From: The Flaherty <firstname.lastname@example.org>
Date: Tue, Aug 27, 2013 at 3:08 PM
Subject: Call for Flaherty NYC Programmer
Posted by Dan Streible at 3:12 PM
August 26, 2013
As the new semester is about to begin, I write with sad news. After a long illness, the legendary Red Burns, died peacefully in her home Friday afternoon, surrounded by family.
Red, (nee, Goldie Gennis), and dubbed "The Mother of Silicon Alley," was one of the co-founders in 1971 with the late George Stoney, of the Alternate Media Center at NYU In 1979, she created what would become the world-renowned, Interactive Telecommunications Program or ITP. Under her leadership, ITP faculty, students and alumni have been the driving force behind the digital revolution that has swept downtown Manhattan for the past thirty years.
To say that ITP has changed our lives is in an understatement. Red created a DNA for ITP, that made the department synonymous with innovation and change. She balanced a blend of bedrock guiding principles with an adaptive, resilient spontaneity that encouraged whimsy, play and the fortuitous encounter.
As a result, ITP has graduated alums who developed everything from Foursquare to the New York City MetroCard Kiosk and subway car seats to an app currently in use in the Sudan and Uganda to find lost children.
ITP was Red's idea of a twenty first century Bauhaus, a place where the engineer encounters the poet, the dancer discovers the computer programmer or the architect partners with the painter. She believed that in inviting the most exciting students from a mix of disciplines, the department could form the core of a vibrant creative community in which the unexpected can happen. She believed that technology was a tool in the service of ideas and people and because people and ideas drove technology forward, the environment had to be as social as it was rigorous.
Red led a stellar faculty from multiple disciplines, forged creative partnerships with institutions and organizations that offered challenging problems, and created post-graduate research opportunities for ITP's most exciting alumni. Over the years, under Red's leadership, ITP faculty developed and honed ITP's key components: a few essential foundational courses; an unsentimental faculty review of the curriculum at the end of every academic year; the willingness to disassemble the physical space to accommodate new ideas, new proximities, new pedagogical approaches and the pursuit of their own groundbreaking research.
In 2002, Red received the prestigious Chrysler Design Award—one of literally dozens and dozens of awards and encomiums she received in her lifetime. (the ITP web-site has posted the complete list). The Chrysler Award, at the time, was the interactive world's Pulitzer Prize. I remember that the year she won was also the year that Steve Jobs won. The Award recognized Red's brilliance and forward looking design that included the selection of faculty and students, the curriculum, the creative partnerships, the research fellows and the game changing projects and people that kept pouring out of the department. That was 2002; over ten years later, ITP, that also boasts one of the school's most successful business models, has only gotten better.
ITP kept getting better and better because of Red's unrelenting drive to move the department forward. She gave herself about five minutes to enjoy whatever Award she was receiving and got back to her no nonsense style of perfecting and honing the good into the best.
Red had an ethical core that anchored her to her values and nothing could derail her from her principles and beliefs. She could be as generous and kind as she was demanding. And, as everyone who knows her will say, even as she told the truth directly, fearlessly, and succinctly--as she was wont to do--she did so with wisdom and insight.
Red's family have been stalwarts and part of an extensive network of support that Red enjoyed outside of Tisch. To Cathy, Barbara, Michael, her children, three grandchildren, Daisy, Sally and Olive, I extend my deepest condolences and thank you for everything you have contributed to Red's work at the school and the university.
In what was to be her last week, I sent through Red's daughter, Cathy, a note that described to Red yet another great article in the NY Times about ITP. The note read in part: "Your handprints are all over everything in ITP and at Tisch and NYU. We all walk taller and more determined and bend and sway at the right points because of what you've taught us. I know you are under the weather, but I am sending this message to say we miss you. But we feel you living all around us."
I know that we will all want to celebrate our remarkable colleague and her extraordinary legacy. The school and department, working with the family, will organize a memorial service in the coming weeks. In her honor, ITP has established the Red Burns scholarship fund, at http://itp.nyu.edu/redburnsfund/ .
Posted by Dan Streible at 12:12 PM
Posted by Dan Streible at 1:33 PM
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September 26 – 28 2013 ORPHANS MIDWEST Orphans Midwest: Materiality and the Moving Image is presented by IU Libraries Film Archive, Indiana University Cinema and NYU Cinema Studies/Tisch School of the Arts. The symposium hosts an impressive gathering of scholars, archivists, and media artists, screening dozens of cinema rarities and rediscoveries, as well as new productions, music performances, and curated presentations. For more information on previous Orphan Film Symposia at NYU, visit here. The project is supported by Indiana University's College of Arts and Humanities Institute and New Frontiers in the Arts & Humanities Program. For registration, visit here. Please contact us with your questions, or call 812-855-7632. Visit here for the the full Orphans Midwest Schedule. Conference special events are listed below. Admission is free to conference attendees and remaining tickets will be sold to the public.
ORPHANS MIDWEST Schedule of Events Materiality and the Moving Image Thursday, September 26– Saturday, September 28 The full schedule for Orphans Midwest: Materiality and the Moving Image is now online. Read more »
Films For Cello:
Bill Morrison and Maya Beiser
WORLD PREMIERE - Bill Morrison's All Vows Thursday, September 26 at 8:30 p.m. Orphans Midwest is proud to present an evening of films and music with Bill Morrison and Opus 3 artist, Maya Beiser. The program features… Read more »
Posted by Dan Streible at 3:24 PM
From: Karan Sheldon <email@example.com>
Date: June 7, 2013, 3:58:04 PM EDT
Subject: July 25-27 SYMPOSIUM TRAVEL & MOBILITY Schedule
We hope you can come to Northeast Historic Film this July 25-27.Please circulate widely!Warmly,karan
Posted by Dan Streible at 4:08 PM
Dear May, Dan, and Randy,
I wanted to thank you all for the opportunity to participate in last weekend's "The Real Indies"/Orphan Films event. This was a tremendous event that combined curatorial integrity and entertainment in an inspired manner, and confirmed (if anybody still needed confirmation) that the Academy works hard to support film preservation, film studies, and film exhibition in every sector of cinema. I believe the future of film studies, as well as interdisciplinary scholarship involving film and media, is deeply entwined with the broad spectrum of orphaned films, which also have great public appeal. I very much hope that you'll be in a position to host future events of this kind.
May, I wanted to especially thank you for your on-the-ground management of this complex weekend. From my perspective as a presenter, it was one of the best-organized conferences and screening events I've ever attended. Thank you for all of your kindnesses and assistance.
Rick Prelinger / @footage
Prelinger Archives, San Francisco http://www.prelinger.com
Prelinger Library (http://www.prelingerlibrary.org), a member of the Intersection Incubator, a program of Intersection for the Arts providing fiscal sponsorship, incubation and consulting to artists (http://www.theintersection.org). Supported in part by a grant from Alternative Exposure.
Posted by Dan Streible at 5:13 PM
This summer, Indiewire is again partnering with the Locarno Film Festival, the Swiss Association of Film Journalists and the Film Society of Lincoln Center to organize a workshop for promising critics from around the world.
Indiewire, Locarno and the Film Society will select eight college-age participants to attend the two-week festival in early August, where they'll write about the program in a deadline-driven environment. With the support of Gohner Stiftung, the festival will provide housing from August 6 through August 18. Indiewire may assist with a share of the travel expenses depending on the country of origin of the participant.
Applicants must have a demonstrated interest in film criticism as well as the ability to speak and write fluently in English.
Interested? Here's what applications must include:
* CV: A basic one-page resume
* Contact information for two recommendations (professors, employers, etc.)
* Four writing samples about film. These can take the form of film reviews, scholarly papers, blog posts, college newspaper clips, or any other written work that you think demonstrates your writing skills.
* A 500-word statement of intent. Tell us about your background and why you would make an ideal candidate for the Critics Academy. Also note any particular interests you have as a critic (genres, national cinemas, etc.). Passion, strong writing skills and a deep knowledge of film history matter more than overall experience, so this is your chance to really make a case for yourself.
Please send applications in the body of an email by June 1, 2013 to SUMMERACADEMY@PARDO.CH. You must also fill out the form on the right hand side of the page at the following link and send it along with your application as an attachment: http://www.pardo.ch/en/Education/Summer-Academy/Critics-Academy
Questions? Please direct them to firstname.lastname@example.org.
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Posted by Dan Streible at 9:31 AM
On May 10 & 11, the Academy of Motion Picture Arts and Sciences and the NYU Orphan Film Symposium will present, "The Real Indies: A Close Look at Orphan Films," at the Linwood Dunn Theater in Hollywood.
UCLA Film & Television Archive hosted the 2011 iteration of this always fascinating event and several Archive staff members will participate on Saturday, May 11:
As Quigley says, "With the Orphan Film Project, Dan Streible has created a dynamic forum where culturally and historically significant moving images from outside of the Hollywood production mainstream are warmly embraced for rediscovery. Because of this forum, the value of countless otherwise forgotten films, from student works to industrials, has been recognized––and that's led to new audiences, new academic work, and in many cases, new film restoration projects."
Also of note, May 10 will see a new print of filmmaker Shirley Clarke's Portrait of Jason (1967), recently restored by the Academy Film Archive and Milestone Films. Clarke was a former UCLA professor and UCLA Film & Television Archive has restored several of her works, including Ornette: Made in America (1985), The Connection (1961) and Robert Frost: A Lover's Quarrel with the World (1963).
There is vast body of film outside of the Hollywood mainstream waiting to be rediscovered, and this event provides a compelling and entertaining introduction. Quigley continues, "We can learn a lot about ourselves from looking beyond Hollywood representations, and for this reason, the ongoing discovery, presentation and preservation of "orphan" works is increasingly recognized as a crucial activity for the film archive community."
For more information on the event and how to get tickets, please visit the Academy of Motion Picture Arts and Sciences.
Posted by Dan Streible at 9:31 AM
Posted by Dan Streible at 10:41 AM
SCMS Continues to Defend Educational Fair Use
Film and Media scholars rely on copyrighted material for teaching and research, and SCMS has a long history of defending fair use in the U.S. The Society has recently participated as a friend of the court (amicus curiae) on behalf of our members in a fair use appeal.
In the 1980s, John Belton represented the Society before the Copyright Office of the United States when it considered expanding the authorial rights of film directors. In 1993, a committee led by Kristen Thompson drafted a report that made the case that fair use permitted reproductions of films stills in academic work. That document was adopted as policy by many university presses, and permitted decades of well-documented books and articles by media scholars. A decade and a half later, SCMS's public policy committee wrote a new statement, identifying fair use best practices in film and media teaching and publication. In 2006, Society member Peter Decherney successfully argued for an exemption to the Digital Millennium Copyright Act, making it legal for media professors to make clips from DVDs for teaching. SCMS submitted a letter of support, and in 2009 and 2012 the Society joined Peter and others to expand the exemption to encompass students, educators in all fields, and documentary and noncommercial filmmakers.
This April 2013, SCMS joined another effort to protect educational fair use and signed onto an amicus brief in the 11th Circuit Court of appeals. Academic publishers Cambridge, Oxford, and Sage all sued Georgia State University over its e-reserve practices, i.e. making teaching materials available though courseware. The university won a big victory in the first round of the case. The district court found that 70 of 75 examples under question were clearly not infringing. The material was used for education and the amounts assigned were small. It was a triumph, but the decision was also overly narrow. Represented by the USC Intellectual Property and Technology Law Clinic, SCMS joined the American Association of University Professors, the Modernist Studies Association, and University of Pennsylvania professors Peter Decherney and Tsitsi Jaji to argue that course reserves can also be "transformative." As many courts, including the Supreme Court, have held, even the use of entire works can be protected by fair use when the purpose of the use is different than the originally intended purpose. When works made by the entertainment industry, for example, are used for teaching, comment, and criticism, they are likely to be fair uses. Briefs by academic authors and library associations made very similar points.
This is a case that affects everyone teaching film and media. Arguments are expected to take place in late May, and a decision will follow. We will update you as soon as we learn of any decision. In the meantime, because we know how vital such issues are to our members, we want to keep you informed of our work on your behalf.
Posted by Dan Streible at 3:13 PM
I meant to post on the blog last month about Austin's ongoing series/final project Black Mariah films but got sidetracked and never did. The most recent program was this past Sunday, so I wanted to put in a plug and encourage people to check them out. Unlike last months' screening—the mesmerizing Spirit of the Beehive, paired with a short called Bees and Spiders from the Museum of Natural History…which suited the dreary rainy night perfectly—Sunday's program consisted of curated short films, organized around the theme of drugged state/altered consciousness. In a diverse lineup that began with Buster Keaton field and stream antics (The Balloonatic) and ended with a surreal advertisement for a tranquilizer entitled The Relaxed Wife, there were many different iterations on the affects of drugs on the body (which is always a fun ride). Along with the classic Nicotine Princess from 1909, there was a truly bizarre Betty Boop short in which the animated Betty draws laughing gas that then spreads to the "real world," and my favorite film on the program, The Mystery of the Leaping Fish. This latter film, starring Douglas Fairbanks and co-written by Todd Browning and D.W. Griffith, followed the misadventures of a drug-addicted detective "Coke Ennyday," who took down his Chinatown foes (there is a white slavery plot, naturally) by blowing Cocaine into their faces. I never knew this film existed, but its incredible use of Fairbanks' kinetic energy and outrageous costume design made it unforgettable. The diversity of these films made for a compelling program, and a very different experience than last month's screening. The beautiful Clemente Soto Vélez Cultural & Educational Center in the L.E.S.—where they host the screenings—is inauspicious and intimate; the creak of the screening room chairs and sight of the single projector add to the low-key cineclub ambiance that gives the series its interesting quality. I recommend everyone check out https://www.facebook.com/BlackMariahFilm
to see what Austin and his colleagues are up to—the screenings (I've been to the 8 o'clock ones) varied in traffic, but both times were (different, but) interesting and laidback experiences. They also have free wine and PBR, which no one in the audience takes enough advantage of. I've attached the program notes from Sunday's screening so you can get a sense what they do (sorry for the poor quality, my scanner hates me)
Posted by Dan Streible at 3:39 PM
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Posted by Dan Streible at 12:27 PM