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.
Jamaican-born writer Claude McKay (1889–1948) is probably best-known for his poem “If We Must Die.” McKay, however, also published three novels and a collection of short stories. His most popular novel, Home to Harlem (1928), grew out of a short story of the same name. He was encouraged in his work by his literary agent William Bradley, an American whose agency operated out of Paris. Claude McKay’s correspondence can be found in the Center’s William A. Bradley Literary Agency collection.
An optimistic McKay wrote to Bradley from Antibes, France in February 1927, “Everything is clear and I can see through the whole story to the end. I ought to have the thing done by the end of March.” However, a series of difficulties beset McKay and slowed his writing process. In mid-March, McKay’s friend Max Eastman was planning to return to the United States and to take his typewriter with him. McKay thought he might have to write long-hand, but on March 26 happily reported “The typewriter problem is almost solved” after he purchased a used typewriter for 550 francs. He noted, however, it “doesn’t work so well. I have already had to take it back to Nice twice…and now it is on the blink again.” In early April, McKay was still working on the manuscript and struggling through financial and creative challenges, writing to Bradley, “I am without any money and should be very obliged to you for sending me two hundred francs….. I got into an impasse for a week nearly and had to destroy everything I wrote. But I got out and am going along smoothly again.”
McKay continued to work, and by June the manuscript was complete. In February 1928, McKay finally received the publisher’s “dummy” of the book and had concerns about the dust jacket featuring an illustration by Aaron Douglas:
“I like the cover of the book & the color of the jacket but I don’t like the drawing. It looks so much like the stiff skeleton of a black ape. Has no life and one looking at it will naturally link it with Jake [the novel’s protagonist]. Covarrubias could have done something striking & sympathetic, but I suppose I should not grumble & criticize but be loyal and patriotic as the artist is a colored man.”
A week later he followed-up with Bradley:
“Yes, I think my first opinion about the cover was wrong. It is effective and grows on me. The Senegalese fellows at the café were enchanted with it at first sight. Maybe my plastic sense is a little corrupt and sentimental.”
Harper and Brothers released the book with the Aaron Douglas illustration and Home to Harlem went on to become a success, surprising even McKay who was tickled with its popularity “I see Home to Harlem like an impudent dog has nosed right in among the best sellers in New York!” The New York Times declared of McKay’s talent, “it is not a strained, a half-hearted or skimpy talent, but one that is eminently worth more play than one novel.” While McKay went on to write Banjo (1929) and Banana Bottom (1933), these novels failed to live up to the success of Home to Harlem.
The contributions of the actor can be seen throughout the Making Movies exhibition. The primary and most visible interpreter of character is the actor, who interacts with or is affected by every creative artist on the production team.
Gloria Swanson’s performance as the aging film star Norma Desmond in Sunset Boulevard (1950) is now widely regarded as one of the most powerful in the history of film. The inner life of the character was first developed in the screenplay by Billy Wilder and Charles Brackett, who tailored specific details to Swanson’s own life and career. But Swanson also drew on her own experience as a silent-screen film actor when she relied primarily on facial expressions and pantomime to convey emotion and action to the audience. Her perfect balance of all the aspects of Desmond’s character created a truly memorable performance.
In this audio clip, Swanson talks about working with director Cecil B. DeMille and the violin players kept on the film sets to help actors get “into the mood” for happy or sad scenes. She also discusses acting technique for silent films with subtitle cards.
This audio excerpt is just one item from the “Actor” section of the Making Movies exhibition, which runs through August 1 at the Ransom Center. Follow our RSS and Twitter feeds or become a fan on Facebook to see new items from the exhibition revealed each day for the next few days as part of “Script to Screen.”
In anticipation of the opening of its exhibition Making Movies, the Harry Ransom Center kicks off the promotional campaign “Script to Screen,” featuring online content that highlights the creative work that takes place behind the scenes in filmmaking.
Today, you can view a video preview of the exhibition, which opens February 9.
Featuring items from the Ransom Center’s extensive film collections, the exhibition 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.
Highlights include original scripts, storyboards, production photos, and call sheets, in addition to screenplays from The Third Man, North by Northwest, and Shakespeare in Love and costumes from Gone With The Wind, An Affair to Remember, and Taxi Driver.
During “Script To Screen,” the Ransom Center will share unique content related to the exhibition every day through its social media channels on this blog, Twitter, and Facebook. Each day, the Ransom Center will highlight an item from a different section of the exhibition, which is organized by filmmaking jobs (director, producer, cinematographer, and more) and by iconic film scenes with materials that show how those scenes were created.
For Central Texas readers, join us on the red carpet for a special opening celebration for the Making Movies exhibition on Friday, February 12. Details at www.hrc.utexas.edu/redcarpet.
The Ransom Center will launch the “Script To Screen” promotional campaign next week in anticipation of the upcoming exhibition Making Movies, which opens February 9. Starting Monday, the Ransom Center will feature online content that highlights the creative work that takes place behind the scenes in filmmaking.
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.
This video gives an overview of the Ransom Center’s film collections and highlights many items that will be included in the exhibition.
Lucien Douglas, Professor of Theatre and Dance at The University of Texas at Austin, performs “The Tell-Tale Heart” and other selections from the work of Edgar Allan Poe tonight in an event that will be webcast live.
The Ransom Center has acquired the papers of American novelist Jayne Anne Phillips. Phillips has published six novels and story collections over the last three decades. Her most recent work is Lark and Termite (2009).
Phillips visited the Ransom Center recently and recorded a reading of Lark and Termite, which you can listen to here.
Known for her poetic prose and her in-depth study of family dynamics, Phillips has received critical acclaim and major literary prizes, including a Guggenheim fellowship and two National Endowment for the Arts fellowships. A member of the American Academy of Arts and Letters, Phillips is professor of English and director of the Master of Fine Arts program in Creative Writing at Rutgers University, Newark.
The acquisition contains manuscripts in multiple states for Black Tickets (1979), Machine Dreams (1984), Shelter (1995), Motherkind (2000), and Lark and Termite, as well as dozens of individual short stories and essays, some never published. Phillips’s school records, early writings, family photographs, notebooks, business documents, fan mail, and related ephemera provide insight into the writer’s life, writing process, family relationships, and publishing history.
The Ransom Center’s Coronelli Celestial globe (ca. 1688) is almost five feet high and depicts several constellations labeled in Italian and Latin. To coincide with the current exhibition, Other Worlds: Rare Astronomical Works, the technology and digital services department developed a virtual model of the globe for our website. Photographer Pete Smith and technology services graduate intern Ramona Broussard describe how they assembled this model:
The first challenge we encountered in creating this virtual model was moving the globe to the photography studio to capture high-quality images. The Ransom Center’s exhibition preparation department had to remove a door so that the large globe could fit inside the photography studio.
After our first test shots, we realized that the lighting would have to be polarized to clear up the glare coming off the shiny surface of the globe. The final lighting setup required five powerful flash units and numerous reflectors. For the animation to run smoothly, the globe had to be rotated the same distance for each photographed frame. After some investigation we found that the globe was marked with 72 longitudinal lines that were perfect to use as guides when we moved the globe for each frame. When photographing the globe we had to be careful not to skip a section or double up on one.
One person moved the globe and carefully stepped out of the frame so that the photograph could be taken. This process was repeated 72 times until the globe was photographed for one full rotation. When the photographing was complete, the exhibition preparation crew lifted the globe onto a type of dolly and rolled it out of the studio. They then replaced the door.
The next challenge was deciding how to stitch the photographs together and present them online in a usable and accurate way. We settled on using Flash because Flash is a widely adopted tool that most browsers support without the need for add-ons or plug-ins; the necessity of downloading add-ons often prevents people from accessing new multimedia.
We reviewed several online Flash tools and settled on one created by YoFLA because it was easy to use and provided several functions we wanted, including the ability to zoom, a customizable look, and predefined hotspots (or clickable areas.) YoFLA 3D Object Rotate is freely available for those who want to try it.
The first 3D object we created with 72 uncropped images was prohibitively large. To keep download time to a minimum, we created a smaller object with only 36 images that were cropped. Finally, we had a virtual globe that could be put online for easy viewing and close inspection.