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context. Orphan Film
Symposium I was entitled âOrphans of the Storm: Saving Orphan Films in the Digital Ageâ and was held in September 1999. Orphan Film Symposium II, âDocumenting the 20th Century,â was held in March 2001; Orphan Film Symposium III, âSound/Music/Voice: Listening to Orphan Films,â in September 2002; and Orphan Film Symposium IV, âOn Location: Place and Region in Forgotten Films,â in March 2004. These four symposia have functioned to generate new research and curatorial activities and have lent increased visibility to the orphan film cause. They have also provided a significant academic and curatorial context for amateur film research. The Orphan Film symposia, together with an important presence for orphan, amateur, and small-gauge films within the Association of Moving Image Archivists throughout the 1990s and afterward, suggest the coalescing of various international and regional movements to look more closely at these subaltern cinemas.
67:, orphan films are those âthat lack either clear copyright holders or commercial potentialâ to pay for their preservation. However, a much wider group of works fall under the orphan rubric when the term is expanded to refer to all manner of films that have been neglected. The neglect might be physical (a deteriorated film print), commercial (an unreleased movie), cultural (censored footage), historical (a forgotten World War I-era production) or technical (footage from television commercials and series or music videos).
248:, Federation Internationale Des Associations De Producteurs De Films, and the International Federation Of Film Distributors. In 2010, the Association of European Film Archives and Cinematheques carried out a survey among its members to assess the dimension of orphan films. According to this survey, more than 210,000 films preserved in Europe's Film Archives are considered orphan. In October 2012, the EU adopted the Orphan Works
74:(1994), the Librarian of Congress enumerated newsreels, actuality footage, silent films, experimental works, home movies, independent fiction and documentary films, political commercials, amateur footage, along with advertising, educational and industrial films as culturally significant orphans. To this the National Film Preservation Foundation adds animation, ethnic films, anthropological footage, and fragments. (See
212:
working quite separately in different nations have used the orphan metaphor for a decade. At the
Cinemateca de Cuba, for example, the term "huérfanos" has been used to conceptualize the lost and abandoned works of Cuban film history, its "orfandad." The Nederlands Filmmuseum preserves and programs its "Bits & Pieces" series of unidentified film fragments, its "foundlings." The
162:
157:
In 2001, members of these academic-archival professions began referring to an âorphan film movement.â As archivist-scholar
Caroline Frick has written, some of the most active participants identify themselves as âorphanistas,â passionate advocates for saving, studying, and screening neglected cinema.
256:
is addressing copyright, access, and preservation issues via FORWARD, a three-year project (2013-2016) to create a registry of orphan films. Officially termed "Framework for a EU-wide
Audiovisual Orphan Works Registry," the project aims to create simplified process for determining the rights status
211:
Although U.S. copyright stakeholders confine their discussion to the narrower definition of an orphan (a work with no identifiable rightsholder or whose rights holder cannot be located), the broader conceptionâan orphan film as a neglected objectâcontinues to be used internationally. Film archivists
219:
Another indication of the international interest in orphan films was filmmaker Martin
Scorsese's announcement of a World Cinema Foundation (WCF) at the 2007 Cannes Film Festival. Press reports stated that the WCF would preserve "orphan" films. By 2008, however, the WCF's mission statement referred
109:
The resurgent interest in these films is due to their value as cultural and historical artifacts. Documentarians, filmmakers, historians, curators, collectors and scholars have joined forces with archivists because they deem orphans not only historical documents, but also evidence of alternative,
46:
The exact origin of the term orphan film is unclear. By the 1990s, however, film archivists were commonly using this colloquialism to refer to motion pictures abandoned by their owners. Before the end of the decade, the phrase emerged as the governing metaphor for film preservation, first in the
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which stated "FIAF supports efforts to clarify the legal status of 'orphan' motion pictures and related promotional and historical materials for the purpose of preservation and public access." Shortly thereafter, on June 4, 2008, the
European Union announced the signing of a new "Memorandum of
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In 1999, film historian Dan
Streible and several other interdisciplinary faculty members at the University of South Carolina initiated a symposium on orphan films that drew together archivists, film historians, artists, curators, and other to discuss and screen works within a rigorous scholarly
323:
Gregory Lukow, "The
Politics of Orphanage: The Rise and Impact of the 'Orphan Film' Metaphor on Contemporary Preservation Practice", paper delivered at the University of South Carolina symposium, "Orphans of the Storm: Saving Orphan Films in the Digital Age", September 23, 1999.
332:
magazine referred to 16mm industrial sales movies as orphan films. Restoration expert Robert Gitt was quoted using the metaphor as early as 1992, to refer to silent-era films, newsreels, and kinescopes. Robert
Epstein, âMining Hollywood's Old Movie Gold,â
142:. Orphans 6, 7, and 8 took place in New York City. The 2008 symposium focused on neglected films and videos by, about, against, and under "the state." The 2010 edition, "Moving Pictures Around the World," included speakers from 17 nations. In 2012,
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Understanding" on orphan works. The EU's
Digital Libraries Initiative produced the statement. Signatories included key institutions in moving image archiving and representatives of rightsholders: Association Des Cinematheques Europeennes -
554:. "What Is an Orphan Film? Definition, Rationale, Controversy." Paper delivered at the symposium "Orphans of the Storm: Saving Orphan Films in the Digital Age", University of South Carolina, September 23, 1999. Transcript at
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85:(2004), for example, Timothy Corrigan and Patricia White include a section on orphan films, defining them simply as "Any sort of films that have survived but have no commercial interests to pay the costs of their preservation."
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More pragmatically, in the United States the group's rising influence affected discourse and policies about copyright reform, joining the broader media reform movement. Examples of this include the 2003 Supreme Court case
88:
Defined in this way, more films are orphans than not. Many are more accurately described as âfootage,â recordings shot on celluloid but not intended to be completed works or theatrical releases. The millions of feet of
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passed a bill (S.2913) "to provide a limitation on judicial remedies in copyright infringement cases involving orphan works," but the House of Representatives adjourned before addressing the measure.
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only to "neglected" films rather than orphans, as the foundation helps fund preservation of lesser known theatrical motion pictures, which remain under the legal ownership of some party.
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1140:, Internet Archive. Created May 3, 2010; last updated July 4, 2022. Audiovisual documentation generated at the Orphan Film Symposium and miscellaneous short orphan films and videos.
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hosted Orphans 9 ("The Future of Obsolescence," 2014) in Amsterdam, attracting attendees from 30 nations. Orphans 10 ("Sound," 2016) convened at the Library of Congress
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Van Gompel, Stef; Hugenholtz, P. Bernt (2010). "The Orphan Works Problem: The Copyright Conundrum of Digitizing Large-Scale Audiovisual Archives, and How to Solve It".
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which legally allows the (online) use of orphan works across Europe, provided that a search for the rights holder has been carried before. Currently, the
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Redefining Film Preservation: A National Plan; Recommendations of the Librarian Of Congress in Consultation with the National Film Preservation Board
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took up the project, incorporating it into the Department of Cinema Studies and its Moving Image Archiving and Preservation master's program at the
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in Queens co-hosted the eighth symposium, "Made to Persuade". The ninth and tenth symposiums took place at major institutions outside of New York.
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de Klerk, Nico. "Entwurf eines Heims. 'Orphan Films' im Werk Gustav Deutsch / Designing a Home: Orphan Films in the Work of Gustav Deutsch." In
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In 2004, visual anthropologist Emily Cohen wrote that the movement's creative and intellectual ferment constituted an âOrphanista Manifesto.â
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Devin Orgeron (2008). "Conference Report: Orphans Take Manhattan: The 6th Biannual Orphan Film Symposium, March 26â29, 2008, New York City".
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183:(NYU professor of cinema studies) answer the questions "What is an orphan film?" and "What is the Orphan Film Symposium?" (Recorded at the
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After the fifth Orphan Film Symposium ("Science, Industry & Education") took place at the University of South Carolina (March 2006),
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In 2013 the foundation proper was renamed the World Cinema Project, which is overseen by The Film Foundation Scorsese created in 1990.
519:, submission to the Copyright Office, from the Center for the Study of the Public Domain, Duke University Law School, March 2005.
433:(Oxford University Press, forthcoming); Emily Cohen, âThe Orphanista Manifesto: Orphan Films and the Politics of Reproduction,â
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380:(Boston: Bedford/St. Martin's, 2004), 391â98. They add to the list of orphaned genres government-produced films, citing
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Film Preservation 1993: A Study of the Current State of American Film Preservation: Report of the Librarian Of Congress
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Horak, Jan-Christopher (2005). "The Strange Case of the Fall of Jerusalem : Orphans and Film Identification".
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Schwartz, Eric J.; Williams, Matt. (2007). "Access to Orphan Works: Copyright Law, Preservation, and Politics".
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Dylan Cave (2008). ""Born Digital"âRaised an Orphan?: Acquiring Digital Media through an Analog Paradigm".
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and at the University of South Carolina (Film and Media Studies Program, College of Arts & Sciences),
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769:. Gainesville: University Press of Florida, 2012. See chapter 3, subtitled "Orphans and the Culture Wars."
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Orphan Film Symposium websites at New York University (Cinema Studies Dept., Tisch School of the Arts),
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Ziebell Mann, Sarah. âA Meditation on the Orphan, via the University of South Carolina Symposium,â
934:, blog, May 30, 2007. Republished as "Prelinger Manifesto: On the Virtues of Preexisting Material,"
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Historians and archivists define the term in both a narrow and a broad sense. A report from the
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Cohen, Emily (2004). "The Orphanista Manifesto: Orphan Films and the Politics of Reproduction".
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Frick, Caroline. 'Saving Cinema: The Politics of Preservation' (Oxford University Press, 2010).
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Streible, Dan. âSaving, Studying, and Screening: A History of the Orphan Film Symposium.â In
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Longo, Regina. (2007). "Fifth Orphan Film Symposium: Science, Industry, and Education".
1030:. Edited by Alex Marlow-Mann (St. Andrews, UK: St. Andrews Film Studies, 2013), 163â76.
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Frick, Caroline (2008). "Beyond Hollywood: Enhancing Heritage with the 'Orphan' Film".
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The Public Domain: How to Find & Use Copyright-free Writing, Music, Art, & More
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Wilson, Rachel. "Moving Pictures Around the World: The 7th Orphan Film Symposium,"
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This broader conception is typically illustrated by a list of orphaned genres. In
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Ruffino, Paul. âOrphan Films: Neglecting Festival Jewels - The Forgotten Films,â
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holder. The term can also sometimes refer to any film that has suffered neglect.
1134:. These sites include audio and video recordings of talks given at the symposia.
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Streible, Dan. (2007). "The Role of Orphan Films in the 21st Century Archive".
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as part of the Prelinger Collection of âephemeral films.â Collector-activist
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Libby, Jenn. "Foundling Films: Orphans 5: Science, Industry and Education",
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Orphaned Entertainment Podcast - Reviews public domain and orphaned films -
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Tynes, Teri. "*Gustav Deutsch and the Art of Found Footage.â Originally for
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is one of the people most responsible for raising awareness of orphan films.
35:
775:"Gathering in the orphans: Essay films and archives in the information age"
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Coffey, Liz (2003). "Orphans of the Storm III: Listening to Orphan Films".
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699:"Adventures in Preservation: A Report from the 7th Orphan Film Symposium,"
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477:"ACE Orphan Works Survey | Association des CinémathÚques Européennes"
349:, by Annette Melville and Scott Simmon, Washington, DC: NFPB/LOC, 1993.
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Restoration Nation: Motion Picture Archives and 'American' Film Heritage
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505:"Three Questions for Cullen Gallagher About the Orphan Film Symposium,"
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Within a decade the epithet was adopted by scholars and educators. In
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878:âOrphans No More: Ephemeral Films and American Culture,â issue of the
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The Past Is a Moving Picture: Preserving the Twentieth Century on Film
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Dan Streible, "The Role of Orphan Films in the 21st Century Archive,"
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Since 1999, hundreds of these devotees have gathered for the biennial
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639:âOrphanistas! Academics and Amateurs Unite to Save the Orphan Film,â
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alone outnumber the quantity of film stock used to make all of the
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Vectors: Journal of Culture and Technology in a Dynamic Vernacular
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906:ââOrphan Filmsâ Course to Screen Eight Neglected Works at Guild,â
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927:. San Francisco: National Film Preservation Foundation, 2006.
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Orphan Works and Mass Digitization: Obstacles and Opportunities
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Film that has been abandoned by its creator or copyright holder
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by Dan Streible (University of California Press, 2008), xâxvi.
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http://www.sc.edu/filmsymposium/archive/orphans2001/lukow.html
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37 (Fall 2009), ed. Elizabeth Heffelfinger and Heide Solbrig.
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http://www.sc.edu/filmsymposium/archive/orphans2001/usai.html
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in Beijing uses a translatable orphan film metaphor as well.
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Mining the Home Movie: Excavations in Histories and Memories
930:
Prelinger, Rick. "On the Virtues of Preexisting Material,"
563:"Are All (Analog) Films "Orphans"?: A Predigital Appraisal"
951:
Prelinger, Rick, with Raegan Kelly. âPanorama Ephemera,â
405:(Berkeley: University of California Press, 2008), 12â13.
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offered a first definition. As a category of so-called
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Association of European Film Archives and Cinematheques
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Federation Europeenne Des Realisateurs De L'audiovisuel
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Association of European Film Archives and Cinematheques
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Horak, Jan-Christopher. (2006). "Editor's Foreword".
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For films named "Orphan" or with similar titles, see
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Fight Pictures: A History of Boxing and Early Cinema
401:Karen L. Ishizuka and Patricia R. Zimmermann, eds.
384:(1952) This film is viewable as a digital file at
1036:"The State of Orphan Films: Editor's Introduction"
1028:Film Festival Yearbook 5: Archival Film Festivals
418:, PhD diss. University of Texas at Austin, 2005,
1132:http://www.sc.edu/filmsymposium/orphanfilm.html
1066:footage.html Access via the filmmakerâs website
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382:What You Should Know about Biological Warfare
110:suppressed, minority or forgotten histories.
72:Redefining Film Preservation: A National Plan
34:work that has been abandoned by its owner or
8:
1064:(Tribeca Film Institute blog), May 6, 2009.
431:Saving Cinema: The Politics of Preservation,
152:Packard Campus for Audio-Visual Conservation
847:"Discovering Union Films and Its Archives"
117:. In their introduction to the anthology
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668:International Journal of Heritage Studies
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229:International Federation of Film Archives
386:https://archive.org/details/WhatYouS1952
1130:, including "What is an orphan film?"
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125:assess the impact of these symposiums:
989:Streible, Dan (2013). "Orphan Films".
880:Journal of Popular Film and Television
286:Association of Moving Image Archivists
1161:https://www.orphanedentertainment.com
1144:National Film Preservation Foundation
378:The Film Experience: An Introduction
376:Timothy Corrigan and Patricia White,
291:The Texas Archive of the Moving Image
83:The Film Experience: An Introduction
47:United States, then internationally.
7:
662:, 3rd ed. Berkeley, CA: Nolo, 2006.
244:, European Film Companies Alliance,
233:"Declaration on Fair Use and Access"
101:ever released by Hollywood studios.
651:ed. Wilbirg Brainin-Donnenberg and
351:https://www.loc.gov/film/study.html
21:Orphan (disambiguation) § Film
925:The Field Guide to Sponsored Films
366:https://www.loc.gov/film/plan.html
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1138:Orphan Film Symposium Collection
964:, Feb. 2012 www.orphanfilms.org
918:Berkeley Technology Law Journal
655:(Vienna: SYNEMA, 2009): 113â22.
187:, March 2006) running time 2:55
999:10.1093/obo/9780199791286-0064
198:and the 2006 Copyright Office
148:EYE Film Institute Netherlands
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871:Musser, Charles. Foreword to
1148:Orphan Works Website of the
328:. As early as October 1950
185:University of South Carolina
561:Paolo Cherchi Usai (2009).
452:46.3 (Spring 2007): 124â28.
257:of moving image works. See
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144:Museum of the Moving Image
121:(2008) Karen Ishizuka and
18:
1114:47 (Winter 2000), 30, 33.
1086:10.1080/15405700903502361
782:Journal of Media Practice
773:Kay, Olivia Lory (2010).
680:10.1080/13527250802155828
631:10.1525/aa.2004.106.4.719
204:. In September 2008, the
937:Enclosure of the Commons
845:Musser, Charles (2014).
437:(December 2004), 719â31.
140:Tisch School of the Arts
1155:FORWARD project website
920:27.3 (2012): 1251-1550.
794:10.1386/jmpr.11.3.253_1
619:American Anthropologist
435:American Anthropologist
337:, July 16, 1992, p. F1.
222:World Cinema Foundation
154:in Culpeper, Virginia.
76:"What Are Orphan Films"
61:Film Preservation 1993,
941:Feb. 23, 2010; and in
516:Access to Orphan Films
513:Boyle, James, et al.
201:Report on Orphan Works
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1074:Popular Communication
1034:Dan Streible (2009).
991:Oxford Bibliographies
830:10.1353/mov.2007.0024
751:10.1353/mov.2005.0029
722:10.1353/mov.2007.0006
602:10.1353/mov.2003.0023
420:UT Austin library PDF
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119:Mining the Home Movie
115:Orphan Film Symposium
57:Librarian of Congress
1020:10.1353/cj.2007.0031
982:10.1353/cj.2007.0017
932:Black Oyster Catcher
812:(May/June 2006): 11.
702:Moving Image Source,
330:Industrial Marketing
250:Directive 2012/28/EU
658:Fishman, Stephen.
653:Michael Loebenstein
552:Cherchi Usai, Paolo
227:In April 2008, the
136:New York University
123:Patricia Zimmermann
1053:10.1353/mov.0.0024
962:OC Film Commission
923:Prelinger, Rick.
908:Los Angeles Times,
580:10.1353/mov.0.0028
537:10.1353/mov.0.0002
425:2011-06-04 at the
276:Public domain film
259:Project-FORWARD.eu
231:(FIAF) endorsed a
214:China Film Archive
195:Eldred v. Ashcroft
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177:Prelinger Archives
1176:Film preservation
1103:Senses of Cinema,
900:10.1353/cj.0.0086
864:10.7202/1025151ar
510:January 22, 2010.
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301:Abandonware
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91:home movies
28:orphan film
1170:Categories
810:Afterimage
487:2014-08-11
307:References
51:Definition
1094:144805153
1080:: 61â71.
957:, vol. 2.
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