NFPF News

The San Francisco Silent Film Festival Returns

Fantasia of Color in Early Cinema, from EYE Filmmuseum in Amsterdam.

This week is graced by the 26th annual San Francisco Silent Film Festival, the largest event in America dedicated to that long-vanished but much-beloved art form. On Friday the NFPF will join the festival in presenting “Amazing Tales from the Archives,” wherein archivists from various countries present field reports on new and exciting preservation projects.

This year there are three presentations: Georges Mourier from the Cinémathèque Française will give news on the archive’s six-and-a-half-hour restoration of Abel Gance’s Napoleon. From Universal Pictures, Peter Schade and Emily Wensel will report on the studio’s new silent film preservation project, which has made possible the festival screening of The Last Warning, a murder mystery from 1929. Bryony Dixon, senior curator of silent film for the British Film … Read more

64 Films To Be Saved Through the NFPF’s 2016 Preservation Grants

James Blue on the set of The Olive Trees of Justice (1989).

From The Streets of Greenwood (1963), a documentary about civil rights activists registering African American voters in Mississippi, to James Blue’s The Olive Trees of Justice (1962), a dramatic feature set during the Algerian war for independence, the NFPF is excited to announce the most recent group of films slated for preservation through its federally funded grant program. A grand total of 64 films will be preserved by 39 institutions across 24 states.

Scored by Maurice Jarre and based on a celebrated novel by Jean Pélégri (available in an English translation by Anthony Burgess), The Olive Trees of Justice (1962) was shot entirely in Algeria with nonprofessional actors; it tells the story of a Frenchman born and raised in Algeria, whose loyalties are torn between the two countries that shaped his identity. … Read more

When Buster Keaton Met Samuel Beckett: FILM and NOTFILM

Buster Keaton caught by the camera in FILM (1965).

Sometimes preservation can give a film a second life, or even inspire a movie about it. A case in point is FILM (1965), an avant-garde short that united two great 20th-century artists: Samuel Beckett and Buster Keaton.

Producer Barney Rosset, founder of Grove Press and Beckett’s publisher, envisioned producing a trilogy of short films written by his most famous clients, but only Beckett’s script made it to the big screen. It remains the only movie written by the Nobel Prize–winning author/playwright, who closely supervised the Brooklyn-set production during his only trip to America. Director Alan Schneider was a longtime Beckett collaborator who had staged the first American production of Waiting for Godot, while the cinematographer was Oscar-winner Boris Kaufman (On the Waterfront).

The star, in one of his last major roles, was … Read more

The Orphan Film Symposium

This week the 10th Orphan Film Symposium kicks off at the Library of Congress’s Packard Campus for Audio-Visual Conservation. Convened by New York University, this edition of the Symposium focuses on recorded sound and will be attended by archivists, preservationists, technicians, and scholars from around the world.

The symposium’s schedule includes a lecture from Rick Prelinger, author of the NFPF’s Field Guide to Sponsored Films, on film preservation issues of the 21st century and a presentation by film restorers Robert Gitt and Robert Heiber on “A Century of Sound.” There will also be screenings of films including Count Us In (1948), a presidential campaign short for the Progressive Party’s Henry Wallace, and Little Orphant Annie (1918), one of Collen Moore’s first starring roles, to be presented along with a 1912 audio recording of the eponymous James Whitcomb Riley poem it was based on.

National Film Preservation Foundation Has Moved

The National Film Preservation has relocated to the Ninth Street Independent Film Center just south of Market Street in San Francisco. Only a few blocks from our old home in the Flood Building, the new space offers us the opportunity to use the in-house screening room and allies us with many of our Bay Area film colleagues, such as the San Francisco Silent Film Festival, Frameline, and the Center for Asian America Media. Please send all future correspondence to:

National Film Preservation Foundation
145 9th Street, Suite 260
San Francisco, CA 94103