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	Internet Addiction Gets Official Chinese “Cure” in Riveting, Provocative Do	0	Debbie R. Rush	Contacts: POV Communications: Communications@pov.org, 212-989-7425 Cathy Fisher, cfisher@pov.org, Brian Geldin, bgeldin@pov.org POV online pressroom: www.pbs.org/pov/pressroom Internet Addiction Gets Official Chinese “Cure” in Riveting, Provocative Documentary ‘Web Junkie,’ Airing Monday, July 13, 2015 on PBS’s POV Series Film Goes Deep Inside a Military-style Beijing Treatment Facility, Where Young Patients Are Forced to Face Their Virtual Demons. Is This the Wave of the Future? “Web Junkie offers a troubling glimpse into anxieties that are hardly China’s alone.” —A.O. Scott, The New York Times When the words “China” and “Internet” appear in the same sentence, the word “censorship” is usually close by. But in at least one aspect of the Internet revolution, China is establishing a precedent the rest of the world could soon follow. China is the first country in the world to classify Internet addiction as a clinical disorder, the cure for which is the subject of Web Junkie, an intimate and sometimes jarring documentary having its national broadcast premiere on PBS’s POV (Point of View) on Monday, July 13, 2015 at 10 p.m. (check local listings). Now in its 28th season, POV is American television’s longest-running independent documentary series and the recipient of a 2013 MacArthur Foundation Award for Creative and Effective Institutions. The film follows the treatment of Chinese teenagers whose preference for the virtual world over the real one is summed up in one jarring statement: “Reality is too fake.” Bringing them back to earth is often a very bumpy ride. Award-winning Israeli filmmakers Shosh Shlam and Hilla Medalia were given incredibly open access to Daxing Boot Camp, a three-month military style anti-addiction program in Beijing designed for patients 13 to 18 years old. Web Junkie portrays the rehabilitation process and the evolving diagnosis behind it. The fast-paced film starts in a video cafe, where teenagers blissfully play Internet games and smoke cigarettes. Cut to the inside of the no-frills treatment facility, where guards rouse the dreary-eyed visitors from cell-like rooms for morning exercises. Suddenly, it is clear these kids have followed their computer keystrokes to a dark and different place. Some, in fact, do not know exactly how they got there. One patient—or inmate—says he was told he was going on a family ski trip to Russia. He went to sleep at home and when he awoke he was at a “Chinese teenager mental growth” facility, one of more than 400 treatment centers created by the government. There are many unhappy campers. “I’m wasting my time here,” one patient protests. “I don’t need any treatment.” Others grimace as they are forced to the floor and told to hold themselves in an uncomfortable position for 30 minutes. A teen becomes violent. “Call the drillmaster!” a staffer shouts. Another day in the life of an Internet addict in Daxing Boot Camp, with many remaining. There is nothing virtual about the treatment center, which resembles a Marine Corps boot camp far more than a typical Western clinic. Patients are under constant surveillance—even as they sleep. Rigorous exercise programs are augmented by group therapy, brain scans and classroom instruction. In one class, an instructor explains that Internet addiction blocks the normal development of the social part of the brain. This does not necessarily convince the patients, one of whom calls the classes an attempt at “brainwashing.” The filmmakers interview Tao Ran, the professor who established the world’s first Internet addiction clinic and who calls Internet addiction China’s most significant public health hazard, claiming, “It has surpassed any other problem.” Web junkies, he explains, are not using the Internet for research and homework. They are instead addicted to games. “They are the same as heroin addicts,” he insists. Parents are often at their wits’ end and many must borrow money to pay for the program. They tell, sometimes through tears, of losing their children to the malady. “He changed into a different person,” one desperate mother says. Most young patients have withdrawn from family life. Some stop bathing. Others are so reluctant to take breaks from playing video games with their online partners that they wear diapers to avoid bathroom trips. As is often the case with other addictions, family disruption and estrangement are common. One anguished father admits he had become too hard on his Internet-obsessed child. “It is an abyss swallowing my son,” says another mother, though the film illustrates that young people also use the Internet as a tool of social interaction, including romance. Yet while these connections may span the globe, they usually take place in an environment of solitude. “We are increasingly connected to each other but oddly more alone,” the filmmakers say. In one riveting scene, a young man describes how easy it is to profess love simply by repeatedly striking a programmed key. This is passion without a pulse, a quantum leap in the practice of long-distance love. Web Junkie is a frank portrayal of China’s unique treatment program that also raises questions, especially for Western viewers. “Will these techniques be successful?” Shlam and Medalia ask. “Is this militaristic treatment effective or advisable? Is it possible to ‘cure’ these young kids? And on the topic of human rights, is it enough that the government requires only the parents’ agreement in order to hold these children against their will?” The “cure” question is left wide open. One patient says Internet addiction “is not a real disease. It’s a social phenomenon.” But another insists, “My life is more real than before” since going through the program, which ends with sessions of family reconciliation. At one session, a patient is required to tell his father he loves him 30 times. One departing patient, however, delivers a line echoed during exits from treatment centers everywhere, indicating that some positive behavior modification has taken place: “Dude, I don’t want to come here ever again.” As more countries focus on Internet addiction, the Chinese treatment may become the template for the wider world’s response. The young patients of Web Junkie may be riding the wave of the future. About the filmmakers: Shosh Shlam, Director/Producer Award-winning filmmaker Shosh Shlam directed Good Garbage (2008), named best documentary at the Shanghai International Film Festival and winner of the best cinematography award at the Israeli Documentary Awards. Her previous films include Be Fruitful and Multiply (2005), which represented Israel on International Women’s Day in Asia, and Last Journey Into Silence (2003), winner of the best documentary award at the Lublin Film Festival, winner of the Columbine Award at the Moondance International Film Festival and a best documentary honorable mention at the Haifa International Film Festival. Shlam holds a master’s degree in comparative literature from Bar-Ilan University. She is also a graduate of the theater department at Tel Aviv University and studied at New York’s School of Visual Arts. Hilla Medalia, Director/Producer Peabody Award-winning filmmaker Hilla Medalia has received three Emmy® nominations. Her recent film Dancing in Jaffa premiered at the Tribeca Film Festival and won the editing award at the DocAviv Film Festival. Previously, Medalia made After the Storm (2009), To Die in Jerusalem (2007), Happy You’re Alive (2010) and Numbered (2012), which won best debut documentary at the Israeli Documentary Awards. She also holds a master of arts from Southern Illinois University and is a co-founder of New York-based kNow Productions. Credits: Directors: Shosh Shlam, Hilla Medalia Producers: Hilla Medalia, Shosh Shlam, Neta Zwebner-Zaibert Executive Producers: Jeremy Chilnick, Morgan Spurlock, Dan Cogan, Jenny Raskin, Eve Ensler Editor: Enat Sidi Director of Photography: Sun Shaoguang Composer: Ran Bagno Running Time: 56:46 POV Series Credits: Executive Producers: Chris White, Simon Kilmurry Associate Producer: Nicole Tsien Coordinating Producer: Nikki Heyman # # # # Produced by American Documentary, Inc., POV is public television’s premier showcase for nonfiction films. The series airs Mondays at 10 p.m. on PBS from June to September, with primetime specials during the year. Since 1988, POV has been the home for the world’s boldest contemporary filmmakers, celebrating intriguing personal stories that spark conversation and inspire action. Always an innovator, POV discovers fresh new voices and creates interactive experiences that shine a light on social issues and elevate the art of storytelling. With our documentary broadcasts, original online programming and dynamic community engagement campaigns, we are committed to supporting films that capture the imagination and present diverse perspectives. POV films have won 32 Emmy® Awards, 18 George Foster Peabody Awards, 12 Alfred I. duPont-Columbia University Awards, three Academy Awards®, the first-ever George Polk Documentary Film Award and the Prix Italia. The POV series has been honored with a Special News & Documentary Emmy Award for Excellence in Television Documentary Filmmaking, two IDA Awards for Best Continuing Series and the National Association of Latino Independent Producers (NALIP) Award for Corporate Commitment to Diversity. More information is available at www.pbs.org/pov. POV Community Engagement and Education (www.pbs.org/pov/engage) POV’s Community Engagement and Education team works with educators, community organizations and PBS stations to present more than 650 free screenings every year. In addition, we distribute free discussion guides and standards-aligned lesson plans for each of our films. With our community partners, we inspire dialogue around the most important social issues of our time. POV Digital (www.pbs.org/pov/) Since 1994, POV Digital has driven new storytelling initiatives and interactive production for POV. The department created PBS’s first program website and its first web-based documentary (POV’s Borders) and has won major awards, including a Webby Award (and six nominations) and an Online News Association Award. POV Digital continues to explore the future of independent nonfiction media through its digital productions and the POV Hackathon lab, where media makers and technologists collaborate to reinvent storytelling forms. @povdocs on Twitter. American Documentary, Inc. (www.amdoc.org/) American Documentary, Inc. (AmDoc) is a multimedia company dedicated to creating, identifying and presenting contemporary stories that express opinions and perspectives rarely featured in mainstream media outlets. AmDoc is a catalyst for public culture, developing collaborative strategic engagement activities around socially relevant content on television, online and in community settings. These activities are designed to trigger action, from dialogue and feedback to educational opportunities and community participation. Major funding for POV is provided by PBS, The John D. and Catherine T. MacArthur Foundation, the John S. and James L. Knight Foundation, Corporation for Public Broadcasting, and National Endowment for the Arts. Additional funding comes from Nancy Blachman and David desJardins, Bertha Foundation, The Fledgling Fund, Marguerite Casey Foundation, Ettinger Foundation, New York State Council on the Arts, New York City Department of Cultural Affairs in partnership with the City Council, Ann Tenenbaum and Thomas H. Lee, and public television viewers. POV is presented by a consortium of public television stations, including KQED San Francisco, WGBH Boston and THIRTEEN in association with WNET.ORG. by Debbie R. Rush Wednesday, July 8, 2015
	The Materiality of Cinema - March 6 at TIFF Bell Lightbox and live streamed	0	Toronto International Film Festival	TIFF Higher Learning presents The Materiality of Cinema, taking place on Friday, March 6, 11am–12:30pm EST at TIFF Bell Lightbox, Reitman Square, 350 King Street West, Toronto ON. This event is free and open to the public. If you cannot attend in person, consider watching the live stream: tiff.net/reelheritage. Part of the Reel Heritage initiative, this public lecture, delivered by Toronto-based media and film archivist Christina Stewart is dedicated to the whys and hows of motion picture handling, the value of proper training, the tools of the motion picture handler, and the material history of the film medium. The lecture will be followed by a Q&A with the audience. In advance of the event, we will be taking questions for Christina Stewart on Twitter via #reelheritage. Christina Stewart has a background in Media Arts and is a graduate of the L. Jeffrey Selznick School of Film Preservation at George Eastman House. She has worked with collections at the Canadian National Exhibition Archives, Northeast Historic Film, National Steinbeck Center, and the Canadian Filmmakers Distribution Centre, in addition to the Warner Bros. Nitrate Film Collection held at George Eastman House. Christina has taught film identification and handling workshops through archival associations across Canada and is currently Front End Manager at Niagara Custom Lab. Tickets are free. Tickets are limited to one per person and are available two hours before the event’s start time at the Steve & Rashmi Gupta Box Office inside TIFF Bell Lightbox, located at Reitman Square, 350 King Street West. Participants who are not able to come to TIFF Bell Lightbox can watch the livestream at tiff.net/reelheritage. The event video and associated research package from the first Reel Heritage event, Film Archives and Scholarship, is now available online at: http://tiff.net/education/events/reel-heritage-film-archives-and-scholarship. Reel Heritage is supported by the Government of Ontario and the Ontario Trillium Foundation. Higher Learning is supported by the Ontario Trillium Foundation and the Slaight Family Foundation Learning Fund. by Toronto International Film Festival Monday, February 23, 2015
	Metro-Bollywood at the Seattle Art Museum	0	A. Gehlawat	Metro-Bollywood: New Hindi Cinema in New Delhi Jan 9 2015 Seattle Art Museum Plestcheeff Auditorium 7 PM – 9:30 PM Join film scholar Ajay Gehlawat for a discussion and screening of the Bollywood film Band Baaja Baaraat (Wedding Planners, 2010), directed by Maneesh Sharma and set in India's capital, New Delhi. The film follows Shruti and Bittoo, two young, aspiring students at Delhi University who have plans to make it big as wedding planners. In this duo's brash and kitschy approach to staging Indian weddings, we see a vivid display of what anthropologist Purnima Mankekar calls jugaad, a colloquial term for the ability to come up with creative solutions on the spot, often with limited resources. Band Baaja Baaraat explores the advent of enterprise culture in the new Indian metropolis, in which aspiring young people like the film's protagonists thrive in a world that now promotes success, growth, and progress. In the process of staging colorful, over-the-top weddings, Bittoo and Shruti discover that love is also refashioned according to the dictates of such an aspirational culture, as the duo's wedding planning enterprise, in turn, becomes the basis for their own romantic relationship. Ajay Gehlawat is Associate Professor of Theatre and Film at Sonoma State University, California, where he also directs the Film Studies program. He is the author of Reframing Bollywood: Theories of Popular Hindi Cinema (2010) and editor of The Slumdog Phenomenon: A Critical Anthology (2013). His forthcoming book, Twenty-First Century Bollywood (2015), traces emerging shifts in Bollywood in relation to the changing dynamics of Indian culture. http://www.seattleartmuseum.org/visit/calendar/events?EventId=29391 by A. Gehlawat Saturday, January 3, 2015
	San Francisco Silent Film Festival	0	Ron E. Evans	From May 29th to June 1st we are excited to be presenting the San Francisco Silent Film Festival 2014 at the historic Castro Theatre (429 Castro Street, San Francisco, California)! The festival includes 17 wonderful silent-era features including The Four Horsemen of the Apocalypse, the film that made Rudolph Valentino! The festival will also be featuring one program of extraordinary silent shorts and rarities, and the ever-popular Amazing Tales From the Archives program. 19 programs in all! Full program details are listed below and online at silentfilm.org. San Francisco Silent Film Festival 833 Market Street, Suite #812 San Francisco, CA 94103-1828 If you are interested in working with us to promote this event, please find my contact details below. Thank you for your time, we look forward to hearing back from you. Danielle Parker danielle@silentfilm.org Silent Film Festival 2014 Schedule The Four Horsemen of the Apocalypse Opening Night Thursday, May 29 7:00 pm Approximately 132 minutes Director Rex Ingram Cast Rudolph Valentino, Alice Terry, Pomeroy Cannon, Josef Swickard, Alan Hale Musical Accompaniment by Mont Alto Motion Picture Orchestra Based on the best-selling novel by Vicente Blasco Ibanez and adapted for screen by June Mathis, Four Horsemen was the film that made Rudolph Valentino a star and brought director Rex Ingram to prominence. Valentino brought a new kind of leading man to the screen in the role of Julio Desnoyers: the Latin lover. This film is one of the greatest of the Great War chronicles, and our presentation commemorates the 100th anniversary of World War I, as well as the 25th anniversary of our accompanying ensemble. Amazing Tales from the Archives friday, May 30 10:00 am Approximately 100 minutes Presenters Bryony Dixon, Dan Streible, Ben Burtt and Craig Barron Musical Accompaniment Stephen Horne A free event that showcases another edition of our popular Amazing Tales from the Archives program. Bryony Dixon, Curator of Silent Film, BFI National Archive, presents some astonishing early nature films, which were among the very first films preserved by the BFI National Archive. Plus a surprise new acquisition from 1903! The familiar snippet of film commonly known as Fred Ott’s Sneeze became an icon of the earliest cinema. Dan Streible, Founder and Director Orphan Film Symposium, takes a New Look at an Old Sneeze as he shares his discoveries about the film we thought we knew well, which had been missing almost half of the frames shot in 1894! Barron and Burtt’s presentation explores how Charlie Chaplin worked and adapted new technology and developments to his process—with behind-the-scenes stills, film clips, and animations. The Song of the Fisherman Friday, May 30 1:00 pm Approximately 60 minutes Director Cai Chusheng Cast Wang Renmei, Luo Peng, Yuan Congmei, Han Langen Musical Accompaniment Donald Sosin Cai Chusheng’s The Song of the Fisherman is not only the first social-realist film in Chinese cinema history, but also the first Chinese film to win a prize in an international festival (Moscow Film Festival, 1935). Depicting the struggle of the poor in Shanghai, the film is a moving story of social injustice told with eloquence and passion. This film played in Shanghai for a record of 84 days to an audience of nearly a million. The film’s title song (composed by Ren Guang) was also a huge contemporary hit in Shanghai, and later (in the 1970s) it became a hit in the U.S. Midnight Madness Friday, May 30 3:00 pm Approximately 61 minutes Director F. Harmon Weight Cast Jacqueline Logan, Clive Brook, Walter McGrail, James Bradbury, Oscar Smith Musical Accompaniment Stephen Horne “Its very title reeks of strange people, mystery, suspense!” reads the advance publicity for this silent melodrama, loosely inspired by Shakespeare’s The Taming of the Shrew and directed by F. Harmon Weight. Secretary Norma Forbes (Jacqueline Logan) accepts the marriage proposal of Michael Bream (Clive Brook), wealthy diamond miner. Norma reveals to her boss and actual love interest (Walter McGrail) that she’s only marrying for the money. Having eavesdropped through a conveniently open door, Michael, despite his genuine affections, schemes to teach his gold-digging fiancée a lesson. From New York, the newlyweds sail second class to South Africa, where Michael leads his wife to believe that he is down-and-out. They settle in a bleak shack near a mine, where Norma discovers the hardships of life in the African jungle. She sends a cable to her former employer, divulging her whereabouts. A fight ensues, which leaves Michael bound up and prey to a lion. At last realizing her affection for her husband, Mrs. Bream returns with a shotgun—setting up a suspenseful climax that can only result in no lady or no lion. —Jennifer Rhee The Parson’s Widow Friday, May 30 5:00 pm Approximately 88 minutes Director Carl Th. Dreyer Cast Hindur Carlberg, Einar Rød, Greta Almroth, Olav Aukrust, Kurt Welin, Mathilde Nielsen, Lorentz Thyholt Musical Accompaniment Matti Bye Ensemble A very early film by one of cinema’s masters, and one that will surprise those familiar only with Dreyer’s most famous work—the darkly moving The Passion of Joan of Arc. The Parson’s Widow is as beautifully composed as the later work, but replete with deft comic touches as well. Based on a story by Norwegian poet Kristofer Janson, The Parson’s Widow tells the story of a young seminary graduate (Einar Rød) who travels with his sweetheart (Greta Almroth) to a small village to audition for the job of pastor of the local church. A simple plot filled with opportunity for hilarity, but this is also a Dreyer film and it is tinged throughout with humanity and generosity for all of its characters. Ramona Friday, May 30 7:30 pm Approximately 80 minutes Director Edwin Carewe Cast Dolores del Rio, Warner Baxter, Roland Drew, Vera Lewis, Michael Visaroff Edwin Carewe directed the 1928 version of what had by then proven a durable story, filmed twice previously (and at least once subsequently). Adapted from Helen Hunt Jackson’s hugely popular 1884 novel, the Ramona narrative tells of a mixed-race (Scots-Native American) woman, sympathetically detailing her persecution for reasons of race. Wearing a theme of cultural diversity on its sleeve, the Ramona story has become a touchstone to generations of Californians, and an indispensable part of the state’s imaginative cultural heritage. Cosmic Voyage Friday, May 30 10:00 pm Approximately 75 minutes Director Vasilii Zhuravliov Cast Sergei Komarov, Vasilii Kovrigin, Nikolai Feoktistov, Viktor Gaponenko, Kseniya Moskalenko Musical Accompaniment Günter Buchwald and Frank Bockius The Soviet Union was serious about its science fiction, bringing in rocket scientist Konstantin Tsiolkovsky as a technical consultant on Cosmic Voyage. Tsiolkovsky designed miniatures for this big budget project that enjoyed the full backing of the Communist Youth League. A trip to the moon, what better way to inspire the youth of a nation! Cosmic Voyage is a wonderful adventure with hilarious subplots and remarkably sound science. The Good Bad Man Saturday, May 31 10:00 am Approximately 80 minutes Director Allan Dwan Cast Douglas Fairbanks, Sam De Grasse, Doc Cannon, Joseph Singleton, Bessie Love, Mary Alden Musical Accompaniment Donald Sosin Douglas Fairbanks produced, wrote and starred (as the character “Passin’ Through”) in this western directed by Allan Dwan and photographed by Victor Fleming. Passin’ Through is an orphan who becomes a Robin Hood-like bandit, robbing from the rich to aid unwanted children. Beautifully photographed in Tuscon, the film has been thought lost for many years. The recent restoration by SFSFF’s Tracey Goessel and Rob Byrne is a revelation, and our screening is the World Premiere! Serge Bromberg’s Treasure Trove Saturday, May 31 12:00 Noon Approximately 80 minutes Presentation and Musical Accompaniment Serge Bromberg World-famous preservationist and entertainer Serge Bromberg has long been a collector of celluloid images and has regularly organized cine-shows he calls Retour de Flamme where he presents rare and often unique footage. Recently Bromberg and archivist Fernando Peña of Buenos Aires made a magnificent discovery—a lost version of Buster Keaton’s The Blacksmith. With Keaton as a cornerstone for this show, we asked Serge to reach into his treasure trove to present a show to delight and amaze San Francisco! Bromberg will introduce each treasure and accompany the film on piano. Vive le cinéphile! The Epic of Everest Saturday, May 31 2:00 pm Approximately 87 minutes Director John Noel Musical Accompaniment Stephen Horne The Epic of Everest (1924) is the official film record, shot by Captain John Noel, of the third British expedition to attempt to reach the summit of the world’s highest peak. En route the film records some of the earliest images of the Tibetan people and their culture, including scenes at the village of Phari (Pagri), Shekar Dzong (Xegar) and the Rongbuk Monastery. On the slopes of Everest we follow each stage of the climb as the mountaineers and Sherpas progress, enduring incredibly harsh conditions. When the camera can go no further, a specially designed telephoto lens, filming at a distance of over two miles, records the final attempts of climbers Mallory and Irvine to reach the summit. The Epic of Everest was restored by the BFI National Archive in collaboration with Sandra Noel, the director’s daughter. The team reintroduced the original colored tints and tones, overcoming serious challenges inherent in the material to do full justice to this heroic feat of exploration cinematography. Underground Saturday, May 31 4:30 pm Approximately 77 minutes Director Anthony Asquith Cast Brian Aherne, Elissa Landi, Cyril McLaglen, Norah Baring Musical Accompaniment Stephen Horne The second feature from aristocratic British director Anthony Asquith (A Cottage on Dartmoor, Pygmalion), Underground is a working-class love story and thriller set in and around London’s subway system. The romantic triangle pits nice-guy Brian Aherne against sinister Cyril McLaglen for the affections of beautiful shopgirl Elissa Landi. Asquith’s fondness for German Expressionism is evident in the lighting, by German Karl Fischer, and the influence of Soviet filmmakers in the use of montage. The British Film Institute restored Underground in 2013, to mark the 150th anniversary of the London subway. Under the Lantern Saturday, May 31 7:00 pm Approximately 129 minutes Director Gerhard Lemprecht Cast Lissy Arna, Gerhard Dammann, Mathias Wieman, Paul Heidemann, Hubert von Meyerinck Musical Accompaniment Donald Sosin Ensemble The story of a good girl’s descent to a life on the street has been told many times in cinema, but Lamprecht’s telling is filled with such humanity and feel for the denizens of the demimonde that it approaches masterpiece. Especially accompanied by Donald Sosin, Günter Buchwald, and Frank Bockius, whose score, with its evocation of Berlin in the ’20s, masterfully complements Karl Hasselmann’s expressive camera. To celebrate its 50th anniversary, the Deutsche Kinemathek has digitally restored several of Lamprecht’s films including Under the Lantern. The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks Saturday, May 31 10:00 pm Approximately 74 minutes Director Lev Kuleshov Cast Porfiri Podobed, Boris Barnet, Aleksandra Kho Musical Accompaniment Matti Bye Ensemble It may seem unlikely that a manic satire of American ignorance about the Soviet Union was one of the first projects to emerge from the workshop of Russian film theoretician Lev Kuleshov. But The Extraordinary Aventures of Mr. West in the Land of the Bolsheviks proves Kuleshov’s ideas about the power of editing and montage, with its fast-paced, slapstick American-style comedy. Mr. West (Porfiri Podobed), a goofy YMCA executive in Harold Lloyd glasses and fur coat travels to Moscow with his cowboy sidekick/bodyguard Jeddy (Boris Barnet). Immediately Mr. West is separated from Jeddy and falls into the clutches of a motley group of thieves posing as Bolsheviks (including Vsevolod Pudovkin!). Seven Years Bad Luck Sunday, June 1 10:00 am Approximately 62 minutes Director Max Linder Cast Max Linder, Alta Allen, Ralph McCullough, Betty Peterson Musical Accompaniment Donald Sosin Before there was Chaplin and Keaton, there was Max Linder. A handsome and dapper Parisian, Linder began appearing in film shorts for Pathé in 1905, becoming the cinema’s first comic star. Chaplin and others have cited him as an inspiration. However, due to Linder’s unsuccessful career in the U.S., he returned to France and his films have been difficult to see. Now, in one of his wonderful American comedies, Seven Years Bad Luck (restored by Lobster films), festival audiences have a rare opportunity to experience Linder’s artistry, including the famous mirror gag that Linder originated. Dragnet Girl Sunday, June 1 12:00 Noon Approximately 100 minutes Director Yasujiro Ozu Cast Kinuyo Tanaka, Joji Oka, Sumiko Mizukubo Musical Accompaniment Guenter Buchwald Best known for his gentle family comedies and dramas, Japanese master Yasuhiro Ozu also made three silent gangster films. Dragnet Girl, the last and best of them, stars future Mizoguchi muse Kinuyo Tanaka as a typist by day, and gun-toting gangster’s moll by night. As her ex-boxer lover, Joji Oka matches her tough bravado. Ozu, a fan of American films, pays stylish homage to the genre, filling the frame with Hollywood-style décor and costumes, moody lighting and noir shadows. The sets and cinematography were reportedly influenced by the work of Joseph von Sternberg. Not typical Ozu, but a surprising, delightful anomaly. The Girl in Tails Sunday, June 1 2:30 pm Approximately 110 minutes Director Karin Swanström Cast Einar Axelsson, Magda Holm Nils Arehn, Georg Blomstedt, Karin Swanström, Erik Zetterström Musical Accompaniment Mont Alto Motion Picture Orchestra A fizzy comedy that makes some serious feminist points, The Girl in Tails was directed by forgotten multi-hyphenate Swedish director Karin Swanström. The film is based on one of a series of novels satirizing small-town life by one of Sweden’s leading early 20th writers. Katja (Magda Holm) wants a new dress for her graduation dance, but her father won’t buy her one. So Katja dresses up in her brother’s tuxedo and attends the dance, smoking cigars, drinking brandy, and shocking the locals. Swanström, now a footnote in film history, was one of the most powerful people in the Swedish film industry in the 1920s and ‘30s. The Sign of Four Sunday, June 1 5:00 pm Approximately 83 minutes Director Maurice Elvey Cast Eille Norwood, Arthur M. Cullin, Isobel Elsom, Fed Raynham, Norman Page Musical Accompaniment Donald Sosin One of the best of the surviving silent Sherlock Holmes features, The Sign of Four stars Eille Norwood as the great detective. Arthur Conan Doyle said of Norwood, “He has that rare quality that can only be described as glamour, which compels you to watch an actor eagerly even when he is doing nothing. He has the brooding eye which excites expectation and has also a quite unrivalled power of disguise.” Move over Benedict Cumberbatch! Harbor Drift Sunday, June 1 7:00 pm Approximately 93 minutes Director Leo Mittler Cast Lissi Arna, Paul Rehkopf, Fritz Genschow, Siegfried Arno, Friedrich Gnass, Margarete Kupfer Musical Accompaniment Stephen Horne At Harbor Drift’s center is a beautiful pearl necklace that could change the lives of three impoverished people, but instead leads to more misery. Exquisite camerawork by Friedl Behn-Grund takes in the harbor, bridges, canals and alleyways of Hamburg as the eloquent story prefigures film noir in its depiction of fated souls. The German title Jenseits der Strasse’s subtitle: Eine Tragödie des Alltags—a tragedy of everyday life—is an apt description of Weimar Germany’s unemployment and destitution as personified in the film by an old beggar (Paul Rehkopf), a jobless young man (Fritz Genschow), and a prostitute (Lissy Arna). Little known in the U.S., Harbor Drift is a masterpiece of the late silent era, worthy of standing with giants such as Asphalt and Joyless Street. The Navigator Sunday, June 1 9:00 pm Approximately 60 minutes Director Buster Keaton, Donald Crisp Cast Buster Keaton, Kathryn McGuire, Frederick Vroom, Clarence Burton, H.N. Clugston Musical Accompaniment The Matti Bye Ensemble In his fourth feature film, The Navigator, Buster Keaton plays a rich man who goes to great lengths to woo his ladylove (Kathryn McGuire), and in typical Keaton fashion, ends up adrift at sea. To film the shipboard scenes, Keaton chartered a 370-foot steamship capable of holding hundreds of passengers and crew, anchored it first at Catalina Island and later at Lake Tahoe, and spent ten weeks filming some of his most elaborate and famous stunts, including an underwater sequence. The results were worth it: The Navigator was one of his most successful films, and critics at the time praised it as his best. Keaton also counted it as one of his personal favorites. by Ron E. Evans Friday, April 25, 2014
	Expanded Chinese Film Festival Studies bibliography	0	M. Gallagher	Dear all, As part of the AHRC-sponsored network Chinese Film Festival Studies, we’re compiling a Chinese film festival bibliography. We are now at the second stage of this project, and are looking to collate a list of non-academic writing on Chinese film festivals. This work could include, for example: · Newspaper, magazine or wire reports on festivals or related events · Interviews with key personnel · Online reports or discussions of festivals or related events The aim is to collate an archive of substantial non-academic writing that contributes to our understanding of the film festival circuit in the Chinese-speaking world. This can then be added to our existing academic bibliography, which can be found on our website (http://chinesefilmfeststudies.org/).If anyone has any references that they feel should be included in this bibliography, or has written anything that could usefully be incorporated, please do not hesitate to contact us at chinesefilmfestivals@gmail.com. The aim is to collate an initial bibliography during December, and post it to the website. However, we intend to keep this as a rolling project until the end of the network. We will therefore be looking to update the bibliography on a monthly basis, including additions in our updates to website subscribers. If at any point in the next six months you come across a piece of writing that you feel it would be useful to have referenced in the bibliography, please email us, and we can update the file. Many thanks, Chris Berry and Luke Robinson by M. Gallagher Monday, November 25, 2013
	Updates: Chinese Film Festival Studies website	0	M. Gallagher	Dear SCMS members, Two months since the launch of the Chinese Film Festival Studies website (http://chinesefilmfeststudies.org), we have another brief round-up notice detailing updates. In the past month, we’ve added the following material: NEWS: The US magazine The Advocate published an extended piece this month on young Chinese filmmaker Fan Popo and the Beijing Queer Film Festival, which he is closely involved with running. A link to the piece is available on the website. ARCHIVE: We have added to the archive a file with scholarship on Chinese film festivals by our Network members. However, we would like to expand this further. If you have additional references that you know of that aren’t in this list, please do contact us directly: there is a link on the website. FESTIVAL REPORTS. Ma Ran (Nagoya), a member of the network, has written us a report on the Shanghai International Film Festival’s "digital surround”, more specifically discussion of the festival on Weibo (China’s twitter). In this report, she explores debates that emerged online around audience behaviour and the "correct” way to watch a film in the cinema. She links these to broader questions of Shanghainese identity, and to negotiations of the public/private division in the contemporary PRC. COMING SOON: October and November are the months of the Golden Horse Film Festival (the 台北金馬影展). Menghsin Horng (UC Berkeley) will be writing us a report from Taipei on the festival. We also intend to develop a general bibliography of non-academic writing on Chinese Film festivals (for example, newspaper reports), which will be included with the academic bibliography in the Archives section of the website. Again, please contact us directly if you have suggestions on what to include here. Thank you, Chris Berry and Luke Robinson by M. Gallagher Thursday, November 7, 2013
	Past, Present, Future: Indian Cinema at 100	0	A. Gehlawat	In observance of the centenary of Indian cinema, the University of Illinois Library presents "Past, Present, Future: Indian Cinema at 100,” a forum dedicated to examining the origins, evolution, and future of Indian cinema in both local and global contexts. This landmark event, marking one hundred years of innovation, growth, and productivity by the world’s largest, most prolific, and most culturally diverse film industry provides a unique opportunity for the University of Illinois—home of nearly one thousand students who hail from the subcontinent, and more than forty South Asian specialists from across the disciplinary spectrum—to recognize the artistic, cultural, and historical contributions Indian cinema has made over the last century.At the same time, it offers exciting possibilities for the University to engage not only with the East Central Illinois South Asian population, but also with those members of the community with an interest in or curiosity about Indian cinema and culture. Distinguished guests include activist and director Onir, Indian cinema and popular culture expert Lalitha Gopalan, cultural critic Ajay Gehlawat and industry analyst Manjunath Pendakur. Although cinema is the focus of the symposium, presentations will examine film in wider social contexts, underscoring the power of the medium to reflect and at the same time to shape individual and group identity, to reaffirm and also to deconstruct dominant cultural beliefs, and to represent and simultaneously to interrogate behavioral norms and conventions. For more details, see: http://publish.illinois.edu/pastpresentfuture2013/ by A. Gehlawat Monday, October 28, 2013
	Chinese Film Festival Studies Website Launch	0	M. Gallagher	The website of the Chinese Film Festival Studies Research Network (sponsored by the UK Arts & Humanities Research Council) has been launched at: http://chinesefilmfeststudies.org/. The research network brings together scholars in the UK, China, other parts of Asia, Europe and the USA who are working on film festivals in Chinese-language territories and cultures (including the People's Republic, Taiwan, Hong Kong, and elsewhere). It will run for approximately one year. If you are interested in film festivals in the Chinese-speaking world or festivals that feature Chinese-language cinema elsewhere, please visit the website and sign up for updates. Do you have a festival report you’d like to contribute to the website? Or perhaps you have a question for network members? We want to hear from you and know why you’re interested in Chinese Film Festival Studies. Please feel free to write in either English or Chinese to chinesefilmfestivals@gmail.com We are currently compiling a bibliography of Chinese Film Festival Studies, which we will post at the website. If you have written anything or know of anything appropriate for the bibliography – academic article, report, blog post – please send it to us at the above email address before 30 September. Thank you Chris Berry and Luke Robinson (network coordinators) /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ansi-language:EN-GB; mso-fareast-language:ZH-CN;} by M. Gallagher Tuesday, September 17, 2013
	Orphans Midwest: Materiality and the Moving Image	0	D. Streible	Registration is open for the Orphan Film Symposium at Indiana University Bloomington, September 26-28, 2013. Co-organized with NYU Cinema Studies, "Orphans Midwest" address the theme of Materiality and the Moving Image. Register here: http://www.cinema.indiana.edu/about/orphans-midwest/64 presenters, 50+ films, 100+ additional attendees (to include YOU). Premieres of new preservation work from films as early as 1894. New works from as recently as 2013 (Jane Gillooly's SUITCASE OF LOVE AND SHAME). Rediscovered "lost" films (THE ORGY AT LIL'S PLACE, 1963, from the Kinsey Institute film collection). Live music. Food, drink. Keynote by Tom Gunning (U of Chicago). Schedule below and attached.Contact dan.streible@nyu.edu with questions. Thursday, Sept. 26 9am-5pm Indiana University Memorial Union (Dogwood Room) SCMS Nontheatrical Film and Media Scholarly Interest Group graduate student conference: Placing Orphan Films Conveners: Martin Johnson(Catholic U) andAndy Uhrich(IU) 6:30pm Opening Reception IU Auditorium 8:30pm Films for Cello in the Indiana University Cinema Four works presented by filmmakerBill Morrison with live performance by Opus 3 artist and cello virtuosoMaya Beiser Light Is Calling (2004) music by Michael Gordon Cello Counterpoint (2005) music by Steve Reich for Maya Beiser Just Ancient Loops (2012) music by Michael Harrison for Maya Beiser + world premiere of All Vows, with Michael Gordon’s music, "All Vows” (2006) Indiana University Cinema and the Robert A. and Sandra S. Borns Jewish Studies Program commissioned Bill Morrison’s All Vows. The project is supported by Indiana University’s New Frontiers in the Arts & Humanities Institute. Friday, Sept. 27 in the Indiana University Cinema 9:00am Welcome Orphans Midwest trailer (Russell Sheaffer, 2013) Rachael Stoeltje (IU Libraries Film Archive), Jon Vickers (IU Cinema), Dan Streible (NYU Orphan Film Symposium) 9:15am Keynote by Tom Gunning (U of Chicago) 10:00am Silent-Era Films chair: Dan Streible Mike Mashon(Library of Congress) Paper Prints in the DataCine Era Dan Streible(NYU) A New Look at an Old Sneeze: Edison Kinetoscopic Record of a Sneeze (W.K.L. Dickson, 1894) x 3 Heddi Vaughan Siebel (media artist) Anthony Fiala’s Arctic Expedition Films, 1901-1905 + A Dash to the North Pole (Charles Urban, 1909) compilation film, with partially retitled with Swiss German intertitles. 35mm print from BFI National Archive Greg Wilsbacher(U of South Carolina) The Fox Varieties Series: Frogland (192?) and the Unreleased A Frontier Post (1925) 11:30am break 11:45am Media Migration chair: Jeff Martin (Independent Media Arts Preservation) Mike Casey(IU Media Preservation Services) The Media Preservation Initiative Stefan Elnabli (Northwestern Library) Digitizing 16mm Football Films Mona Jimenez (NYU) Early Video Processing Tools: Art & Technology 1:15pm lunch 2:30pm Educational Films and University Distribution chair: Rachael Stoeltje Alex Kupfer(NYU) University Extension Programs and Nontheatrical Film Distribution Natasha Ritsma (Kenyon College) History of the IU Audio-Visual Center Amy Beste (School of the Art Institute of Chicago) EB Films: The Living City (1953) Marsha Gordon(NC State U) & Allyson Nadia Field (UCLA) OnFelicia(U of California Media Center, ca. 1965) and Felicia Bragg 4:15pm break 4:30pm Indiana – Working for a Living chair: Greg Waller Donald Crafton(U of Notre Dame) and Andrew Beckman(Studebaker National Museum) Partnership of Faith(Studebaker Corp., 1949) Gregory A. Waller(IU) a home movie from Brown County James Paasche (IU) Transportation Underground: The Story of a Pipeline (Robert Young, for Indiana Farm Bureau Co-Op Association, 1953) 6:30pm dinner break (on your own) 8:30pm Portmanteau: 35mm, 16mm, HD, and ¼” Magnetic Audio Tape Kit Hughes (Wisconsin Center for Film and Theater Research) trailers from the Emile de Antonio Collection, including the German-language Point of Order (1964). Greg Wilsbacher introduces the premiere of the 35mm restoration A Frontier Post (Fox, 1925), musical accompaniment by Gabriel Gutierrez Arellano Jennifer Reeves introduces her hand-painted 16mm film Landfill 16 (2011) Albert Steg (Center for Home Movies) introducesSuitcase of Love and Shame (Jane Gillooly, 2013) and the suitcase of tapes he discovered Q&A with filmmaker and Guggenheim Fellow Jane Gillooly (School of the Museum of Fine Arts, Boston) Extramural Blue Note: IU Cinema’s public programming on this Friday night includes a midnight screening relevant to the symposium, but not technically part Orphans Midwest. Free admission for registered symposium attendees. 11:59 pm public screening (Adults only.) Eric Schaefer (Emerson College) introduces William Mishkin productions The Orgy at Lil’s Place (Jerald Intrator, 1963) 77’ + trailer for Fleshpot on 42nd Street (Andy Milligan, 1972) 2’ Saturday, Sept. 28 in the Indiana University Cinema 9:00am Outs & Trims chair: Noelle Griffis Nadia Ghasedi (Washington U) from Eyes on the Prize, Henry Hampton Collection Carolyn Faber (Kartemquin Films) from Kartemquin Films Noelle Griffis (IU) from the Peter Bogdanovich Collection 10:45am break 11:00am Off the Rails:Hell Bound Train chair: Brian Graney Jacqueline Stewart (U of Chicago) and Brian Graney(IU Black Film Center/Archive) Early Black Film Artifacts as Material Evidence: Digital Regeneration S. Torriano Berry (Howard U) Reconstructing the Eloyce Gist Film Fragments at the Library of Congress: Hell Bound Train (1929-30) and Verdict Not Guilty (1930-33) 12:30pm lunch 2:00pm Kinsey Institute Film Archive chair: Russell Sheaffer (IU) Eric Schaefer (Emerson College) on William Mishkin and The Orgy at Lil’s Place (1963) Joseph Slade (Ohio U) and Liana Zhou (Kinsey Institute) 3:30pm break 3:45pm Recontextualizing Bits and Pieces chair: Dan Streible Greg Wilsbacher on Indiana University Graduation (Fox Movietone News, 1929) Craig Kridel (U of South Carolina Museum of Education) Alice Keliher and theHuman Relations Film Series(1937-1942) Screening: a rare archival16mm print from the HR series: Fury (lynching) (Human Relations Commission, 1939) edited by Helen van Dongen from Fritz Lang's Fury (MGM, 1936) Andy Uhrich (IU) The Film Group of Chicago: Advertising Films and Verité Documentary 5:15pm break 5:30pm Materiality and the Moving Image: Closing Thoughts and Discussion Tom Gunning, Rachael Stoeltje, Dan Streible, Marsha Gordon, Jacqueline Stewart, et al. 6pm reception + dinner, IU Art Museum featuring Skip’s 16mm Silent Science Screeningprojected bySkip Elsheimer (A/V Geeks) 8:30pm Music in Orphan Films in the Indiana University Cinema Curated by Kelli Hix (Country Music Hall of Fame and Museum) Hix Pix Mix are likely to include things such as: Andrea J. Kelley (IU): Hong Kong Blues and Lazy Bones (1941, Hoagy Carmichael) IU Archive of Traditional Music Asia Harman (IU Libraries Film Archive): Hoosier Promenade (Janet R. MacLean; IU Audio-Visual Center, 1957) Anne Wells (Chicago Film Archives): Park Band (Hedman-Gray, Inc., ca. 1965) Carolyn Faber (Kartemquin Films): Anonymous Artists of America (Gordon Quinn and Jerry Temaner, 1970) Greg Pierce (Orgone Archive): Sonambients: The Sound Sculpture of Harry Bertoia (Jeffrey Eger, 1971) Garden Gates: performing live with a collage of science and nature films from IU Libraries Film Archive Andy Uhrich (Center for Home Movies): Blanche’s Recital (Arthur H. Smith, 1977), with live accompaniment by Lylas (Nashville, Tennessee) Kelli Hix (Country Music Hall of Fame and Museum): Super 8 Kodachrome home movie of Dolly Parton, Porter Wagoner, and other country music stars in Anderson, Indiana (1971) Jake Austen (Roctober Productions): Chic-A-Go-Go highlights (Chicago Access Network Television, 1996-2013) Skip Elsheimer (A/V Geeks): All Girl Melody Makers (Castle Films, 1946) Sara Chapman (Media Burn Independent Video Archive): Cheat-U-Fair (Columbia College Visual Production Seminar, Jim Passin, 1980) Liz Coffey (Harvard Film Archive): Honky Tonk Bud (Scott Laster, 1986) Tennessee Archive of Moving Image and Sound: Kincaid on Makin’ Music (WBIR-TV, Knoxville, 1983) by D. Streible Monday, August 12, 2013
	Orphans Midwest: Materiality and the Moving Image	0	D. Streible	Registration is open for the Orphan Film Symposium at Indiana University Bloomington, September 26-28, 2013. Co-organized with NYU Cinema Studies, "Orphans Midwest" address the theme of Materiality and the Moving Image. Register here: http://www.cinema.indiana.edu/about/orphans-midwest/64 presenters, 50+ films, 100+ additional attendees (to include YOU). Premieres of new preservation work from films as early as 1894. New works from as recently as 2013 (Jane Gillooly's SUITCASE OF LOVE AND SHAME). Rediscovered "lost" films (THE ORGY AT LIL'S PLACE, 1963, from the Kinsey Institute film collection). Live music. Food, drink. Keynote by Tom Gunning (U of Chicago). Schedule below and attached.Contact dan.streible@nyu.edu with questions. Thursday, Sept. 26 9am-5pm Indiana University Memorial Union (Dogwood Room) SCMS Nontheatrical Film and Media Scholarly Interest Group graduate student conference: Placing Orphan Films Conveners: Martin Johnson(Catholic U) andAndy Uhrich(IU) 6:30pm Opening Reception IU Auditorium 8:30pm Films for Cello in the Indiana University Cinema Four works presented by filmmakerBill Morrison with live performance by Opus 3 artist and cello virtuosoMaya Beiser Light Is Calling (2004) music by Michael Gordon Cello Counterpoint (2005) music by Steve Reich for Maya Beiser Just Ancient Loops (2012) music by Michael Harrison for Maya Beiser + world premiere of All Vows, with Michael Gordon’s music, "All Vows” (2006) Indiana University Cinema and the Robert A. and Sandra S. Borns Jewish Studies Program commissioned Bill Morrison’s All Vows. The project is supported by Indiana University’s New Frontiers in the Arts & Humanities Institute. Friday, Sept. 27 in the Indiana University Cinema 9:00am Welcome Orphans Midwest trailer (Russell Sheaffer, 2013) Rachael Stoeltje (IU Libraries Film Archive), Jon Vickers (IU Cinema), Dan Streible (NYU Orphan Film Symposium) 9:15am Keynote by Tom Gunning (U of Chicago) 10:00am Silent-Era Films chair: Dan Streible Mike Mashon(Library of Congress) Paper Prints in the DataCine Era Dan Streible(NYU) A New Look at an Old Sneeze: Edison Kinetoscopic Record of a Sneeze (W.K.L. Dickson, 1894) x 3 Heddi Vaughan Siebel (media artist) Anthony Fiala’s Arctic Expedition Films, 1901-1905 + A Dash to the North Pole (Charles Urban, 1909) compilation film, with partially retitled with Swiss German intertitles. 35mm print from BFI National Archive Greg Wilsbacher(U of South Carolina) The Fox Varieties Series: Frogland (192?) and the Unreleased A Frontier Post (1925) 11:30am break 11:45am Media Migration chair: Jeff Martin (Independent Media Arts Preservation) Mike Casey(IU Media Preservation Services) The Media Preservation Initiative Stefan Elnabli (Northwestern Library) Digitizing 16mm Football Films Mona Jimenez (NYU) Early Video Processing Tools: Art & Technology 1:15pm lunch 2:30pm Educational Films and University Distribution chair: Rachael Stoeltje Alex Kupfer(NYU) University Extension Programs and Nontheatrical Film Distribution Natasha Ritsma (Kenyon College) History of the IU Audio-Visual Center Amy Beste (School of the Art Institute of Chicago) EB Films: The Living City (1953) Marsha Gordon(NC State U) & Allyson Nadia Field (UCLA) OnFelicia(U of California Media Center, ca. 1965) and Felicia Bragg 4:15pm break 4:30pm Indiana – Working for a Living chair: Greg Waller Donald Crafton(U of Notre Dame) and Andrew Beckman(Studebaker National Museum) Partnership of Faith(Studebaker Corp., 1949) Gregory A. Waller(IU) a home movie from Brown County James Paasche (IU) Transportation Underground: The Story of a Pipeline (Robert Young, for Indiana Farm Bureau Co-Op Association, 1953) 6:30pm dinner break (on your own) 8:30pm Portmanteau: 35mm, 16mm, HD, and ¼” Magnetic Audio Tape Kit Hughes (Wisconsin Center for Film and Theater Research) trailers from the Emile de Antonio Collection, including the German-language Point of Order (1964). Greg Wilsbacher introduces the premiere of the 35mm restoration A Frontier Post (Fox, 1925), musical accompaniment by Gabriel Gutierrez Arellano Jennifer Reeves introduces her hand-painted 16mm film Landfill 16 (2011) Albert Steg (Center for Home Movies) introducesSuitcase of Love and Shame (Jane Gillooly, 2013) and the suitcase of tapes he discovered Q&A with filmmaker and Guggenheim Fellow Jane Gillooly (School of the Museum of Fine Arts, Boston) Extramural Blue Note: IU Cinema’s public programming on this Friday night includes a midnight screening relevant to the symposium, but not technically part Orphans Midwest. Free admission for registered symposium attendees. 11:59 pm public screening (Adults only.) Eric Schaefer (Emerson College) introduces William Mishkin productions The Orgy at Lil’s Place (Jerald Intrator, 1963) 77’ + trailer for Fleshpot on 42nd Street (Andy Milligan, 1972) 2’ Saturday, Sept. 28 in the Indiana University Cinema 9:00am Outs & Trims chair: Noelle Griffis Nadia Ghasedi (Washington U) from Eyes on the Prize, Henry Hampton Collection Carolyn Faber (Kartemquin Films) from Kartemquin Films Noelle Griffis (IU) from the Peter Bogdanovich Collection 10:45am break 11:00am Off the Rails:Hell Bound Train chair: Brian Graney Jacqueline Stewart (U of Chicago) and Brian Graney(IU Black Film Center/Archive) Early Black Film Artifacts as Material Evidence: Digital Regeneration S. Torriano Berry (Howard U) Reconstructing the Eloyce Gist Film Fragments at the Library of Congress: Hell Bound Train (1929-30) and Verdict Not Guilty (1930-33) 12:30pm lunch 2:00pm Kinsey Institute Film Archive chair: Russell Sheaffer (IU) Eric Schaefer (Emerson College) on William Mishkin and The Orgy at Lil’s Place (1963) Joseph Slade (Ohio U) and Liana Zhou (Kinsey Institute) 3:30pm break 3:45pm Recontextualizing Bits and Pieces chair: Dan Streible Greg Wilsbacher on Indiana University Graduation (Fox Movietone News, 1929) Craig Kridel (U of South Carolina Museum of Education) Alice Keliher and theHuman Relations Film Series(1937-1942) Screening: a rare archival16mm print from the HR series: Fury (lynching) (Human Relations Commission, 1939) edited by Helen van Dongen from Fritz Lang's Fury (MGM, 1936) Andy Uhrich (IU) The Film Group of Chicago: Advertising Films and Verité Documentary 5:15pm break 5:30pm Materiality and the Moving Image: Closing Thoughts and Discussion Tom Gunning, Rachael Stoeltje, Dan Streible, Marsha Gordon, Jacqueline Stewart, et al. 6pm reception + dinner, IU Art Museum featuring Skip’s 16mm Silent Science Screeningprojected bySkip Elsheimer (A/V Geeks) 8:30pm Music in Orphan Films in the Indiana University Cinema Curated by Kelli Hix (Country Music Hall of Fame and Museum) Hix Pix Mix are likely to include things such as: Andrea J. Kelley (IU): Hong Kong Blues and Lazy Bones (1941, Hoagy Carmichael) IU Archive of Traditional Music Asia Harman (IU Libraries Film Archive): Hoosier Promenade (Janet R. MacLean; IU Audio-Visual Center, 1957) Anne Wells (Chicago Film Archives): Park Band (Hedman-Gray, Inc., ca. 1965) Carolyn Faber (Kartemquin Films): Anonymous Artists of America (Gordon Quinn and Jerry Temaner, 1970) Greg Pierce (Orgone Archive): Sonambients: The Sound Sculpture of Harry Bertoia (Jeffrey Eger, 1971) Garden Gates: performing live with a collage of science and nature films from IU Libraries Film Archive Andy Uhrich (Center for Home Movies): Blanche’s Recital (Arthur H. Smith, 1977), with live accompaniment by Lylas (Nashville, Tennessee) Kelli Hix (Country Music Hall of Fame and Museum): Super 8 Kodachrome home movie of Dolly Parton, Porter Wagoner, and other country music stars in Anderson, Indiana (1971) Jake Austen (Roctober Productions): Chic-A-Go-Go highlights (Chicago Access Network Television, 1996-2013) Skip Elsheimer (A/V Geeks): All Girl Melody Makers (Castle Films, 1946) Sara Chapman (Media Burn Independent Video Archive): Cheat-U-Fair (Columbia College Visual Production Seminar, Jim Passin, 1980) Liz Coffey (Harvard Film Archive): Honky Tonk Bud (Scott Laster, 1986) Tennessee Archive of Moving Image and Sound: Kincaid on Makin’ Music (WBIR-TV, Knoxville, 1983) by D. Streible Monday, August 12, 2013
	The Slumdog Phenomenon: A Panel Discussion	0	A. Gehlawat	The Slumdog Phenomenon: A Panel DiscussionLecture \| March 14 \| 5:30-7:30 p.m. \| Stephens Hall, 10 (CSAS Conf. Room) \| Note change in timePanelist/Discussants: Ulka Anjaria, Assistant Professor of English, Brandeis University; Ajay Gehlawat, Assistant Professor of Interdisciplinary Studies and Theatre & Film, Sonoma State University; Snehal Shingavi, Assistant Professor of English, University of Texas, AustinSponsor: Center for South Asia StudiesWinner of numerous awards and the epicenter of multiple controversies, Danny Boyle’s 2008 film Slumdog Millionaire has fueled a series of debates regarding its depictions of India and the slum, its references to Bollywood, its global circulation and success, and its reception by critics and audiences. In this forum, Professors Ulka Anjaria, Ajay Gehlawat and Snehal Shingavi will discuss the "Slumdog phenomenon," the controversies the film has generated, and the effects the film has had on Indian cinema and broader (mis)perceptions of India and "Indianness." This talk coincides with the publication of The Slumdog Phenomenon: A Critical Anthology (Anthem, 2013), the first book-length study to examine this film. About the PanelistsUlka Anjaria is Assistant Professor of English at Brandeis University, with research interests in Indian literature and popular film, postcolonial studies and narrative theory. She is the author of Realism in the Twentieth-Century Indian Novel: Colonial Difference and Literary Form (Cambridge, 2012).Ajay Gehlawat is Assistant Professor of Theatre and Film in the Hutchins School of Liberal Studies at Sonoma State University and the author of Reframing Bollywood: Theories of Popular Hindi Cinema (Sage, 2010). He is also editor of The Slumdog Phenomenon (Anthem, 2013)Snehal Shingavi is an Assistant Professor in the Department of English at the University of Texas, Austin. He is the author of the forthcoming The Mahatma Misunderstood: The Politics and Forms of Indian Literary Nationalism (Anthem, 2013).About the Book: Collecting, for the first time ever, a wide range of critical essays exploring this film from a rich variety of disciplinary perspectives, "The Slumdog Phenomenon” will be of interest to readers across the academic spectrum. Rather than offering a book-length study of the film from one point of view, this collection presents a variety of shorter pieces that consider "Slumdog Millionaire” from several different angles. Featuring a dynamic combination of landmark essays by leading critics and theorists, as well as newer pieces by emerging scholars, this collection will provide readers with an assortment of critical perspectives on a film that continues to generate fascination, curiosity and controversy around the world.Like us on FACEBOOKFollow us on TWITTERPARKING INFORMATIONPlease note that parking in not always easily available in Berkeley. Take public transportation if possible or arrive early to secure your spot.Event Contact: 510-642-3608 http://events.berkeley.edu/index.php/calendar/sn/csas?event_ID=63965 by A. Gehlawat Tuesday, March 12, 2013
	‘REFRAMING CINEMA HISTORIES’ UCC FILM STUDIES SYMPOSIUM, 22 MARCH 2013	0	Deborah Mellamphy	UCC FILM STUDIES SYMPOSIUM‘REFRAMING CINEMA HISTORIES’ 22 MARCH 2013This one day symposium will address historical approaches to the study of cinema. Proponents of the 'historical turn' in film studies and what is termed 'new cinema history' have repeatedly called for an interdisciplinary research model and for practices that require the use of a wide range of primary sources, but as the contexts in which we work evolve, how is our research and our field of study developing? What new studies, approaches and models are emerging? SPEAKERS:• Dr. Ciara Chambers (University of Ulster) explores British newsreels in Ireland• Dr. Pierluigi Ercole (University College Cork) explores Fascist propaganda films in UK and Ireland• Dr. Lee Grieveson (University College London) explores US and UK non-theatrical film in the early part of the 20th century.• Dr. Peter Kramer (University of East Anglia) explores Stanley Kubrick and Post War Hollywood• Dr. Judith Thissen (University of Utrecht) explores movie going in the Netherlands• Dr. Gwenda Young (University College Cork) explores racial politics in Clarence Brown’s Intruder in the Dust. Symposium organisers: Pierluigi Ercole (UCC) and Gwenda Young (UCC)Symposium website: http://reframingcinemahistories.wordpress.com/Admission to this symposium is free but registration is required. Please email registration before 18 March to: uccfilmstudies@ucc.ieUCC Film Studies would like to acknowledge the financial support of the School of English, UCC and the School of Languages, Literatures and Cultures, UCC by Deborah Mellamphy Thursday, March 7, 2013
	Cine Migratorio Call for Entries	0	Courtney Sheehan	Cine Migratorio, an international film festival about migration, is pleased to announce the opening of the call for entries for the 2nd edition, to be held June 5-9, 2013 in Santander, Spain.The Festival will present a program of artistically accomplished, thematically challenging and stimulating films about migration to students, migrants, Santander residents, and anyone who wishes to join us for this weekend-long event. We hope these films will incite reflection and discussion about migration, but also about the power of film to capture mobility in a modern age.Cine Migratorio encourages and invites media makers to submit films that speak to the topic of migration from any thematic angle, method of approach, or political perspective. Experimental films are as welcome as documentaries; we accept all film genres and running times. While some programs in Cine Migratorio will focus on migration in Spain, we invite filmmakers of all backgrounds to submit their films; migration knows no global bounds and neither will this festival.NOTE: If movies are not in Spanish or include Spanish subtitles, please plan to have Spanish subtitles created if your film is accepted for inclusion in the Festival.Our partner festivals are Play-Doc in Spain, Terra di Tutti Film Festival in Italy, Karama Human Rights Film Festival in Jordan, ViBGYOR International Film Festival in India and Save the Immigrant Film Festival in the United States.Please find the Entry Form and Information & Guidelines attached below, as well as on on the Submissions page of our website: http://www.cinemigratorio.org/submissions/ The call for entries closes on March 1, 2013. Contact courtney@cinemigratorio.org for English-language inquiries, or libby@cinemigratorio.org for Spanish-language inquiries. by Courtney Sheehan Thursday, January 3, 2013
	International Film Schools Festival, Poitiers, France	0	N. J. Dye	Good morning, Like every year, the Rencontres Henri Langlois invite the representatives of cinema training organizations in Poitiers. This is the opportunity to come to the screenings and find out about the selection of student films, but also to meet, discuss and exchange about common problematics. We would like to draw your attention to the round tables which will be held during the Festival:Thursday December the 6th/ 10am-1pmSchool's meetingCome to meet the schools invited for our Focus: NATFA (Bulgaria), ADU (Croatia), UNATC (Romania), FDU (Serbia). The opportunity to confront working methods, to carry out interactions, to promote partnerships and cooperations.Friday December the 7th / 10am-1pmTeaching music for filmWhich place for the composing of film music in the cinema schools?Thank you to send back your booking form before November 20th.You can find the information on our website and don't hesitate to ask me for more details.Yours sincerely, Camille SANZ – Relations with film schoolsRencontres Henri LangloisInternational film schools Festival- 30 nov-9 décTAP – scène nationale/ 1 boulevard de Verdun – 86000 POITIERS – FRANCE T. +33 (0)5 49 03 18 92 / F. +33 (0)5 49 03 18 99 by N. J. Dye Wednesday, October 17, 2012
	Turin Educational Consortium (TEC)	0	Debbie R. Rush	The Turin Educational Consortium (TEC) http://turineducationalconsortium.blogspot.com/ offers long and short academic travelling opportunities in Turin (Italy) with seminars, guest speakers and of visits to local companies and studios. From food to fashion, walking through the history of the Italian nation, it's an opportunity you and your students can't miss! Given the Turin's rich cultural environment, students of all academic careers will enjoy coming here! Have you ever heard of the Turin Film Festival http://www.torinofilmfest.org/? it would make of your class abroad a unique experience! For further information please, e-mail me at lucyha19@gmail.com A presto! Lucia Dott.ssa Lucia Hannau TEC Executive Management Team Turin, Italy by Debbie R. Rush Thursday, September 27, 2012
	Pragda, Spanish Film Club Grants	0	N. J. Dye	Dear Sirs, I thought that Society of Cinema and Media Studies’ members and subscribers may be interested in the following opportunity: A new initiative by Pragda, Spanish Film Club offers grants to help universities bring the very best in contemporary Spanish and Latin American cinema to campuses hoping to introduce students to the language and cultures of these territories. The inventive model allows universities to select a minimum of five films from a catalogue of 20 new titles to create a film festival on campus. Representing 10 countries, the films have been carefully selected by a team of experts and are backed by the most important festivals and film critics. This system also allows the organization of Q&As with the filmmakers online, as well as a wall to post comments and idea exchanges between professors, creators and students around the country. The grant deadline is March 15, 2012. Apply Now! Learn more at www.spanishfilmclub.com. We would appreciate if you could post it on your newsletter/website or help us spread the word in any way you see fit. Thanks!! Daniela Bajar -- Daniela Bajar Pragda 302 Bedford Avenue, #136 Brooklyn, NY 11249 Email: filmclub@pragda.com Spanish Film Club: http://www.pragda.com/spanishfilmclub Pragda: http://www.pragda.com/ by N. J. Dye Tuesday, February 14, 2012
	Call for Hosts (MEA)	0	Sheila J. Nayar	CALL FOR HOSTS MEDIA ECOLOGY ASSOCIATION (MEA) ANNUAL CONVENTION http://www.media-ecology.org Revised 9/12/2011 http://www.media-ecology.org Revised 9/12/2011 Preliminary Deadline: DECEMBER 15, 2011 Invitation to Apply Invitation to Apply The Media Ecology Association (MEA) invites applications from institutional sites around the world willing to host the Association's annual convention. Currently, the MEA is seeking sites to host the Annual Convention for 2013 and beyond. The convention, during which approximately 150–200 members gather, is held each June. Typically, the convention runs three full days, from Thursday through Sunday morning. The choice of weekend is generally left to the discretion of the host. (See the list of past convention sites below.) All proposals will be evaluated by the MEA Board of Directors. Board members are also available via email to answer questions. All proposals should be submitted via email to Sheila J. Nayar, at snayar@greensboro.edu. Deadlines for Applying First preference for 2013 sites will be given to proposals received by December 15, 2011. However, all applications will be considered until a suitable site is found. Applicants interested in hosting for 2013 and beyond are encouraged to attend the 2012 MEA Convention (Manhattan College, Riverdale, NY, June 7–10), during which there will be ample opportunity to meet with members of the MEA Board of Directors. Guidelines for Applying We offer some guidelines for applying below. (We also urge applicants to read the MEA Convention Planning Manual before writing up their proposal. The manual is available through the MEA website.) There is no length requirement, but please make proposals as comprehensive as possible. If additional information or clarification is needed, the MEA Board of Directors may contact you directly. Site Specifics 1. Do you have a specific year in mind for hosting the convention? What dates in June do you propose? Describe the specific site – i.e., city, educational institution, various buildings in which the convention would be held. 2. What is your site's capacity? What rooms are available (e.g., classrooms for breakout sessions, meeting halls, exhibition space, banquet space) and what are their capacities? What technological support is available (e.g., Internet, projectors)? 3. What is your location's accessibility? Is it convenient for those traveling from points around the country and world? 4. Though it is not a requirement for hosting, can on-campus housing (e.g., dorm rooms, university-affiliated residences) be provided? If so, for how many and at what cost? Are nearby hotels available for members who wish to remain off campus? If so, can those hotels offer discounts to members? Can special deals with hotels be arranged? 5. Though it is not a requirement for hosting, can on-campus dining be provided? Can you provide complimentary beverages during the course of the day (e.g., coffee, water)? Can you provide complimentary breakfast? What are the potentials for your hosting/sponsoring receptions, lunches, and dinners? CALL FOR HOSTS MEDIA ECOLOGY ASSOCIATION (MEA) ANNUAL CONVENTION http://www.media-ecology.org Revised 9/12/2011 http://www.media-ecology.org Revised 9/12/2011 6. Though it is not a requirement for hosting, are there special tours that can be offered and/or attractions that attendees might like to visit? Are there locations at which dinners/receptions might be held? What social events do you envision? Support, Funding, and Affordability 1. What kind and what level of financial support will your site provide? Are there commitments for funds for the conference? If so, are these commitments firm? 2. Are there opportunities for partnerships and sponsorships that your site can uniquely provide? 3. If possible, please provide a simple business plan that lays out estimated incoming and outgoing monies. Hosting Specifics 1. Do you have someone in mind, either from the hosting location or from another location, who can serve as Convention Coordinator? (A convention committee composed of select MEA officers will communicate regularly with the coordinator.) 2. Are there any exceptions to the MEA Convention Planning Manual's guidelines that need to be taken into account in order for you to be able to host the convention in the way you would like? 3. Do you envision a particular theme for the convention? (A theme is optional, but if you wish to have one, your theme must be approved by the MEA.) Do you have any plenary speakers or particular sessions in mind? (Please note that some plenary events are determined by the Board, and all others are determined in consultation with the Board.) 4. Are there any special ways that your institution furthers the interdisciplinary and/or international nature of the Media Ecology Association? If you have not organized a conference before, think carefully about your organizational network and distribution of labor, as well as about contingency plans in the case of changes in people or funding arrangements. Past and Forthcoming MEA Convention Sites 1st Annual Convention, Fordham University, New York, New York, USA, June 16–17, 2000 2nd Annual Convention, New York University, New York, New York, USA, June 15–16, 2001 3rd Annual Convention, Marymount Manhattan College, New York, New York, USA, June 21–23, 2002 4th Annual Convention, Hofstra University, Hempstead, New York, USA, June 5–8, 2003 5th Annual Convention, Rochester Institute of Technology, Rochester, New York, USA, June 10–13, 2004 6th Annual Convention, Fordham University, New York, New York, USA, June 22–26, 2005 7th Annual Convention, Boston College, Boston, Massachusetts, USA, June 8–11, 2006 8th Annual Convention, Tecnológico de Monterrey, Estado de México, México, June 6–10, 2007 9th Annual Convention, Santa Clara University, Santa Clara, California, USA, June 19–22, 2008 10th Annual Convention, Saint Louis University, St. Louis, Missouri, USA, June 18–21, 2009 11th Annual Convention, University of Maine, Orono, Maine, USA, June 10–13, 2010 12th Annual Convention, University of Alberta, Edmonton, Canada, June 23–26, 2011 13th Annual Convention, Manhattan College, Riverdale, New York, USA, June 7–10, 2012 by Sheila J. Nayar Thursday, October 6, 2011
	Call for Entries - Alchemy Film and Moving Image Festival	0	K. Ravetto-Biagioli	Now accepting submissions of films, moving image works, residency and installation proposals for the 2011 Festival, to be held 21-23 October 2011 in Hawick, Scottish Borders.This year's Alchemy Film and Moving Image Festival will be exploring landscape and the four elements: earth, air, fire and water, whether interpreted literally, metaphorically or catastrophically. A small number of short term funded residencies for artist filmmakers are also available.Details, submission guidelines and online entry can be found at:http://www.alchemyfilmfestival.org.uk/ Click on "Submissions 2011"Deadline 10th June 2011.Background to the Festival:Alchemy Film and Moving Image Festival 2011 brings a magical mix of screenings, special events and talks inspired by the theme of landscape and the four elements. Held in the Scottish Borders town of Hawick in October, 2011 will be our second year. Our first year was a great success, attracting capacity audiences for many of the screenings, with a number of significant international artists both screened and in attendance. The festival offers an ambitious and varied programme with feature films, youth and community screenings, and educational workshops. The moving image arts strand of the programme is artist-focussed, curated by Borders based artist Richard Ashrowan. This year we are lucky to offer some limited moving image artist residencies in the area, supported by the Creative Arts Business Network (CABN), while we also hope to expand the number of small scale artist installations in disused buildings within the town, to complement the main auditorium screenings.The festival itself is a partnership venture between Borders Arts Trust, Heart of Hawick and CABN (Creative Arts Business Network).Film Submissions:Priority will be given to films made in the last three years, though older films will be considered if there is a close thematic link. Short films of under 15 minutes duration will stand a much greater chance of selection. We are willing to consider feature length films only if they fit closely with our festival theme. In general, please do not submit your work if it does not fit with our theme this year - landscape and fire, earth, air and water. These elements can be interpreted individually, collectively, literally, metaphorically or psychologically, but a connection within the work should exist.Residencies and Installations:This year we have a small number of two week residencies on offer for moving image artists wishing to create site specific work for this year’s festival. We anticipate the residencies will happen in July and August at two rural locations in the Borders. We are interested to receive applications from moving image artists (at any stage in their career) with strong ideas for the creation of new work in some way related to the theme of this year’s festival. We are currently investigating a number of alternative disused spaces in the local town which may be suitable for showing moving image installation based work, in additional to single channel films. Each residency includes free accommodation for two weeks, plus an artists fee of £300. We regret we are unable to pay travel or any other expenses.Further information on the website submission pages.http://www.alchemyfilmfestival.org.uk/ by K. Ravetto-Biagioli Tuesday, April 19, 2011
	Oscars inquiry from Inside Higher Ed	0	Debbie R. Rush	Hi folks, Here at Inside Higher Ed we're putting together an item in advance of Sunday's Academy Awards, where we're soliciting commentary on 2010 films from scholars who study cinema. Here are the three questions we're interested in: 1. Which of the films nominated for Best Picture should win? (Alternatively: Which film is likely to win but emphatically should not?) 2. What was the best film made last year that nobody has heard of? 3. What film is most likely to end up on an academic syllabus? If you have answers, I want to hear them! Please e-mail responses to me at steve.kolowich@insidehighered.com. Contrarian and/or feisty replies are encouraged, though not required. Mostly our hope is to bring in voices to talk about the triumphs and shortcomings of this year's crop of films from a scholarly perch. That said, brevity is a virtue. Responses that do not exceed 200 words -- and which arrive at the point promptly and forcefully -- are most likely to be quoted. THE DROP-DEADLINE IS THE END OF THE WORK DAY ON WEDNESDAY. I look forward to your comments! Best, -- Steve Kolowich Inside Higher Ed O: (202) 659-9208 ext. 122 C: (978) 509-6322 www.twitter.com/IHEtech by Debbie R. Rush Tuesday, February 22, 2011

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