted Kinetoscope film A Bar Room Scene (1894)
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)
10:00-11:00 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)
11:30 am – 1:00 pm Experimental Artists
Alexis Constantin & Alice Moscoso (Centre Pompidou) Super 8 films by Artist Teo Hernandez
Simona Monizza (EYE Filmmuseum) Restoring the Abstract Films of Joost Rekveld: #2 (1993) and #3 (1994)
Stefano Canapa & Guillaume Mazloum(L’Abominable) Images Inédites de David Dudouit
vendredit / Friday, 3 mars
9:00 - 10:30 am Silent Rushes from the Old Masters / Rushes des Vieux Maîtres
vendredit / Friday, 3 mars
9:00 - 10:30 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 The Swallow and the Titmouse
11:10 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 Newsreel Footage [restlovi] 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 Theatre Research) B.F. Skinner Plays Himself: Outtakes from a Film Biography, The Skinner Revolution (1978)
Mila Turajlic (filmmaker) Stevan Labudović: Yugoslav Newsreel Footage [restlovi] 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 Theatre Research) B.F. Skinner Plays Himself: Outtakes from a Film Biography, The Skinner Revolution (1978)
samedi / Saturday, 4 mars
9:00 – 10:30 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) John Ford’s Home Movies of Mexico, 1941-1948
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 Audiovisual Orphan Works Registry for the EU
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) An African Student's Film in Paris: Paulin Vieyra’s C’était il y a quatre ans [Four Years Ago] (1954): Race and French Colonialism at the Film School IDHEC / Le film d’un étudiant africain à Paris: Race et le colonialisme français à l’école de cinéma IDHEC
Enrico Camporesi (Labex CAP, Centre d'Histoire et de Théorie des Arts, EHESS) & 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, 5’)
Tzutzumatzin Soto Cortés (Cineteca Nacional Mexico) Take Over (1936): Rodriguez Brothers test films of Miguel Alemán Valdéz as Governor of Veracruz, Mexico
Rachael Stoeltje (Indiana University Libraries) Outtakes from the Peter Bogdanovich Collection: What’s Up, Doc? (1972) and At Long Last Love (1975)
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), a 90 Euro value. 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.
