“Save the dates!”
“Save the dates!”
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 Welcome and opening remarks
Michael Loebenstein (Austrian Film Museum), Dan Streible (NYU Cinema Studies)
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 at NYU Tamiment Library
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 (Color film tests; 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
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
Registration is open to all. Click here for details.
REGISTER now for RADICALS, the 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.s
Thursday, June 6, 7pm: There Are No Rules! A 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.
Among the presentations and screenings slated for RADICALS throughout Friday, June 7 and 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 Vrijheidsfilm: Amsterdam’s Left-wing Activist Film Club, 1966-1985. Screening of Black Panthers, Amsterdam Protest (1970)
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) from BFI National Archive
Masha Godovannaya (Academy of Fine Arts Vienna) Silent Horizon: Evgeny Yufit and Early Necrorealist Cinemain the USSR: 35mm prints of Lesorub (Woodcutter, 1985) and Vesna (Spring, 1987)
Caroline Fournier (Cinémathèque Suisse) Debut screening of a 1930s nitrate iteration of Hans Richter’s Every Day (1929)
Joachim Schätz (U of Vienna) 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) Redefining Political Cinemas in Exile: Chilean Filmmakers after 1973: Pinochet, asesino, fascista, traidor, agente del imperialismo (Sergio Castilla, Sweden, 1974) 16mm print, Swedish Film Institute; and La femme au foyer (Valeria Sarmiento, France, 1976) digital, Groupe de Recherches et d’Essais Cinématographiques
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 (May First Media, 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) & Judith Bourne, St. 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)
Evening screenings curated by Jurij Meden & Michael Loebenstein (Austrian Film Museum) with Dan Streible (NYU Cinema Studies)
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
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)
Sarah Keller (U Mass Boston) introduces filmmaker Barbara Hammer and three of her earliest Super 8 films. 3’ each.
Contribution to Light (1968), Aldebaran Sees (1969), 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 films 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) introduces
[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) introduces
Martin Luther King on Voting (WIS-TV, 1966) 35mm blow-up from 16mm, 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, 2′
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 (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
October 18, 2018: Now that the two screenings are done, I’ve updated the filmography and comments for the record. At the conclusion of the October 15 show, Film Forum announced this screening would turn into a semi-annual series.
“Orphans of New York.”
That’s what Bruce Goldstein, Director of Repertory Programming at New York’s influential* nonprofit indie moviehouse Film Forum, entitles our show of 22 entertaining but previously neglected films shot around the city from 1899 to 1979.
Tickets are available online at or at the box office.
Film Forum, 209 W. Houston St.
Sunday, Oct. 14, 3:10 pm
Monday, Oct. 15, 7:00 pm
Introductions by Bruce Goldstein (Film Forum) & Dan Streible (NYU Cinema Studies / Orphan Film Symposium) + special guests. Piano accompaniment for silent films by Steve Sterner.
Library of Congress Paper Print Collection, new scans and other early cinema:
* Across Brooklyn Bridge (March 1899) American Mutoscope Co., file from Bill Morrison of the BFI master made from the original 68mm film print.
* New Brooklyn to New York Via Brooklyn Bridge no. 1 (September 1899) Edison Co.
* What Happened on Twenty-third Street, New York City (1901) Edison
* Panorama of Flatiron Building (1903) AM&B
* Opening Ceremonies, New York Subway, Oct. 27, 1904 (1904) Edison (See how the Bleecker Street station has not changed in 114 years.)
* The Deceived Slumming Party (1908) Biograph Co. Excerpt of one of the first samples from LOC scanning the original paper prints (rather than the 16mm films derived from them in the 1950s and 60s). Film historian Tracey Goessel is working with LOC on this project, prioritizing the Biograph titles in the Paper Print Collection that are not found in the Museum of Modern Art’s Biograph Collection of 35mm film materials.
* Actors’ Fund Field Day, at the Polo Grounds, New York City, August 19, 1910 (1910) Vitagraph Co. of America, with rare footage of two legends actor Bert Williams and sharpshooter Annie Oakley! Scanned from an original nitrate print. Vitagraph did not deposit a paper print for copyright.
Dawson City Collection, three newsreel fragments, selected by Bill Morrison (maker of the acclaimed Dawson City: Frozen Time) from the Library and Archives Canada.
* The “Uplift” of the Horse (Universal Animated Weekly, 1917)
* Negroes’ Protest a Silent Parade (Universal Animated Weekly, 1917)
* Anarchists Bomb Wall Street (British Canadian Pathé, 1920)
* Sunday only: [Elsa and Albert Einstein at Warner Bros. – First National Studio 1931] a never-ever-released, charming-as-all-get-out document with the Einsteins enjoying a flying motor trip around the world. (Read about how Becca Bender found the nitrate reel in a family collection long stored at the archive of Lincoln Center for the Performing Arts.)
* NYC Street Scenes and Noises outtakes (1929) Fox Movietone News, University of South Carolina Moving Image Research Collections; LOC made a new 35mm print from MIRC’s original negative.
* Broadway by Day (1932) Magic Carpet of Movietone, 16mm from Richard Scheckman’s collection. A Blackhawk print.
* Bronx Baby Parade outtakes (1934) USC MIRC Fox Movietone News Collection. Shot outside the Loew’s Grand Theater on Jerome Avenue, June 29, 1934, ballyhoo for the Paramount release Little Miss Marker and new box office sensation Shirley Temple. Also includes a very young girl doing a Mae West impression, replete with cigarette holder and West’s catch phrase “Come up and see me some time.” [!] Watch here.
* New York University (1952) Willard Van Dyke, for the NYU Alumni Association, reel 3 of 3 of an otherwise lost film found in the Prelinger Collection at LOC. No published filmographies of the prolific and important documentary director Van Dyke list this film. (Sunday only)
* The Making of Pelham One Two Three (1974) featurette narrated by NYPD detective-turned-actor Carmine Foresta. 16mm print from the Academy Film Archive.
Young Filmmakers Foundation, NYPL 16mm prints
* Black Faces (1970) Studio Museum, Harlem
* Life in New York (1969) Alfonso Pagan & Luis Vale
* Ellis Island (1975) Steve Siegel & Phil Buehler
Sunday only: intro by Elena Rossi-Snook (New York Public Library for the Performing Arts)
* What’s Happening in Harlem? (1949) Communist Party USA. A hard-hitting political short about the exploitation of and violence against African American and Puerto Rican residents of Harlem. Craig Baldwin’s print has the first 9 minutes, but the final sequence (about 2 minutes) has not been found. Research underway by Rick Prelinger and by Kimberly Tarr in NYU Communist Party USA Collection. (See Guide to the Communist Party of the United States of America Record, Tamiment Library and Robert F. Wagner Labor Archive, NYU Bobst Library.)
* Venus and Adonis (1935) Harry Dunham & J. V. D. Bucher’s amateur surrealist film. Music by Paul Bowles. Cast: Victor Kraft (violin prodigy, photographer, and Copland’s longtime companion); Erick Hawkins (as Eric Hawkins; dancer later married to Martha Graham), and Anne Miracle (muse for a Virgil Thomson composition bearing her name).
A restoration-in-progress using the Library of Congress’s silent 16mm print from the Aaron Copland Collection and the Museum of Modern Art’s print with sound. Research by Blake McDowell for his NYU MIAP thesis led to this rediscovery.
* EPH 4/27/16 (1979) Ephraim Horowitz’s masterful amateur film memoir. Thanks to Genevieve Havemeyer-King for tracking down this long-sought film. Print scanned by Colorlab for Fandor.com.
Monday intro by Kimberly Tarr (NYU Libraries). Read about its preservation in time for the centennial of Eph’s birth. After the second screening, Bruce Goldstein declared the Horowitz film was “a sensation” for the Film Forum audiences. Look for more Eph screenings in the future.
* Three American Beauties (1906) directed by Edwin S. Porter and Wallace McCutcheon. A stencil-colored Edison Mfg. Co. beauty with the complete original ending, recently restored by the National Library of Norway from its unique hand-colored 35mm print. The surprise ending is not seen in the various video versions found on the web to date, all of which are from DVD releases of the Museum of Modern Art’s beautiful but different 35mm copy. (The Library of Congress has a black-and-white 16mm print in its George Kleine Collection, made from a 35mm monochrome nitrate print that was destroyed after being copied).
The performer in the film has not been identified. Who is she??
SOURCES (It takes a village.)
Academy Film Archive
Albert Einstein Archives, Hebrew University of Jerusalem
Craig Baldwin / Other Cinema Archives
estate of Ephraim Horowitz (via Fandor.com)
Library and Archives Canada (via Bill Morrison)
Library of Congress
Lincoln Center for the Performing Arts
Museum of Modern Art
National Library of Norway
New York Public Library for the Performing Arts
New York University Libraries
University of Iowa Libraries (via Andrew Sherburne, Tommy Haines, Saving Brinton)
University of South Carolina Moving Image Research Collections
Thanks to the film whisperers and NYU alumni of the Moving Image Archiving and Preservation Program whose research when they were students led to some of these discoveries: Becca Bender (now Film Archivist & Curator of Recorded Media at the Rhode Island Historical Society), Genevieve Havemeyer-King (now of NYPL’s Preservation of Audio and Moving Image Unit), and Blake McDowell (now media archivist at the Smithsonian National Museum of African American History and Culture). In 2003, as part of the first MIAP course offered, Jeff Martin and Cinema Studies PhD student Jennifer Zwarich researched NYC Street Scenes and Noises and wrote this report with Evan Friss (NYU master’s student in the Department of History; now an associate professor at James Madison University). The NYU MIAP research projects were done in tandem with the University of South Carolina’s Orphan Film Symposium using film archival material in the USC Newsfilm Library. In 2004, the lab Cinetech in Los Angeles did pro bono preservation of the two rolls of film and made a 35mm print for the 4th Orphan Film Symposium. MIAP students and faculty (Howard Besser, Mona Jimenez) participated in that symposium in Columbia, SC.
Today the collaborations between NYU Cinema Studies’s MIAP Program and USC MIRC continue.
* See Sara Aridi, “How Influential Is Film Forum?” New York Times, July 31, 2018,