Aug 27, 2013

Fwd: Call for Flaherty NYC Programmer

For your consideration.  

Hope all of the Curating alumni reading this are well and happy. 


---------- Forwarded message ----------
From: The Flaherty <>
Date: Tue, Aug 27, 2013 at 3:08 PM
Subject: Call for Flaherty NYC Programmer
Banner 2
THE FLAHERTY is currently seeking proposals for a programmer or co-programmers to curate the 2014 Flaherty NYC program. The programmer/s will be selected to curate either the spring or fall series.  Flaherty NYC is one of the cornerstone projects of The Flaherty, home of the Robert Flaherty Film Seminar.  As the organization celebrates its 60th anniversary, we are eager to engage the New York public with thoughtful and provocative cinema, rich with discussion and discourse, and punctuate it with references to Flaherty Seminar history. That may take the form of: using Flaherty history as a starting point for inquiry; drawing titles from past seminars to illustrate shifts in cinematic movements; or inviting past filmmakers to reflect on their past work and showcase current work.


Venue: New York City (Programmer/s must attend screenings to introduce films and filmmakers)


Number of Screenings: 6 for spring season (2014): 6 for fall season (2014)


Proposals should be no more than one page and include the following:

  1. Theme for the series along with series title
  2. Identify possible film titles
  3. Suggest ways the series will reference the history of the Seminar
  4. Indicate outreach strategies to help build new audiences

The Flaherty office will contribute to the production of events, printing materials; sending email blasts; promoting through social media. Project compensates programmers and filmmakers.


Deadline for submission: October 1, 2013 


Email proposals to:


The Flaherty is a nonprofit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration, dialogue, and introspection about the art and craft of all forms of the moving image. The Flaherty was chartered (as International Film Seminars, Inc.) in the state of Vermont but is based in New York City. It was established in 1960 to present the annual Robert Flaherty Film Seminar, which was started five years earlier by the Robert Flaherty Foundation. The Seminar remains the central and defining activity of The Flaherty.


Through its unique annual Robert Flaherty Film Seminar, The Flaherty provides media makers, users, teachers and students an unparalleled opportunity to confront the core of the creative process, reaffirm the freedom of the independent artist to explore beyond known limits and renew the challenge to discover, reveal and illuminate the ways of life of peoples and cultures throughout the world.




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International Film Seminars | 6 East 39th Street 12th Floor | New York | NY | 10016

Aug 26, 2013

Fwd: On behalf of Dean Mary Schmidt Campbell

Date: Mon, Aug 26, 2013 at 10:00 AM
Subject: On behalf of Dean Mary Schmidt Campbell
Cc: Allyson Green <>, Andrew I Uriarte <>, Dana Whitco <>, Joanna Lynn Caporusso <>, Ken Tabachnick <>, Kaiko Marie Hayes <>, Marie Joan D Maniego <>, Kathleen Ann McDermott <>, Louis Scheeder <>, Matthew Neil Harvey <>, Mary Schmidt Campbell <>, Patti Pearson <>, Robert Cameron <>, Sheril Antonio <>, Yonni Walker <>


August 26, 2013

As the new semester is about to begin, I write with sad news. After a long illness, the legendary Red Burns, died peacefully in her home Friday afternoon, surrounded by family.


Red, (nee, Goldie Gennis), and dubbed  "The Mother of Silicon Alley," was one of the co-founders in 1971 with the late George Stoney, of the Alternate Media Center at NYU In 1979, she created what would become the world-renowned, Interactive Telecommunications Program or ITP.  Under her leadership, ITP faculty, students and alumni have been the driving force behind the digital revolution that has swept downtown Manhattan for the past thirty years.


To say that ITP has changed our lives is in an understatement. Red created a DNA for ITP, that made the department synonymous with innovation and change.  She balanced a blend of bedrock guiding principles with an adaptive, resilient spontaneity that encouraged whimsy, play and the fortuitous encounter.


As a result, ITP has graduated alums who developed everything from Foursquare to the New York City MetroCard Kiosk and subway car seats to an app currently in use in the Sudan and Uganda to find lost children. 


ITP was Red's idea of a twenty first century Bauhaus, a place where the engineer encounters the poet, the dancer discovers the computer programmer or the architect partners with the painter. She believed that in inviting the most exciting students from a mix of disciplines, the department could form the core of a vibrant creative community in which the unexpected can happen. She believed that technology was a tool in the service of ideas and people and because people and ideas drove technology forward, the environment had to be as social as it was rigorous.   


Red led a stellar faculty from multiple disciplines, forged creative partnerships with institutions and organizations that offered challenging problems, and created post-graduate research opportunities for ITP's most exciting alumni.  Over the years, under Red's leadership, ITP faculty developed and honed ITP's key components: a few essential foundational courses; an unsentimental faculty review of the curriculum at the end of every academic year; the willingness to disassemble the physical space to accommodate new ideas, new proximities, new pedagogical approaches and the pursuit of their own groundbreaking research.


In 2002, Red received the prestigious Chrysler Design Award—one of literally dozens and dozens of awards and encomiums she received in her lifetime. (the ITP web-site has posted the complete list). The Chrysler Award, at the time, was the interactive world's Pulitzer Prize.  I remember that the year she won was also the year that Steve Jobs won.  The Award recognized Red's brilliance and forward looking design that included the selection of faculty and students, the curriculum, the creative partnerships, the research fellows and the game changing projects and people that kept pouring out of the department. That was 2002; over ten years later, ITP, that also boasts one of the school's most successful business models, has only gotten better.


ITP kept getting better and better because of Red's unrelenting drive to move the department forward. She gave herself about five minutes to enjoy whatever Award she was receiving and got back to her no nonsense style of perfecting and honing the good into the best.


Red had an ethical core that anchored her to her values and nothing could derail her from her principles and beliefs. She could be as generous and kind as she was demanding.  And, as everyone who knows her will say, even as she told the truth directly, fearlessly, and succinctly--as she was wont to do--she did so with wisdom and insight.  


Red's family have been stalwarts and part of an extensive network of support that Red enjoyed outside of Tisch.  To Cathy, Barbara, Michael, her children, three grandchildren, Daisy, Sally and Olive, I extend my deepest condolences and thank you for everything you have contributed to Red's work at the school and the university.


In what was to be her last week, I sent through Red's daughter, Cathy, a note that described to Red yet another great article in the NY Times about ITP.  The note read in part:  "Your handprints are all over everything in ITP and at Tisch and NYU.  We all walk taller and more determined and bend and sway at the right points because of what you've taught us. I know you are under the weather, but I am sending this message to say we miss you. But we feel you living all around us."


I know that we will all want to celebrate our remarkable colleague and her extraordinary legacy. The school and department, working with the family, will organize a memorial service in the coming weeks.  In her honor, ITP has established the Red Burns scholarship fund, at

Mary Schmidt Campbell
Dean, Tisch School of the Arts

Aug 3, 2013

photo documentation of XFR STN NYC

Photos from this video project by NYU MIAP alumni, something we should hype

August 2, 2013: Visit with Walter Forsberg and Kristin MacDonough (and 5 other NYU MIAP alum, as it turned out).
New Museum of Contemporary Art (on the Bowery, NYC)
XFR STN, Transfer Station, "an open-door artist-centered media archiving project." Free digitization of videotapes. 

5 video snapshots at

Jul 21, 2013

Fwd: 2013 Orphans Midwest - Registration is Open!

: Dan 
(917) 754-1401

Begin forwarded message:

Date: July 21, 2013, 12:16:26 PM PDT
Subject: 2013 Orphans Midwest - Registration is Open!

IU Cinema Newsletter Template
View this email in a web browser.
Visit the IU Bloomington website.
Feature image
Visit the IU Cinema website.
September 26 – 28
Orphans Midwest: Materiality and the Moving Image is presented by IU Libraries Film Archive, Indiana University Cinema and NYU Cinema Studies/Tisch School of the Arts. The symposium hosts an impressive gathering of scholars, archivists, and media artists, screening dozens of cinema rarities and rediscoveries, as well as new productions, music performances, and curated presentations. For more information on previous Orphan Film Symposia at NYU, visit here.
The project is supported by Indiana University's College of Arts and Humanities Institute and New Frontiers in the Arts & Humanities Program. For registration, visit here. Please contact us with your questions, or call 812-855-7632.
Visit here for the the full Orphans Midwest Schedule. Conference special events are listed below. Admission is free to conference attendees and remaining tickets will be sold to the public.
ORPHANS MIDWEST Schedule of Events
Materiality and the Moving Image
Thursday, September 26– Saturday, September 28
The full schedule for Orphans Midwest: Materiality and the Moving Image is now online. Read more »
All Vows
Films For Cello:
Bill Morrison and Maya Beiser
WORLD PREMIERE - Bill Morrison's All Vows
Thursday, September 26 at 8:30 p.m.
Orphans Midwest is proud to present an evening of films and music with Bill Morrison and Opus 3 artist, Maya Beiser. The program features… Read more »

Jun 9, 2013

Fwd: July 25-27 SYMPOSIUM TRAVEL & MOBILITY Schedule

: Dan 
(917) 754-1401

Begin forwarded message:

From: Karan Sheldon <>
Date: June 7, 2013, 3:58:04 PM EDT
Subject: July 25-27 SYMPOSIUM TRAVEL & MOBILITY Schedule

We hope you can come to Northeast Historic Film this July 25-27.
Please circulate widely! 


May 14, 2013

Fwd: Thank you

: Dan 
(917) 754-1401

Begin forwarded message:

From: Rick Prelinger <>
Date: May 14, 2013, 4:38:35 PM EDT
To: May Haduong <>,, Dan Streible <>
Cc: Rick Prelinger <>
Subject: Thank you

Dear May, Dan, and Randy,

I wanted to thank you all for the opportunity to participate in last weekend's "The Real Indies"/Orphan Films event. This was a tremendous event that combined curatorial integrity and entertainment in an inspired manner, and confirmed (if anybody still needed confirmation) that the Academy works hard to support film preservation, film studies, and film exhibition in every sector of cinema. I believe the future of film studies, as well as interdisciplinary scholarship involving film and media, is deeply entwined with the broad spectrum of orphaned films, which also have great public appeal. I very much hope that you'll be in a position to host future events of this kind.

May, I wanted to especially thank you for your on-the-ground management of this complex weekend. From my perspective as a presenter, it was one of the best-organized conferences and screening events I've ever attended. Thank you for all of your kindnesses and assistance.



Rick Prelinger / @footage
Prelinger Archives, San Francisco

Prelinger Library (, a member of the Intersection Incubator, a program of Intersection for the Arts providing fiscal sponsorship, incubation and consulting to artists ( Supported in part by a grant from Alternative Exposure.

May 13, 2013

Fwd: Indiewire's 2013 Critics Academy in Locarno

: Dan 
(917) 754-1401

Begin forwarded message:

From: Jeffrey Richardson <>
Date: May 13, 2013, 9:15:46 AM EDT
To: "Cinema Studies MA Students" <>
Subject: Fwd: Indiewire's 2013 Critics Academy in Locarno
Reply-To: Jeffrey Richardson <>

This summer, Indiewire is again partnering with the Locarno Film Festival, the Swiss Association of Film Journalists and the Film Society of Lincoln Center to organize a workshop for promising critics from around the world.

Indiewire, Locarno and the Film Society will select eight college-age participants to attend the two-week festival in early August, where they'll write about the program in a deadline-driven environment. With the support of Gohner Stiftung, the festival will provide housing from August 6 through August 18. Indiewire may assist with a share of the travel expenses depending on the country of origin of the participant.

Applicants must have a demonstrated interest in film criticism as well as the ability to speak and write fluently in English.

Interested? Here's what applications must include:

    * CV: A basic one-page resume
    * Contact information for two recommendations (professors, employers, etc.)
    * Four writing samples about film. These can take the form of film reviews, scholarly papers, blog posts, college newspaper clips, or any other written work that you think demonstrates your writing skills.
    * A 500-word statement of intent. Tell us about your background and why you would make an ideal candidate for the Critics Academy. Also note any particular interests you have as a critic (genres, national cinemas, etc.). Passion, strong writing skills and a deep knowledge of film history matter more than overall experience, so this is your chance to really make a case for yourself.

Please send applications in the body of an email by June 1, 2013 to SUMMERACADEMY@PARDO.CH. You must also fill out the form on the right hand side of the page at the following link and send it along with your application as an attachment:

Questions? Please direct them to

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May 11, 2013

Tweet from Orphan Film Project (@Orphan_Films)

Orphan Film Project (@Orphan_Films)
#orphansLA is the hash tag for today's THE REAL INDIES: A CLOSE LOOK AT ORPHAN FILMS.

: Dan 

May 10, 2013

The Archive Goes to "Orphans" | UCLA Film & Television Archive


On May 10 & 11, the Academy of Motion Picture Arts and Sciences and the NYU Orphan Film Symposium will present, "The Real Indies: A Close Look at Orphan Films," at the Linwood Dunn Theater in Hollywood.

UCLA Film & Television Archive hosted the 2011 iteration of this always fascinating event and several Archive staff members will participate on Saturday, May 11:

  •  Jan-Christopher Horak, Director, will explore the realm of corporate film, presenting two rarely-seen works from noted graphic designer and filmmaker Saul Bass: "A New Look for the Bell System," a branding film for Bell Telephone, and "From Here to There," Bass' take on modern air travel
  • Mark Quigley, Manager, Archive Research & Study Center, will present Hey Mama (1968), a cinéma vérité documentary by UCLA student Vaughn Obern (MFA '12) that was shot over the course of six months in Venice, California's primarily African American district, Oakwood
  • Todd Wiener, Motion Picture Archivist, will screen footage of an early Hollywood Gay Pride Parade from our collection of films by renowned gay activist, Pat Rocco

Hey Mama

As Quigley says, "With the Orphan Film Project, Dan Streible has created a dynamic forum where culturally and historically significant moving images from outside of the Hollywood production mainstream are warmly embraced for rediscovery.  Because of this forum, the value of countless otherwise forgotten films, from student works to industrials, has been recognized––and that's led to new audiences, new academic work, and in many cases, new film restoration projects."

Also of note, May 10 will see a new print of filmmaker Shirley Clarke's Portrait of Jason (1967), recently restored by the Academy Film Archive and Milestone Films.  Clarke was a former UCLA professor and UCLA Film & Television Archive has restored several of her works, including Ornette: Made in America (1985)The Connection (1961) and Robert Frost: A Lover's Quarrel with the World (1963).

There is vast body of film outside of the Hollywood mainstream waiting to be rediscovered, and this event provides a compelling and entertaining introduction.  Quigley continues, "We can learn a lot about ourselves from looking beyond Hollywood representations, and for this reason, the ongoing discovery, presentation and preservation of "orphan" works is increasingly recognized as a crucial activity for the film archive community."

For more information on the event and how to get tickets, please visit the Academy of Motion Picture Arts and Sciences.

: Dan 
(917) 754-1401

May 9, 2013

Fwd: Black Maria Film Festival at Lincoln Center, Library of the Performing Arts this Saturday at 2:30 pm

Maybe there should be a Black Mariah event simultaneously.  

Begin forwarded message:

From: John Columbus <>
Date: May 9, 2013, 7:13:59 AM PDT
Subject: Black Maria Film Festival at Lincoln Center, Library of the Performing Arts this Saturday at 2:30 pm

The film festival tour heads into NYC after three months on the road traveling across the nation. Please join us this Saturday, May 11th at 2:30pm at the Library of the Performing Arts' Dorothy and Lewis B. Cullman Center, 3rd Floor Screening Room at Lincoln Center for a special screening of selected works from the 32nd annual Black Maria Film Festival. Festival Director and Founder John Columbus will be present to introduce the films and some of the filmmakers.
Program List: 
Near the Mountain  - 14 min. by Flynn Donovan, Portsmith, NH
Shot in remote Arequepa, Peru Near the Mountain is a striking portrait of an 80 year-old quarry worker and his son who have been cutting strikingly white stone for 40+ years. The pair's arduous days are fraught with danger scrambling up rocky cliffs and dynamiting enormous chunks of stone. Scenes of churches and mansions made of the white stone lend context  to this portrait of human labor. 
Same Stream Twice - 5 min. silent by LynneSachs, Brooklyn, NY
A child is seenrunning in a circle as the camera pans in slow motion. The vibrancy of youth, of change, of time iseloquently and poignantly represented as the same child, now grown, gracefully repeats her juvenescence romp, with her platinum locks flowing in the wind.
Lionfish Delusion – 4 min. by Quique Rivera Rivera, SanJuan, PR. 
This is an imaginative underwater neo-noir animation inspired by the Lionfish plague. Fishes dream, lobster claws trans-mutate and the sea swirls in a whimsical representation of greed, gluttony and hierarchy in the Caribbean reefs.
Bridge  - 11 min. by Kevin T. Allen, Brooklyn, NY.
Three of NYCs most familiar bridges are portrayed in closely detailed, saturated color revealing surface and acoustic details. The filmmaker writes: "A study of three similar but distinct micro-cultures: The Manhattan Bridge, Brooklyn Bridge and the Williamsburg Bridge...The film treats the bridge as an anthropological body ... as a physiology of limbs, organs, eyes and ears moving in time."
Bloom  - 11 Scott Stark, Austin, TX
In this richly choreographed, multi faceted, cinematic and sonic opus, industrial penetrations into the arid Texas landscape yield a strange and exotic flowering (thus the title Bloom). Using images from the Texas Archive of the Moving Image based on oil drilling footage from the first half of the 20th century, Bloom offers an arresting experience and at the same time a powerful statement about our dependence on fossil fuels.
Surf and Turf  - 35 Abigail Child, New York, NY
This film explores contemporary ambiguities in the lives of Syrian Orthodox Jews (before Hurricane Sandy hit)who have built synagogues, restaurants and schools in the shore town of Deal, NJ. The local culture is changing with a continuing tide of newer immigrants. Assimilation is an issue. The look is secular, the lifestyle -capitalist and religious. The topic - that of the "unmelted pot" of America's small towns combined with a portrait of wealthy orthodox religious sectarians - is a compelling one. 

May 8, 2013

SCMS Defends Fair Use


We discussed fair use of images in educational contexts. Below is succinct recap of that issue, along with an update on a current and important  legal case pending. 


Begin forwarded message:

From: <>
Date: May 8, 2013, 11:33:19 AM EDT
To: <>
Subject: May News Update: SCMS Defends Fair Use


SCMS Continues to Defend Educational Fair Use


Film and Media scholars rely on copyrighted material for teaching and research, and SCMS has a long history of defending fair use in the U.S. The Society has recently participated as a friend of the court (amicus curiae) on behalf of our members in a fair use appeal.


In the 1980s, John Belton represented the Society before the Copyright Office of the United States when it considered expanding the authorial rights of film directors. In 1993, a committee led by Kristen Thompson drafted a report that made the case that fair use permitted reproductions of films stills in academic work. That document was adopted as policy by many university presses, and permitted decades of well-documented books and articles by media scholars. A decade and a half later, SCMS's public policy committee wrote a new statement, identifying fair use best practices in film and media teaching and publication. In 2006, Society member Peter Decherney successfully argued for an exemption to the Digital Millennium Copyright Act, making it legal for media professors to make clips from DVDs for teaching. SCMS submitted a letter of support, and in 2009 and 2012 the Society joined Peter and others to expand the exemption to encompass students, educators in all fields, and documentary and noncommercial filmmakers.


This April 2013, SCMS joined another effort to protect educational fair use and signed onto an amicus brief in the 11th Circuit Court of appeals. Academic publishers Cambridge, Oxford, and Sage all sued Georgia State University over its e-reserve practices, i.e. making teaching materials available though courseware. The university won a big victory in the first round of the case. The district court found that 70 of 75 examples under question were clearly not infringing. The material was used for education and the amounts assigned were small. It was a triumph, but the decision was also overly narrow. Represented by the USC Intellectual Property and Technology Law Clinic, SCMS joined the American Association of University Professors, the Modernist Studies Association, and University of Pennsylvania professors Peter Decherney and Tsitsi Jaji to argue that course reserves can also be "transformative." As many courts, including the Supreme Court, have held, even the use of entire works can be protected by fair use when the purpose of the use is different than the originally intended purpose. When works made by the entertainment industry, for example, are used for teaching, comment, and criticism, they are likely to be fair uses. Briefs by academic authors and library associations made very similar points.


This is a case that affects everyone teaching film and media. Arguments are expected to take place in late May, and a decision will follow. We will update you as soon as we learn of any decision. In the meantime, because we know how vital such issues are to our members, we want to keep you informed of our work on your behalf.





Apr 29, 2013

black mariah films review

I meant to post on the blog last month about Austin's ongoing series/final project Black Mariah films but got sidetracked and never did. The most recent program was this past Sunday, so I wanted to put in a plug and encourage people to check them out. Unlike last months' screening—the mesmerizing Spirit of the Beehive, paired with a short called Bees and Spiders from the Museum of Natural History…which suited the dreary rainy night perfectly—Sunday's program consisted of curated short films, organized around the theme of drugged state/altered consciousness. In a diverse lineup that began with Buster Keaton field and stream antics (The Balloonatic) and ended with a surreal advertisement for a tranquilizer entitled The Relaxed Wife, there were many different iterations on the affects of drugs on the body (which is always a fun ride). Along with the classic Nicotine Princess from 1909, there was a truly bizarre Betty Boop short in which the animated Betty draws laughing gas that then spreads to the "real world," and my favorite film on the program, The Mystery of the Leaping Fish. This latter film, starring Douglas Fairbanks and co-written by Todd Browning and D.W. Griffith, followed the misadventures of a drug-addicted detective "Coke Ennyday," who took down his Chinatown foes (there is a white slavery plot, naturally) by blowing Cocaine into their faces. I never knew this film existed, but its incredible use of Fairbanks' kinetic energy and outrageous costume design made it unforgettable. The diversity of these films made for a compelling program, and a very different experience than last month's screening. The beautiful Clemente Soto Vélez Cultural & Educational Center in the L.E.S.—where they host the screenings—is inauspicious and intimate; the creak of the screening room chairs and sight of the single projector add to the low-key cineclub ambiance that gives the series its interesting quality. I recommend everyone check out

to see what Austin and his colleagues are up to—the screenings (I've been to the 8 o'clock ones) varied in traffic, but both times were (different, but) interesting and laidback experiences. They also have free wine and PBR, which no one in the audience takes enough advantage of. I've attached the program notes from Sunday's screening so you can get a sense what they do (sorry for the poor quality, my scanner hates me)


Madeline Ostdick

Apr 24, 2013

[Curating MIs] Presentation dates assigned.

Fred says:

Below is the promised P.S. about our final 2 course meetings.  Please read the details carefully.

Not enough people agreed to present on April 30 (though anyone I ask to do so should be able to do so).  As I mentioned, if you are presented a week earlier than others, I/we know that you have had less time to prepare and therefore are presenting a more preliminary version of what you will submit in the end.  But everyone who has kept up with the coursework and taken advantage of consultations should be perfectly able to give an excellent presentation on the first week. Your challenge should not be "do I have enough to say?," but "how can I limit my presentation to 15 minutes?"

Below is the roster as I have it. Let me know if you see an error.
(The names on each date are not necessarily in a required sequence of presentations for that date.)

Reminder that everyone is expected to attend both sessions and listen to and respond to all presentations.

Present on  Tuesday, April 30
1.  Sylvie Vitaglione
2.  Rebecca Fraimow
3.  Dan Erdman and 4.  Kathryn Gronsbell
5.  Matt Prigge
6.  Jessica Pitcher
7.  Shira Peltzman
8.  Erica Titkemeyer

Present on Tuesday, May 7th
1.   Xin Zhou and 2. Pawarisa Nipawattanapong
3.  Juana Suárez
4.  Federica Liberi
5.  Jared Eisenstat
6.  Austin Kim
7.  Chris Banuelos
8.  Julia Kim
9.  Madeline Ostdick
10.  Kristin MacDonough

If the timing goes as expected, we will use the empty 15-20 minute slot on April 30 to fill out the department's required course evaluation forms. (Thank you, in advance.)

If the timing goes as expected, we might need to go a little past 4:30 on May 7, or shorten our mid-class break.  (I assume this is preferable to reconvening during what would be the NYU assigned day/time for an exam period, after May 7.)  However, if people arrive on time, we should be able to be finished on time. (Thank you, in advance.) 
I say this because MORE THAN HALF of the class population has been LATE to the start of recent class meetings, and usually more than a little bit late. So, thank you in advance for being diligent about getting the to class on time and also getting your computer files loaded expeditiously. 

If there is online content you would like your audience to view before your presentation, you might use the course blog to post descriptions and links to that material. Heck, you can use the blog to post as much text or pix relevant to your final project as you care to. It need not be terribly formal, so long as it's useful and smart. (You're all smart.) Since the Blogspot e-mail posting system is not working, please IDENTIFY YOURSELF BY NAME in the posting, and CC me on your e-mail to 

Please feel free to ask specific questions before our meeting if you are unclear about anything. 

Looking forward to seeing your good ideas in motion. 

Dan Streible
instructor of record

Apr 23, 2013

more more access, by Julia Kim

By limiting access to stag films, they are effectively ensuring that "the most orphaned of orphan film" will remain little known or understood (109). 

-This in turn will perpetuate the poor care they are in.  The films will continue degrading without appropriate care (no archivist!).  

-in this age of digital access, to not allow scholars (not a paying public) access to these controversial materials off-site will limit the ability of scholars to engage them for publication.  This is especially important in the case of these orphaned works.

-W/ the KKK Knight Riders, for example, Williams points out that however difficult the material is, "this film is an important historical document of the limits of female agency in stag films is that it reminds us of a history of actual sexual slavery that the term "sexworker" cannot encompass (126)."  This film offers a counterpoint to previous scholarly attempts to assert humor and some female agency.

-also, i would like to point out that the argument is not for opening this up to the paying public (nor am i necessarily going to address the argument for distribution by Kino), but for off-site access to scholars within the framework of scholarship.

-- Julia Kim


more access, by Anonymous [!!]

-By limiting access to stag films, they are effectively ensuring that "the most orphaned of orphan film" will remain little known or understood (109). 

-This in turn will perpetuate the poor care they are in.  The films will continue degrading without appropriate care (no archivist!).  

-in this age of digital access, to not allow scholars (not a paying public) access to these controversial materials off-site will limit the ability of scholars to engage them for publication.  This is especially important in the case of these orphaned works.

-W/ the KKK Knight Riders, for example, Williams points out that however difficult the material is, "this film is an important historical document of the limits of female agency in stag films is that it reminds us of a history of actual sexual slavery that the term "sexworker" cannot encompass (126)."  This film offers a counterpoint to previous scholarly attempts to assert humor and some female agency.

-also, i would like to point out that the argument is not for opening this up to the paying public (nor am i necessarily going to address the argument for distribution by Kino), but for off-site access to scholars within the framework of scholarship.