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.
The Stanley Burns tintype collection is a remarkable and rare assemblage of unusually large, hand-colored, American tintypes in period frames. With more than 130 items, this is one of the largest collections of its kind.
Portraiture in America has a long tradition. In the colonial era, painted portraits provided a historical record of prominent figures, while miniatures and silhouettes provided more intimate records of family members. As the middle classes prospered in the early nineteenth century, painted portraiture flourished. With the invention of the daguerreotype in 1839, the face of portraiture started to change. The daguerreotype required one- to three-minute exposures, which were hard for people to hold, but as other photographic mediums were developed, such as ambrotypes and tintypes, photography began to replace painting as the standard technique for portraits.
Tintypes, like daguerreotypes, are one-of-a-kind photographs. There is no negative, as the image is exposed directly onto the substrate. The word “tintype” is, in fact, a misnomer, as iron, not tin, was used as the substrate. The tintype process was faster, cheaper, and produced a more accurate depiction than a painting, which led to its rise in popularity, especially with the middle and working classes. The necessary equipment and chemistry were portable and thus allowed photographers to travel, providing access to people in rural areas and to Civil War soldiers.
The Burns collection consists almost entirely of portraits, many of which are of individuals, including paired sets of husbands and wives. Additionally there are family portraits, some of which are “composite” images where the photographer reproduced earlier portraits of individuals into one group portrait, a method often used to include deceased family members. There are also many portraits of children, including post-mortem photographs of infants. Portraits of African-Americans and people in trade uniforms exemplify how photography helped democratize art by making it accessible to lower and working class citizens.
The tintypes in this collection are all painted, either with oil paints or watercolor. Some are painted heavily in a folk-art style while others have only minimal colorization. Tintypes were not usually painted, but doing so placed them within the tradition of painted portraiture and thus closer to being fine art. Painting them also made up for the poor contrast of tintypes and could make them appear more life-like. Most commonly, tintypes measured about two by three inches and were housed in paper display folders, but the ones in this collection measure six by eight inches or larger and are displayed in elaborate frames, another practice that helped raise the status of the photograph to fine art.
The frames in the collection are of equal importance to the photographs, and they represent a variety of styles—from the plain to the elaborate—and date from 1840 to 1910. Renaissance revival and federal revival styles are simple and elegant; rococo revival frames include scrollwork and flower motifs. Many frames in the collection are Eastlake style, named for the nineteenth-century British architect and tastemaker Charles Eastlake. These consist of ebonized or marbleized wood with incised geometric patterns. Aesthetic style frames, also well represented in this collection, are distinguished by the clarity of their molded designs with motifs inspired by nature. The collection also includes frames in tramp art and rustic styles, which are more simply decorated, carved-wood designs. The range of styles from simple wood constructions to elaborate gilt moldings reveal the social status of each photograph and, by extension, the subjects.
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Writer Alan Furst, whose archive is housed at the Ransom Center, is known for his historical espionage novels set in pre-World War II Europe. His most recent novel, Spies of the Balkans, will be released today. Email email@example.com with “Furst” in the subject line by midnight CST tonight for a chance to win one of two copies of the book. [Update: This contest has ended, and winners have been notified.]
Furst visited the Ransom Center last fall and sat down for an interview to discuss his writing and his archive. Below are some excerpts from the interview.
Furst discusses why he writes spy novels.
Furst discusses how he develops atmosphere in his books.
Furst talks about what it means for him and his career to have his papers housed at the Ransom Center.
Fans of Furst can also check out his recommended reading, read his Writers Reflect interview, and listen to him read from his book Spies of Warsaw on the Ransom Center’s website.
The web exhibition highlights the immense scope of the Simmons & Co. archive and is intended to encourage research in the collection. The exhibition is organized into 10 categories of costume design and showcases 228 selected images drawn from 60 film and theater productions. The Web exhibition was funded by a grant from the National Endowment for the Humanities (NEH).
The Ransom Center acquired the voluminous archive of B. J. Simmons & Co. in two separate installments in 1983 and 1987. Comprising more than 500 boxes, the collection is one of the largest of its kind in the world.
From its founding in 1857 to its demise in 1964, Simmons & Co. created stage costumes for hundreds of theater productions in London, the provinces and overseas, ranging from Victorian pantomime to the “kitchen sink” dramas of the 1960s. Simmons & Co. also provided costumes for more than 100 films, including features directed by Alexander Korda and Laurence Olivier.
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In a scene from the 1995 film Heat, Robert De Niro storms into Ashley Judd’s hotel room, grills her for answers, and knocks a line of wire hangers off the rack. According to Ashley Judd, detail-oriented director Michael Mann chose those particular metal hangers for just the right visual and sound effect.
The Ransom Center also carefully selected hangers specifically for the costumes of Robert De Niro, whose film archive resides at the Ransom Center. Last October, the Ransom Center’s preservation lab constructed 100 custom-made hangers for heavy coats and jackets in the De Niro collection.
“Robert De Niro had a lot of large, heavy coats. For one film, for example, he could have five full-length leather jackets. We had to have something that would be very sturdy and also very good for the textile,” says Apryl Voskamp, Preservation Housings Manager.
Before acquiring De Niro’s collection, the Ransom Center had few costumes to house and could afford the space to store the costumes in the ideal environment: lying flat and in the dark. But with thousands of costumes arriving in the De Niro collection, Helen Adair, Associate Curator for Performing Arts, and Jill Morena, Collection Assistant for Costumes and Personal Effects, inspected the costumes and deemed some costumes appropriate for hanging storage, including many of the jackets.
“It takes less space to store things hanging,” says conservator Mary Baughman. “Things like the leather jackets are pretty tough as long as they’re out of the light.”
The challenge was to find or make padded hangers appropriate for De Niro’s jackets.
“We didn’t have any hangers here that would work,” Baughman says. “Some of the De Niro costumes are pretty heavy, and the hangers we had here were too flimsy. And we couldn’t find a commercially made hanger that would work. There are a lot of archival quality hangers out there for your wedding dress, but for a big, heavy leather coat, not so much.”
The range of costumes worn by De Niro’s varied film personae created some unique circumstances for the team. For example, a large, heavy canvas coat worn by the swashbuckling, cross-dressing pirate Captain Shakespeare in Stardust (2007) was treated by the wardrobe department to look weathered and beaten by the elements. This distinctive costume “got an even more macho hanger,” according to Baughman.
Other costumes selected to hang include full-length jumpsuits worn by De Niro’s jewel thief in The Score (2001), as well as the jumpsuits worn by his stunt double. The suits bear burn holes from the blowtorch used by De Niro’s character to break open a safe.
The preservation team also decided not to hang certain jackets. For example, De Niro’s characters get shot, burned, or injured in many of his films, and Voskamp and Baughman were worried about hanging bloody jackets, many of them still sticky.
“I learned that fake blood is an industry secret,” Voskamp says. “Studios don’t want to divulge their recipe because they think it’s the best. It would be helpful to know what’s in the fake blood to know if it will damage other items, but that’s very difficult to figure out. So we decided to isolate these costumes and house them lying flat to make sure the fake blood doesn’t migrate onto other materials.”
Baughman is the mastermind behind the design. She searched for just the right hanger, eventually choosing a sturdy long-necked stainless steel hanger to serve as the main frame. The next step was to construct shoulder supports to cover the metal hanger which would prevent the metal from distorting the garment’s original shape.
“We didn’t want to have this sharp edged metal hanger up against the cloth of the garment. It would’ve left a mark in the garment. After a few years, the fibers will break along those creases,” Baughman says.
Baughman designed the shoulder supports out of lignin-free board. For decades, “lig-free” board has been used to create a variety of custom archival containers at the Ransom Center. Each piece of lignin-free board had to be cut, creased, and tied with twill tape to simulate the shape of human shoulders. The final component of the hanger was a padded cloth covering to go over the shoulder support. Each cloth covering has three parts: two cloth sides and a long cloth tube filled with polyester batting.
It took a team of seven—including Voskamp, Baughman, University of Texas work-study student Liz Phan, and four volunteers—one month to complete the project, spending the entire month exclusively making hangers. Each hanger took an hour and a half to construct for a total of 262 hours. For the Ransom Center’s preservation team, it’s worth getting hung up on the details.
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2010 marks the twentieth anniversary of the publication of Tim O’Brien’s The Things They Carried, a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The book depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of 43.
The Ransom Center acquired the archive of the National Book Award–winning writer in 2007, and a finding aid for the collection is available online. Also, read what O’Brien has to say about his papers residing at the Ransom Center.
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A few weeks ago, the Ransom Center received as a gift an unusual volume to add to our holdings of hard-boiled detective writer Dashiell Hammett (1894–1961). Kevin Berger, a journalist from New York, donated this booklet, which Hammett wrote for the U.S. military while he was stationed in the Aleutian Islands off the Alaska Peninsula during World War II. Berger’s father was a draftsman who also served in the Aleutians, and Berger had found the volume among his father’s drawings. We enthusiastically accepted the gift knowing that it would remedy what we call a “want”—a gap in our holdings. The Ransom Center is an important research site for scholars of Hammett in part because we have a small collection of Hammett’s papers and the massive archive of his longtime lover, the playwright Lillian Hellman. This gift is a boon to Hammett scholars not just because it fills a bibliographical gap, but because the Hammett papers, it turns out, contain a series of letters Hammett wrote to Hellman while stationed in the Aleutians.
In June 1942, the Japanese attacked a United States military base in Dutch Harbor on Unalaska Island and went on to occupy two far western islands in the Aleutian chain. After more than a year of air, sea, and land battles fought in brutal conditions, the United States defeated the Japanese in July 1943. Hammett was posted to the island of Adak almost immediately after the crisis ended. From that time on, the island was under little threat of invasion, and Hammett was assigned to keep the 50,000 troops stationed in the islands informed of current affairs through an official newspaper, The Adakian—a sleepy journalistic assignment, since news arrived in this remote outpost well out of date. As part of his work, Hammett composed the history The Battle of the Aleutians in September 1943, a project for which he and his collaborators received a commendation. Its narrative has the feel of hard-boiled suspense writing, as in this passage describing the U.S. preparing for a counter-attack:
And then trouble came, a williwaw, the sudden wild wind of the Aleutians. Nobody knows how hard the wind can blow along these islands where the Bering meets the Pacific….The first morning the wind stopped landing operations with only a portion of our force ashore and, by noon, had piled many of the landing boats on the beach. The men ashore had no tents, no shelters of any kind. They dug holes in the ground and crawled into them for protection against wind and rain and cold. When the wind had quieted enough to let the others come ashore, they too dug holes and lived like that while the cold, wet and backbreaking work of unloading ships by means of small boats went on. And they did what they had to do. They built an airfield. They built an airfield in twelve days.
Hammett undertook related projects such as working at the radio station, offering film screenings, and delivering evening lectures on current events.
The famous writer was admired by his young staff at the newspaper and was himself an appealing curiosity for an isolated community often suffering from low morale. In letters to Lillian Hellman, he wrote detailed descriptions of life in the Aleutians; in the example shown here, he covers subjects such as his living conditions, his Texan bunkmate, Fred Astaire, and his thoughts on another work of war writing by Ralph Ingersoll. Biographer Diane Johnson (whose research materials on Hammett are part of her archive at the Ransom Center) writes that “if there were a happiest year for Hammett, it might have been this one, 1944.” Despite the austere landscape and the lack of news—not to mention fresh food—he stopped drinking and found himself to be unusually content. Hammett remained stationed in Adak—interrupted by a brief, unhappy period at Fort Richardson on the mainland—until the summer of 1945.
Hammett’s decision to enlist had seemed strange to those close to him—he was almost 50, he had long suffered from tuberculosis, and he had a well-known distaste for mainstream American politics. But his hatred of fascism was stronger, and he performed the service he was assigned with vigor, as this little booklet shows. As Diane Johnson tells it, a confusion over Hammett’s given name may be the only reason he made it to the Aleutians in the first place: over the course of several months in 1943, the office of J. Edgar Hoover issued memos to the General Staff office seeking validation of a rumor that Hammett—a known Communist Party sympathizer—had somehow made his way into the U. S. Military, but they assured him there was no such serviceman. The fact was only confirmed in 1945. By that time, Hammett had been reassigned, and the magic of Adak was over. He returned to drinking and after a short time requested a discharge; he officially left the military in August 1945.
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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. In honor of this bicentennial and centennial, the Ransom Center’s exhibition ¡Viva! Mexico’s Independence showcases items from the Center’s holdings that relate to the history of Spain’s original conquest of Mexico, Mexico’s independence from Spain and subsequent revolutionary activities within Mexico.
Rosalba Ojeda, Consul General of México in Austin, discusses the value of seeing original materials that illuminate these historic touchstones. The video is also available in Spanish.