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  Volume 9, Number 1, Spring 2009

Table of Contents

The State of Orphan Films: Editor’s Introduction

pp. vi-xix


Are All (Analog) Films “Orphans”?: A Predigital Appraisal

pp. 1-18

The Bureaucratic Activist: Federal Filmmakers and Social Change in the U.S. Department of Agriculture’s Tick Eradication Campaign

pp. 19-53

Garras De Oro (The Dawn of Justice—Alborada De Justicia): The Intriguing Orphan of Colombian Silent Films

pp. 54-82

Extended Family Films: Home Movies in the State-Sponsored Archive

pp. 83-103

Carl Marzani and Union Films: Making Left-Wing Documentaries during the Cold War, 1946–53

pp. 104-160

Nothing Could Be Finer?: George Stoney’s Tar Heel Family and the Tar Heel State on Film

pp. 161-182

Experiments in Propaganda: Reintroducing James Blue’s Colombia Trilogy

pp. 183-200

Carl Sanders and Albert Maysles: Georgia Politics Meets Direct Cinema, 1969–70

pp. 201-213


The Army, Newsreel, and The Army Film

pp. 214-217

Old-Time Religion: Christian Experimentalism and Preaching to the “Unchurched”

pp. 217-224

Between Sign-Off Films and Test Patterns: Insight at UCLA

pp. 224-229

Tributes to Bill O’Farrell

pp. 229-235



How the West Was Sung (review)

pp. 236-238

Body Shots: Early Cinema’s Incarnations (review)

pp. 238-240

Harnessing the Technicolor Rainbow: Color Design in the 1930s (review)

pp. 240-243


Valentino: Rediscovering an Icon of Silent Film (review)

pp. 243-245

The Harold Lloyd Comedy Collection (review)

pp. 246-249

Discovering Cinema: Learning to Talk & Movies Dream in Color (2003–2004) (review)

pp. 249-253

Projektionen der Sehnsucht: Saturn. Die erotischen Anfange der oesterreichischen Kinematogrofie [Projections of Desire, Saturn: The Erotic Beginnings of Austrian Cinematography] (review)

pp. 253-256



pp. 257-260

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