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In this Issue

Table of Contents

  1. Are All (Analog) Films “Orphans”?: A Predigital Appraisal
  2. Paolo Cherchi Usai
  3. pp. 1-18
  4. DOI: https://doi.org/10.1353/mov.0.0028
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  1. The Bureaucratic Activist: Federal Filmmakers and Social Change in the U.S. Department of Agriculture’s Tick Eradication Campaign
  2. Jennifer Zwarich
  3. pp. 19-53
  4. DOI: https://doi.org/10.1353/mov.0.0031
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  1. Garras De Oro (The Dawn of Justice—Alborada De Justicia): The Intriguing Orphan of Colombian Silent Films
  2. Juana Suárez, Ramiro Arbeláez, Laura A. Chesak
  3. pp. 54-82
  4. DOI: https://doi.org/10.1353/mov.0.0034
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  1. Extended Family Films: Home Movies in the State-Sponsored Archive
  2. Julia J. Noordegraaf, Elvira Pouw
  3. pp. 83-103
  4. DOI: https://doi.org/10.1353/mov.0.0037
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  1. Carl Marzani and Union Films: Making Left-Wing Documentaries during the Cold War, 1946–53
  2. Charles Musser
  3. pp. 104-160
  4. DOI: https://doi.org/10.1353/mov.0.0040
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  1. Nothing Could Be Finer?: George Stoney’s Tar Heel Family and the Tar Heel State on Film
  2. Devin Orgeron
  3. pp. 161-182
  4. DOI: https://doi.org/10.1353/mov.0.0043
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  1. Experiments in Propaganda: Reintroducing James Blue’s Colombia Trilogy
  2. Jennifer Horne
  3. pp. 183-200
  4. DOI: https://doi.org/10.1353/mov.0.0026
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  1. Carl Sanders and Albert Maysles: Georgia Politics Meets Direct Cinema, 1969–70
  2. Craig Breaden
  3. pp. 201-213
  4. DOI: https://doi.org/10.1353/mov.0.0030
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  1. The Army, Newsreel, and The Army Film
  2. Eric Breitbart
  3. pp. 214-217
  4. DOI: https://doi.org/10.1353/mov.0.0033
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  1. Old-Time Religion: Christian Experimentalism and Preaching to the “Unchurched”
  2. Paul Cullum
  3. pp. 217-224
  4. DOI: https://doi.org/10.1353/mov.0.0036
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  1. Between Sign-Off Films and Test Patterns: Insight at UCLA
  2. Mark Quigley
  3. pp. 224-229
  4. DOI: https://doi.org/10.1353/mov.0.0039
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  1. Tributes to Bill O’Farrell
  2. Rosemary Bergeron, Sam Kula, Ken Weissman, Charles Tepperman, Nancy Watrous, Karan Sheldon
  3. pp. 229-235
  4. DOI: https://doi.org/10.1353/mov.0.0042
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  1. How the West Was Sung (review)
  2. Kylah Magee
  3. pp. 236-238
  4. DOI: https://doi.org/10.1353/mov.0.0025
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  1. Body Shots: Early Cinema’s Incarnations (review)
  2. Mia Ferm
  3. pp. 238-240
  4. DOI: https://doi.org/10.1353/mov.0.0029
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  1. Harnessing the Technicolor Rainbow: Color Design in the 1930s (review)
  2. Zack Lischer-Katz
  3. pp. 240-243
  4. DOI: https://doi.org/10.1353/mov.0.0032
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  1. Valentino: Rediscovering an Icon of Silent Film (review)
  2. Hideaki Fujiki
  3. pp. 243-245
  4. DOI: https://doi.org/10.1353/mov.0.0035
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  1. The Harold Lloyd Comedy Collection (review)
  2. Jennifer M. Bean
  3. pp. 246-249
  4. DOI: https://doi.org/10.1353/mov.0.0038
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  1. Discovering Cinema: Learning to Talk & Movies Dream in Color (2003–2004) (review)
  2. Joshua Yumibe
  3. pp. 249-253
  4. DOI: https://doi.org/10.1353/mov.0.0041
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  1. Projektionen der Sehnsucht: Saturn. Die erotischen Anfange der oesterreichischen Kinematogrofie [Projections of Desire, Saturn: The Erotic Beginnings of Austrian Cinematography] (review)
  2. Leigh Goldstein
  3. pp. 253-256
  4. DOI: https://doi.org/10.1353/mov.0.0044
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  1. The State of Orphan Films: Editor’s Introduction
  2. Dan Streible
  3. pp. vi-xix
  4. DOI: https://doi.org/10.1353/mov.0.0024
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  1. Contributors
  3. pp. 257-260
  4. DOI: https://doi.org/10.1353/mov.0.0027
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