@article{orgeron_orgeron_2012, title={Foreword}, volume={12}, number={2}, journal={Moving Image}, author={Orgeron, M. and Orgeron, D.}, year={2012}, pages={VII-} }
 @article{orgeron_2009, title={Conference report: Orphans take Manhattan: The 6th Biannual Orphan Film Symposium, March 26-29, 2008, New York City}, volume={48}, DOI={10.1353/cj.0.0086}, abstractNote={a motion picture abandoned by its owner or caretaker. More generally, the term refers to all manner of films outside of the commercial mainstream: public domain mate rials, home movies, outtakes, unreleased films, industrial and educational movies, independent documentaries, ethnographic films, newsreels, censored material, un derground works, experimental pieces, silent-era productions, stock footage, found footage, medical films, kinescopes, smalland unusual-gauge films, amateur produc tions, surveillance footage, test reels, government films, advertisements, sponsored films, student works, and sundry other ephemeral pieces of celluloid (or paper or glass or tape or. . )I}, number={2}, journal={Cinema Journal}, author={Orgeron, D. A.}, year={2009}, pages={114–118} }
 @inbook{orgeron_2008, title={Visual media and the tyranny of the real}, ISBN={0195175964}, booktitle={The Oxford handbook of film and media studies}, publisher={Oxford University Press}, author={Orgeron, D. A.}, year={2008}, pages={83–113} }
 @article{orgeron_orgeron_2007, title={Familial Pursuits, Editorial Acts: Documentaries after the Age of Home Video}, volume={60}, ISSN={1542-4251}, url={http://dx.doi.org/10.1353/vlt.2007.0023}, DOI={10.1353/vlt.2007.0023}, abstractNote={ince the 1990s a significant number of documentaries have been produced that rely heavily upon primary footage taken by the subject(s) of the documentaries over the course of their purportedly predocumentary lives. In films like Tarnation (Jonathan Caouette, 2003) the film’s subject and director are the same. More often, as in Capturing the Friedmans (Andrew Jarecki, 2003) and Grizzly Man (Werner Herzog, 2005), the film’s director employs footage that was taken by and of the documentary subject(s). In so doing, the documentary director assumes the role of editor and interpreter of a prerecorded, personal moving image archive that has already been edited, always conceptually and sometimes literally. This extensive use of home movies—home videos would be the more accurate term in most recent cases—signals a shift in recent documentary production, one that compels us to consider the implications of using home videos as narrational and illustrative tools, as conduits to history and memory. The representational and ethical ramifications of this recent spate of documentaries that rely on home video have yet to be assessed. What follows considers these issues by focusing on the current generation of obsessive self-documentarians and the 35mm, featurelength, theatrically released documentary films that have been made, at least partly, out of their autobiographical video records. A close but selective engagement with the aforementioned early-twenty-first-century films will aid in our S Familial Pursuits, Editorial Acts:}, number={1}, journal={The Velvet Light Trap}, publisher={Project Muse}, author={Orgeron, Marsha. and Orgeron, Devin.}, year={2007}, pages={47–62} }
 @article{orgeron_2007, title={La camera-crayola: Authorship comes of age in the cinema of Wes Anderson}, volume={46}, ISSN={["0009-7101"]}, DOI={10.1353/cj.2007.0016}, abstractNote={ Abstract: This essay analyzes the fictional authors who populate Wes Anderson's films and his use of DVD technology to promote his own highly self-aware authorial image. Anderson's authorial logic is organized around the concepts of youth and dependence, positioning itself against the still quite powerful myth of the independent and solitary genius. }, number={2}, journal={CINEMA JOURNAL}, author={Orgeron, Devin}, year={2007}, pages={40–65} }
 @inbook{orgeron_orgeron_2007, title={Megatronic memories: Errol Morris and the aesthetics of observation}, ISBN={1905674198}, booktitle={The image and the witness}, publisher={Wallflower Press}, author={Orgeron, D. A. and Orgeron, M.}, editor={F. Guerin and Hallas, R.Editors}, year={2007}, pages={238–252} }
 @book{orgeron_2007, title={Road Movies: From Muybridge and Melies to Lynch and Kiarostami}, DOI={10.1057/9780230610217}, abstractNote={Road Movies engages with two foundational twentieth century technologies: cinematic and automotive. It is a book about road movies, a genre burdened by its own seductiveness. It is also, however, a bo}, journal={ROAD MOVIES: FROM MUYBRIDGE AND MELIES TO LYNCH AND KIAROSTAMI}, author={Orgeron, D}, year={2007}, pages={1–239} }
 @inbook{orgeron_2007, title={Scatological film practice: Pulp Fiction and a cinema in movements}, volume={230}, ISBN={0091-3421}, booktitle={Contemporary literary criticism, vol. 230}, author={Orgeron, D. A.}, year={2007} }
 @article{orgeron_2006, title={Mobile home movies: travel and la politque des amateurs}, volume={6}, DOI={10.1353/mov.2007.0013}, abstractNote={Mobile Home Movies Travel and le Politique des Amateurs Devin Orgeron [End Page 74] Amateur Cinematography and Moment Collecting This article examines the post–World War II travel films of two American families. One family documented their travels (mostly in the United States) in the late 1940s and early 1950s, and the other family, the Weiss family, was especially mobile (and internationally so) in the early to mid-1960s as U.S. involvement in Vietnam was escalating.1 The films themselves are part of a larger collection acquired by the author at estate sales in and around Silver Spring, Maryland, and Washington, D.C., between 1997 and 2001. Several of those years were my "dissertating years." Haunting people's basements on the weekends, which started as a diversion, quickly became something more when at one of these sales I bought a dusty Kodak Brownie 500 projector and a big box of mysterious-looking fifty-foot Kodachrome films, most of which were labeled simply [End Page 75] with a year and a geographical referent.2 This particular sale was professionally run; some are run by surviving family members, and some are simply indoor yard sales. That the items themselves in this case were "professionally" priced at ten dollars—a surviving family member, in fact, "threw" the Weiss family film collection in with the projector, the item that justified the price tag—indicates the low esteem our culture has for what Patricia Zimmermann has called a "part of a suppressed and discarded film history."3 As a student of moving image history and technology, my attraction to this particular strain of popular culture made sense; this, at least, is the argument I like to use when I grow weary of defending or denying what is also quite clearly a form of voyeurism—a fascination with the ways objects, especially these objects, reverberate nostalgically. So, while I should perhaps repress my own voyeurism, my own fascination with a time that, in most cases, I never knew personally, or with people to whom I certainly had no personal connection, I want here to unmask my violation of these academic taboos in the hope of complicating them and, to some degree, unraveling how such desires not only form the organizational backbone of "the collecting impulse" but are also strategies implicit in the amateur cinematographer's task, which is, after all, to look longingly, to remember fondly. Writing of his own difficult-to-reconcile fervor for the written word, his own collections of books and of quotations, Walter Benjamin suggested that "to renew the old world—that is the collector's deepest desire when he is driven to acquire new things."4 Benjamin's words are magnificent, in part, for their own quotability—a state of affairs, I suspect, he would have found delightfully comical. Susan Sontag, buoyed by Benjamin's observations, draws the connection between the collector's and the photographer's twin enterprises. This connection inspires her to open her seminal 1977 book On Photography with the aphorismatic position that "the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads—an anthology of images. To collect photographs is to collect the world."5 Sontag also closes her book, in homage to Benjamin, with her own collection of quotations on photography. Between these Benjaminian bookends, Sontag offers a critical statement upon which the present examination pivots. Continuing in the photographer-as-collector vein, she writes that, Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past. But while traditional [End Page 76] arts of historical consciousness attempt to put the past in order, distinguishing the innovative from the retrograde, the central from the marginal, the relevant from the irrelevant or merely interesting, the photographer's approach—like that of the collector—is unsystematic, indeed, anti-systematic.6 Although Sontag...}, number={2}, journal={Moving Image : the Journal of the Association of Moving Image Archivists}, author={Orgeron, D. A.}, year={2006}, pages={74–100} }
 @article{orgeron_2004, title={Curating Kiarostami: review of Jonathan Rosenbaum and Mehrnaz Saeed-Vafa's Abbas Kiarostami}, volume={45}, number={1}, journal={Frameworks (Berkeley, CA)}, author={Orgeron, D. A.}, year={2004}, pages={132–134} }
 @inbook{orgeron_2003, title={Faster Pussycat! Kill! Kill!}, ISBN={0764157019}, booktitle={1001 movies you must see before you die}, publisher={London: Quintet}, author={Orgeron, D. A.}, year={2003}, pages={453} }
 @inbook{orgeron_2002, title={David Fincher}, ISBN={041518973X}, booktitle={Fifty contemporary filmmakers}, publisher={Routledge}, author={Orgeron, D. A.}, year={2002}, pages={154–161} }
 @article{orgeron_2002, title={Revising the postmodern American road movie: David Lynch's The 'Straight Story'}, volume={54}, number={4}, journal={Journal of Film and Video}, author={Orgeron, D. A.}, year={2002}, pages={31–46} }
 @article{orgeron_2002, title={The import/export business: the road to Abbas Kiarostami's Taste of Cherry}, journal={CineAction}, author={Orgeron, D. A.}, year={2002}, pages={46–51} }
 @article{orgeron_orgeron_2001, title={Eating their words: consuming class a la Keaton and Chaplin}, journal={College Literature}, author={Orgeron, D. A. and Orgeron, M.}, year={2001}, pages={84–104} }
 @article{orgeron_orgeron_2000, title={Interventions: an interview with Isaac Julien}, volume={9}, number={10}, journal={Coil}, author={Orgeron, D. A. and Orgeron, M.}, year={2000} }
 @article{orgeron_2000, title={Re-membering history in Isaac Julien's The 'Attendant'}, volume={53}, ISSN={["0015-1386"]}, DOI={10.1525/fq.2000.53.4.04a00040}, number={4}, journal={FILM QUARTERLY}, author={Orgeron, D}, year={2000}, pages={32–40} }
 @article{orgeron_2000, title={Scatological film practice: Pulp Fiction and a cinema in movements}, volume={19}, number={3}, journal={Post Script}, author={Orgeron, D. A.}, year={2000}, pages={29–41} }