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.