Charles Drazin is a senior lecturer in film studies at Queen Mary University of London. He visited the Harry Ransom Center to research filmmakers Michael Powell and Emeric Pressburger for his book, The Films of Powell and Pressburger. Read more
Meet the Staff is an occasional series on Cultural Compass that highlights the work, experience, and lives of staff at the Harry Ransom Center. Albert A. Palacios has been the Film Curatorial Assistant at the Ransom Center since January 2010 and is a doctoral student in Latin American history at The University of Texas at Austin. He holds a Master of Science in Information Studies and a Master of Arts in Latin American Studies from The University of Texas at Austin. He was recently awarded the 2014 prize for best graduate essay for Book History. The judges noted “Not only is his research breathtaking, he offers a whole new approach to the issue of Spanish colonial censorship, and beyond that, a new perspective on the mechanics of censorship in general.”
Typically I manage eight to 15 graduate volunteers working at the film department each semester. We work on a range of projects, from creating digital collections and preserving film media to processing archives. However, this past semester we had 24 graduate and undergraduate students helping develop content for the web exhibition Producing Gone With The Wind.
Tell us about your role in the exhibition The Making of Gone With The Wind?
I was the project coordinator for the Gone With The Wind fan mail database, which shares thousands of letters that Selznick International Pictures received between 1936 and 1939. I recruited and trained graduate volunteers on preparing letters for scanning, digitization, image cropping, database records, transcription, as well as writing feature stories about the different types of letters. I also reviewed for quality and approved each entry. To date, we have records for more than 3,000 letters and transcripts for more than 6,000 pages.
What’s the most rewarding part about your job?
I think working with the volunteers is the most rewarding. They help us accomplish many high-quality projects, and they are always so excited and engaged. I am particularly glad to see that the myriad experiences and skills we offer can support their professional development. They help us preserve and make our collections accessible, while we help them define their career aspirations.
Tell us about your academic background and interests.
I started as an undergraduate at UT, pursuing a dual degree in architecture and anthropology. I knew I didn’t want to be an architect or an archaeologist when I finished in 2009, but I still wanted to explore questions of design and cultural representation. I started looking at museum exhibition design while I was studying architecture in Italy. That was when I decided to combine my architecture and archaeology/anthropology majors within the context of museums and archives at the School of Information. I graduated with my master’s degree there and jumped over to Latin American studies, where I wrote my thesis on book censorship in sixteenth-century Mexico. After receiving my master’s degree, I began in the history Ph.D. program. Ultimately, I’m working toward becoming a curator of Latin American special collections.
Did you travel to research your thesis?
I have gone to Mexico City, Chicago, New York, and other U.S. cities the throughout past two years to hunt down Mexican “inculabula” and manuscript sources that elucidate publishing practice in sixteenth-century Mexico. I am analyzing the censorship process, printing privilege (akin to copyright) and the social networks that intellectually and economically favored New Spain’s authors. I’m happy to say that two papers from that research are being published this year—one will be a chapter in a book and another in an academic journal.
What’s your favorite movie?
Spellbound! I’m a big fan of psychological thrillers. At the Ransom Center, we have original storyboards, construction drawings, and props that were created for the movie’s dream sequence.
The Alamo Drafthouse Cinema will be screening a restored version of The Red Shoes (1948) on Thursday, August 5. Through August 1, visitors to the Making Movies exhibition can view Hein Heckroth’s storyboards for The Red Shoes and a “picture script” from the movie.
Hein Heckroth was a Surrealist painter and set designer who lived and worked in Germany in the years after World War I. Building on the then-radical theories of Edward Gordon Craig and Adolphe Appia, he earned an international reputation working with the Kurt Jooss dance company creating avant-garde sets and costumes for their productions.
In 1933, Heckroth left Germany when he was blacklisted by the Nazis for refusing to leave his Jewish wife, the artist Ada Maier. They moved to England where Heckroth designed operas for Kurt Weill, Carl Ebert, and others, and continued working with the Jooss dance company, which had also moved to England. In 1943, production designer Vincent Korda saw Heckroth’s design work in a stage production of War and Peace and hired him to work on Gabriel Pascal’s film Caesar and Cleopatra (1945). Soon he was recruited by Alfred Junge, the head designer for The Archers, the production unit founded by Michael Powell and Emeric Pressburger. There he designed costumes for A Matter of Life and Death (1947)and Black Narcissus (1949).
Given his experience with avant-garde theater and designing for dance, he was the natural choice for production designer for The Red Shoes. Powell and Pressburger gave him enormous freedom to experiment, and he created beautiful surreal sets and costumes with materials such as chiffon, gauze, and cellophane. His stunning designs for The Red Shoes won him an Oscar for color art direction in 1948.
These two designs and the “picture script” for the dance sequence in The Red Shoes come from the collection of Heckroth’s colleague Edward Carrick, another important production designer in England at the time.
Please click on the thumbnails below to view full-size images.
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 Michael Powell and Emerich Pressburger’s Black Narcissus (1947), starring Deborah Kerr and David Farrar. Throughout the series, Cultural Compass will highlight an exhibition item related to each film.
Arguably Britain’s greatest production designer, Alfred Junge was born in Germany and spent his teenage years working as an apprentice to a painter. At 18 he was “kissed by the muse” and began working in the theater, painting sets, designing costumes, and operating special effects. In the late 1920s he began working with British International Pictures and later Gaumont British, where he gained a reputation not only for his brilliant designs but also for his organizational skills in running a large staff of art directors and craftsmen.
Alfred Junge’s best known film work is on Black Narcissus, the story of emotional tensions among a group of Anglican nuns who try to establish a convent in the remote reaches of the Himalayas. Director Michael Powell gave Junge unusual freedom in terms of color, composition, and technique, and Junge received the Academy Award for Best Art Direction for the film in 1947. Audiences are still surprised to learn that the film was not shot on location in the Himalayas but on sound stages in England.
The notes shown here, written and drawn on a letter from Junge’s son, are believed to be the earliest notes on the design of the film. Note the comments about the colors of the costumes and the dramatic effect of the bell tower.
Arguably Britain’s greatest production designer, Alfred Junge was born in Germany and spent his teenage years working as an apprentice to a painter. At eighteen he was “kissed by the Muse” and began working in theater, painting sets, designing costumes, and operating special effects. In the late 1920s he began working with British International Pictures and later Gaumont British where he gained a reputation not only for his brilliant designs but also for his organizational skills in running a large staff of art directors and craftsmen.
Junge’s best known film work is on Black Narcissus (1947), the story of emotional tensions among a group of Anglican nuns who try to establish a convent in the remote reaches of the Himalayas. Director Michael Powell gave Junge unusual freedom in terms of color, composition, and technique, and Junge received the Academy Award for Best Art Direction for the film in 1947. Audiences are still surprised to learn that the film was not shot on location in the Himalayas but on sound stages in England.
The scene painting shown here of Mother Dorothea’s office not only sets up the color and composition of the scene, it also provides important cues for set construction, set decoration, lighting, and cinematography.
This is just one item from the “Production Design” section of the Making Movies exhibition, which opens February 9 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 weeks as part of “Script to Screen.”
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.