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)