Save the Archives 2018


The Moving Image Society is hosting its inaugural "Save the Archives" Film Festival in benefit of our 16mm archive! In line with our ongoing programming efforts, we want to provoke discussion about the place of analog media and its preservation in a digital world. Our festival will screen works made on or using "obsolete media" (analog video, small-gauge celluloid film) and found footage works made with any media.

Our festival will be hosted on September 20, 2018, 4-9pm, in the University of Wisconsin-Milwaukee Union Cinema, a Sundance Institute Art House Project Certified venue, which has remained committed to programming classic, experimental, and independent cinema on celluloid since its founding in 1972. The screening will benefit the UWM Film Studies Moving Image Archive, a collection of classic, experimental, educational, and orphan 16mm films.


$5 suggested donation.

Make a donation:

The UWM Film Studies Moving Image Archive includes the Patricia Mellencamp 16mm Print Founding Collection, which holds over 90 cinema classics, and the Marquette Collection, which holds over 60 educational and orphan films. The majority of the films are currently stored in cardboard boxes or in rusty metal cans, and moving the films to appropriate archival storage is necessary. Your submission fee will help ensure the continued life of our collections.

Patricia Mellencamp is Professor Emerita in Art History and author of "Indiscretions: Avant-Garde Film, Video, and Feminism" (1990), and was instrumental in founding the university's film program in the early 1970s. She taught film history courses for thirty years until her retirement in 2002. The 16mm Print Founding Collection, which was recently rediscovered in a storage room and subsequently rehoused to the Center for 21st Century Studies, consists of prints she used in her courses until the advent of VHS and digital media.

The Moving Image Society was founded with its mission to care for the collection and preserve Mellencamp's legacy, and offers UWM students pursuing careers in film archiving and programming practical and vocational experience, professional development opportunities, and support in realizing their creative projects.

4:00 pm shorts program

Film's Final Curtain

Lindsay McIntyre

2018, Canada, 23 min

Celluloid running through a projector has been a window into our lives for over a century. In this digital age, where cheaper and faster is perceived to be better, film is in grave danger. If the death or extreme marginalization of film is upon us, it’s worth mourning.


Karissa Hahn

2015, USA, 2 min

from:  film (theater) to > youtube (home) > to film (theater)   // torrented/pirated (digital) images as found footage // printed from a household printer onto 16mm clear film //   // Such as the loading dial, REGAL aims to circulate and find its way back to the screen.  Take this proxy and see that the ghost has become tangible. //


Michael Lyons

2016, Japan, 3 min

This stop-motion animation was made by photographing and re-photographing antique kimono resist-dyeing stencils in positive and negative. A joyful play with optical illusions, small variations in the repeating pattern elements generate apparent motion. Photographed on Super 8 and hand-developed using matcha (powdered green tea).


Trisha Young

2017, USA, 5 min

This is an appropriated 16mm film reprinted on both tri-x reversal film as well as high-con film utilizing ray-o-grams, optical printing, and a small portion was made by using a contact printer. The entire film was then hand processed in buckets. This is a study of movement, light, and space that occurs on the 16mm film plane before, during, and after processing.

Big Agnes Ascent

Kevin Obsatz

2012, USA, 4 min

Big Agnes Ascent is a document of a journey to the peak of a mountain in Colorado, captured with a hand-cranking 16mm pinhole camera and developed with photochemistry heated over an open fire under the stars that same night.

Fifty Feet Near Wendover (for Nancy Holt)

Kate Lain

2018, USA, 3 min

An interplay of landscape, concrete, and light, this sculptural homage to artist Nancy Holt was edited in camera on a single roll of super 8 film at Holt’s Sun Tunnels, a concrete, steel, and earth sculpture in the Great Basin Desert in the U.S.

The Equatorial Calms

Derek Taylor

2018, USA, 4 min

Optical ruminations on an unpredictable region of Earth where raging storms and calm waters coexist. Seafarers are not only contained within this indeterminate state, but also within the film frame.

Liquid is Light

Kalpana Subramanian

2016, USA, 4 min

A meditation on light and water at Boulder Creek, in memory of Stan Brahkhage. 'Liquid as light' is inspired by a quote attributed to Leonardo da Vinci, noted in the correspondence between Stan Brakhage and Guy Davenport. The title also references Gabriel Garcia Marquez's piece Light is like Water.

Subdued Glow

Antonio Vargas

2010, USA, 3 min

A glance at a girl's world that is steeped in a glimmering cinematic world.

5:00 pm shorts program


Unseen Forces

Britany Gunderson

2017, USA, 3 min


Exploring the relationship of unseen forces, comparing the found and the manipulated. This focuses on objects unpredictable in nature and suggests a force outside of the frame.



A Visual Guide to Physical Examination

Kelly Spivey

2011, USA, 6 min


A contact printed, hand processed film made from looping found footage images and sounds, recombined to come into “contact” with new meaning for an old medical industrial film on breast examination.



Please step out of the frame.

Karissa Hahn

2018, USA, 4 min


from your desk(top)  mistrust the manufactured image distrust the assembled picture give no credence to the massed account discredit the aggregate narrative defame the corporate chronicle denigrate the collective annals doubt the constructed copy  - consider the clone.  accept the dismantled vision exalt the forged now brain subscribe to the ditto fuel the doodad delusion nourish the gizmo nightmare incite the idiot box prophecy inflame the dingbat phantasm a film burn becoming pixels as band-aid a manufactured reinforcement in the empire of computer and you  feeding machine-vision the partition of screen




Vasilios Papaioannu

2018, USA, 8 min


Two filmmakers set out to create an audio archive for possible use in future projects. She records ambient sounds, vocally annotating them with a brief description; he films the environments through which they pass.



Letter inside a bottle

Renato Pérez Arancibia

2018, Chile, 7 min


Landscapes along the Highway number 5 From Curicó to Santiago in Chile, March 2018.  Transitory spaces on the side of the road are fixed with the camera, forcing the spectator/driver to stop their movement, seeking to capture that fleeting moment.  A message from the past managed to travel inside a wall. the human need to leave record is shown quixotic against the passage of time.



The Octopus

Natasha Woods

2017, USA, 7 min


Exposing histories and dialogues from forgotten footage; film reviews are read over the found footage from other filmophiles who frequent the archives. The comments offer a further critique on the history of objectification women face about their bodies in the media. The footage transforms from being included in an early exploitation film, guised as an educational piece about venereal diseases and lesbianism to a film that highlights the beauty of bodies with slight interferences to the actual footage.



Even in paradise it is not good to be alone

Lorenzo Gattorna

2017, Italy/USA, 8 min


In memory of Nonno Pierino.




Gabriel Bullen

2018, Qatar, 3 min


A nonlinear film examining U.S. artist Richard Serra's enigmatic installation, EAST-WEST/WEST-EAST, located in the Brouq Nature Reserve in Qatar.

6:00 pm shorts program


She Collage

Kate Lain

2015, USA, 10 min


She Collage is part response to the work of California-based collage artist Terry Braunstein, part reflection on the practice of art-making. Like Braunstein’s art, the film is itself a collage—in this case, of frame-by-frame hand-manipulated images of Braunstein, paper cutout stop motion animation, archival footage, Braunstein's voice, and an assemblage of music and sounds. Commissioned for the exhibition “Who is She?—Terry Braunstein” at the Long Beach Museum of Art.



Gone Sale

Matt Meindl

2018, USA, 4 min


Faceless forms inhabit the shadow-sprayed remnants of an electronic shopping mall board game. Slumber party capitalism, now a bargain bin of lost dreams.



Cosmic Popsicle

Dina Yanni

2017, Austria, 8 min


Sampled entirely from the iconic Hebrew/German „Lemon Popsicle“-film series, COSMIC POPSICLE is an unruly deconstruction of teenage movies cinematic codes. A glitchy collage, COSMIC POPSICLE celebrates unclear and re-invented identities with cosmic visuals and sound.



Music of Desire

Kristin Reeves

2017, USA, 8 min


When intimacy couples with dysfunction; feel the sensation of becoming suspended between pleasure and a reverse soundtrack of desire . Produced through a media art residency at Signal Culture using real-time analog video processing tools and found media.



Public Domain

Jason Britski

2018, Canada, 5 min


"Public Domain" is a found footage project made from public domain archival material that is an exploration, and a reaction to the turbulent times we find ourselves in.



In Light, In!

Ken Paul Rosenthal

2013, USA, 12 min


A haunting, visual essay about the awkward and angry junctures where society struggles to manage its emotional distress. Images re-authored from 1950’s-era social hygiene films are set to original compositions by world-renowned cellist, Zoe Keating.




Craig Smith

2018, USA, 4 min


Begin continues of my experiments in non-specific narrative film. While preserving a large library of vintage Hollywood optical sound effects, I was most attracted to the sounds of slates, discussions, splices, and noise — things that remind us these sounds were created, with much effort, to enhance specific narrative images. To me, these sounds tell as much of a story as the films they were created for. I’ve combined these sounds with found footage left over from narrative films. Like the sounds, the shots contain no specific narratives. The story exists before, after, or between what we see and hear, subverting narrative expectations. Begin is also a valentine to the craft of filmmaking. And just plain fun.

7:30 pm archival program


Easy Street

Charlie Chaplin

1917, USA, 21 min


The Boat

Buster Keaton

1921, USA 26 min


Two archival 16mm prints from the Patricia Mellencamp Founding Collection, with live musical accompaniment by Renato Umali!