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See designs for ‘The Red Shoes’ and view a restored version of the film

By Steve Wilson

The Alamo Drafthouse Cinema will be screening a restored version of The Red Shoes (1948) on Thursday, August 5. Through August 1, visitors to the Making Movies exhibition can view Hein Heckroth’s storyboards for The Red Shoes and a “picture script” from the movie.

Hein Heckroth was a Surrealist painter and set designer who lived and worked in Germany in the years after World War I.  Building on the then-radical theories of Edward Gordon Craig and Adolphe Appia, he earned an international reputation working with the Kurt Jooss dance company creating avant-garde sets and costumes for their productions.

In 1933, Heckroth left Germany when he was blacklisted by the Nazis for refusing to leave his Jewish wife, the artist Ada Maier.  They moved to England where Heckroth designed operas for Kurt Weill, Carl Ebert, and others, and continued working with the Jooss dance company, which had also moved to England.  In 1943, production designer Vincent Korda saw Heckroth’s design work in a stage production of War and Peace and hired him to work on Gabriel Pascal’s film Caesar and Cleopatra (1945).  Soon he was recruited by Alfred Junge, the head designer for The Archers, the production unit founded by Michael Powell and Emeric Pressburger.  There he designed costumes for A Matter of Life and Death (1947) and Black Narcissus (1949).

Given his experience with avant-garde theater and designing for dance, he was the natural choice for production designer for The Red Shoes. Powell and Pressburger gave him enormous freedom to experiment, and he created beautiful surreal sets and costumes with materials such as chiffon, gauze, and cellophane.  His stunning designs for The Red Shoes won him an Oscar for color art direction in 1948.

These two designs and the “picture script” for the dance sequence in The Red Shoes come from the collection of Heckroth’s colleague Edward Carrick, another important production designer in England at the time.

Please click on the thumbnails below to view full-size images.

 

"The Ransom Center is what the House of the Medicis once was to 14th century Florence."

By Harry Ransom Center

‘Arthur Miller’ by Christopher Bigsby
‘Arthur Miller’ by Christopher Bigsby

Christopher Bigsby, a professor of American Studies and the Director of the Arthur Miller Centre at the University of East Anglia, has written extensively about Arthur Miller. He recently published a biography on the playwright, Arthur Miller (Harvard University Press, 2009), and he writes here about working at the Ransom Center.

I have been visiting the Harry Ransom Center for more than 30 years, most recently working on Arthur Miller’s papers, though the staff there must have been somewhat irritated when Miller held back boxes of materials so that I could work through them to write his biography. It delayed their arrival in Austin by nearly two years. You will even find among them a page bearing a lipstick kiss from Marilyn Monroe, a touch distracting to the serious scholar.

I once made a BBC television film about the Ransom Center during which I learned that in the event of fire, the area floods with inert gas. It is designed to preserve the collection though, alas, not the researchers. I am told that more recently they have exchanged this for a sprinkler system. As an academic I think that shows a failure of nerve. I approved of the earlier priority.

In England there is an excellent fish and chip chain called Harry Ramsden’s. I’ve been known to confuse the two, not least because both offer immediate satisfaction wrapped up in yesterday’s papers. For academics the Center is a kind of limbo. When you go there, you don’t know whether you will discover a path to heaven or hell. Will the hidden be revealed, theories proved, or will the notebooks of writers contradict everything you wish to say? Does tenure await or a life in advertising?

The Ransom Center is what the House of the Medicis once was to 14th century Florence. Admittedly it hasn’t as yet produced many Popes, but it has had a hand in a new Renaissance. In the past, its money, admittedly, came from oil and not banking (hard to know which it is harder to love right now) but its role in preserving our cultural heritage (the UK’s no less than the US) has been central. Where else but Texas, after all, should we look to research Winnie the Pooh?

Art and commerce in Nepal, ca. 1930

By Bob Taylor

A recent project to reorganize some materials in the papers of British author Compton Mackenzie (1883–1972) brought to light specimens of traditional Nepalese handmade paper serving in a most prosaic capacity.

During the late 1920s and early 1930s, Mackenzie travelled widely and at one point was contacted while in the remote Himalayan kingdom of Nepal by a London publisher. The message from London arrived via New Delhi, India, in the form of a telegram and asked if Mackenzie would consider a “biography of Churchill” upon completion of his present commitment. Unless the biography sought was to be a brief piece for a newspaper or periodical, it would appear it was never written by Mackenzie.

So, in a sense, the telegram was just one more of those numberless pieces of paper that the active life of a published author produces, and a creative dead end at that. But this telegram was very different from most others in that it was written out on paper unlike any I have ever seen.

The form was printed in Devanagari script on two sheets and was accompanied by three more unused blanks. The paper is called lokta and is prepared by hand from fibers obtained from the bark of the Nepalese lokta tree (Daphne cannabina). While lokta paper manufacture requires much the same general techniques as traditional Western handmade paper, the present specimens exhibit a faint but uniform criss-cross design when held up to the light rather than the distinct chain-and-wire lines of their Western equivalents. The finished product is said to be durable and resistant to insect damage.

The sheets in the Mackenzie papers are remarkable for their texture and appearance, exhibiting bits of bark and small twigs worked into the fabric of the paper, dramatic whorls of lokta fiber here and there, and even occasional voids in the paper’s surface. The paper is a mottled pale tan in color and more nearly translucent than opaque. It seems to have been lightly treated during manufacture with sizing, so has a feel more like cloth than traditional paper. The effect is at once one of extreme primitiveness of technique, and yet, at the same time, one of remarkable beauty.

A web search provided several brief histories of lokta paper, which indicate that it was employed by the Nepalese government until the 1950s for its official correspondence and that it continues to find a role there in the preparation of certain classes of documents. Use of the paper is on the decline in Nepal as it is being displaced by conventional machine-made papers, but there is a substantial international market for it among those attracted by its remarkable texture and appearance.

 

Please click on the thumbnails below to view full-size images.

 

Only two weekends left to see "Making Movies" and "¡Viva! Mexico’s Independence"

By Alicia Dietrich

Costumes in the Ransom Center's 'Making Movies' exhibition. Photo by Anthony Maddaloni.
Costumes in the Ransom Center's 'Making Movies' exhibition. Photo by Anthony Maddaloni.
The Harry Ransom Center’s exhibitions Making Movies and ¡Viva! Mexico’s Independence close Sunday, August 1.

Featuring items from the Ransom Center’s extensive film collections, Making Movies reveals the collaborative nature of the filmmaking process and focuses on how the artists involved—from writers to directors, actors to cinematographers—transform the written word into moving image.

If you can’t visit the exhibition before it closes, view a video interview with Associate Curator of Film Steve Wilson discussing how the Ransom Center’s holdings document the history of the motion picture industry.

¡Viva! Mexico’s Independence showcases materials from the Ransom Center’s collections including the 1529 document appointing Hernán Cortés Captain General of New Spain; unpublished letters exchanged between Ferdinand Maximilian, Emperor of Mexico, and his wife Carlotta; documentary photographs of the Mexican Revolution; and period broadsides illustrated by José Guadalupe Posada. The year 2010 marks the 200th anniversary of Mexico’s independence from Spain and the 100th anniversary of the Mexican Revolution, pivotal events in Mexico’s struggle for self-governance.

Free docent-led tours of the exhibitions are offered Tuesdays at noon and Saturdays at 2 p.m. through the end of the exhibition.

The permanent exhibitions, the Gutenberg Bible and the First Photograph, remain on display in the lobby. A new exhibition Discovering the Language of Photography: The Gernsheim Collection opens in the galleries on Tuesday, September 7.

The galleries are open Tuesday through Friday from 10 a.m. to 5 p.m., with extended hours on Thursday evenings to 7 p.m., and Saturday and Sunday from noon to 5 p.m. The galleries are closed on Mondays. Admission is free.