Jul 2, 2019

Orphans in China -- - “影展与城市” 国际论坛

Orphan films in China? 

Many, of course! So at last the Orphan Film Symposium visits China.

Xiamen University invited me to talk about the symposium-as-festival (“Screening Orphan Films: Why and How?”) and to screen a sample of shorts at this week's two-part conference on festivals and archives. Most of the other works presented here also fit within the orphan rubric. We saw a variety of previously neglected, forgotten, obscure, seldom-seen, or undistributed titles: ethnographic films, a found-footage remix, video art appropriation, a propaganda drama about comradeship among Chinese and North Korean soldiers during the Korean War, home movies from Taiwan, indie Malaysian movies, and restorations of feature films from Singapore, Mexico, the Philippines, and Thailand. 

How did we get here? 

In 2018, professors Li Xiaohong and Ray Jiing first visited NYU Cinema Studies with a group of other faculty and students from Xiamen University in Fujian, China. Our NYU faculty colleague Zhang Zhen was the conduit for dialogue among our Moving Image Archiving and Preservation Program, NYU Cinema Studies, and XMU's team, who are creating a media archiving degree similar to NYU MIAP.  The  university now operates an expanding film archive and study center, guided by Professor Jiing, best known for establishing what is now the Taiwan Film Institute.

Professors Li Xiaohong (Deputy Dean of Humanities) & Ray Jiing, 井迎瑞.
This week the interactions culminated in a large conference, "影展与城市" 国际论坛 -- the International Film Festival Forum -- hosted by Xiamen University's College of Humanities and co-organized with the NYU Asian Film and Media Initiative. Part 1 (June 28-29) brought 16 speakers together for daytime presentations and evening screenings. Zhang Zhen and Sangjoon Lee conceptualized the panels.

Our generous host Prof. Li and her impressive students from the Department of Film and Drama took this commemorative photograph on day one and delivered laminated copies to each of us the next day.




Part 2 (June 30 - July 3) addressed Film Archives and Film Restoration, with a new set of presenters, led by Dr. Jiing, assembling again on the beautiful campus. MIAP Director Juana Suárez and I were the fortunate two who got to present at both, with Dina Iordanova (St. Andrews U), Hee Wai Siam (Nanyang Technological U), and Nitin Govil (University of Southern California) participating in both as well.



Most attendees were Xiamen University faculty and students, working alongside invited artists, archivists, programmers, and researchers from across China and southeast Asia -- Yunnan, Guizhou, Hong Kong, Taiwan, Korea, Singapore, Thailand, and the Philippines. Others came from North America, Europe, and Australia, including Jan-Christopher Horak (UCLA Film and Television Archive), Howard Besser (NYU), Bono Olgado (U of California, Irvine), Miao Song (Concordia U, Montreal), and Kirsten Stevens (U of Melbourne).

We learned about the histories and practices of film festivals including the Hong Kong IFF (from Roger Garcia), Singapore IFF (Yuni Hadi), Southeast Asian FF (Sangjoon Lee), Canada China IFF (Song Miao), Japanese festivals (Ma Ran), Latin American preservation festivals (Juana Suárez), and Taiwan's Women Make Waves (Huang Yu-Shan) and Golden Harvest Award and Short Film Festival (Ming-Yeh Rawnsley).

The fact that China's Golden Rooster and Hundred Flowers Film Festival has located to Xiamen this year* was a key reason the university organized the forum on this theme. We heard from Professor Li about the founder of the Golden Rooster Awards, and from Zheng Guoqing (Xiamen U) about Taipei's Golden Horse Awards and Festival. Other topics analyzed included the marketing of festivals (Liao Gene-Fon, Taiwan U of Arts), "cities of film" (Zhang Aigong, XMU), film collecting (Zhang Jin, China Film Archive) and Lin Liang-wen (Taiwan U of Arts), and Home Movie Day (Hsieh Yu-en, Film Collectors’ Museum).

Media art and ethnographic filmmaking were given particular attention, with screenings of the Chinese-language works Miasma, Plants, Export Paintings (Wang Bo & Pan Lu, 2017) Kawa People (Tan Leshui, 1958; introduced by the filmmaker’s son), and Tail After Those Old Photos (Chen Xueli, 2015). Yunnan was also well represented by Tan, Chen, media artist Li Xin, and film rescuer Xiong Libo. They were joined by Wei Wei (Guizhou Minzu U) on the Miao series of ethnographic films from the 1970s.

----

Each section of the conference ended with a visit to the XMU Film Archive Studies Center, located on the top floor of the library on the larger Xiang'an campus. Shiyang Jiang led our tour of the archive. A new film scanner sits alongside an acre of projectors and old film cans -- displayed to remind us of the noted cultural heritage site, the Terracotta Army of Xi'an. There's also a lecture room set up with working 35mm projectors on the floor, which were used to good effect.

Shiyang Jiang of the XMU film archive will be entering the NYU MIAP master's program.

Photos and videos by Dan Streible, June 27, 2019. 


Ray Jiing's Archivist's Code of Ethics on display in Chinese concludes with a paragraph about the English terms "orphan films" and "public domain."  Shiyang translated. 



A special treat concluded the visit: projection of a 35mm print from the Military Collection, nothing less than a reel from Wong Kar-wai's Ashes of Time Redux (1994/2008). 



The evening screenings on the giant screen of the 700-seat theater were especially memorable. These included 

Chris Horak introduced UCLA restorations of the handsome Enamorada (Emilio Fernandez, Mexico, 1946), shot by Gabriel Figueroa, starring Maria Félix & Pedro Almendáriz; and, from Hollywood, the odd 1929 Best Picture nominee Alibi (sound version)

• Man with a Movie Camera: The Participatory Global Remake (1929/2017), January 19, 2017 edition; introduced by Howard Besser as an example of database cinema and our forum theme of cities.

• Lino Brocka's Maynila, sa mga Kuko ng LiwanagManila in the Claws of Light (Philippines, 1975), a 2013 restoration by the World Cinema Foundation, introduced by Benedict Salazar Olgado, former director of the National Film Archives of the Philippines.

• The fabulous martial arts flick 血指环 / Ring of Fury (Singapore, 1973), restored by the Asian Film Archive, with Cineric Portual solving the serious mold and color fading problems; introduced by Karen Chan.

The before-and-after demo for Ring of Fury is more striking than most.

• Santi-Vina (Thavi Na Bangchang, Thailand, 1954) 
Introduced by Sanchai Chotirosseranee of Film Archive (Public Organization), Thailand; restoration from the BFI National Archive's 35mm nitrate release print. The first Thai color feature film -- and such colors! 



My orphan shorts (small films screened on the small screen) included [Elsa and Albert Einstein at Warner Bros.- First National Studio] (US, 1931); the amateur production Na odnoi zemle / On the Same Earth (USSR, 1976); and the particularly well-received 轻骑姑娘 / Light Cavalry Girls (China, 1980) from the University of South Carolina's Chinese Film Collection. This Central Newsreel and Documentary Film Studio production by Shen Jie highlights the Chinese army’s Bayi Women Light Motorcycle Team. The XMU students were particularly intrigued by this anomalous experimental documentary. (My thanks to the researchers who rediscovered these three films: Becca Bender and Maria Vinogradova, as well as Zoe Meng Jiang, Yongli Li, and Lydia Pappas.) I was also able to screen clips from my forthcoming annotated, on-line filmography of 50 terms for newsreel  elements, including the item that serves as the frontispiece for the 2020 Orphan Film Symposium -- If the Antarctic Ice Cap Should Melt? -- outtakes (Fox Movietone News, 1929). 

Special recognition here for artist-curator Qin Dao and his presentation on the Guangzhou City cinematheque "On Kino." Here's a quintessential icon of orphan films in China, as seen on the Facebook page



My gratitude to the Xiamen University team for the hospitality all week. They gave us access to the famous local cuisine, a tour of Gulang Island (UNESCO World Cultural Heritage Site), and extraordinarily friendly attention to every detail. 

Don't be surprised if there is another forum next year. 


-- Dan Streible 


p.s. Special thanks to XMU student Young, my translator, problem-solver, and fellow basketball fan.


_______________________________________

* Rebecca Davis, “Xiamen Woos Film Industry, Becomes New Home of Golden Rooster Festival,” Variety, June 16, 2019. 

Jun 6, 2019

Orphans - Radicals - NOW!

Gentle colleagues:

 “At last the day has came!”  

 Official greetings from the OFS, NYU, and our host ÖFM.   



If you have registered for the special edition of the NYU Orphan Film Symposium – RADICALS – at the Austrian Film Museum in Vienna, you already what needs be known about our schedule.  But attached here is a plain-text version of the program, along with the PDF that Jurij Meden sent us previously. 

At the entrance to the Filmmuseum, you and all visitors will find a paper version of the program sitting at the ticket counter.  Starting at 3:00 pm today (Thursday, June 6), you can officially register by picking up your name badge (required to get you in to all the events). 

Thursday evening consists of the 7:00 pm screening of restored Dutch experimental films from Eye Filmmuseum, followed by an 8:30 Orphans-Radicals reception in the lobby, and concluding at 9:30 pm with a very short screening and convivial introductions.

Friday and Saturday presentations begin at 9:30 am. (Doors open at 8:30 am; with coffee/croissant discount at the museum.) Lunches and coffee breaks catered for us.

Thanks to all of you who have come from far and near to be part of this special Orphans gathering.  Looking forward to it all.

Truly,


Dan Streible
NYU Orphan Film Symposium

Jurij Meden, 
Kurator, Austrian Film Museum

Michael Loebenstein
Director, Austrian Film Museum 




May 12, 2019

Orphans | RADICALS | The Program

Here's the official program. Registration is open to all.  

Click here to join an international gathering of archivists, curators, scholars, artists, and others dedicated to saving, studying, and screening radically diverse types of neglected works. 

RADICALS
a special edition of the NYU Orphan Film Symposium

at the Austrian Film Museum in Vienna, June 6-8, 2019


Thursday, June 6
15:00 to 21:00 Registration at Filmmuseum (Augustinerstraße 1)

19:00  Movements, a program in the film series “There are no rules!” Restored and Revisited Avant-Garde Films from the Netherlands.
Introduced by curator Simona Monizza (EYE Netherlands Film Museum)

20:30 Symposium reception party at Filmmuseum lobby and bar

21:30 Film Program 0
•  A Few Drunkards at the Mars Bar (Masha Godovannaya, US, 2001, 1 min) Introduced by Masha Godovannaya as homage to Jonas Mekas.

•  tx-reverse (Martin Reinhart & Virgil Widrich, Austria, 2018, 5 min) Introduced by Martin Reinhart and Virgil Widrich.

Friday, June 7
8:30 Registration opens at Filmmuseum (coffee & croissant discount offer)

9:30 Session 0: Welcome and opening remarks
Michael Loebenstein (Austrian Film Museum), Dan Streible (NYU Cinema Studies)
Why Radicals?


10:00 Session 1
Grazia Ingravalle (Brunel University 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., UK, 1899, 35mm, 2 min)

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

11:15 Coffee break

11:45 Session 2
Brian Meacham (Yale Film Study Center) & Josh Morton (filmmaker) Radical Theater: The Black Panthers, New Haven, and Puppet Show (Josh Morton, US, 1970, 16mm, 9 min)




Kimberly Tarr (NYU Libraries) Angela Davis Report (DDR, 1972, 16mm, 19 min) new preservation from the Communist Party of the United States of America Collection  

13:00 Lunch break

14:00 Session 3
Thomas Christensen & Katrine Madsbjerg (Danish Film Institute) Unidentified International Socialists, or: How Uncle Sam Traveled from Vienna to Copenhagen: Onkel Sams Wienerrejse (Uncle Sam's Trip to Vienna, Austria, 1931) 

---------------------
Enrique Fibla-Gutierrez (Filmoteca de Catalunya) & Pablo La Parra-Pérez (Elías Querejeta Film School) The Wretched of the Spanish Earth: Fragments from Spanish Radical Film Archives, 1930s-1970s 
---------------------
David Landolf & Brigitte Paulowitz (Lichtspiel / Kinemathek Bern) Amateur Filmmaking for a Greater Cause: René Betge’s Propaganda for the Lebensreform Movement “die neue zeit,” 1929-1939


15:45 Coffee break

16:15 Session 4
Tania López Espinal (Cineteca Nacional México) “Viva Cristo Rey!”: Manuel Ramos, 9.5mm Films, and the Cristero War, 1926-1929

---------------------
José Miguel Palacios (Universidad Alberto Hurtado, Santiago) & Elizabeth Ramírez-Soto (San Francisco State University) Redefining Political Cinemas in Exile: Chilean Filmmakers After 1973
 Pinochet: asesino, fascista, traidor, agente del imperialismo (Sergio Castilla, Sweden, 1974, 16mm, 5 min) print courtesy of the Swedish Film Institute
•  La femme au foyer (The Housewife; Valeria Sarmiento, France, 1976, 23 min) courtesy of Groupe de Recherches et d’Essais Cinématographiques
---------------------
Léa Morin (L'Atelier de l'Observatoire, Casablanca) An Unknown Moroccan Cinema: Mostafa Derkaoui’s Student Films in Poland, 1969-1971
•  Ludzie z piwnicy (People from the Vault, 1969, excerpt)
•  Gdzieś, pewnego dnia (A Day Somewhere, 1971, 35mm, 20 min)

18:00 Conference dinner at Al Caminetto da Mario (Krugerstraße 4)

20:00 Film Program 1 (open to public)
The Black and the Green (St. Clair Bourne, US, 1983, 16mm, 45 min)

Presented by Judith Bourne & Jacob Perlin (Metrograph, NYC)

Saturday, June 8
8:30 Registration opens at Filmmuseum (coffee & croissant discount offer)

9:30 Session 5
Stefanie Zingl (Austrian Film Museum / Ludwig Boltzmann Institute) The Sensation of Color: Mroz short-lived 9.5mm Color Film

Testfilm (Josef Mroz, Austria, 1930, 2 min)
Farbenfilmversuche (Josip Sliškovič, Austria, 1931-32, 5 min)
---------------------
Giorgio Trumpy, Josephine Diecke, David Pfluger, & Barbara Flueckiger (University of Zurich) Reconsidering Rigid Procedures of Color Film Digitization: Case Studies in Toning, Lenticular Processes, Chromogenic Stocks, and Mroz-Farbenfilm
---------------------
Sandra Ladwig (University of Applied Arts Vienna) The Amateur’s Provocation of Perception: René Tajoburg’s Irrsinn rot weiss gelb (Frenzy in Red, White, Yellow; Austria, ca. 1970, 6 min)

 10:45 Coffee break


11:15 Session 6
Rommy Albers, Simona Monizza (EYE Filmmuseum, Amsterdam) & Floris Paalmen (University of Amsterdam) Cineclub Amsterdam Freedom Films at the International Institute of Social History 

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

13:00  Lunch  

14:15 Session 7
Hieyoon Kim (University of Wisconsin-Madison) Toward a New Cinema: The Seoul Film Collective and Film Activism in the 1980s, excerpts from Pannori Arirang (1982) and Surise (South Korea, 1984)
---------------------

Eva Näripea (National Archives of Estonia / Estonian Academy of Arts) & Hardi Volmer (Nukufilm) Päratrust [Butt Trust] Heritage
•  Kalkar (Estonia, USSR, 1980, 11 min) a punk satire of Tarkovsky’s Stalker
---------------------
Masha Godovannaya (Academy of Fine Arts, Vienna) Silent Horizon: Evgeny Yufit and Early Necrorealist Cinema

•  Lesorub (Woodcutter, USSR, 1985, 35mm, 8 min)
•  Vesna (Spring, USSR, 1987, 35mm, 10 min)

15:30 Coffee Break

16:00 Session 8
Joachim Schätz (University of Vienna) Avant-garde Mimicry

•  Mit unbekanntem Ziel (Destination Unknown; Austrian Chamber of Commerce & Institute for the Promotion of Trade, Austria, 1963, 35mm, 23 min)
---------------------
Martin Reinhart (University of Applied Arts Vienna) The Data Loam Project: Challenging the Dystopia of the "Information Age"
---------------------
Tara Merenda Nelson (Visual Studies Workshop, Rochester, NY) Radical Collaboration: Robert Frank in Rochester

17:00 Session 9: Open discussion about Radicals

18:00 Dinner break

20:00 Film Program 2 (open to public)
•  Tsaar Muhha (Tsar of the Flies; Estonia, USSR, 1981, 3 min) Introduced by Eva Näripea.

---------------------
•  Premiere screening of a 1930s nitrate iteration of Hans Richter’s Every Day (UK, 1929, 16 min) Introduced by Caroline Fournier (Cinémathèque Suisse).

---------------------
•  About Us (Robert Frank & VSW students, US, 1972, 16mm, 38 min) Introduced by Tara Merenda Nelson.

21:30 Closing party at Filmmuseum lobby and bar


NB: All silent screenings will be accompanied by Filmmuseum’s resident pianist Elaine Loebenstein.


Registration is open to all.  Click here  for details. 

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