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Photo Friday

By Jennifer Tisdale

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

The Texas Book Festival and the Ransom Center co-sponsored the panel 'David Foster Wallace: A Life' at last weekend’s festival, which included  Matt Bucher (moderator), David Lipsky, David Means, and  Antonya Nelson. Photo by Anthony Maddaloni.
The Texas Book Festival and the Ransom Center co-sponsored the panel 'David Foster Wallace: A Life' at last weekend’s festival, which included Matt Bucher (moderator), David Lipsky, David Means, and Antonya Nelson. Photo by Anthony Maddaloni.
Gallery model of preliminary layout for the spring 2011 'Becoming Tennessee Williams' exhibition. Photo by Anthony Maddaloni.
Gallery model of preliminary layout for the spring 2011 'Becoming Tennessee Williams' exhibition. Photo by Anthony Maddaloni.
Ransom Center Director Thomas F. Staley and Sam Tanenhaus, Editor of the 'New York Times Book Review,' spoke informally with Ransom Center staff, university faculty, and students on Thursday, October 21. Photo by Anthony Maddaloni.
Ransom Center Director Thomas F. Staley and Sam Tanenhaus, Editor of the 'New York Times Book Review,' spoke informally with Ransom Center staff, university faculty, and students on Thursday, October 21. Photo by Anthony Maddaloni.
University graduate student and film collection volunteer Sandra Yates splices together outtakes of footage from film and theater producer Lewis Allen’s collection. Photo by Pete Smith.
University graduate student and film collection volunteer Sandra Yates splices together outtakes of footage from film and theater producer Lewis Allen’s collection. Photo by Pete Smith.

Austin Film Festival screens ‘Sweet Smell of Success’

By Jennifer Tisdale

The Austin Film Festival, in partnership with the Ransom Center and Los Angeles Times’ film critic Kenneth Turan, will be screening Sweet Smell of Success (1957) at the Alamo Ritz on Friday, October 22. The Ransom Center holds screenwriter Ernest Lehman’s archive, which consists of more than 2,500 items from his personal and professional files. The collection covers Lehman’s 40-year career in New York and Hollywood not only as a screenwriter but also as a novelist, short story writer, journalist, producer, and director.

Sweet Smell of Success began as Lehman’s novella titled Tell Me About It Tomorrow, focusing on the seedy underworld of gossip columnists. Lehman was set both to write and direct the film, but the process was so stressful that he developed medical problems and had to bow out. Clifford Odets took over screenwriting duties, and Alexander MacKendrick directed. Despite the production difficulties, Sweet Smell of Success is now regarded as one of the best of the film noir genre, with Odets and Lehman sharing screenwriting credit. In 1993 Sweet Smell of Success was added to the National Film Registry by the Library of Congress for being “culturally, historically, or aesthetically significant.”

Below are Lehman’s handwritten thoughts in response to director MacKendrick’s notes concerning the screenplay as of August 1956. Lehman’s two pages provide insight about why he had to leave the Sweet Smell of Success project on doctor’s orders and take “a long and work-free vacation.” Lehman ends with “I loved Tahiti.”

 

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

 

Photo Friday

By Jennifer Tisdale

Each Friday, the Ransom Center will share photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Ransom Center docent Janet Laughlin sits in the south atrium alongside a reflection of an illustration from 'Alice’s Adventures in Wonderland,' John Tenniel, 1865.  Photo by Anthony Maddaloni.
Ransom Center docent Janet Laughlin sits in the south atrium alongside a reflection of an illustration from 'Alice’s Adventures in Wonderland,' John Tenniel, 1865. Photo by Anthony Maddaloni.

Associate Curator of Performing Arts Helen Adair shares holdings from the Erle Stanley Gardner archive at a reception for new members. Photo by Anthony Maddaloni.
Associate Curator of Performing Arts Helen Adair shares holdings from the Erle Stanley Gardner archive at a reception for new members. Photo by Anthony Maddaloni.
Image of an etching from the Ransom Center’s windows. The etching is of Gunn and Stewart’s 'Queen Victoria on Her Diamond Jubilee,' 1897. Photo by Anthony Maddaloni.
Image of an etching from the Ransom Center’s windows. The etching is of Gunn and Stewart’s 'Queen Victoria on Her Diamond Jubilee,' 1897. Photo by Anthony Maddaloni.

Ransom Center receiving applications for research fellowships in the humanities

By Jennifer Tisdale

Fellow John Pipkin works with the John Herschel papers in the Reading Room at the Harry Ransom Center.Photo by Anthony Maddaloni.
Fellow John Pipkin works with the John Herschel papers in the Reading Room at the Harry Ransom Center.Photo by Anthony Maddaloni.
The Harry Ransom Center is now receiving applications for its 2011-2012 research fellowships in the humanities. The application deadline is February 1, 2011. 

Information about the fellowships and the application process is available online.

About 50 fellowships are awarded annually by the Ransom Center to support scholarly research projects in all areas of the humanities. Applicants must demonstrate the need for substantial on-site use of the Center’s collections. All applicants, with the exception of those applying for dissertation fellowships, must be post-doctorates or independent scholars with a substantial record of publication.

The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 to $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.

Information about the Ransom Center collections can be found online  or in the “Guide to the Collections.”

The stipends are funded by Ransom Center endowments and annual sponsors, including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Hobby Family Foundation Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Robert De Niro Endowed Fund, the Schusterman Center for Jewish Studies at The University of Texas at Austin, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, and The University of Texas at Austin Office of Graduate Studies.

Applicants will be notified of decisions by letter on or before April 1, 2011. Fellowship recipients and their research projects will be announced on the Center’s website in May 2011.

 

Donations sought to restore iconic costumes from ‘Gone With The Wind’

By Jennifer Tisdale

The Ransom Center seeks to raise $30,000 to restore and preserve five original costumes from Gone With The Wind (1939). Donations to restore the costumes can be made online .

The Ransom Center holds the film collection of David O. Selznick, a well-known and admired producer of Hollywood’s “Golden Age” of the 1930s and 1940s. Selznick’s production of Gone With The Wind is considered one of the quintessential films of the period, receiving 10 Academy Awards.

Among the more than 5,000 boxes of materials in the Selznick collection are five original costumes from Gone With The Wind: character Scarlett O’Hara’s Green Curtain Dress, Green Velvet Dressing Gown, Burgundy Ball Gown, Blue Velvet Peignoir and Wedding Dress. Most of the costumes, all worn by actress Vivien Leigh, are in too fragile condition to be exhibited.

“An historical garment in a museum collection is often most compelling when it is displayed on a mannequin, and yet each time a fragile costume is removed from storage, handled and placed on a dress form, that garment is at risk,” said Jill Morena, Collection Assistant for Costumes and Personal Effects at the Ransom Center. “Conservation work and custom supports for storage and display are essential components in ensuring that the Gone With The Wind costumes can be enjoyed for years to come.”

Donations made to the Ransom Center will allow for the restoration of the original dresses and the purchase of protective housing and custom-fitted mannequins to allow for proper exhibition. The Center hopes to display the costumes in 2014 as part of an exhibition celebrating the 75th anniversary of Gone With The Wind and to be able to loan the dresses to museums internationally.

“Nothing evokes the human element in film quite like the costume,” said Steve Wilson, Curator of Film at the Ransom Center. “A character’s social and economic class, for example, can be represented through the style and quality of her clothes, shoes, and jewelry, and whether those clothes are clean and fresh or tattered and soiled. And not only must the costume support and enhance the actor and director’s interpretation of the character, but it must also allow for the actor’s movement and withstand the rigors of shooting. The appreciation of costume design can deepen our understanding of film as an art form and reflection of our culture.”

Concerning the creation of costumes for Gone With The Wind, costume designer Walter Plunkett had remarked, “I don’t think it was my best work or even the biggest thing I did… But that picture, of course, will go on forever, and that green dress, because it makes a story point, is probably the most famous costume in the history of motion pictures.”

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

The "Dawn" of FX

By Jennifer Tisdale

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The Ransom Center’s exhibition Making Movies explores the collaborative processes that take place behind the scenes in filmmaking.  For another two weeks, visitors have the opportunity to see original materials from the Center’s film collections in the exhibition, which demonstrates the responsibilities of those involved in films, ranging from the producer to the special effects designer.

One portion of the special effects section highlights special effects techniques devised by Norman Dawn (1886–1975) in cinema’s earliest years. Dawn was a little-known yet historically significant early special effects cinematographer, inventor, artist, and motion picture director, writer, and producer. He worked with several important film pioneers, including Mack Sennett, Carl Laemmle, Irving Thalberg, and Erich von Stroheim.

The Dawn collection at the Ransom Center consists of 164 display cards that illustrate over 230 of the 861 special effects that Dawn created in more than 80 movies.  Each display card documents one of his special effects, most often a refinement or improvement of a matte shot process. Information about Dawn’s experiences working with various studios and managers such as Universal’s William Sistrom and Metro-Goldwyn-Mayer’s (MGM) Louis B. Mayer are also noted.

The display cards could easily be interpreted and viewed as pieces of art, assembled and constructed personally from Dawn’s own field notebooks and methodical records.

The cards contain original oil, watercolor, pencil, and ink sketches used to sell the effects to skeptical film executives and directors; production and personal photographs; detailed camera records; film clips and frame enlargements; movie reviews, advertisements, and other trade press clippings; explanatory texts and recent sketches to illustrate his methods; and pages from an unpublished autobiography.

Norman Dawn's special effect card for 'Master of Women'
Norman Dawn's special effect card for 'Master of Women'

Costumes reveal character revelations

By Jennifer Tisdale

As the Making Movies exhibition demonstrates, a costume can reveal much about a film character. For example, a character’s social and economic class can be represented through the style and quality of her or his clothes, shoes, and jewelry, and whether those clothes are clean and fresh or tattered and soiled. Clothing also exposes a character’s unique personality traits and self-image. Steve Wilson, the Ransom Center’s Associate Curator of Film, talks about Robert De Niro’s costume in Taxi Driver, and how it supports and enhances the interpretation of the character Travis Bickle.

Film curator discusses "Making Movies" exhibition

By Jennifer Tisdale

Associate Curator of Film Steve Wilson elaborates about Making Movies, an exhibition that focuses on the artistic collaboration that is unique to the medium. Wilson shares how the Ransom Center’s holdings document the history of the motion picture industry to illustrate the highly collaborative nature of the movie-making process.

More than 60 research fellowships awarded

By Jennifer Tisdale

The locations of the 2010-11 fellowship recipients. ©Rand McNally Map. Click on map to enlarge.
The locations of the 2010-11 fellowship recipients. ©Rand McNally Map. Click on map to enlarge.

The Ransom Center has awarded more than 60 research fellowships for 2010–11.

The fellowships support research projects in the humanities that require substantial use of the Center’s collections of manuscripts, rare books, film, photography, art and performing arts materials.

The scholars, almost half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “William Faulkner’s Early Career: A Chronology,” “Cogs in the Dream Machine: Jack Harris and the Role of ‘Still Men’ in Promoting Hollywood Cinema,” “Jimmy Hare and the Beginnings of Photojournalism” and “Raymond Chandler’s Los Angeles.”

The fellowships range from one to three months in duration, offering funds of $3,000 per month. Travel stipends and dissertation fellowships are also awarded. All fellows, with the exception of those selected for dissertation fellowships, are post-doctorates or independent scholars with a substantial record of scholarly achievement.

$1 million gift supports conservation and preservation programs

By Jennifer Tisdale

The Ransom Center has received a $1 million gift from the Booth Heritage Foundation to support and enrich its conservation and preservation programs. The gift to Campaign for Texas, the university’s capital campaign, will support a five-year initiative to enhance the Ransom Center’s conservation and preservation programs for physical materials and to transform the Center’s digital preservation program.

The gift will establish a Conservation and Preservation Programs Excellence Fund, supporting initiatives such as staff participation in conservation and preservation workshops, meetings, conferences and programs; the development of a digital preservation management system and the establishment of internships in conservation and digital preservation. The gift will enable the recruitment of two new Ransom Center staff members in photograph conservation and digital preservation, providing funding while the Center seeks to endow the positions permanently.