1. Three trailers Orphanfilms


    from anton withagen / Added

    39 Plays / / 0 Comments

    The 9th Orphan Film Symposium featured more than 70 presenters, nearly as many movies, and more than 200 attendees, who came from 30+ nations. The numbers give some idea of how intense and, yes, exhausting the event was. Yet "Orphans 9" yielded innumerable moments of excitement, serendipity, and rediscovery. Thanks to our generous EYE hosts and spirited colleagues, the symposium also sparked interstitial connections and new partnerships we will continue to hear about in the months ahead.

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    • Staging the Amateur Film Dispositif


      from Tim van der Heijden / Added

      A media archaeological experiment performed on March 31st 2014, at the 9th International Orphan Film Symposium, EYE Film Institute Amsterdam. In the performance we reconstruct the changing 'dispositif' of home movie screening practices. In three ‘tableaux’ we explore how past media usages of film, video, and new media have altered the practices of home movie staging. The experiment is based on our research which aims to trace how changing technologies of memory production have shaped new practices and rituals of memory staging (http://homemoviesproject.wordpress.com). Concept & performance: Andreas Fickers, Susan Aasman, Guy Edmonds, Tom Slootweg, Tim van der Heijden Stage director: Marjan Sonke Cinematography: Charlotte Storm van ‘s Gravesande Montage: Tim van der Heijden Many thanks to: Jaukje van Wonderen (production assistant), Jo Wachelder (advisor), Facilitair Camerabedrijf Team ENG, support staff EYE Film Institute, Stichting Amateurfilm, Audio Visual Archive Groningen (GAVA). For more information about our research project, see: http://homemoviesproject.wordpress.com For more information about the film symposium: http://www.nyu.edu/orphanfilm/ Tim van der Heijden © 2014

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      • Morris Dancers, circa. 1960s


        from dandy flip / Added

        44 Plays / / 0 Comments

        For my third practical assessment, I took to my own family archive and purposefully deteriorated a small segment of celluloid with bleach. After my Great-Uncle passed away, I inherited his entire 8mm home movie collection, complete with camera, projector, and the necessary editing equipment. I received reels upon reels of films, all meticulously catalogued by date and location. His entire set of 8mm equipment still has the original instructions, as well as most of the receipts detailing their purchase. Watching these films has been an emotional and curious experience for me. My Uncle John was a mysterious man, and although I would see him a few times every year, I knew very little of him. The strongest recollections I have of him come back to me in flashes of sensation, through smells or memories of touch. When my cousins and I would kiss him goodbye, we would walk away rubbing furiously at our faces, trying to reverse the itchy sensation left by his extraordinarily bristly moustache. His fingers were stained yellow from decades worth of nicotine exposure, a smell he carried with him strongly wherever he went. When I first opened the bag containing the films, I was overwhelmed by the familiarity of his smell. Sometimes I catch it lingering in metal film canisters, or circulated by the heat emitting from his projector, some echo of him persisting in the materiality of these technologies. In What’s Wrong With This Picture?, Michelle Citron writes: ‘In presenting the image of an ideal selective past, home movies announce what is absent. They stand in for what is there and what is not there’ (19). What is absent from my Uncle’s films? What kind of hidden self am I forced to confront with these films being my only reference point to his past? For me, it seems the only absence I am confronted with is the void left by a man I barely knew. With these films, I am able to visually revisit some segments of his life through his absence, but these images are fleeting, momentary. It is impossible for me to extract these films from my own emotional memory. When I watch them, I do so on the edge of my seat, waiting to catch a glimpse of him amongst the frames. I search the celluloid for any ghostly fragment of him that appears, like rearranging the pieces of a long-lost, antiquated jigsaw. He was, and is, a puzzle to me. I know so little about him, and to find decades worth of film, film I did not even know existed, was overwhelming. He meticulously recorded every flower, every bird, every cathedral, every small, rural, boring English town he ever saw or visited, and edited them together in what I assume is an order making sense to only him. Yet now the films “belong” to me, I am at a loss with what to do with them. People have told me to send them to an archive, especially as many of them feature small, rural towns and pictures of life in 1950s and ‘60s Britain, images of potential interest to bodies such as the BBC or local film preservation societies. My Grandma, once she had salvaged and digitised the most important ones for her own collection, said I should donate them. But to where? What could anybody ever want with hours worth of agonisingly repetitive shots of landscape and countryside, or dull, monotonous scenes of birds or wildlife? Over the summer, I began the slow process of splicing the reels of films, sorting the footage into vague categories such as ‘sky’, ‘sea’, or ‘countryside’. Another category, the most important and precious to me, is ‘family’. Any visual evidence of John, or my Grandma, Granddad, or Great-Grandma (who all appear at various times over the course of the films) is to be saved. As to what I will do with these fragments of celluloid, I do not know. Destroying, altering, and reworking these films invokes a sorrow that is difficult to describe. There is an unavoidable and emotional loss attached to every join, every scratch, and every hair I have found on their surface. I remember opening the film canisters for the very first time, only a few months after he had passed away, and finding one of his long, silver hairs wrapped around a piece of celluloid. His trace, some long-lost physical presence lingers in these objects, and I have found it painful to destroy them in some way. To undo his hours spent methodically editing, preserving, and working on them seems reckless, intrusive almost. The film I have made for this assessment is short, as I could not bring myself to destroy any more of the film than was necessary. The clip, degraded by bleach, barely lasts 40 seconds, a mere fleeting glimpse of my Uncle’s collection. Yet, as I watched the layer of emulsion bubble and degrade on the celluloid’s surface, I could not shake the strange and unavoidable sense of loss that came from the materiality, his indexical presence, slowly disappearing before my eyes.

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        • Staging the Amateur Film Dispositif (promo)


          from Tim van der Heijden / Added

          Promo clip for 'Staging the Amateur Dispositif', a media archaeological experiment soon to be performed at the International Orphan Films Symposium in EYE, Amsterdam. (www.homemoviesproject.wordpress.com) Tim van der Heijden © 2014

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          • Cupboard Frames


            from Ron Hagell / Added

            27 Plays / / 0 Comments

            A part of the Hoxton Project (2003), this film was made to fit into the actual cupboard spaces where the Hoxton Music Hall (in north London) performers stored their costumes. Most of the early films used were made around 1903 so they were exactly 100 years old when the project was first shown. Those who chose to appear in these early kinetoscope films were usually those who were the American versions of those who appeared on music hall stages around Britain at the time. Many of the films used here are made from the collected paper print versions in the collection of the US National Archives in Washington DC. I was assisted in the making of this work by Kate Kneale, who curated the project with the 2Step artists, and Sian Busby, who provided terrific suggestions along the way. This work was shown together with Sian Busby's Dancer on Glass in other exhibitions for many years and together they were used at the Opening Gala of the Orphan Film Symposium at the University of South Carolina in March 2004. Both films feature dancers.

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            • Process & progress


              from anton withagen / Added

              174 Plays / / 0 Comments

              What is an orphan film? Narrowly defined, it's a motion picture abandoned by its owner or caretaker. More generally, the term refers to all manner of films outside of the commercial mainstream: public domain materials, home movies, outtakes, unreleased films, industrial and educational movies, independent documentaries, ethnographic films, newsreels, censored material, underground works, experimental pieces, silent-era productions, stock footage, found footage, medical films, kinescopes, small- and unusual-gauge films, amateur productions, surveillance footage, test reels, government films, advertisements, sponsored films, student works. The Orphan Film Symposium embraces the broader definition of this new rubric in film preservation. "Orphans" brings together scholars, artists, archivists, collectors, curators, conservators and enthusiasts who recognize the Orphic value of these neglected aspects of our culture.

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              • Tommy Nakanishi - Lost and Found Film by Isaac Urwin


                from JHU KSAS / Added

                Tommy Nakanishi by Isaac Urwin. Lost films (or as they are sometimes described "orphan" films) can be generally described as films that have, for a variety of reasons, fallen out of the public view. They frequently come from educational, scientific, medical, or industrial films from the 1950s and 1960s. Using these films as source materials, lost film filmmakers explore and expose cultural conventions, visual icons, and historical value materials.

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                • Orphans Ist


                  from Mike Johns / Added

                  40 Plays / / 1 Comment

                  A short film documenting the 2006 Orphans Film Symposium at the University of South Carolina.

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