After that was the main event: a public talk by the photographers and writer discussing the origins and plans for the project. Although their journey had only just begun the day before in San Antonio, each photographer presented some amazing images from just one day’s work. You can see many of these images on the Postcards From America blog.
The Ransom Center was excited to participate in this new project, an outgrowth of our parnership with Magnum Photos and MSD Capital, LP to house 200,000 press prints from Magnum Photos’s New York bureau.
I encourage you to follow the photographers on their blog and through the Blurb Mobile app. Do it soon because they are more than halfway through their trip, which ends in Oakland with an exhibition from their journey at the Starline Social Club on May 26.
Please click the thumbnail to view full-size images.
They’ve been blogging about it since the end of March, so there’s already plenty to see and read. You can follow them on various social media sites, and you can even post your own images at the “Postcards From America” Flickr site. At the end they will be mounting a special exhibition of images from the trip at the Starline in Oakland, and they promise to include some of the follower-contributed Flickr images as well.
The idea was born at a retreat where Magnum photographers talked about, of all things, photography. It’s exactly the type of independent project that was behind Magnum’s founding by Robert Capa, Henri Cartier-Bresson, David Seymour, and George Roger in 1947. Established to preserve the copyright of their work, the Magnum cooperative agency thus secured perpetual revenue from the photographers’ imagery. This watershed moment in photojournalism thereby allowed the photographers to break free from the news cycle and pursue more in-depth and independent projects like “Postcards From America.”
The Ransom Center is excited to participate in this unique documentary event, which comes as an outgrowth of our relationship with Magnum Photos. In 2010 the Ransom Center joined in partnership with Magnum Photos and MSD Capital, LP to house some 200,000 original press prints from Magnum’s New York bureau. The Ransom Center has since created a preliminary inventory and opened the collection to students, faculty, and the general public. We continue to work with Magnum, including the Magnum Foundation, to add further research value to the collection.
The events on Friday, May 13, begin with a chance to informally meet and talk with the photographers between 5 p.m. and 6 p.m. at their R.V., which will be parked on the north end of the Ransom Center plaza. This will be followed by a public discussion among the “Postcards” participants about photography and ways to picture America, held at 7 p.m. C.S.T. at Jessen Auditorium, Homer Rainey Hall, across the plaza from the Ransom Center. The program will be webcast live.
In his lecture, Rose explores the relationship between politicians and literature. Are politicians’ agendas molded by literature? How far are their policies and tactics shaped by poetry, prose, and drama? Rose focuses on the career of Winston Churchill by examining the books he read. George Bernard Shaw, H. G. Wells, John Galsworthy, and Siegfried Sassoon; The Red Badge of Courage, The Good Earth, Gone With The Wind, and 1984—these and many other books and authors exerted a powerful influence on Churchill and his brilliant career.
Rose is the William R. Kenan Professor of History at Drew University. He was the founding president for the Society of the History of Authorship, Reading, and Publishing. His publications include A Companion to the History of the Book (with Simon Eliot), The Intellectual Life of the British Working Classes, and The Holocaust and the Book: Destruction and Preservation.
The Harry Ransom Center commemorated the opening of the David Foster Wallace archive with readings of Wallace’s work by writers and actors on September 14, 2010. Readers Wayne Alan Brenner, Elizabeth Crane, L. B. Deyo, Doug Dorst, Owen Egerton, Chris Gibson, Kurt Hildebrand, Shannon McCormick, and Jake Silverstein shared selections of Wallace’s fiction, essays, and correspondence. Wallace’s archive is housed at the Ransom Center. The program was co-sponsored by American Short Fiction and Salvage Vanguard Theater.
Tonight, J. B. Colson, Professor Emeritus of Journalism and Fellow of the Dolph Briscoe Center for American History, and Roy Flukinger, Ransom Center Senior Research Curator of Photography, discuss the lives and work of Helmut and Alison Gernsheim at the Ransom Center.
In this video clip from a 1978 interview, Colson asks Helmut Gernsheim about his passion for collecting and his career as a pioneering historian of photography. Helmut and Alison Gernsheim’s efforts significantly contributed to the acceptance of photography as a fine art and as a field worthy of intellectual study. In this clip, Gernsheim discusses how and why he started collecting photography before it became an established practice.
Tonight, Charles R. Larson of American University speaks about his collection of African, African American, and Native American literature, acquired by the Harry Ransom Center in 2009. Bernth Lindfors, University of Texas at Austin emeritus professor of English, hosts the conversation, which will be webcast live. Here Larson shares how he became interested in African literature and began collecting.
This collection of books and manuscripts would not exist if I had not gone to Nigeria in 1962 as a Peace Corps volunteer. Prior to my departure, I had earned both a B.A. and an M.A. in American literature and written my thesis on William Faulkner’s Snopes trilogy. I fully intended to return to the United States and pursue a Ph.D. in American literature. Fortunately, the summer before my departure for Nigeria, I read Chinua Achebe’s Things Fall Apart and Amos Tutuola’s The Palm-Wine Drinkard.
Nigeria totally altered my worldview, mostly by showing me the failure of my earlier education. Not only did I begin reading emerging works by African writers, but I realized that in the many American literature courses that I had taken, I had never read a work by a minority writer. I began ordering books from the United States and reading Richard Wright, Ralph Ellison, James Baldwin, and other African American writers. How ironic that the man who directed my M.A. thesis and taught the American literature survey course I took never mentioned a single African American writer, yet he was an African American. After I returned to the United States, I discovered that he had one of the most extensive private collections of African American literature, but he obviously never felt comfortable enough to assign any of those writers in his own courses.
How fortunate that the school where I taught English in Eastern Nigeria was a scant few miles from Ogidi, the village where Achebe grew up and the setting of his celebrated novel. I was aware of Ogidi’s proximity to my own village and was even told that Achebe visited his family there from time to time, but I made no attempt to meet him until several years later. Equally important, however, was Onitsha, the Igbo center of business and culture, a dozen miles from where I lived. It was there that I purchased many of the original titles by the Onitsha pamphleteers and had my first true sense of what was already becoming a major school of African writing. In Onitsha at the CMS Bookstore, I also purchased Achebe’s third novel, Arrow of God, soon after it was published.
Nigeria changed my scholarly life. When I returned home I was determined to see that works by African writers were reprinted in American editions, and in the spring of the 1965 academic year, I taught my first course in African literature. The rest is history.
The Making Movies Film Series runs throughout the summer and features films that are highlighted in the Making Movies exhibition. Tonight, the Ransom Center will screen Martin Scorsese’s Casino (1995), starring Robert De Niro, Sharon Stone, and Joe Pesci. Throughout the series, Cultural Compass will highlight an exhibition item related to each film.
A story of greed, violence, deception, money, and power, Casino is set amid the world of gangsters in 1970s Las Vegas. It is the eighth film of a remarkable series of collaborations between actor Robert De Niro and director Martin Scorsese.
A film based on true events, Casino stars De Niro as Sam “Ace” Rothstein, a character based on Frank “Lefty” Rosenthal, a sports handicapper from Chicago who earned the attention of the mob due to his genius with numbers. His friend Nicky Santoro, played by Joe Pesci, was based on Tony Spilotro, a violent mob enforcer who protected the “skim,” or illegal casino profits. Ace’s wife, Ginger McKenna, based on Rosenthal’s real life spouse, Geri McGee, a Las Vegas call girl, is played by Sharon Stone.
The costumes worn in Casino are as flashy and gaudy as the city in which the film is set. Nearly all of the costumes in Casino were custom made and reference vintage clothing from the 1970s and 1980s to emphasize and enhance the larger-than-life characters of the film. The costumes had to be both grounded in the fashion of the time and in tune with the characters and plot turns of the film.
As Ace Rothstein, Robert De Niro wears this costume at the beginning of Casino when a bomb planted in Ace’s car explodes. Ace survives with only burns on his arm. Multiple copies of this costume were made for the necessary additional takes.
Rita Ryack and John Dunn designed the costumes in Casino. Ryack’s work can be also seen in such films as Cape Fear, Apollo 13, Wag the Dog, and Hairspray. Dunn designed costumes for Basquiat, The Notorious Betty Page, and I’m Not There, among many others.
The Making Movies Film Series runs throughout the summer and features films that are highlighted in theMaking Movies exhibition. Tonight, the Ransom Center will screen Mike Nichols’s Who’s Afraid of Virginia Woolf? (1966), starring Elizabeth Taylor and Richard Burton. Throughout the series, Cultural Compass will highlight an exhibition item related to each film.
Edward Albee’s play Who’s Afraid of Virginia Woolf? opened on Broadway in 1962 and gained notoriety for its profanity and sexual themes. It was selected for the 1963 Pulitzer Prize for Drama, but the trustees of Columbia University overruled the advisory committee and awarded no prize for drama that year. Despite the controversy, Warner Brothers acquired the film rights to the play in 1964 and recruited Hollywood’s top screenwriter, Ernest Lehman, to write and produce the movie.
The usual procedure for adapting a play is to “open it up,” adding characters and locations to make the film more visually appealing. Lehman worked his way through several drafts of the script but eventually returned to the original play, making only a few minor changes. He was able to cast, against type, “the world’s most famous couple,” Elizabeth Taylor and Richard Burton, and he hired Mike Nichols for his first film directing job.
In spite of the scrutiny surrounding the film, Who’s Afraid of Virginia Woolf? became one of the highest grossing films of 1966 and earned every eligible Academy Award nomination. Yet the film’s impact reached far beyond its artistic and financial success. Despite fierce opposition, Lehman and Nichols prevailed in their fight to keep the original language of the play intact. The movie was directly responsible for the Motion Picture Association of America abandoning the old system of self-censorship and adopting the film rating system that is still in use today.
Shown here are Ernest Lehman’s notes about his meeting with Elizabeth Taylor and Richard Burton on November 19, 1964, to discuss their roles in the film.
(1945), starring Tom Neal and Ann Savage. Savage’s archive is housed at the Ransom Center.
Kent Adamson, who has written a biography on Ann Savage, writes about Savage’s connections to Texas and why Detour is still loved by critics.
Since its original release in 1945, Detour has become possibly the most famous and critically examined B-film of all time. In the Los Angeles Times, Kevin Thomas called Detour “one of the most relentlessly intense psychological thrillers anyone has ever filmed.” Roger Ebert in his “Great Films” series says, “It lives on, an embodiment of the guilty soul of film noir. No one who has seen it has easily forgotten it.” In 1992, Detour was selected for inclusion in the National Film Registry.
In a recent article by Time magazine critic Richard Corliss listing the “Top 10 Greatest Villains,” Ann Savage was one of only two women named, honored for her role as Vera. Detour was also chosen as one of Time magazine’s all-time 100 best movies.
In the public domain, Detour persists based on its own powerful strengths. That it is now considered a noir classic is due to the hard work of many people, including director Edgar G. Ulmer, co-star Tom Neal, and in large part to the fearless, unnerving performance of Ann Savage.
Ann Savage’s character, Vera, is like a dark goddess set free in the blazing California desert, the sexiest and scariest succubus ever filmed. Noir author Christa Faust describes Savage’s performance of Vera: “She was less of a constructed, conniving femme fatale than an unstoppable force of nature. Savage imbued that character with a raw, aggressive and almost masculine power that evokes the same kind of dangerous, unpredictable animal magnetism exhibited by Lawrence Tierney in Born to Kill.”
Detour was shot in 28 days at the Producers Releasing Corporation (PRC) studio in Hollywood over the summer of 1945, as World War II was drawing to a close. Shooting began after the death of Hitler and defeat of Germany in the spring and was concluded before the surrender of Japan.
Well into her 80s, Ann Savage toured regularly to make public appearances with Detour, including an engagement at the Alamo Drafthouse Cinema in Austin. Savage had spent the bulk of her early childhood in Dallas, where her parents ran a jewelry store. As a lifelong film lover, she remembered going with her parents to the movie palaces on Elm Street in Dallas. The first film she remembered attending was Valentino’s silent masterpiece, The Son of the Sheik, in 1926.
“One of my earliest memories is being taken to a gigantic palace to meet a very important king,” said Savage in 2006. “I realized years later, when I asked my mother about it, that we had gone to an ornate movie theater to see Valentino.
“The movies were silent then, and the theater was filled with beautiful music. I wanted to get up and dance for the king. When we got home from a night at the movies, I would cheer my parents up by play-acting scenes from the films.”