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“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.” Examples: “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, and sundry other ephemeral pieces of celluloid (or paper or glass or tape or . . . ).”

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Banner images: Montreal actress Johanne Harrelle in À tout prendre (Take it All) (1963), or, more accurately, in the 2020 media installation ORIGINES by Nadine Valcin. A Madman’s World (7’), The Bloody Crime Crusher (12’) from the presentation ‘Incarcerated Youth: Otisville Film Club, 1969-1972’ by DeeDee Halleck & Henning Engelke.

The design team for Orphans 2022 comprises Valeria Kriletich (@valeriakriletich Buenos Aires), Long Xi Vlessing (@longxiv Vancouver/Tiohtià:ke), Matt Soar (@mattsoar Tiohtià:ke), and Dan Streible (@orphan_films New York), with video and motion graphics work by Long Xi Vlessing. The main typeface for Orphans 2022 is Misto, a quirky display font created in 2019 by Ukrainian graphic designer Katerina Korolevtseva. Misto (“city” in Ukrainian) is a reverse-contrast typeface “inspired by Slavutych — the youngest city of Ukraine, which was born after the Chornobyl explosion.” See also: counter-contrast, counter-act, counter-mand, counter-poise, counter-current, counter-claim, counter-evidence, counter-archive.

Orphans 2022 is made possible by the NYU Tisch School of the Arts, Department of Cinema Studies, and Archive/Counter-Archive.

Program Committee: Juana Suárez (NYU MIAP), Ina Archer (National Museum of African American History & Culture), Amalia Córdova (Smithsonian Center for Folklife and Cultural Heritage), Debbie Ebanks Schlums (A/CA Vanier Canada Scholar), and Charles Acland (Concordia U).

Organizing Committee: Dan Streible (NYU), Haidee Wasson (Concordia U), Matt Soar (Concordia U).