Katherine Groo begins Bad Film Histories with a story of chance and serendipity. Having contacted the American Museum of Natural History (AMNH) in the hopes of acquiring a copy of Martin and Osa Johnson’s Simba: King of the Beasts (1928), she discovered when the DVD arrived that ‘it carried with it an unexpected surplus’ (p. 1). Accompanying Johnson’s work was an unidentified four-minute film shot in the Belgian Congo, consisting of a series of images familiar to viewers of ethnographic cinema: rivers, grasslands, a hunter killing a deer, women preparing food. Curious about this clip, Groo contacted the archivists but they could provide her with no further information. This chance encounter, Groo recalls, both ‘revealed – and blurred – the dividing line between good and bad objects, between the “real” (desirable, nameable, archivable) collection and the ethnographic scrapheap’ (p. 2). In Bad Film Histories Groo attends to the ‘vast margins of the archives’ that are composed in large part from these scraps and fragments (p. 2). She does not argue for the unrecognized value of such material or for overturning entrenched critical hierarchies about what merits scholarly attention; instead she uses these largely forgotten films to prompt a deeper consideration of ‘film history, historiography, and the archive’ (p. 3).
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