The Ransom Center will support more than 80 research fellowsfor 2014–2015, the 25th anniversary of the fellowship program. Since the program’s inception, the Center has awarded fellowships to more than 900 scholars from around the world.
The fellowships support research projects in the humanities that require substantial on-site use of the Center’s collections of manuscripts, rare books, film, photography, art, and performing arts materials.
The 2014–2015 fellowship recipients, more than half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “J. M. Coetzee and the Idea of the Literary,” “Imagined Heartlands: Post-Postmodern Literature and the American Midwest,” “The Films of Powell and Pressburger,” “Norman Hall: Photo-Editing and International Connections in Mid-Twentieth Century Photography,” and “Dawn of a New Day: New York City Between the Fairs.”
The fellowships range from one to three months in duration and provide $3,000 of support per month. Travel stipends and dissertation fellowships are also awarded.
The stipends are funded by individual donors and organizations, including the Andrew W. Mellon Foundation, the Creekmore and Adele Fath Charitable Foundation, the American Society for Eighteenth-Century Studies, and The University of Texas at Austin’s Office of Graduate Studies, Schusterman Center for Jewish Studies, and program in British Studies.
The Ransom Center will host eight additional scholars in collaboration with the Arts and Humanities Research Council (AHRC) International Placement Scheme (IPS). This program, funded and administered by the U.K.-based AHRC, offers early-career researchers and AHRC-funded doctoral students from U.K. universities the opportunity to enhance their research with a fellowship at one of its six participating host institutions.
Image: Cover of Eric Gill’s Twenty-five Nudes (1938; reprint, London: J. M. Dent & Sons Ltd., 1951); James Salter’s notes on possible titles for his novel Light Years, ca. 1974–5; cover of Paul Hayden Duensing’s 25: a quarter-century of triumphs and disasters in the microcosm of the Private Press & Typefoundry of Paul Hayden Duensing (Kalamazoo, Mich.: The Private Press and Typefoundry of Paul Hayden Duensing, 1976); signaled message from the Royal Air Force to John Pudney requesting a poem for the organization’s 25th anniversary, March 24, 1943; photograph of 25th Street Theater, Waco, ca. 1962.
Dariusz Pachocki, an assistant professor in Polish studies at John Paul II Catholic University of Lublin in Poland, worked in the Bolesław Leśmian papers at the Ransom Center in 2013. While here, he investigated the provenance of the collection and pieced together the long journey the papers took before their arrival at the Ransom Center in 1970, and below, he writes about that journey. Pachocki’s research was supported by the Edwin Gale Fellowship.
Manuscripts of many outstanding writers are stored in the collections of the Harry Ransom Center, and there are even archival materials from writers who never visited the United States and never wrote anything in English. For example, the Ransom Center has a great collection of manuscripts by Polish writer Bolesław Leśmian. How did the manuscripts of one of Poland’s greatest writers end up in the United States? This is the short story of a long and complex tale that brought these manuscripts to Texas.
Bolesław Leśmian (1877–1937) came from an assimilated family of Jewish intelligentsia. In importance, he ranks with other such poets of his time as T. S. Eliot or Rainer Maria Rilke. However, his work was appreciated only at the end of his life. Scholars of literature have described him as a great poet with a brilliant style of language, which he used skillfully in his creation of numerous neologisms. A man of great culture, he combined old philosophies with modern skepticism. He wrote fables, essays, and dramas, among other things, but poetry was the most important. Though he published only three books of poems during his lifetime, he influenced the history of Polish literature. Few manuscripts have been preserved, so the collection at the Ransom Center is very important for Polish culture.
The journey of the manuscripts begins in 1944 during the Warsaw Rising, a rebellion during World War II that was violently supressed by Nazi Germany. Many civilians, including Leśmian’s wife Zofia Chylińska and his daughter Maria, left the city because of military action. Leśmian had died two years before the outbreak of World War II, and so his wife and daughter were forced to manage on their own during the occupation. Before the women left the city, Chylińska divided his literary output into two parts and placed them in suitcases. The first included manuscripts of literary works that had been published, and the other contained manuscripts that were unknown and unpublished. The women did not know what their fate would be, and so they took with them only the most necessary and most valuable items. They could not take both suitcases, so they decided to leave the suitcase with published manuscripts in the basement of their acquaintance. Leśmian’s daughter Maria recalled these events after the war in her memoir:
“Notebooks in a black cover made from oilcloth. Lost manuscripts. It was impossible to save them all and take from the burning house. Mother was weak from despair. She could not lift a leaf from the ground. But Warsaw was burning. And despite this I carried bulging suitcase on Rakowiecka Street to the house which was not in flames. It was opposite to the fortress improvised by Germans. There, on the ground floor, lived our friend. Her surname was Czarnocka. We placed the manuscripts in her basement […]. These were published literary works.”
The second half of Leśmian’s works travelled with his family on a long and dangerous journey:
A few essays, unfinished poems had a similar fate as their owners, they travelled with us to Mauthausen concentration camp. They, through work camps, got to another hemisphere. I remember when I was carrying them. I was exhausted, with terrible pain of heart, after three days and nights of trip with a sealed train. We were surrounded by soldiers with torches. We climbed the hill, we carried valuable bundle with difficulty, in the light of these torches whose scrappy, fiery flames reflected darkness of the night. It was in August 1944.
The German Mauthausen concentration camp was built in Austrian territory. As in other concentration camps, people from across Europe were exterminated, and inmates who survived lived in unimaginable conditions. The most important thing was to survive, and in such circumstances, bread outranks manuscripts. However, Leśmian’s wife and daughter did not part with the manuscripts. They protected them as their most valuable treasure.
After a few months of appalling living conditions, they were freed by the American Army in May 1945. Starving and ailing, they made it to Italy with the aid of the International Red Cross, and they decided not to return to Poland because the Soviet Army was not only a liberator but also an occupier.
After World War II, Poland was under the influence of the Soviet Union. It had been placed within the communist bloc, where thousands of soldiers maintained order. Consequently, many members of the intelligentsia—writers, artists, or soldiers, and Leśmian’s family—chose not to return to communist Poland. After leaving Italy, Chylińska and Maria Leśmian lived for some time in London, where they published some of the saved manuscripts. Soon after that, they emigratedto Argentina and settled in the suburbs of Buenos Aires. While it seemed like the women and manuscripts would be safe there, both women had problems finding jobs, and they experienced poverty and suffered from illnesses. Also, despite being treated with care and reverence, the manuscripts were deteriorating because of the damp climate in Argentina.
The women could not afford professional conservation, and so they made a dramatic decision to sell the materials both to save themselves from starvation and to preserve the manuscripts. Polish intelligentsia emigrants and people connected with Polish culture were interested in the materials, but no agreement could be reached with Polish institutions, even though Chylińska’s health and the condition of the manuscripts were worsening.
Finally, a Polish antiquarian bookseller from New York, Aleksander Janta-Połczyński, was travelling throughout Argentina, met with Leśmian’s family, and was interested the manuscripts. He searched for an institution that could purchase the manuscripts and preserve them properly. When that proved impossible, he decided to pay for them with his own funds in 1967. Sadly, Leśmian’s wife had died three years earlier.
The antiquarian bookseller came to an agreement with the then-Humanities Research Center (now the Ransom Center). House of El Dieff auction house brokered the transaction, and after a long journey across three continents, the manuscripts arrived in Austin in 1970.
This collection of manuscripts includes seven literary works that are very interesting. While there is evidence that the family rescued more manuscripts from burning Warsaw, a considerable part of them seem to have been lost. However, the manuscripts that survived are perfectly protected and available to scholars interested in the literary output of Leśmian. The Ransom Center’s collection is now the largest collection of manuscripts of Bolesław Leśmian in the world. However, that could change one day if the other suitcase that was hidden in the neighbor’s basement resurfaces. The building survived bombardment and all military actions, but the suitcase has never been found.
Back in November the exhibition WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath opened at its fourth and final venue, the Brooklyn Museum. This exhibition, which I curated with Anne Tucker and Will Michels in my former role in the photography department at the Museum of Fine Arts, Houston, featured over 400 photographic objects dating from 1848 to 2012, including a number of photographs from the Harry Ransom Center’s collections. Our curatorial mission was neither to tell a history of war illustrated by photography nor to present a series on singular photographers. Instead, we hoped to bring together a selection of objects that highlighted the intersections between war and photography.
Photographs from the Ransom Center collections were included throughout the exhibition, enriching the thematic sections that explored daily routine, shell shock, and dissemination, as well as battlefield burial and death. The Gernsheim collection yielded a chilling 1871 print of communards in coffins, an image likely used to discourage further unrest in the streets of Paris, as well as Roger Fenton’s iconic and controversial 1855 photographThe Valley of the Shadow of Death from the Crimean War.
A Ransom Center fellowship funded by the Andrew W. Mellon Foundation Research Fellowship Endowment enabled curator Anne Tucker to spend weeks going through box after box of the Ransom Center’s prints, lantern slides, and stereographs. While in the reading room, she could compare the croppings of multiple photographs of Captain Ike Fenton and the U.S. Marines during the Korean War by David Douglas Duncan and share her findings. She also surveyed the collection of prints made at the height of the civil war in El Salvador by 30 international photographers, including Donna DeCesare and Harry Mattison.
The New York Journal- American photo morgue provided one of my favorite photographs in the exhibition. It is a small print from 1918 of a carrier pigeon being released from a tank on the Western Front. The image itself references one of the means of communication (pigeon transport) that is often associated with World War I, but it is also important as a photographic object because it carries the marks and highlights of an editor’s pencil, readying the print for reproduction and the image for dissemination.
Please click on the thumbnails below to view larger images.
Justin Owen Rawlins is a Ph.D. candidate in the Department of Communication and Culture and the Department of American Studies at Indiana University. He visited the Ransom Center in May and June 2013 on a dissertation fellowship to conduct research for his dissertation, “Method Men: Masculinity, Race and Performance Style in U.S. Culture.”
Through a generous fellowship from the Harry Ransom Center, I was recently afforded the opportunity to conduct extended research for my dissertation on the historical reception of Method acting. My interest in the terms and conditions under which Method acting—and actors—accumulate meaning in U.S. popular culture led me to the Center’s Stella Adler and Harold Clurman papers. As founding members of the Group Theatre (1931–1940), Adler and Clurman were part of an ostensibly communal organization offering socially-engaged theatrical alternatives to the commercial New York stage. More importantly, the Group functioned as a crucial transitionary device, adapting the work of Constantin Stanislavsky and others to suit its own purposes and cultivating a community of performative philosophers—including, but not limited to, Stella Adler, Robert Lewis, Morris Carnovsky, Sanford Meisner, Cheryl Crawford, Harold Clurman, Lee Strasberg, Elia Kazan, Clifford Odets, and Phoebe Brand—whose teaching, writing, directing, and producing continue to permeate U.S. culture in ways we may never fully understand. Though it lacks the name recognition of some of its alums (especially Adler, Meisner, Strasberg, and Kazan), the Group has long been ensconced in the mythology of the Method.
As the Adler and Clurman papers make clear, however, the lore surrounding the Group belies a more complicated organism. The April 1931 “Plans for a First Studio,” attributed to Clurman, provides us several examples in service of this reality. Although the “Group” did not yet formally exist, the case put forth in these “Plans” to the Board of The Theatre Guild (1918–) gives us a sense of the terms—and the tone—undergirding the proposed “First Studio” in this document and the eventual Group Theatre in reality. “Plans” also displays the careful negotiation of organizational philosophy and identity at work. The proposed First Studio is inextricably linked to The Theatre Guild, with Clurman’s historical narrative explicitly identifying the Guild as the medium through which this eventual group coalesced. At the same time, however, the mere proposal for a separate Studio carries with it this community’s desire to extend to forms of artistic expression beyond the ascribed capacity of the Guild.
The document also unintentionally highlights the difficulties in bridging acting language and practice. Clurman seeks to put the question to rest immediately, declaring in the first paragraph “[l]et there be no misapprehension on this point; we can translate every one of our generalizations [regarding theoretical practice] into its practical equivalent.” In fact, the remainder of the “Plans” presentation struggles to uphold this pronouncement. The ensuing existence of the Group is defined by many such debates revolving around the same gap between language and performance. As Clurman later admits in the very same “Plans,” “[i]f such a reply seems evasive it is not because we are vague as to what we want but because words are so inadequate for the definition of essences and because a lack of a common vocabulary creates so many harmful barriers in the minds of those that hear them.”
Exploring the factors that widen this gap and its cultural repercussions enable us to further demystify the Group Theatre and other Method-aligned organizations and figures. The Clurman and Adler papers are integral to that project.
John Mraz is a research professor in the Instituto de Ciencias Sociales y Humanidades “Alfonso Vélez Pliego” of the Benemérita Universidad Autónoma de Puebla.He received a fellowship from the David Douglas Duncan Endowment for Photojournalism and the Andrew W. MellonFoundation Research Fellowship Endowment to study “Jimmy Hare’s Photographs of the Mexican Revolution.”
In 2012, my book Photographing the Mexican Revolution: Commitments, Testimonies, Icons was published by the University of Texas Press. The leading combat photographer of that struggle was Jimmy Hare, who brought to Mexico the experience he had acquired in the Cuban-Spanish-American War (1898) and the Russo-Japanese War (1905). The Ransom Center is home to the James H. Hare collection, and, as my book had concentrated on the Mexican photographers (and specifically on determining their commitments to the different factions), I decided to investigate Hare’s photography of the Mexican Revolution in greater depth, with the idea of producing a short monograph on his imagery of that struggle. There are approximately 120 images (largely in the form of lantern slides) in the archive relating to the Mexican Revolution (1911–1917). The great majority of these are of the 1911 battle of Ciudad Juárez, though some ten images of the 1914 U.S. invasion of Veracruz also can be found in this archive.
I had hoped to find new images, especially of the Veracruz invasion, and documents (diaries, field notes, letters, clippings, etc.) written by Hare that could be incorporated into the monograph. It appears, however, this Hare gave that material to his biographer, Cecil Carnes, for the book published in 1940, Jimmy Hare: News Photographer. Furthermore, many Hare photographs that I encountered in the Carnes book and in the illustrated magazine Collier’s are not part of the Ransom Center’s archive. The monograph I had wanted to write will have to wait until the discovery of other parts of Jimmy Hare’s archive.
Although I could not carry out my proposed project, I did find convincing evidence that Jimmy Hare must be considered among the world’s first modern photojournalists. This is an important discovery for scholars of press photography, as we have generally argued that modern photojournalism begins with the Spanish Civil War of 1936–1939 and photographers such as Robert Capa, Gerda Taro, and the Hermanos Mayo. Modern photojournalism is defined by several elements: the photographs are spontaneous rather than posed; they have been taken in the midst of action and with a small camera that permits the photographer to get in that situation without being exposed to enemy fire; the imagery often contains movement within the frame, either because that actually occurred or because the photographer created it by moving the camera slightly or by leaving the diaphragm open longer than necessary; and the photojournalists are committed to one side rather than being neutral observers. Hare alluded to such imagery in his foreword to the Carnes book: “I want to stress the fact here that what I did was to try to obtain pictures of action in the early days of war photography— not just static group scenes.” Obviously, modern photojournalism required gaining access to the front; the censorship practiced by all the armies engaged in World War I prohibited photographers from taking the pictures Hare and others were able to make in the Cuban-Spanish-American War, the Russo-Japanese War, and the Mexican Revolution.
Working in the Ransom Center allowed me to compare Hare’s imagery of struggles where he obtained access to the front to those he made of the Russo-Japanese War and of World War I, which are largely posed scenes of daily life behind the lines. It also permitted me to contrast his photography with that of another early photojournalist whose archive is found in the Ransom Center, Ernest William Smith, who took pictures of the Boer War in 1899. Smith’s images are almost entirely posed—British troops and Boer rebels stand in front of the camera in groups—or they are taken from a distance, in what might be described as “establishing shots.” I have no idea which camera Smith worked with, but there are no “pictures of action” such as Hare described.
Hare was not the only photojournalist to cover the Cuban-Spanish-American War. John C. Hemment photographed that struggle for Hearst publications, and hundreds of illustrated books were produced to celebrate the U.S. triumph over Spain. Whether Hare can be considered the first modern photojournalist will require work in the archives of individuals such as Hemment. Yet, at this early point in my research, it is clear that Jimmy Hare is certainly among the first modern photojournalists in the world.
“I’m ready for my close-up, Mr. DeMille,” says Norma Desmond in the famous end scene of Sunset Boulevard. Gloria Swanson, the actress who portrayed Desmond, is ready, as well. Bowdoin Professor Tricia Welsch received fellowships, which were funded by the Andrew W. Mellon Foundation Endowment, to conduct research in the Ransom Center’s Gloria Swanson collection. The University Press of Mississippi recently published Welsch’s book, Gloria Swanson: Ready for Her Close-Up. Below, Welsch writes on her time at the Ransom Center.
When I took an exploratory trip to the Ransom Center to see if there was enough material to support a biography of Gloria Swanson (1899-1983), I was floored by the breadth and depth of the collection as well as the exceptional helpfulness and insightfulness of the staff. The Center’s holdings cover Swanson’s personal and professional life, from the first pictures she made in 1915 with Charlie Chaplin in Chicago through her movie stardom and her work in theater, television, radio, publishing, fashion, politics, and health activism. She lived in New York, California, Rome, London, and Paris. She traveled widely, and corresponded with everyone from Carol Burnett and Noel Coward to Eleanor Roosevelt and Ronald Reagan. I felt like I hit the biographer’s jackpot every day.
Over the months I spent at the Ransom Center, I saw the records of a fully lived life. I examined Swanson’s grade school report cards, read the fan mail she received, pored over seven decades’ worth of business correspondence, and looked at thousands of photographs. Swanson’s contract specified that she was to receive a complete set of film stills from each of her pictures, and they provide a valuable record of many films considered lost today. Swanson also had a vibrant love life, and there are amazing love letters from her six husbands and her many lovers—including hourly telegrams sent by an enraptured Herbert Marshall. There is even one surviving love note from her producing partner Joe Kennedy, who left few records of his private affair and preferred that his assistants refer to Swanson in code even in their business papers.
Swanson considered writing her autobiography for decades and made some wire recordings of her memories in the 1950s, which the Ransom Center converted to digital format. Hearing Swanson talk about her life in her low, thrilling voice—imperious, wry, yearning, and philosophical by turns—was a special pleasure.
I particularly enjoyed one recording where she and her long-time friend actress Lois Wilson reminisced about their early Hollywood escapades—in particular, Swanson’s reputation for scandal: “If I was in a room fully clothed for five minutes with some men, mayhem! Lois could walk out of a room with a dozen men in a black chiffon nightgown after two hours and they’d say, ‘Oh, somebody must be ill in there. She’s taking care of them.’” The peals of laughter throughout their conversation were infectious.
I also heard Swanson’s voice in her extensive correspondence, in the many drafts she prepared of her memoirs, in published interviews, in her TV talk show appearances, and—unexpectedly—in a series of dispatches she wrote for the United Press from Europe in the mid-1950s. These appeared as twice-weekly syndicated newspaper columns. In them she wrote about whatever grabbed her: Roman fireworks and French perfume manufacturing, bullfighting, her visit to a camp for Iron Curtain refuges, Princess Grace’s wedding in Monaco. Swanson called her 117 articles “the hardest and most disciplined work” she ever did. They chronicle the mid-life adventures of a fascinating woman who was prepared to be fascinated by every new experience.
Swanson called herself a “mental vampire” because she had a voracious appetite for learning of all kinds, and the Swanson collection affirms that. It is the ideal archive.
Casey McKittrick is an Associate Professor of English at Western Michigan University. He spent June and July of 2012 researching the David O. Selznick and Myron Selznick archives at the Harry Ransom Center. His work, which was funded by the Warren Skaaren Research Fellowship Endowment, produced the first chapter, and informed several others, of his forthcoming book Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread.
When I learned of my Warren Skaaren fellowship from the Harry Ransom Center, I had just begun work on a book-length project examining how Alfred Hitchcock’s experiences as a fat man influenced his filmmaking and the path of his career. After reading that Hitchcock had undergone a 100-pound weight loss upon moving from London to Hollywood in the 1940s, I became convinced that his relationship with David O. Selznick, the Hollywood “super-producer” who provided him with a seven-year contract, must have been partly responsible for this radical body change. Thus, I approached the Selznick archive at the Ransom Center with the working hypothesis that Hitchcock lost weight under the auspices of Selznick (renowned for tightly controlling his employees) to conform to the rigid bodily standards that Hollywood visibility necessitated.
The archive told a completely different story. For five weeks, I not only revised my thinking, but through the marvelously kept records—memos, legal documents, publicity material, scripts-in-process—I developed a narrative about the Selznick-Hitchcock relationship that had never been addressed at length. To be sure, a lot of research has been done on this historically important and largely successful collaboration, but Hitchcock’s fatness had never been suggested as a meaningful factor in their negotiations or their relationship dynamics.
First of all, it became clear that Selznick marketed Hitchcock as Europe’s greatest export by focusing on his fatness. Selznick capitalized on Hitch’s enormity to build a literally larger-than-life profile of the director. He was proud that he had managed to enlist the “Master of Suspense” in the face of great studio competition, and he wanted to ensure that Americans could look to Hitch as a celebrity figure—one belonging to Selznick International Pictures (SIP). The publicity photos for Hitchcock’s first American film Rebecca revealed this reliance on making Hitchcock a spectacle. For example, in one photo, Hitchcock holds a fake barbell while yawning; the photo caption reads: “Heavyweight in light mood.” In four different pictures Hitch is captioned as either a “239-pound Englishman” or a “239 pound director,” and in yet another, the caption reads, “‘Hitch,’ who likes to talk about movies and himself, doesn’t mind allusions to his 239 pounds.” Thus, far from encouraging the director to lose weight, Selznick commodified his body and did so quite successfully. In fact, when Selznick heard of Hitchcock’s drastic weight loss, he became concerned and in a memo urged him to “Drink a Malted!”
Another guiding idea that I uncovered through careful examination of the archive was that Selznick and his cronies at SIP would often use Hitchcock’s size against him in a shaming capacity. For example, Dan O’ Shea, one of Selznick’s vice presidents, sent a scathing memo to Hitchcock that scolded him for his prima donna attitude, and he capped off the missive with the taunt, “How’s the metabolism?” In nearly every altercation between the director and producer, communications emerged that referred to Hitchcock’s greed, his “big appetite,” or the notion that he was getting “too big for his britches.” Even as Hitchcock complied with Selznick’s publicity strategies and realized that his popularity hinged on this kind of “body marketing,” he still retained a great deal of shame surrounding his size, and Selznick exploited this shame many times in an attempt to “manage” him—to control what cinematic projects he took on, how fast he completed them, his other collaborations, and what he said to the press.
My research in the Selznick archives generated the first chapter of my recently completed monograph Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread, and the data I collected there is evident throughout the book. The book truly could not have been completed without this research. I look forward to using materials from the Center on future projects.
Leslie Delassus worked as a graduate intern in public services at the Ransom Center in 2005–2006, and she returned to the Center in 2013 as a dissertation fellowship recipient to conduct research in the Dawn collection. Below, she explores Dawn’s working method and approach to special effects.
Norman O. Dawn was a relatively obscure yet historically significant early special effects cinematographer, inventor, artist, and motion picture director, writer, and producer. The image above is an example of the 164 cards in the Dawn collection that illustrate special effects processes.
Produced by Dawn himself during the 1970s, these 16×20-inch cards explicate the process of special effects Dawn produced during his career as a filmmaker, dating back to as early as 1907. Between 1907 and 1951, Dawn created more than 800 special effects for more than 80 films, ranging from his early non-narrative “scenic” films to his subsequent narrative films. All of these effects consist of the juxtaposition of two or more images, a process Dawn refers to as “image manipulation.” The cards include artifacts from the production process including oil, watercolor, pencil, and ink sketches; film clips; frame enlargements; camera records; and production stills. The cards also contain ancillary documents such as movie reviews, advertisements, other trade press clippings, and sections from textbooks and pages from an unpublished autobiography.
This wealth of materials visually traces the history of cinematic special effects, situating their development within film scholar Tom Gunning’s notion of the “cinema of attractions,” a much earlier period vastly different from popular narrative film. The cinema of attractions was a more sensational cinema that appealed to audiences through overwhelming spectacle and images of the unfamiliar associated with tourism.
The card above explains the production process of the footage Dawn shot for Hale’s Tours of the World (1907), a cinema of attraction par excellence. Combining spectacle and tourism, Hale’s Tours was an amusement park ride set in a trolley, which simulated the sensations of a train ride as riders watched films shot from the point of view of a train in motion. In his footage for the ride, Dawn deployed arguably his most famous special effect innovation, the glass-shot, in which he shot a live scene through a large glass painting. In this particular shot, Dawn juxtaposed footage of members of an indigenous community in Mexico with a painting of ancient Mayan ruins situated in the background, thus combining two spatially distinct objects of tourism into one view. With his glass-shot, Dawn raised the stakes of spectacle by transporting his audience to a place otherwise inaccessible, one only possible through special effects cinema.
Significantly, images of spectacle and tourism resurface in Dawn’s fiction films, which are largely underrepresented in film history. While Dawn produced effects for—and in many cases directed—over 80 films, most of these films no longer exist. The few that remain reveal the way in which Dawn’s work in early cinema, like Hale’s Tours, influenced his narrative filmmaking. Often shot in remote and unfamiliar locations, such as the Arctic tundra, these films emphasize spectacle and tourism as integral narrative elements. Much like the audience of the attraction film, the protagonist of these films is overwhelmed by spectacular locations and charged with the task of navigating this unfamiliar terrain. This emphasis on spectacle over narrative links Dawn’s fiction films not only to the much earlier period of the attraction but also to the high-budget blockbuster of contemporary cinema. In this sense, Dawn’s protagonists have much in common with archetypal figures of New Hollywood cinema such as Indiana Jones, thus bridging the gap between the distant past of early cinema and the present moment of popular film.
Teal Triggs is a Professor of Graphic Design and Associate Dean at Royal College of Art, London. She spent time at the Ransom Center over the summer exploring materials related to Fleur Cowles with funding from the Fleur Cowles Endowment Fund. She shares some of her findings here.
With the support of the Fleur Cowles Endowment Fund, I was able to spend two weeks at the Harry Ransom Center exploring the personal archive of the journalist, painter, and American socialite Fleur Cowles (1908–2009). As a graphic design historian, my research has focused on the significance of the early 1950s American publication Flair magazine (1950–1951), created and edited by Cowles. The magazine ran for only 12 issues (with a limited-run, 5,000-copy, pre-publication prototype printed in September 1949), yet its influence would continue long after its closure. Whilst the Cowles archive at the Ransom Center is not specifically about Flair, it does contain related materials that provide useful insights into Fleur Cowles’s extensive social network, her commitment to the arts, and importantly for me, her working methods as a writer and editor.
Flair was very much a product of its time, simultaneously created as a response to the growth of specialist magazines and a nod to the new medium of television. As Cowles writes: “I wanted a magazine with ultimate dual reader appeal, male as well as female. And, in the frameword (sic) of television’s allure, I wanted a magazine of extraordinary visual excitement.” Flair achieved this with its unorthodox and experimental die-cut covers, unusual paper stock, tipped-in booklets, and luxurious use of space featuring illustration and photography. Undoubtedly, her editorial vision—signified by a drawing of her trademark rose—pushed the conventions of printing technologies and magazine design. Cowles found this a “thrilling gamble.” The original photographs in the collection show her sourcing paper in Milan and capture her exuberance in creating a magazine that has “a sense of surprise, a joy of discovery, with each new reading.”
As an editor, Cowles fulfilled, but also shaped, her reader’s aspirations. Flair was ultimately a reflection of Cowles’s own “jet-setting” lifestyle, with features on society’s elite, Hollywood celebrities, and exotic travel. The magazine featured those she knew and places she herself had visited, while often showcasing the contributions made by women with careers in politics. Flair was also a space where she expanded on her interest in design, with stories on interiors, architecture, and fashion. The archive material also shows that whilst Fleur promoted a stylized femininity, she was indeed a pioneer in promoting the role and careers of women in journalism and publishing.
Other documents in the collection clarify Cowles’s motivations. Before editing Flair, she was an Associate Editor at Look magazine—a publication owned by her then-husband “Mike” Gardner Cowles. One document that reveals Cowles’s commitment to gender equality is found in a speech she gave to the University of Syracuse and Syracuse Advertising and Sales Club on May 5, 1950. The title of her talk “The Woman in Publishing,” brought a decidedly feminist perspective to America’s publishing history, an aspect of her life I intend to explore further.
The opportunity to see the original magazines alongside supporting documents in the collection including letters, cards, telegrams, speeches, and manuscripts presented a rich context for my research, for which I am very grateful, and which will eventually appear in a book about Cowles’s impact on design.