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Wednesday, September 25th
Foundation Visiting Artist Program
evening with film composer David Raksin
USC School of Music, Recital
7:30 p.m. (free, and open to all)
student of Schoenberg and collaborator with the likes of Stravinsky, Stokowski
his career in movie music when Charlie Chaplin hired him to work on Modern
Times (1936). He has gone on to score more than 100 features, ranging
from the film noir Force of Evil (1948) to Nicholas Rays
melodrama Bigger than Life (1956), from Vincente Minnellis
Hollywood exposé The Bad and the Beautiful (1952) to ABC-TVs
landmark The Day After (1983). His haunting song Laura
(written for the 1944 film Laura) has become a standard, recorded
more than 400 times. A professor of Scoring for Motion Pictures and Television
at the University of Southern California since 1956, Raksin has also written
for more than 300 television programs. For National Public Radio he wrote,
narrated and conducted interviews for the series The Subject Is
Film Music, a 64-hour oral history of the profession of film composing.
For CBS News, he wrote and narrated the documentary Camera
Three: Bernard Herrmann.
Maestro Raksin has been an
advocate and expert on music rights, serving on the boards of ASCAP, the
Society of Composers and Lyricists, and the Film Music Society. An 8-term
president of the Composers and Lyricists Guild, he currently advises the
Library of Congress as a member of the National Film Preservation Board.
Dont miss this opportunity
to hear from a major figure in the past seven decades of film sound, as
David Raksin discusses his career in film music and presents excerpts
from his work. As a prelude to Orphans III, he will address important
issues facing the preservation, archiving and understanding of the often-neglected
soundtracks that accompany motion pictures.
September 26th Saturday, September 28th
School of Music Recital Hall (a
VR look inside)
SOUND (9:15 - 11)
British DeForest Phonofilm Recordings of the Music Hall Tradition
(Library of Congress), Eubie Blake, Eddie Cantor & Calvin
Coolidge: Restoring De Forest Phonofilms, 1922-25
(National Archives of Canada), moderator and respondent
(11:15 - 12:45)
"The Sound of Newsreels: Issues for Preservation & Restoration"
Ray Edmondson (Archive
Canberra) "Cinesound Review & Kodoka Front Line (Australia,
SOUNDS OF THE FILMS OF ZORA NEALE HURSTON(2-3:45)
(Bay Bottom News), On Making BlackSouth:
The Life Journey of Zora Neale Hurston
(Library of Congress), "Zora
Neale Hurston and the Beaufort, South Carolina Church Footage: The
Recovery of Sound and Film"
Mead Film & Video Festival),
Hurstons Films as Performative Visual Anthropology
(University of Kent, England) "Perpetrator Images and The Third
Reich in Colour (2001)"
Kay Hoffmann (Documentary
Stuttgart), Röntgenstrahlen (Germany, 1937): Talking
Joachim Polzer (Polzer
Media Group GmbH,
Potsdam), Weltwunder der Kinematographie: The Earliest Optical
Found Home Movies Meet the Avant Garde
Skip Elsheimer (A/V
16mm School Soundtracks: The Musical
Stephen Parr (Oddball
Sonic Oddities from the San
Francisco Media Archive
(University of Alabama), "Live Piano Accompaniment & DeForest
Sound for the Fleischer cartoon Has Anybody Here Seen Kelly? (1926)"
(Davidson College), Composers for Classical Documentary
(Whitman College), "Playback Pianists and the Crisis of Disembodiment,
or I Ghosted for the Abbott & Costello TV Show
(UC Santa Cruz), "Shoes and The Unshod Maiden, or Giving Progressive
Cinema a Good Talking To: Unmaking and Restoring the Films of Lois
Nico de Klerk (Netherlands
European Theatrical Shorts of the 1930s
Library of Congress
SONG GOES FORTH (1:30-2:30)
(Yale University), introduces a 35mm screening of the newly-preserved
Paul Robeson documentary, My Song Goes Forth (1937, Great
(University of Trondheim), Digitizing Filmed TV Ads from 1950s
A Model of Plenty: Putting Orphan Films (and Television) On-line
Laura Kissel (USC New Media), moderator and respondent
+ demos of websites: The
Orphanage; the Center for Southern African-American Music; and
Moving Images Archive
LIKE US (4:30-5:30)
Bennett in performance
Berliner, From ABC Audio Archivist to Independent
Documentarian: Selected Shorts by Alan Berliner
Bill Morrison, New York-based filmmaker introduces his new
film Decasia (2002), with new
music soundtrack composed by Michael Gordon.
Cinema and Archive)
shows All Personal Sound Movies (1949-63), All Golf Films (c.1973)
and more by amatuer Auricon cineaste Fred McCleod (Oakmont, PA).
(Pitzer College), "Superocheros: Mexico's Super8 Film Movement,
with José Agustíns Luz Externa (1973) presented
with a restored soundtrack.
Russ Suniewick (Colorlab
How to Blow Up 9.5mm and 8mm films, including home movies
of the 1920s
(Florida Moving Image Archive), African-American home movies
of the 1950s and 60s
VOICES OF THE DOCUMENTARY (1-2:45)
de la Vega (International Film Seminars), Restoring 50
years of Audiotapes from the Robert Flaherty Film Seminar
(Pratt Institute and the New York International Film Foundation),
Julien Bryans Film Documentation of the Stalin-era Soviet
(Emory University), The Crusading Housing Reform Films of
Atlantas Charles F. Palmer, 1934-1946
VOICE and the Music OF THE DOCUMENTARY (3-4:45)
McElwee (Harvard), Voice-over Narration Practices,
with a preview of his new film Bright Leaves and outtakes from his
1986 masterpiece Shermans March
(Flower Films), Narrating with Music: Some Unheard Takes from
(Visual Archives of American Music and University of Washington),
Snader Telescriptions: Musical Film Filler for Early Television
Mark Cantor (Celluloid Improvisations), Jukebox Movies
from the 1940s
Potluck (7:30 til ?)
party event, back by popular demand. Bring a fun/interesting/odd/rare
short or clip to share after our dinner together. We bring the food
and drink, you bring the films. All orphanistas are invited to give
a quick introduction to a favorite piece of orphan film or video
(16mm or VHS please). Informal, engaging, fun.
Margaret Compton (University
of Georgia Media Archives & Peabody
The Orphan as Filmmaker: Juvenile Series Fiction, 1912-1935,"
a curated exhibition of books on display throughout the symposium.
British found-sound artist People
(aka Vicki Bennett), with a multimedia performance
+ her new film We Edit Life (2002)
Three of the great living documentary filmmakers:
of roots music Les
Blank (Flower Films) with unreleased performances recorded
on film during his decades of documenting figures such as Lightning Hopkins,
Leon Russell, Clifton Chenier, Flaco Jimenez and other music masters.
From Harvard, Ross
McElwee (Columbia outtakes from Shermans March
& excerpts from his new film, Bright Leaves) talks about voice-over
Emmy-winning New York
Berliner (The Sweetest Sound), on his career as
an ABC News audio archivist turned independent documentarian.
+ Bill Morrison presents his new feature
film conceived and developed at the first Orphan film symposium:
(2002), with new music by Bang on a Can composer Michael Gordon. Commissioned
by the basil sinfonietta of Switzerland as its premiere work. A tapestry
of found footage and decaying nitrate.
Leaders of moving image preservation for four nations
archives bring restored early sound films, including DeForest Phonofilms,
recordings of music hall artists, Eubie Blake performances, newsreels
OFarrell (Chief of Moving Image and Audio Conservation,
National Archives of Canada)
David Pierce (Curator, National Film and Television Archive, British
(Head, Motion Picture Conservation Center, U.S. Library of Congress)
Ray Edmondson (Curator Emeritus, National
Film and Sound Archive, Australia;
Associates, Canberra), "The Voice of Australia: Cinesound
Prelinger (the Prelinger Archives), on digital access to
films at the Internet
Moving Images Archive), and the Internet Archives collaboration
with the orphan film movement.
The Library of Congress previews an important restoration of films
made by writer/anthropologist Zora Neale Hurston. In 1940, she
and a sound-film crew visited African-American churches in Beaufort, South
Carolina (and elsewhere), recording sermons and religious music. Lost
for nearly 60 years, the original audio disks have been rediscovered and
are being remastered to the motion pictures in the Librarys Margaret
Andersen discuss and excerpt her forthcoming feature documentary
Life Journey of Zora Neale Hurston, co-produced for PBS by Sam
Charnov (Director of Public Programs at the American Museum
of Natural History and artistic director of the Margaret
Mead Film & Video Festival) with her research on the Hurston films;
and archivist/cataloguer Arlene
Balkansky (LC-MBRS) and Ken Weissman presenting an update
from the restoration in progress.
Film Center, Stuttgart), Röntgenstrahlen, mit Filmtonspur
(Germany, 1937): A Talking X-Ray Motion Picture.
Compton (University of Georgia Media
Archives and Peabody Award Collection), "The Orphan As Filmmaker:
Juvenile Series Fiction, 1912-1935," a curated exhibition of books
on display at the symposium.
Davidson (the Florida Moving Image Archive), African-American
home movies of the 1950s and 60s.
Musser (Yale University) introduces
a newly-preserved 35mm print of a British documentary about South Africa,
My Song Goes Forth (1937, aka Africa Sings), with
song and prologue
by Paul Robeson, in his first documentary appearance.
Stamp (UC-Santa Cruz), "Shoes and The Unshod
Maiden, or Giving Progressive Cinema a Good Talking To." Lois
Webers 1916 orphaned off-spring Shoes survives in the US
only in the Library of Congresss print of Universal's The Unshod
Maiden, a 1932 parody of the film that uses voice-over commentary
to mock a re-edited version. Webers plea for women's wage equity,
re-worked in such a fashion, amply demonstrates Hollywoods rapid
disregard for silent cinema and Progressive-era politics in the wake of
pre-recorded sound. (The restoration of Shoes is being planned
with the Nederlands Filmmuseum, the Library of Congress, and Japans
National Film Center.)
Guerin (University of Kent, Canterbury, England), Giving
Voice to the Myth of Perpetrator Images: Using Nazi Footage in the BBC
documentary program The Third Reich in Colour (2001).
Media Fellow Jesse
Lerner (Pitzer College) debuts a restored gem from Mexicos
superochero movement: Luz Externa (1973), a Super8 film
by counterculture writer José Agustín. For the first time,
the original music and dialogue tracks have been combined with the images.
Goldmark (University of Alabama), on scoring live piano
accompaniment & DeForest recorded sound for the Fleischer cartoon
Has Anybody Here Seen Kelly? (1926).
Lerner (Davidson College), "An Ignored Parent to Hollywood's
Musical Vocabulary: Virgil Thomson's Score for The Plow that Broke
the Plains (1936)"
Raykoff (Whitman College),"Playback Pianists and the
Crisis of Disembodiment." Ghosted piano performances, including Abbott
& Costello TV appearances, c. 1951-52.
Sørenssen (Norwegian University of Science and Technology),
on-line access to digitized Norwegian film commercials of the 1950s, an
experimental project with the Norwegian National Library in Mo i Rana.
Bryan (Pratt Institute and New York International Film
Foundation), showing travel documentaries shot by Julien Bryan in
Stalin-era Soviet Union. [Watch Julien Bryan's 15-minute film Good
Neighbor Family (1943) at the Internet Moving Images Archive.
real player needed.]
White (Emory University), the 1934-1946 housing reform
films of crusading Atlanta businessman Charles
de la Vega (International
Film Seminars, New York) on restoring 50 years of audio recordings
from the Robert Flaherty Film Seminars.
Greg Pierce of Pittsburgh's
Cinema and Archive shows
All Personal Sound Movies (1949-63), All Golf Films
(c.1973) and more by amatuer Auricon cineaste Fred McCleod (Oakmont,
Angeles, noted collector Mark Cantor (Celluloid
Improvisations) with rare 16mm jukebox 'soundies' of the 1940s.
Burke (University of Washington and the Visual Archives
of American Music) plays Snader Telescriptions, 1950-54 film recordings
of touring nightclub and cabaret acts, made in L.A. as early TV filler
and filmed live in the studio.
de Klerk brings a 35mm program of 1930s European theatrical short
subjects from the Netherlands
Geeks), presents 16mm School Films: The Musical.
Parr (San Francisco Media
Archive and Oddball
Film+Video), with some oddball films and video.
found home movies meet the avant garde.
lab and preservation experts
Heiber, president of
Chace Productions (Los Angeles), discusses recording, post-production,
restoration, and preservation technologies in The Sound of Newsreels.
Russ Suniewick, president of Colorlab
Inc. (Rockville, MD, and New York), on small-gauge blow-ups and
transfers, including 9.5mm home movies from the 1920s.
Media Group GmbH, Potsdam) screens the earliest optical sound
films and other material from his DVD (and companion book) Weltwunder
Crisp, VP for Asset Management & Film Restoration, Sony