Home Movies Research Articles

The Zapruder Film

The Zapruder film is not only the most important home movie ever made, but also the most thoroughly analyzed 26 seconds of film in existence. Shortly after noon on Friday, November 22, 1963, President John F. Kennedy was assassinated in Dallas, Texas. At least 32 people filmed or photographed some aspect of the event, but Abraham Zapruder captured the assassination itself more clearly and completely than anyone else. His film was a key item of evidence in the government’s investigation of the assassination, and the subject of lasting controversy, at least in part because copyright made it largely unavailable to the public until 1998.

Documenting the Domestic: Chantal Akerman's Experimental Autobiography as Archive

ABSTRACTChantal Akerman’s films provide meticulous observations of the everyday, depicting in obsessive detail the activities that weave across daily life. Experimental and often on the border of fiction and non-fiction, Akerman’s films have created a rich archive, both personal and collective, of domestic life. Many of Akerman’s films have a range of autobiographical registers. In this article, I position the experimental autobiographical film as archive. Drawing on feminist critiques which challenge the distinction between autobiography and archive and which shift assumptions about what constitutes an archive, I examine the autobiographical tendencies of Akerman across several of her films. In particular, I discuss Saute ma ville, Jeanne Dielman 23 Quai de Commerce, 1080 Bruxelles, News From Home and No Home Movie. These four films variously document domestic spaces, everyday habits, personal memory and family relationships. I argue that Akerman’s films can be read together as a dynamic archive of gestures, habits and repetitions of domestic life. Positioning Akerman’s experimental autobiography as archive contributes to the work of feminist scholars of history who continue to challenge what an archive is, and question what ‘counts’ as evidence.

Emotional Memory Forever: The Cinematography of Paul Ewing

Emotional Memory Forever: The Cinematography of Paul Ewing

Harmony Korine’s <em>Trash Humpers</em>: From Alternative to Hipster

Harmony Korine’s <em>Trash Humpers</em>: From Alternative to Hipster

‘To Think the Home in Terms of the Factory’

Drawing on theories of social reproduction, this article explores how Jean-Luc Godard’s metaphor, to ‘think the home in terms of the factory’, plays itself out within his and Anne-Marie Miéville's 1975 film Numéro deux (Number Two), as well as their film-making practice more broadly. In particular, we focus on how their use of video and their foregrounding of the space of film postproduction serves to challenge traditional notions of film production, editing and authorship, briefly examining the editing room as a historically gendered place of work. We conclude by reading Godard and Miéville's television works, particularly their strategy of amateurisation and their investment in the domestic, in relation to the category of the ‘home movie’. The place of the home and their practice of small-scale film production, it is argued, represents an attempt to test an alternative mode of production to the one that the metaphor of the factory typically designates.

A film of her own: Home movies, the archive and Ingrid Bergman. An interview with Stig Björkman and Dominika Daubenbüchel

Abstract

Archival News

Archival News Compiled by Yalie Kamara Academy of Motion Picture Arts and Sciences The Academy Film Archive, home to over 90,000 titles, is actively preserving the 16mm home movies of Fayard and Harold Nicholas, who, performing together as the Nicholas Brothers, revolutionized dance entertainment in the earlier part of the twenty-first century with acrobatic moves such as "the leap frog" and performances in films such as 1943's Stormy Weather. In 2011, their home movies, which chronicled the dancers at home and on their extensive travels, were named to the Library of Congress National Film Registry, which honors twenty-five films each year for their contributions to the enrichment of America's film heritage. Click for larger view View full resolution Figure 1. The Nicholas Brothers with Carmen Miranda, courtesy of the Fayard Nicholas Family Home Movie Collection. [End Page 304] Black Film Center/Archive, Indiana University, Bloomington In July 2016, the Black Film Center/Archive (BFC/A) received a collection of media and memorabilia representing the musical career and screen appearances of Ella Fitzgerald. Donors Fran Morris Rosman and Richard Rosman of the Ella Fitzgerald Charitable Foundation visited the Indiana University campus in Bloomington to announce the donation. In a convivial ceremony officiated by Media School Dean James Shanahan, those gathered shared stories of their great appreciation and fondness for the iconic jazz performer. The Ella Fitzgerald Charitable Foundation will be leading celebrations in 2017 to honor the centennial of Fitzgerald's birth. Click for larger view View full resolution Figure 2. The Black Film Center/Archive's JaQuita Joy Roberts with Annie Willis and Fran Morris Rosman (from left to right), July 2016. Photo courtesy of James Brosher, IU Communications. The BFC/A completed its work to preserve filmmaker Jessie Maple's second feature, Twice as Nice (1989), through a grant from the National Film Preservation Foundation. Her earlier feature, Will (1981), brought Maple recognition as the first African American woman to direct and produce a narrative feature film. With her husband and producing partner, Leroy Patton (Twice as Nice's director of photography), Maple collaborated with BFC/A associate director Brian Graney on the film preservation work at Colorlab in Rockville, Maryland. Screenings of the new preservation print were held [End Page 305] at the Indiana University Cinema, with Maple and Patton in attendance, and at BAMcinématek, where it was featured in the film series "One Way or Another: Black Women's Cinema, 1970–1991." Click for larger view View full resolution Figure 3. Paula and Pamela McGee in Jessie Maple's Twice as Nice (1989), preserved by the Black Film Center/Archive through a grant from the National Film Preservation Foundation. BFC/A also hosted recent visits from filmmakers Deborah Riley Draper and Julie Dash. Through her documentary film work, Draper seeks to uncover untold and often forgotten stories of the African American experience. Her films Versailles '73: American Runway Revolution (2012) and Olympic Pride, American Prejudice (2016) were both shown at Indiana University Cinema, with support from the College of Arts and Sciences' Themester program. Dash's visit, a celebration of the twenty-fifth anniversary of her masterpiece Daughters of the Dust (1991), featured screenings of the newly released digital restoration of Daughters, along with presentations on 16mm and 35mm of her earlier short films, in prints from the collections of the BFC/A and the UCLA Film & Television Archive. [End Page 306] Film & Media Archive, University Libraries, Washington University in St. Louis The Film & Media Archive (FMA) received a donation of original interviews, photographs, footage, and research files related to two documentary films from Berkeley, California–based Paradigm Productions, The Good War and Those Who Refused to Fight It (2000) and Race Is the Place (2005). All materials in the Paradigm Productions Collection will be available for research to faculty, students, and the public on-site in the Washington University Libraries. Select materials also will be made available online. Click for larger view View full resolution Figure 4. A still of Amiri Baraka during filming of Race Is the Place, a documentary by Paradigm Productions, materials for which are now housed in the Washington University Libraries' Film & Media Archive. Also in...

Back From the Dead

Back From the Dead Emily Blair (bio) Did you fake the whole thing? Land like a cat on a cliff-side ledge? Leave someone else to perish in the fishing shack explosion? Was there a crazy plan involving latex masks, bungee cords and a well-trained team of illusionists? Are you a victim of amnesia? Hypnosis? A shifting sense of self? Perhaps you're just way out of cellphone range. You'll be found frolicking on a desert island with a really fit companion by a passing Portuguese fishing vessel—or lying atop a misty mountain by elves who give you new life, improved powers and a fresh look. Maybe you're waiting right now at the bottom of this lake. Is that you rising in a pillar of fire? Walking out of the white light? Raving in the undergrowth? Did your coffin soar through space to land on a planet where the Genesis Device had been detonated by a madman? Is it voodoo? An ancient burial ground? Another religion radically misinterpreted by non-practitioners? Did a crow tap your headstone with its beak nine times like a legend some jerk just made up on the spot? Is that you on the roof wailing on a guitar? Are you only pretending to be a ghost because you feel a bit awkward? Or are you in fact an alien who has studied the memories that run like home movies through my mind all the time? Are you going to haunt me forever? I'm free every night this week. When are you coming by? [End Page 45] Emily Blair Emily Blair's poetry has appeared in Sixth Finch, The Mississippi Review and Women's Studies Quarterly, among others. She received a New York Foundation of the Arts Fellowship in Poetry in 2014 and in Fiction in 2006, and she is the author of the illustrated chapbook Idaville (Booklyn Artists' Alliance, 2010). Copyright © 2017 University of Wisconsin Board of Regents

Film Lecturing on Behalf of the National Audubon Society: Roger Tory Peterson's <em>Wild America</em>

Film Lecturing On Behalf Of The National Audubon SocietyRoger Tory Peterson's Wild America Carol Donelan (bio) Starting in 1943, and for the next four decades, the National Audubon Society promoted a seasonal film lecture series, the Audubon Screen Tours, to members of bird clubs, youth groups, natural history societies, social clubs, museums, and academic departments.1 The Screen Tours represent a case study in functional or "useful cinema" as defi ned by Charles R. Acland and Haidee Wasson, wherein "cameras, film and projector are taken up and deployed—beyond questions of art and entertainment—in order to satisfy organizational demands and objectives, that is, to do something in particular."2 That "something" entailed nationalizing the National Audubon Society via the "branch plan" and expanding the organization's focus beyond bird preservation with the goal of inspiring in increasingly suburbanized Americans a mass consciousness regarding the conservation of soil, water, plants, and wildlife.3 [End Page 1] The success of the Screen Tours established a ready market for 16mm color natural history films, prompting more than forty nature lovers from all walks of life to get into filmmaking.4 Screen Tour participants produced their own films, on their own dime. They worked on a shoestring budget and were amateurs in the true sense of the word: motivated by love rather than money. "For this reason some of the films may have lacked a high degree of professionalism," admitted renowned bird artist and field guide author Roger Tory Peterson, a Screen Tour participant.5 Amateurism in filmmaking is typically associated with small-gauge home movies of the point-and-shoot variety, but Screen Tour films were exhibited to public audiences beyond the home and might therefore be considered "advanced amateur" films, in accordance with Charles Tepperman's definition.6 Broadening the scope, we might say that Screen Tour filmmakers worked in the "community mode" rather than "home mode" or "mass mode" of production as described by Ryan Shand, given that they exhibited their advanced amateur films in "ambivalent" spaces between the home and commercial movie theater.7 Although many of the Screen Tour films are now likely lost to history, those of Roger Tory Peterson, ornithologist Olin Sewall Pettingill Jr., and naturalist Fran William Hall are archived in the Roger Tory Peterson Institute of Natural History in Jamestown, New York.8 The films are composed of pleasingly picturesque shots of birds, animals, flowers, trees, insects, landscapes, geological formations, and other scenic wonders. Like home movies produced before the advent of synchronized sound, the films are silent, largely dependent for their meaning on the contributions of the lecturers who produced and narrated them. Screen Tour lecturers produced their own films but are referred to as "speakers" rather than filmmakers in the National Audubon Society business records. The implication is that the Tours were "performer oriented" rather than "film oriented," a mode of exhibition Rick Altman associates with cinema in its formative years, when films were incorporated "like props" in a live theatrical performance.9 Perhaps more pertinent than the analogy with early cinema exhibition is the mode of "pastoral exhibition" identified by Ronald Greene as prominent in nontheatrical, educational film exhibition, wherein a cultural authority guides the audience in their experience of watching a film.10 Here film is less a theatrical prop than a "moral technology," with the lecturer acting as a model for imitation, extracting value from the movie that exceeds its semiotic and narrative content and instilling in audience members the proper moral disposition toward the film and its contents.11 The concept of "exhibition as performance" championed by Rick Altman and expanded upon by Tom Gunning allows us to understand the Screen Tours as performance art comprising not only the film(s) but also a lecturer and audience.12 [End Page 2] According to Gunning, it is "the lecturer's role as performer, as a contact between the film and the audience, that enlarges our sense of the object of film history."13 Click for larger view View full resolution Figure 1. Roger Tory Peterson, originally appearing in Audubon Magazine. Photograph by Betty Jane Nevis. Oral performance can be challenging to trace, as Germain Lacasse notes—akin...

Shining a Light on Hidden Collections and Catholic News Media

Shining a Light on Hidden Collections and Catholic News Media Marian J. Barber38 As director of the Catholic Archives of Texas, a statewide repository of material from the early sixteenth century to the present, I am acutely aware of the many issues involved in carrying out our mission of collecting, preserving, and making available as appropriate thousands of records, photographs, books, and artifacts that document the Catholic experience in Texas. Collecting actually comes fairly easily, but preserving material and making it available to church offices, individual Catholics, academic researchers, genealogists, and others pose greater challenges. Digitization offers a promising option for meeting them. This discussion will focus on three ongoing efforts to use digitization to preserve fragile or deteriorating items and make those materials and others easily accessible to researchers with limited resources for visiting far-flung collections: programs implemented by the Council on Library and Information Resources, the University of North Texas’s Portal to Texas History, and the Catholic Research Resources Alliance. Council on Library and Information Resources The Council on Library and Information Resources, or CLIR, is an “independent, nonprofit organization that forges strategies to enhance research, teaching, and learning environments in collaboration with libraries, cultural institutions and communities of higher learning.” The Council often works with the Andrew W. Mellon Foundation to further the foundation’s goal of creating and disseminating new knowledge by serving as a re-granting agency. From 2008 to 2014, it administered the Mellon-funded Cataloging Hidden Special Collections and Archives program that made 129 cataloging grants totaling over $27.5 million. Catholic institutions were not frequent recipients, but in 2009, Marquette University Libraries received a grant of $149,964 for [End Page 17] the Catholic Social Action Access Project, a collaboration with St. Catherine University and the Catholic University of America.39 In 2015–2016 Mellon funded a new project, “Digitizing Hidden Special Collections and Archives: Enabling New Scholarship through Increasing Access to Unique Materials.” Again CLIR serves as the re-granting agency. For individual applicants, grants range from $50,000 to $250,000; for collaborations, $50,000 to $500,000. They distributed slightly less than $4 million in 2015 and slightly more than that amount in 2016. The goals include development of protocols for digitizing material and increasing access that can be replicated nationally and internationally. Free access is a very important element, though not obligatory. The new program places even stronger emphasis on collaboration than the cataloging project. In its first year, the 18 funded projects included a $499,086 grant to the Philadelphia Area Consortium of Special Collections Libraries, including Villanova University, for “Bibliotheca Philadelphiensis: Toward A Comprehensive Online Library of Medieval and Early Modern Manuscripts” held in member institutions’ collections.40 Villanova is also a partner in one of the 17 projects funded in 2016, a $448,893 effort to document a publisher of nickel and dime novels. Other 2016 projects not directly involving Catholic institutions but of potential interest to researchers on Catholic subjects include programs on the American labor movement, executions in the United States from 1608-2002, Cuban-American relations, archeological finds in Honduras, and home movies and amateur films by women. Recipients of 2017 grants were to be announced in July of this year. CLIR notes that program funding must be renewed annually, but that they expect it to continue for several years.41 Also of interest to Catholic archivists should be CLIR’s “Strategies for Advancing Hidden Collections,” an effort built around a Mellon-funded series of six 90-minute recorded webinars and a resource library on “techniques and best practices for increasing the visibility, usability, and sustainability of collections in the gallery, library, archive, and museum community.” CLIR has also received funding from Mellon for “Recordings at Risk: Digital Reformatting of Audio/Film/Video,” offering $2.3 million over four rounds in 2017 and 2018. Two rounds remain; Catholic archives with rare or threatened recordings in any format should consider approaching CLIR about developing proposals.42 [End Page 18] Portal to Texas History The Portal to Texas History, a project of the University of North Texas Libraries, is one of many similar efforts undertaken in the United States by libraries...

Memories of Media: An Interview with Carine Tardieu

Memories Of Media:An Interview With Carine Tardieu Tim Palmer (bio) The multitalented Carine Tardieu is an award-winning writer-director of short films and features, working in both television and cinema, as well as being an acclaimed children's novelist. Formatively inspired by Roald Dahl's more outlandish writings, after fitful studies in psychology and nursing, Tardieu found her vocation as a highly media-literate storyteller, exploring the inner lives of adolescents both mesmerized and frustrated by the bizarre adult world around them. Initially Tardieu conceived of her nonrealist narratives, whether words or images, primarily as a way of transcribing her youthful fantasies and dreams, to distill a solitary childhood consumed by her escapist passions: devouring novels and films. Central to this approach, though, is Tardieu's stylized intertextuality, representing traumatic memories on-screen via legacy formats and personal archives. From these points of departure, Tardieu's sparkling career began. After graduating from L'École Supérieure de Realisation Audiovisuelle (ESRA), Tardieu continued to write while she [End Page 142] Click for larger view View full resolution Figure 1. Carine Tardieu. Courtesy of Michaël Crotto. worked her way up through the filmmaking ranks, initially as a trainee assistant and grip on productions like Martine Dugowson's Portraits chinois (1996) and Olivier Ducastel and Jacques Martineau's Jeanne et le garçon formidable (1998); gravitating toward casting extras for Andrzej Zulawski's La Fidélité (2000); then acquiring more hands-on experience, as second assistant director, on Rithy Panh's Que la barque se brise, que la jonque s'entrouve (2001). After meeting, and being mentored by, writer-director Michel Leclerc, Tardieu successfully pitched to France 2, where she wrote episodes of the ironically titled cult TV series Age sensible (2002), set in an unruly college dorm. Emboldened, Tardieu wrote and directed two prize-winning shorts, Les Baisers des autres (2003) and L'Aîné de mes soucis (2004), the former thanks to a twenty-thousand- euro grant from the Centre National du Cinéma et de l'Image Animée (CNC). After being [End Page 143] commissioned to adapt both shorts as ciné-novels, Tardieu's career flourished. She published children's books, Je ne suis pas soeur Emmanuelle (2009) and Des Poules et des gateaux (2010), and was writer-director of two successful comedy-drama feature films, gaining a reputation as an accomplished director of child actors. La Tête de maman (2007), Tardieu's acclaimed debut feature, starring Karin Viard and Kad Merad, depicts the misadventures of a driven, introspective girl, the fifteen-year-old Lulu (Chloé Coulloud), who propels her increasingly depressive mother to reconnect—whether she likes it or not—with an old boyfriend. Key to the film is how Lulu engages literally and figuratively with media archives to try to understand her withdrawn mother and her estranged parents. Indeed, when Lulu discovers a cache of old photographs, home movies, and cans of 16mm filmmaking in the attic of her unhappy family's home, Tardieu uses legacy formats as her pivotal dramatic device. Whether it is shots of Holocaust newsreels projected behind a silhouetted parent's back or animated vintage postcards that bring her moribund mother back to life again, images from the past, citations of twentieth-century media formats, are what highlight generational drift, the alienation of children from adults, and the process of aging and attrition. One signature Tardieu set piece, in which Lulu watches in secret, enraptured, rediscovered 16mm footage of her mother's younger self, deliriously happy with her old boyfriend, flickering into life on a garden wall, underlines this trajectory. Based on a popular bande dessinée, the more overtly fantastical Du Vent dans mes mollets (2012), another star-studded production (with Agnès Jaoui, Denis Podalydès, Isabelle Carré, and Isabella Rossellini), set in the 1980s, also focuses on a young girl's anarchic reactions to a constrictive domestic situation, framed strategically via archival media citations as repressed images from the past. This time, the catalytic figure is nine-year-old Rachel (Juliette Gombert), initially shy and withdrawn, whose rebellious awakening—after a libertarian girl, Valérie (Anna Lemarchand), joins her school—parallels, and instigates, her parents' renewed...

Regional Filming: A film making project made of home movies.

Regional Filming: A film making project made of home movies.

Archival News

Archival News Yalie Kamara Archives Center, National Museum of American History at Smithsonian Institution This note is an edited version of a blog post originally published on the Smithsonian National Museum of American History website by Wendy Shay with contributions by Patricia Sanders. Click for larger view View full resolution Figure 1. Photograph of the Reverend Harold Mose Anderson. Courtesy of Patricia Sanders. The Reverend Harold Mose Anderson who had always been fascinated by the movies, saved his money and bought a home movie camera. Once he had it, he was seldom without it as he wandered the streets of Tulsa, Oklahoma. Much like a seasoned reporter, wherever he went, he always took time to load up the camera and check his film and equipment. The resulting motion picture, Reverend Harold Anderson's Black Wall Street Film, captured [End Page 350] from 1948 through 1952, has been preserved and made available for use by the National Museum of American History's Archives Center. Anderson's community was Greenwood, a neighborhood of particular cultural relevance in Tulsa, which is featured in the Power of Place exhibition of the new National Museum of African American History and Culture. Often referred to as "Little Africa" in the early years of the 20th century, it later became popularly known as "Black Wall Street." During a time in which segregation limited African-American housing options and prevented black customers from patronizing businesses that catered to white customers only, it had one of the largest concentrations of black-owned businesses in the country. Black Wall Street was a vibrant African American neighborhood with a thriving middle class and well-established institutions including schools, churches, and civic associations. In spite of its thriving nature, in 1921 Black Wall Street was the scene of a massive race riot during which hundreds of African American residents were killed and the neighborhood was burned to the ground. Born in 1922, Harold Anderson grew up hearing the stories and watching the neighborhood's rebirth. In addition to being a witness to the rebuilding and revival of the community, he was also a participant in it. As such, he documented the neighborhood's renewal with his 16mm motion picture camera. Click for larger view View full resolution Figure 2. Anderson's camera captured moments large and small within Tulsa's African American community. In this scene from the film, a young couple poses together while standing in front of the local movie theater. Anderson himself played a major role in the neighborhood's resurgence. A successful businessman, Anderson managed and then owned two [End Page 351] neighborhood movie theaters, a skating rink, a bowling alley, and a shopping strip, among other enterprises. He also brought the Golden Gloves boxing tournament to the area, making it accessible to African American fans. Anderson found it critical that Black Wall Street sustain independent African American businesses to ensure resident dollars would stay in the community and guarantee its future. Almost lost in a devastating house fire, Anderson's film recognizes the efforts and successes of the community. His film footage showed that by the 1940s Black Wall Street once again was home to active African American-owned businesses. He made a special effort to document the neighborhood's barbershops, groceries, taxi companies, jewelers, and other enterprises. He also captured its citizens in church, at school, participating in parades, and on the streets of the area. The film includes footage of Richard and Pat Nixon as they campaigned in Black Wall Street, which was the first time a vice presidential candidate visited the African American neighborhood. As a historic document the film provides a record of a significant time and place in African American history. It allows the viewer to feel the vibrancy of a community that triumphed over tragedy. For more information, visit americanhistory.si.edu/blog/black-wall-street. Academy of Motion Picture Arts and Sciences The Academy Film Archive has recently restored Cauleen Smith's 16mm short film Chronicles of a Lying Spirit (by Kelly Gabron) (1992). The archive, which holds the Cauleen Smith Collection, also recently made new prints of Smith's debut feature, drylongso (1998). Black Film Center/Archive at Indiana...

DIY film digitizer [Resources

My grandfather Leo was a self-taught electrical engineer and IEEE member who designed control systems for tire factories. He was also an avid photographer, and his eight children—and later, his grandchildren— were among his favorite subjects, right up to his death in 1974, when I was 5. Fast‑forward to 2013: During a move, my uncle uncovered a trove of more than 130 reels of Leo’s 8-mm and 16-mm home movies, some dating back to 1939. While commercial conversion services exist, converting so many reels would have been pretty expensive, so my cousin and I set out to preserve them digitally ourselves.

Pancho's Burritos

Pancho's Burritos is a high-end fast-food restaurant located in Charlottesville, Virginia. Due to a recent surge in customers, the lines at the restaurant during peak hours are becoming very long and causing excessive customer waiting. To improve current customer wait times and plan for future growth requirements, Francisco “Pancho” Escoba, the proprietor, wants to get a better understanding of the current operational capacity. The key decision Escoba must make is how to redesign his burrito-making process to increase the capacity and reduce customer wait time.Suitable for an undergraduate or MBA course, the case can be used in an introductory operations course to teach capacity analysis and queuing. The case provides a relatable and understandable setting for students without an operations background to gain a better grasp of basic course concepts and illustrates how interactions between capacity and queuing affect one another. As an exam or review case it works well because it contains standard process calculations that all students should know how to perform. Excerpt UVA-OM-1539 Rev. May 24, 2017 Pancho's Burritos It was Friday night, and Francisco “Pancho” Escoba, manager and owner of high-end fast-food restaurant Pancho's Burritos, was performing his regular restocking order when he noticed something odd. As he walked into the restaurant, he saw a number of customers walking out, frustrated with the long line that spread all the way across the restaurant. Customers leaving at the sight of a long line during peak demand hours was a recent trend that worried Escoba. In order to put an end to the fleeing customers and to improve the customer experience, Escoba decided to analyze his operations by taking some time studies of the burrito-making process. The Arrival of Pancho's Burritos Escoba was born an entrepreneur. At age 12, he started his first business, a home movie theater that served his friends and family. By age 16, he owned and operated a number of small businesses in his hometown of Guadalajara, Mexico, including a lawn-care service, a neighborhood food-delivery service, and an airport-ride service. Due in part to the stable income he received from his businesses, he was able to attend and pay for college at Universidad Panamericana. Following graduation, he returned to Guadalajara where he started a furniture design, manufacturing, and retail store. After laboring for several years just to break even, he decided to return to school for his MBA at the University of Virginia's Darden School of Business. During his first year at Darden, Escoba would regularly have friends over for dinner. He would always make them burritos using his grandmother's secret recipe. His friends could not get enough of the burritos. After seeing his friends' reactions, Escoba realized he might have the makings of another entrepreneurial venture. He knew that there had been a recent boom in the fast-food industry, but most of the establishments were serving unhealthy, overprocessed food. Escoba believed there was an opportunity to provide high-end fast food for price- and health-conscious consumers. In 2011, Escoba founded Pancho's Burritos in Charlottesville, Virginia. Since its opening, Pancho's Burritos had become a local mainstay, growing immensely popular, especially with students at the University of Virginia. Analyzing the Operations . . .

Manifest

Manifest Wendel A. White (bio) Manifest is an ongoing project, a portfolio of nearly one hundred photographs of African American material culture held in public and private collections throughout the United States. These repositories have accumulated diaries, receipts for the purchase of humans, hair, a drum, a door, photographs, figurines, and other artifacts—some with great historical significance, some the commonplace, quotidian material of black life. This project is concerned with the physical remnants of the American concept and representation of race. The histories of slavery, abolition, the U.S. Civil War, segregation, oppression, accomplishment, and agency are among the narratives that emerge in these photographs. I am increasingly interested in the residual power of the past to inhabit material remains. The ability of objects to transcend lives, centuries, and millennia suggests a remarkable mechanism for folding time, bringing the past and the present into a shared space that is uniquely suited to artistic exploration. While the artifacts are remarkable as visual evidence of lives and events, I also intend the viewer to consider this informal reliquary as a survey of the impulse and motivation to preserve history and memory. Various projects have occupied my attention during the past two decades; in retrospect, each has been part of a singular effort to seek out the ghosts and resonant memories of the material world. I am drawn to the stories "dwelling within" a spoon, a cowbell, a book, a postcard, or a partially burned document. The photographs are made with a 4 × 5 view camera, using film or digital capture. The prints are pigment-based inkjet. [End Page 14] Click for larger view View full resolution Lunch Box, Larkin Franklin Sr., Eatonville Historic Preservation, Eatonville, Florida, 2012. [End Page 15] Click for larger view View full resolution Slave Bill of Sale, Division of Rare and Manuscript Collections, Cornell University Library, Ithaca, New York, 2009. [End Page 16] Click for larger view View full resolution Door Knob, Maye St. Julien, Eatonville Historic Preservation, Eatonville, Florida, 2012. [End Page 17] Click for larger view View full resolution Spoon, Harriet Tubman House, Auburn, New York, 2009. [End Page 18] Click for larger view View full resolution Iron, Great Plain Black History Museum, Omaha, Nebraska, 2011. [End Page 19] Click for larger view View full resolution Tintype, Fenton History Center, Jamestown, New York, 2009. [End Page 20] Click for larger view View full resolution Zora Neale Hurston Sketch Book, Smathers Library Special Collections, University of Florida, Gainesville, Florida, 2012. [End Page 21] Click for larger view View full resolution James Baldwin Inkwell, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 22] Click for larger view View full resolution FBI Files on Malcolm X, Nebraska State Historical Society, Lincoln, Nebraska, 2011. [End Page 23] Click for larger view View full resolution Poster of Angela Davis, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 24] Click for larger view View full resolution Drum, Dan Desdunes Band, Great Plains Black History Museum, Omaha, Nebraska, 2011. [End Page 25] Click for larger view View full resolution Cab Calloway Home Movies: Haiti, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 26] Click for larger view View full resolution Radio Raheem's boombox from the movie Do the Right Thing, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 27] Click for larger view View full resolution New Orleans Door, Hurricane Katrina, National Museum of African American History and Culture, Washington, D.C., 2016. [End Page 28] Click for larger view View full resolution Quilt (W. Black), Great Plains Black History Museum, Omaha, Nebraska, 2011. [End Page 29] Wendel A. White Wendel A. White was born in Newark, New Jersey and grew up in New York, Pennsylvania, and New Jersey. He earned a BFA in photography from the School of Visual Arts in New York and an MFA in photography from the University of Texas at Austin. His work has received various awards, including fellowships and grants from the John Simon Guggenheim Foundation, the New Jersey State Council for the Arts, the Graham Foundation for Advanced Studies in...

Pancho's Burritos (Abridged)

This case, an abridged version of (UVA-OM-1539). Pancho's Burritos is a high-end fast-food restaurant located in Charlottesville, Virginia. Due to a recent surge in customers, the lines at the restaurant during peak hours are becoming very long and causing excessive customer waiting. To improve current customer wait times and plan for future growth requirements, Francisco “Pancho” Escoba, the proprietor, wants to get a better understanding of the current operational capacity. The key decision Escoba must make is how to redesign his burrito-making process to increase the capacity and reduce customer wait time.Suitable for an undergraduate or MBA course, the case can be used in an introductory operations course to teach capacity analysis and queuing. The case provides a relatable and understandable setting for students without an operations background to gain a better grasp of basic course concepts and illustrates how interactions between capacity and queuing affect one another. As an exam or review case it works well because it contains standard process calculations that all students should know how to perform. Excerpt UVA-OM-1555 Rev. May 24, 2017 Pancho's Burritos (Abridged) It was Friday night, and Francisco “Pancho” Escoba, manager and owner of high-end fast-food restaurant Pancho's Burritos, was performing his regular restocking order when he noticed something odd. As he walked into the restaurant, he saw a number of customers walking out, frustrated with the long line that spread all the way across the restaurant. Customers leaving at the sight of a long line during peak demand hours was a recent trend that worried Escoba. In order to put an end to the fleeing customers and to improve the customer experience, Escoba decided to analyze his operations by taking some time studies of the burrito-making process. The Arrival of Pancho's Burritos Escoba was born an entrepreneur. At age 12, he started his first business, a home movie theater that served his friends and family. By age 16, he owned and operated a number of small businesses in his hometown of Guadalajara, Mexico, including a lawn-care service, a neighborhood food-delivery service, and an airport-ride service. Due in part to the stable income he received from his businesses, he was able to attend and pay for college at Universidad Panamericana. Following graduation, he returned to Guadalajara where he started a furniture design, manufacturing, and retail store. After laboring for several years just to break even, he decided to return to school for his MBA at the University of Virginia's Darden School of Business. . . .

Approximation, Mad Men and the Death of JFK

In this article I take the US television series Mad Men (2007—present) as an exemplary ‘approximation’, a term I adopt to signal the way in which certain texts construct a changeable, fluid ‘truth’ resulting from collisions, exchange and dialectical argument. Approximations are layered, their formal layerings mirroring a layered, multifaceted argument. Mad Men integrates and represents real historical events within a fictional setting, and act that suggests that an event or action can never be finished, fixed and not open to reassessment. Specifically, this article examines ‘The Grown Ups’, Episode 12 of Season 3, which charts the events of 22 November 1963, the day Kennedy was assassinated. Although we might be able to bring to mind the images and conspiracy theories that have been made available since (such Abraham Zapruder’s 8 mm home movie footage of the assassination), these images were not available at the time. Mad Men as a series always strives to represent its historical milieu as authentically as possible, so the characters re-enact 22 November 1963 as authentically as possible by watching only what was on television that day (the news bulletin, Walter Kronkite’s announcement that Kennedy is dead). The contemporary backdrop to these events, including the resonances of ‘9/11’ through Mad Men, inform and collide with the authenticity on the screen.

Beyond oral history: Using the Oral History Metadata Synchronizer to enhance access to audiovisual collections

The Oral History Metadata Synchronizer (OHMS) is an open source system designed to transform access to oral history recordings by presenting digital audio or video in conjunction with a transcript and/or index and by connecting users to a particular moment in an interview via browsing or keyword searching. The OHMS system was initially designed to be used with oral history recordings, but can also be used with any digital audio or video files. The first part of this paper will introduce readers to OHMS and give an overview of the important features of the OHMS system. The second part uses a case study of OHMS at the University of Georgia to discuss the challenges of providing access to archival home movie collections and the differences between collections management and content description. The third part presents a case study from Duke University to describe two methods for bypassing the sometimes unwieldy workflow of the OHMS application — Mail Merge and Open Refine — to create description that can be crosswalked into OHMS XML.

Music therapy microanalysis of parent-infant interaction in a three-month-old infant later diagnosed with autism

<b>Background</b><br /> Infant research literature has described for a long time the main aspects of parentese (motherese and fatherese) referring to musicality and specifically to musical language. It is believed that there is a deep analogy between the vital affects experienced by the child during interaction with the parent and the type of parentese that is a direct representation of them. Disruption of parentese has been described in early autism. The aim of this paper was to achieve a better understanding of this disruptive process.<br /> <br /> <b>Participants and procedure</b><br /> Sequences of parent-infant interaction extracted from one home movie of a child later diagnosed with autism were analyzed in a micro-musical way in order to create a musical score that allows the description of parent-infant interaction in a new way (considering form, pulse, rhythm, melody, timbre and silence).<br /> <br /> <b>Results</b><br /> Musical microanalysis is able to highlight features not brought out by other kinds of analysis. The first fragment is dominated by the anxiety of the mother, who attempts to stimulate the unresponsive infant. In the second fragment there is a change in musicality parallel to changes in the relationship: the mother participates in and coordinates the infant’s experience through rhythm, prosody and musical dynamics. This change persists in the third fragment.<br /> <br /> <b>Conclusions</b><br /> Musical transcription of parent-infant interactions has allowed us to highlight changes occurring in a short time during early interactions and to get a closer view of the disruptive process created by autism. This kind of research represents a potential shift in autism research, by focusing on dynamic parent-infant interactions instead of single behaviors of the child or of the parent. The usefulness of Stern’s concept of intersubjective communion is discussed.