R esource G uide - iBrarian [PDF]

Writer, Pao Lei. Study Copy: VA2780 M. The Undaunted Wudang (PRC, 1980). Haiyan Film Studio. Director, Zheng Junli. Writ

52 downloads 26 Views 6MB Size

Recommend Stories


PayrollTax G uide
Don’t grieve. Anything you lose comes round in another form. Rumi

D iscovery G uide
Almost everything will work again if you unplug it for a few minutes, including you. Anne Lamott

INSPIRAt Io NAl G UIDE
Keep your face always toward the sunshine - and shadows will fall behind you. Walt Whitman

G‹R‹fi OLGU
Do not seek to follow in the footsteps of the wise. Seek what they sought. Matsuo Basho

R esmi G azet
The greatest of richness is the richness of the soul. Prophet Muhammad (Peace be upon him)

G‹R‹fi OLGU
I cannot do all the good that the world needs, but the world needs all the good that I can do. Jana

r éiser g emeng „schoulbuet“
You miss 100% of the shots you don’t take. Wayne Gretzky

CESUR G‹R‹fi‹MC‹
You often feel tired, not because you've done too much, but because you've done too little of what sparks

B a r G raph
Before you speak, let your words pass through three gates: Is it true? Is it necessary? Is it kind?

r-49-g concrete barrier
At the end of your life, you will never regret not having passed one more test, not winning one more

Idea Transcript


ARSC ARCHIVE

RESEARCH

&

STUDY

R e s o u r c e

CENTER

G u i d e

Collection Profiles Search Aids Research Referrals

About the Resource Guide

This compendium of informational handouts is intended to provide researchers with an introduction to: – – – –

Archive Research and Study Center (ARSC) access services Online tools for searching the Archive’s collection Specific areas of interest within the collection Referrals to frequently requested resources

Please note that the guide is not comprehensive. The collection areas highlighted represent a fraction of the Archive’s holdings. Efforts to create additional collection profiles and finding aids to reflect the breadth of the Archive’s vast collection are ongoing. Similarly, the compendium’s listing of additional resources should be considered a starting point for researchers. The information provided here represents the dedicated work of Archive staff members, Department of Film, Television and Digital Media Critical Studies students, and Moving Image Archive Studies students – toward the goal of encouraging access to the Archive’s collection and providing researchers with useful referrals. Your comments (and corrections) are welcome. Please e-mail feedback to the Archive Research and Study Center at, [email protected]

Table of Contents

About the Resource Guide Table of Contents

i ii

Archive Resources Archive Search Guides Film and Television Collection Profiles Radio and Audio Collection Profiles

1 11 73

External Resources Research Resources Licensing and Commercial Resources Film Preservation Resources Resources for Visiting Researchers

94 106 118 123

Index

127

Archive Search Guides

1

Access the Archive’s collection of over 225,000 films and television programs in 3 – easy steps: 1. Search the Archive’s online catalog: http://cinema.library.ucla.edu 2. Compile your viewing request list, noting title and inventory number. 3. Submit your request list via e-mail to [email protected], or visit ARSC in room 46 of Powell Library. Upon receipt of your request, ARSC staff will contact you to arrange onsite viewing in the Instructional Media Lab located in room 270 of Powell Library.

2

Searching the Archive’s Online Catalog: Quick Start Guide

Archive holdings may be searched through UCLA Library’s web-based catalog at http://cinema.library.ucla.edu/

Step 2: Choose the appropriate “search type” for the search terms you have entered in Step 1. Be sure to follow the instructions next to each button. Step 1: Enter your search terms here (i.e. title, name, keyword, broadcast date)

Important note: If you do not receive desired results when conducting a “Title search,” select the “Title variants search” button and resubmit your search for possible additional results. For example, a “Title search” of the title “Storm In Summer” will not yield results for holdings cataloged as “Hallmark Hall of Fame. Storm in Summer.”

Advanced search capability: Select this link for Complex boolean keyword and cross index searching with index specification. (see page 3 of this document for instructions)

Step 3: If desired, select a Quick Limit on your search. You may limit your search to: Study collection holdings: Your search will be limited to holdings that are usually available for viewing on campus the next working day after requested. These are titles held on campus in VHS, DVD, and Laser Disc formats. Research collection holdings: Your search will be limited to holdings that may require transfer to VHS for viewing, or in the instance of certain 35mm prints, may require a specific appointment to view. Through advance coordination with ARSC staff, these holdings are usually available for viewing within 5-7 working days of request. Note that these holdings are stored offsite. Physical formats include; 35mm safety and nitrate prints; 16mm prints; 1”, _”, and _” videotape tape. Nitrate print holdings: Your search will be limited to 35mm nitrate prints; including archival prints that are unavailable for viewing and others that will require a specific appointment to view on a flatbed. Appointments are subject to limited availability and must be booked a minimum of one week in advance. Please contact ARSC for more information. Note: If a Quick Limit is not selected, search results will include holdings from all of the categories listed above, and Archival Copy items that are not available for viewing at this time.

3

Step 4: Select the Search button

Additional Search Limits: Select this link for additional search limits, including date limits (see page 2 of this document for instructions).

Search strategy tip: Begin your search of the collection without any limits to gauge the full range of available materials.

Need further assistance? Please contact the Archive Research and Study Center (ARSC) by e-mail [email protected] or by phone 310-206-5388.

Searching the Archive’s Online Catalog: Search Limit Screen Instructions Set Date Limits: To limit your search to holdings from a specific year (broadcast date or film release date), enter the year in the date field and select the “= equals” button. Then, select the “Set Limits” button. To limit your search to holdings to the period following a specific date, select the “> later than” button. Then, select the “Set Limits” button. To limit your search to holdings from the period before a specific date, select the “< earlier than” button. Then, select the “Set Limits” button. To limit your search to holdings from a specific date range, select the “Range button”; enter the start date in the date field on the left; enter the end date in the date filed on the right. Then, select the “Set Limits” button.

Important! Be sure to click the “Clear Limits” button to reset limits between new searches.

Set advanced Location limits: These limits allow Archive staff and other advanced users the option of limiting searches to very specific holdings by storage location and according to access availability designation. The “Quick Limit” search options available on the main catalog screen will suffice for most patrons. Note that several limit options here are for archival and preservation holdings that cannot be made available for research viewing at this time.

Set Place of Publication limit: This function will allow you to limit your search to titles produced in a specific country.

Search Strategy tip: Begin your search of the collection without any limits to gauge the full range of available materials.

Need further assistance? Please contact the Archive Research and Study Center (ARSC) by e-mail [email protected] or by phone 310-206-5388.

Set Language limits: This function will allow you to limit your search to titles produced or dubbed in a specific language. This limit applies only to the language of the soundtrack and does not limit to the language of subtitles.

4

Searching the Archive’s Online Catalog:

Complex Boolean keyword and cross-index searching with index specification This screen will allow you to conduct a very specific search of keywords located anywhere in a record, or only in specific fields. This type of search is useful for tailoring a specific search to meet your needs and/or limiting your search where a broad search may return too many items irrelevant to your interest/research topic. The first example shown below is for a search of holdings relevant to the subject “John F. Kennedy” and the keyword “assassination,” with records containing the keyword “newsreels” to be excluded from search results. Such a search would be useful for locating any nonnewsreel-related records relevant to the subject “John F. Kennedy” and the keyword “assassination.”

This example shown below is for a search of holdings relevant to the subject “Steven Spielberg” and the keyword “Jaws”, with records containing the keywords “motion picture” to be excluded from search results. Such a search would be useful if you were interested in viewing records relevant to Steven Spielberg and the film “Jaws”, but were not interested in viewing a record for the motion picture “Jaws.”

This example shown below is for a search of holdings relevant to the keywords “Spike Lee” and the keyword “television.” Such a search would be useful if you were interested in viewing records relevant to any television programs in which the word “”spike” and “lee” both appear.

5

Searching the Archive’s Online Catalog: Reading Archive Catalog Records The following example is a portion of an Archive catalog record for the Charles Burnett film “Several Friends”

A Study Copy holding is usually available for next day campus viewing. Please note the item’s Inventory Number. This number should be submitted with your viewing request.

Holdings designated as an Archival Copy are not available for viewing. These holdings may be negatives, preprints, or preservation masters.

The example below is from a portion of an Archive catalog record for an episode of “Ralph Story’s Los Angeles.”

When requesting TV programs, please be sure to forward both series and episode title with your request. If there is no episode title, please note the program’s airdate as listed in the title.

16mm prints and 1/2" or 3/4" tapes designated as a Research Copy are usually available for viewing within 5 to 7 working days after requested.

35mm prints designated as a Research Copy may be viewed on a flatbed table by appointment only at the Archive's facility in Hollywood – provided that the title is unavailable on video. Contact the ARSC office for more information.

6

Archive Research and Study Center (ARSC) Frequently Asked Questions Visiting researchers should contact the ARSC office at 310-206-5388 or [email protected] to coordinate their research requests in advance of a trip to the Archive. This will insure that materials you would like to view can be made available during your visit. How do I search the Archive’s catalogue? • Archive holdings are searchable online at http://cinema.library.ucla.edu/ Which items are available to be viewed? • STUDY COPIES: usually available to be viewed with one working day’s notice. RESEARCH COPIES: usually available to be viewed within 5-7 working days of your request. ARCHIVAL COPIES: unavailable to be viewed at this time. How do I request items to view? 1. Obtain a New Client and Title Request form from the ARSC office in 46 Powell. 2. List items you want to view on the Title Request form, using exact titles and Inventory Numbers from the online catalog at http://cinema.library.ucla.edu/. For television programs, provide series and episode title 3. Submit your fully completed New Client and Title Request forms to the ARSC office. 4. Visiting researchers may use e-mail to submit requests. Where do I view items I’ve requested? • Viewing of Archive Study Copy items takes place in the Instructional Media Lab (IML), located in 270 Powell on the UCLA campus. Study Copy items are available the next working day following your request, after 11:00 a.m. Do I need to make an appointment? • Once a Study Copy item is placed on reserve under your name in the Instructional Media Lab it remains available for the duration of the academic quarter. During this period, you may go directly to the Lab without appointment to view the titles you have requested. May I view a 16mm or 35mm print? • Research Copies of 35mm prints that are unavailable on home video may be viewed on a flatbed table by appointment only at the Archive's facility in Hollywood. Contact the ARSC office for more information. •

16mm and tape Research Copy items will be transferred to VHS for viewing in the IML. Viewing requests for Research Copy items must be coordinated with the ARSC office in advance. Allow 5-7 days to process transfers.

May I borrow or buy a tape? Due to copyright laws and contractual agreements with our donors and depositors, Archive holdings are available for on-site research viewing only. Footage from the Archive’s Hearst newsreel and KTLA news collections is available for license through our Commercial Services office at (323) 466-8559.

7

News and Public Affairs Database (NAPA)

1. How to Search the Collection: News and Public Affairs (NAPA) holdings database may be searched online: http://www.cinema.ucla.edu/collections/NAPA/napasearch.html

Enter program title here and select “Search” button. To narrow your search, add any combination of relevant data to any of the other search fields.

Select to browse an alphabetical list of available titles. Click on a title to enter it in the “Program Title” field, then click the Search button.

Find detailed search engine instructions here.

After entering your search data, click to begin your search.

Click

Enter Subject search terms such as “Bill Clinton.” Note that Subject indexing of this collection is limited. For help with search strategies, please see pg. 2

2. How to Select Titles from your Search Results:

b. Click to add selected titles to your request list. a. Click boxes to select titles you would like to view. Click top box to select all.

c. Click to review your request list. You will then be asked to provide contact information before submitting your request.

8

NAPA DATABASE SEARCH STRATEGIES

General search suggestions and strategies: •

Consult the “Help” section of the NAPA database for detailed search instructions.



Enter combinations of search data for more concise results. For example, enter a relevant date or date range in addition to your title or subject search.



Omit subject searches and use title or relevant dates for broader search results.



Utilize resources outside of the database to obtain data that may assist your search: o

The Vanderbilt University Television News Archive’s online database at http://tvnews.vanderbilt.edu/ features full abstracts of selected network television news broadcasts. This information can be used to find specific news segments and airdates relevant to your research. The dates can then be used to search the NAPA database and locate relevant newscasts held in the NAPA collection.

o

Back issues of TV GUIDE, held in the UCLA Arts Library, may be useful in helping to determine the content or airdates for public affairs programs and specials. These dates can then be used to search the NAPA database and locate relevant newscasts held in the NAPA collection.

o

Newspaper and magazine microfilm, held on the second floor of the Charles E. Young Library, may be useful in helping to determine the date a specific news story broke. These dates can then be used to search the NAPA database and locate relevant newscasts held in the NAPA collection.

Resource Bibliography

To search back issues of TV Guide: UCLA Arts library 1400 Public Policy Building Box 951392 Los Angeles, CA 90095-1392 (310) 825-3817 www.library.ucla.edu/libraries/arts To search newspaper and magazine microfilm: Charles E. Young Research Library, 2nd floor Microform and Media Service (M&MS) Box 951575, Los Angeles, CA 90095-1575 (310) 825-4732 http://www.library.ucla.edu/libraries/url/asd/micro.htm To search network news abstracts: Vanderbilt University Television News Archive 110 Twenty-first Ave. South, Suite 704 Nashville, TN 37203. 615-322-2927 http://tvnews.vanderbilt.edu/

9

News and Public Affairs Collection Frequently Asked Questions

How do I search the News and Public Affairs (NAPA) Collection? •

NAPA holdings are searchable online via the Archive's website at http://www.cinema.ucla.edu/collections/napa.html. Search help documentation is available on the website or patrons may contact the Archive Research and Study Center for further assistance.

How do I request NAPA items to view? •

From the Archive website you can search our NAPA holdings, compile a research request list, and submit your viewing requests to the Archive Research and Study Center (ARSC) via email. Upon receiving your e-mail, ARSC staff will contact you to confirm your viewing request list.

How long will my viewing request take to process? •

As the NAPA collection is stored off-site, we require a minimum of three working days to process your request. We regret that we are unable to accommodate requests for same-day viewing.

Is there a limit as to how many items I can request? •

Due to storage limitations, there is a request limit of 30 titles per client, per academic quarter. Patrons requiring an exemption from this limit for a specific research purpose should contact the Archive Research and Study Center for more information.

Where do I view items I’ve requested? •

After you have received confirmation of your title requests, viewing of NAPA items takes place in the Instructional Media Lab (IML), located in 270 Powell on the UCLA campus.

Do I need to book an appointment to view the titles I have requested? •

Following confirmation and the three-working day paging wait, items are placed on reserve under your name in the Instructional Media Lab, where they will remain available for the duration of the academic quarter. During this period, you may go directly to the Lab without appointment to view the titles you have requested.

Can I borrow or obtain a copy of a title in the NAPA collection? •

The NAPA collection is for on-site use only and does not circulate. We regret that we are unable to provide or distribute copies of items from the collection. Please note that selected KTLA news segments from 1955-1981 and Telenews segments are available for production licensing though our Commercial Services division at (323) 466-8559. The Vanderbilt Television News Archive, a fee based service, offers a circulating collection of network news programs. For information visit their website at http://tvnews.vanderbilt.edu

10

Film and Television Collection Profiles

11

African-American Film and Television The UCLA Film and Television Archive holds a wide selection of motion picture and television titles made by and about African-Americans. These films and programs span from the silent era to modern situation comedies and provide a unique opportunity to not only examine how the African-American community has been represented in the commercial mainstream media, but also to explore the broad range of productions produced by African-Americans. SAMPLES FROM THE COLLECTION: Film

The Exile (1931). Micheaux Film Corporation. Director, Writer, Oscar Micheaux. Study Copy: VA6564 M Symphony in Black: A Rhapsody of Negro Life (1935). Paramount Pictures. Director, Fred Waller. Writer, Milton Hockey and Fred Rath. Study Copy: VA2896 M Go Down, Death! (1944). Harlemwood Studios. Director, Spencer Williams. Study Copy: VA20163 M The Cool World (1964). Wiseman Film Productions. Director, Shirley Clarke. Writers, Shirley Clarke and Carl Lee Study Copy: VA5273 M Black Panther (1968). Newsreel. Study Copy: VA6623 M The Learning Tree (1969). Winger. Director, Writer, Gordon Parks. Study Copy: VA6089 M Sweet Sweetback’s Baad Asssss Song (1971). Yeah. Director, Writer, Melvin van Peebles. Study Copy: VA12214 M Black Girl (1972). Director, Ossie Davis. Writer, J.E. Franklin. Study Copy: VA8489 M Killer of Sheep (1978). Director, Writer, Charles Burnett. Study Copy: VA17600 M She’s Gotta Have It (1986). Forty Acres and a Mule Filmworks. Director, Writer, Spike Lee. Study Copy: VD568 M Menace II Society (1993). New Line Cinema. Directors, Albert and Allen Hughes. Writer, Tyger Williams. Study Copy: VA17981 M Eve’s Bayou (1997). Addis Wechsler Pictures / Chubbco. Director, Writer, Kasi Lemmons. Study Copy: VA14206 M The Black Press: Soldiers without Swords (1998). Half Nelson Productions, Inc. Director, Stanley Nelson. Writers, Jill Nelson, Stanley Nelson, Lou Potter and Marcia Smith. Study Copy: VA17607 M Television

Philco Television Playhouse. A Man is Ten Feet Tall (1955-10-02). NBC. Director, Robert Mulligan. Writer, Robert Alan Arthur. Cast, Sidney Poitier, Don Murray and Paul Bogart. Study Copy: VA7550 T Theater for a Story. The Sound of Miles Davis (1959-03-31). CBS. Producer, Robert Herridge. Featuring John Coltrane (tenor saxophone) and Julian Adderly (alto saxophone). Study Copy: VA14638 T

12

African-American Film and Television Television, continued

ABC News Special Report. March on Washington: August 28, 1963 (1963-08-28). ABC. Study Copy: VA14783 T East Side/West Side. Who Do You Kill? (1963-11-04). CBS. Producer, Writer, Arnold Perl. Cast, George C. Scott, Elizabeth Wilson, Cecily Tyson and James Earl Jones. Study Copy: VA12526 T Like it is. Malcolm X at the Oxford Union (1964-12-03). Study Copy: VA7929 T CBS Playhouse. The Final War of Olly Winter (1967-01-29). CBS. Director, Paul Bogart. Writer, Ronald Ribman. Producer, Fred Coe. Cast, Ivan Dixon (Olly Winter). Study Copy: VA5941 T Of Black America. Black History Lost, Stolen or Strayed (1968-07-02). CBS. Study Copy: VA381 T The Richard Pryor Show (1977-09-13). NBC. Co-Producer, Director, John Moffitt. Study Copy: DVD483 T American Playhouse. For Us, the Living: The Story of Medgar Evers (1983-03-22). PBS. Director, Michael Schultz. Writer, Irene Cara. Study Copy: VA9187 T Biography. Muhammad Ali (1987). Study Copy: VA18843 T American Masters. Paul Robeson: Here I Stand (1999-02-24). Director, St. Claire Bourne. Writer, Lou Potter. Study Copy: VA8886 T A Huey P. Newton Story (2001-06-18). Black Starz. Director, Spike Lee. Writer, Roger Guenveur Smith. Study Copy: VA19686 Hearst Newsreels / Telenews Footage / KTLA News

Hearst Newsreel Footage. Black Athletes: 1932/1936 Olympics. Study Copy: VA4018 M Hearst Newsreel Footage. Josephine Baker (1948, 1954). Study Copy: VA6598 M Hearst Newsreel Footage. Ralph Bunche (1949-1966). Study Copy: VA6774 M Hearst Newsreel Footage. Martin Luther King, Freedom Riders, Tape 1. (1956). Study Copy: VA4145 M Hearst Newsreel Footage. Thurgood Marshall (1957, 1958). Study Copy: VA5375 M Hearst Newsreel Footage. Muhammad Ali, Segregation (1960-1966). Study Copy: VA5500 M Hearst Production Footage. Marian Anderson: The Lincoln Memorial Concert – Excerpt (1939-04-09). Study Copy: DVD33 M Hearst Vault Material. Sit-ins Arrive from Montgomery (1961-06-02). Study Copy: VA12395 M Hearst Vault Material. Malcolm X Funeral Services, New York City (1965-02-23). Study Copy: VA11137 M KTLA News. Angela Davis Rally at UCLA, Los Angeles, California (1971-01-26). Study Copy: VA12522 T

13

African-American Film and Television Related Programs

Fade Out: The Erosion of Black Images in the Media (1984-07-02). PBS. Director, Robert N. Zagone. Writer, Brenda J. Grayson. Study Copy: VA7314 T Hollywood: A Legacy in Silhouette (1985-02-09). KHJ, Los Angeles. Director, Melanie Steensland. Writer, Gail Choice. Study Copy: VA12686 T Color Adjustment (1992-06-15). PBS. Director, Writer, Producer, Marlon T. Riggs. Study Copy: VA8472 T Documentary investigating the representation of African-Americans on television. City View. Fade to Black: A History of Afro-Americans in Films, Part 1-2 (1993-02-28). KABC, Los Angeles. Producer, Writer, Jacklyn Conway-Pratt. Study Copy: VA10835 T Two-part television special examining the contributions of African-Americans in film. PRINT RESOURCES (for more information consult the UCLA Arts Library)

Bogle, Donald. Primetime Blues: African Americans on Network Television. New York: Farrar, Straus and Giroux, 2001. Bogle, Donald. Blacks in American Films and Television: An Encyclopedia. New York: Simon & Schuster, 1989. MacDonald, J. Fred. Blacks and White TV: African Americans in Television Since 1948. 2nd ed. Chicago: Nelson-Hall Publishers, 1992. Richards, Larry. African American Films through 1959: A Comprehensive, Illustrated Filmography. Jefferson: McFarland, 1998. RELATED RESOURCES

George P. Johnson Negro Film Collection, 1916-1977 The Department of Special Collections unit of the UCLA Libraries Collection holds the George P. Johnson Negro Film Collection, 1916-1977 that consists of materials related to early African-American film companies, films, films with African-American casts, and musicians, sports figures and entertainers. For more information, please contact the Department of Special Collections: (310) 825-4988

UCLA Center for African American Studies (CAAS) The Ralph J. Bunche Center for African American Studies, founded in 1969 as the Center for African American Studies, was established as an Organized Research Unit at UCLA with the mission to develop and strengthen African American Studies through five primary organizational branches: research, academic programs, library and media center, special projects, and publications. For more information, please contact CAAS: (310) 8257403 or visit the CAAS website: http://www.bunchecenter.ucla.edu

14

Animation Animation means more than cartoons. The term describes a wide range of frame-by-frame, two and three-dimensional filmmaking techniques. Animation processes include the manipulation of drawings on clear acetate sheets (cels) or paper, cutouts, puppets, clay and models. Other techniques include pin screen animation, photokinesis, pixilation and computergenerated imagery. Animated films have entertained, educated and sold products, and artists have used the techniques to give motion to purely abstract shapes. In recent years, animation has become the subject of serious critical examination. The UCLA Film and Television Archive collections contain examples of virtually all types of animation. Among the holdings are over sixty animated films by Dave Fleischer, independent films by Ub Iwerks (one of the creators of Mickey Mouse), and a large selection of Warner Bros. cartoons, featuring both the LOONEY TUNES and MERRIE MELODIES series. Other parts of the collection include animated commercials, movie trailers and episodes of THE SIMPSONS and SESAME STREET, as well as

Max Fleischer’s Betty Boop and Bimbo.

works by artists such as Fernand Leger and films developed in the UCLA Animation Workshop. A study collection on video, donated by ASIFA-Hollywood (L’Association Internationale du Film d’Animation), provides an overview of the field. The UCLA Film and Television Archive’s ongoing preservation program, which works to save film from nitrate deterioration, has restored the early color Betty

15

Boop cartoon POOR CINDERELLA, some Hearst Newsreel animation and George Pal PUPPETOONS.

Animation FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Gertie the Dinosaur (1914). Box Office Attractions Co. Winsor McCay. Silent with music track. Study Copy: VD 856 M Felix in Hollywood (1923). Director, Pat Sullivan. Animator, Otto Messmer. Silent. Study Copy: VA 9955 M Steamboat Willie (1928). Walt Disney; Ub Iwerks. Study Copy: VA 1310 M Skeleton Dance (1929). Walt Disney; Ub Iwerks. Study Copy: VA 1310 M Flowers and Trees (1932). Walt Disney Studios. Director, Burt Gillett. Animators, Tom Palmer, Dave Hand. Study Copy: VD 780 M Snow White (1933). Fleischer Studios, Paramount Pictures. Director, Dave Fleischer. Animator, Roland C. Crandall. Study Copy: VD 89 M Popeye the Sailor Meets Sinbad the Sailor (1936). Fleischer Studios, Paramount Pictures. Director, Dave Fleischer. Animators, Willard Bowsky, George Germanetti, Edward Nolan. Study Copy: VD 228 M Fantasia (1940). Walt Disney Productions. Production Supervisor, Ben Sharpsteen. Study Copy: VD 345 M What’s Cookin’, Doc? (1944). Vitaphone Corp., Warner Bros. Producer, Leon Schlesinger. Animator, Bob McKimson. Study Copy: VD 344 M Barber of Seville (Woody Woodpecker) (1944). Walter Lantz. Study Copy: VA 4255 M Tell-Tale Heart (1953). UPA Productions. Director, Ted Parmelee. Writers, Fred Gable and Bill Scott. Animator, Pat Mathews. Study Copy: VA 1507 M Duck Amuck (1961). Warner Bros. Producers, Directors, Writers: Fritz Freleng and Chuck Jones. Study Copy: VA 11001 M The Hole (1962). Storyboard, Inc. John and Faith Hubley. Study Copy: VA 2414 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Barrier, Michael. Hollywood Cartoons: American Animation in its Golden Age. New York: Oxford University Press, 1999. Thomas, Frank and Ollie Johnston. Disney Animation: The Illusion of Life. New York: Abbeville Press, 1981.

16

Dorothy Arzner As a young woman Dorothy Arzner studied medicine but became interested in filmmaking after visiting a movie studio. She held jobs as a script typist, reader and script supervisor, film editor (for films including BLOOD AND SAND and RUGGLES OF REDGAP) and screenwriter. She directed her first film, FASHIONS FOR WOMEN in 1927 and was the first woman to join the newly formed Directors’ Guild of America. Her commercially successful career spanned 25 years, ending in 1943 with FIRST COMES COURAGE. After her retirement, Arzner initiated the first filmmaking course at the Pasadena Playhouse, filmed numerous Pepsi Cola commercials at Joan Crawford’s request and taught at UCLA’s Film Department. Although Arzner thought of herself as an ordinary working director rather than a pioneer, her status as one of the first women directors, and the only one at the time working within the Hollywood studio system, has attracted feminist attention. By examining the critique of women as spectacle implicit in the

The Wild Party, directed by Dorothy Arzner, was released by Paramount Famous Lasky Corp. during 1929 and featured Clara Bow and Fredric March.

DANCE, GIRL, DANCE (1940) and pointing out the self-determined, ambitious and independent women in films such as WORKING GIRLS (1932) and CHRISTOPHER STRONG (1933), critics have reassessed the content and structure of her films. Although she was working within the constraints of the studio system, Arzner has stated that because she was not dependent on movies for her living, she was always willing to give a

17

film to another director if she couldn’t make it her way.

Dorothy Arzner FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

As Director:

Wild Party (1929). Paramount. Writer, E. Lloyd Sheldon. Study Copy: VA 11193 M Honor Among Lovers (1931). Paramount. Writers, Austin Parker and Gertrude Purcell. Study Copy: VA 19652 M Working Girls (1931). Paramount. Writer, Zoe Akins. Study Copy: VA 17975 M Merrily We Go to Hell (1932). Paramount. Writer, Edwin Justus Mayer. Study Copy: VA 11275 M Christopher Strong (1933). RKO. Writer, Zoe Akins. Based on the novel by Gilbert Frankau. Study Copy: VA 6117 M Craig’s Wife (1936). Columbia. Writer, Mary C. McCall, Jr. Based on the play by George Kelly. Study Copy: VA 7736 M Dance, Girl, Dance (1940). RKO. Writers, Frank Davis and Tess Slesinger. Study Copy: VA 4206 M As Editor:

Covered Wagon (1923). Famous Players-Lasky. Director, James Cruze. Scenario, Jack Cunningham. Silent. Study Copy: VA 985 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Johnston, Claire, ed. The Work of Dorothy Arzner: Toward a Feminist Cinema. London: British Film Institute, 1975. Mayne, Judith. Directed by Dorothy Arzner. Bloomington: Indiana University Press, 1994. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds various materials related to Dorothy Arzner in the Dorothy Arzner Papers collection. For more information, please contact Arts Library Special Collections: (310) 825-7253

18

Jack Benny Jack Benny (18941974), an enormously successful regular network radio personality in the 1930s, made a smooth transition to television. The weekly TV show THE JACK BENNY PROGRAM aired from l950 to l965 and its comedy revolved around the Benny persona, which had been developed over two decades of performing. His radio and TV shows consisted of a continuing sketch comedy, where he played the role of a vain, wellmannered and stingy (eternally “39”) bachelor, stoically suffering life’s little tragedies, surrounded by a zany entourage. Benny has been characterized as, “not one who said funny things but one who said things funny.” Benny’s family donated to UCLA his personal, professional, and business papers, as well as a collection of his television shows. The comedian’s film and television careers are widely represented in the Archive collections. They include seven films made for Paramount in the 1930s and 1940s: COLLEGE HOLIDAY, THE BIG BROADCAST OF l937, ARTISTS AND MODELS, ARTISTS AND MODELS ABROAD, MAN ABOUT TOWN, LOVE THY NEIGHBOR and BUCK BENNY RIDES AGAIN. There are more than 220 episodes of the JACK BENNY PROGRAM, including the debut program and several specials broadcast after the series ended its regular run. The University

Jack Benny, a performer whose career spanned multiple decades, found popular commercial success on radio, television and film.

Research Library’s Special Collections holds the Jack Benny papers. The collection includes 900 radio scripts and electrical transcriptions from l932 to l955 and 296 television scripts for THE JACK BENNY PROGRAM. There are also scrapbooks, business correspondence, photographs, and production stills for the years l929-l940.

19

Jack Benny FILMS

(this is only a partial list – consult the Archive Research and Study Center for further listings)

Taxi Tangle (1931). Paramount Publix Corp. Director, Aubrey Scotto. Based on a story by Clyde North. Study Copy: VA2501 M To Be or Not to Be (1942). Romaine Film Corp. Director, Ernst Lubitsch. Writers, Melchior Lengyel, Ernst Lubitsch and Edwin Justus Mayer. Study Copy: VA19050 M It’s in the Bag (1945). Manhattan Productions, Inc. Director, Richard Wallace. Writers, Lewis R. Foster and Fred Allen. Study Copy: VA14558 M (UCLA Film and Television Archive Preservation) TELEVISION PROGRAMS

(this is only a partial list – consult the Archive Research and Study Center for further listings)

The Jack Benny Program (1950-10-28). CBS. Pilot. Study Copy: VA7059 T The Jack Benny Program (1951-04-01). CBS. Guests: Claudette Colbert, Robert Montgomery, Basil Rathbone. Study Copy: VA7058 T The Jack Benny Program (1953-10-25). CBS. Guest: Humphrey Bogart. Study Copy: VA1014 T The Jack Benny Program (1954-03-21). CBS. Guests: Bing Crosby and George Burns. Study Copy: VA9355 T The Jack Benny Program (1958-09-21). CBS. Guest: Gary Cooper. Study Copy: VA3900 T The Jack Benny Program (1960-12-11). CBS. Guests: Mr. and Mrs. Jimmy Stewart. Study Copy: VA5050 T The Jack Benny Program (1962-02-18). CBS. Guests: Rock Hudson and Hugh Downs. Study Copy: VA2663 T The Jack Benny Program (1963-01-15). CBS. Twilight Zone Sketch. Study Copy: VA7779 T The Jack Benny Program (1965-04-16). NBC. Smothers Brothers Show. Study Copy: VA9325 T PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Benny, Jack and Joan Benny. Sunday Nights at Seven: The Jack Benny Story. New York: Warner Books, 1990.

Jack Benny: The Radio and Television Work. The Museum of Television and Radio. New York: Harper-Perennial, 1991. RELATED RESOURCES The Department of Special Collections unit of the UCLA Libraries Collection holds various materials related to Jack Benny in the Jack Benny Papers, 1930-1974 collection. For more information, please contact Special Collections: (310) 825-4988

20

Frank Borzage Frank Borzage directed over 100 films during his 40-year career, most of which centered on his idealized vision of romantic love. Borzage’s earliest films, mainly westerns and melodramas, were made for the Thomas Ince studio. His first film, PITCH O’CHANCE (1915), in which he also acted, is one of the few from this period that have survived. He later worked at a number of different studios before joining Fox Film Corporation where he made his reputation with such silent films as LAZYBONES, which emphasizes the religious theme that is subtly present in many of his films. 7TH HEAVEN and STREET ANGEL, which made stars of Janet Gaynor and Charles Farrell, are examples of Borzage’s pioneering method for eliciting sensitive performances from his actors. 7TH HEAVEN earned him the first Academy Award ever given for Best Director and also garnered Oscars for Janet Gaynor as Best Actress and Benjamin Glazer for Best Writing-Adaptation. He also won a second Oscar for his 1931 film BAD GIRL. Borzage’s last film, THE BIG FISHERMAN (1959), starring Howard Keel and Susan Kohner, was adapted from

Humoresque, pictured here, was released by Famous Players-Lasky Corp. during 1920 and directed by Frank Borzage.

Lloyd C. Douglas’s novel about the life of Saint Peter. All of Borzage’s sound films have survived although at least 46 of his earlier films are thought to be lost. Of the 31 films shown in the Borzage retrospective organized by the UCLA Film and Television Archive, eight have been preserved by UCLA including AFTER TOMORROW, YOUNG AMERICA, LILIOM, the 1933 version of SECRETS (which marks Mary Pickford’s final screen appearance) and HISTORY IS MADE AT NIGHT. Other films have been restored by the

21

Museum of Modern Art in New York and the Library of Congress.

Frank Borzage FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

As Director

Humoresque (1920). Cosmopolitan Productions. Scenario, Frances Marion. Based on a story by Fannie Hurst. Study Copy: VA4337 M Lucky Star (1929). Fox Film Corp. Scenario, Sonya Levien. Based on a story by Tristram Tupper. Study Copy: VA19995 M Liliom (1930). Fox Film Corp. Writer, S.N. Behrman and Sonya Levien. Based on the play by Ferenc Molnár. Study Copy: VA 20022 M Bad Girl (1931). Fox Film Corp. Writer, Edwin Burke. Based on a novel and play by Viña Delmar. Study Copy: VA 19474 M Farewell to Arms (1932). Paramount. Writers, Benjamin Glazer and Oliver H.P. Garrett. Based on the novel by Ernest Hemingway. Study Copy: VA 20201 M Man’s Castle (1933). Columbia Pictures Corp. Writer, Jo Swerling. Based on the play by Lawrence Hazard. Study Copy: VA1106 M Secrets (1933). The Pickford Corp. Writer, Frances Marion. Based on a play by Rudolf Besier, May Edinton. Study Copy: VA 7916 M History is Made at Night (1937). Walter Wanger Productions. Writers, Gene Town and Graham Baker. Study Copy: VD 929 M Three Comrades (1938). MGM. Writers, F. Scott Fitzgerald and Edward E. Paramore. Based on a novel by Erich Marie Remarque. Study Copy: VA 4201 M Stage Door Canteen (1943). Principal Artists Productions. Writer, Delmer Daves. Study Copy: VA 13577 M. The Spanish Main (1945). RKO. Writers, George Worthing and Herman J. Mankiewicz. Based on a story by Aeneas MacKenzie. Study Copy: VA 18568 M As Performer

Every Inch a Man (191?) Thomas Ince Productions. With William S. Hart. Study Copy: VA10395 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Belton, John. The Hollywood Professionals: Howard Hawks, Frank Borzage, Edgar G. Ulmer. London: Tantivy Press, 1974. Lamster, Frederick. Souls Made Great Through Love and Adversity: The Film Work of Frank Borzage. Metuchen, N.J.: Scarecrow Press, 1981.

22

Archive Research and Study Center:

Chinese Film: 1930s – 2000s 1930s:

Spring Silkworms (China, 1933). Mingxing Studio. Director, Cheng Bugao. Writer, Xia Yan. Study Copy: VA2806 M – VA2807M Note: Chinese titles and inter-titles The Big Road (China, 1934). Lianhua Studio. Director, Writer, Sun Yu. Study Copy: VA2791 M Note: No English subtitles Plunder of Peach and Plum (China, 1934). Diantong Film Studio. Director, Ying Yunwei. Writer, Yuan Muzhi. Study Copy: VA2768 M – VA2769 M Note: No English subtitles The Sainted Woman (China, 1934). Lian Hua Film Studio. Director, Writer, Wu Yonggang. Cast, Ruan Lingyu. Study Copy: VA2811 M Note: Chinese titles and inter-titles Crossroads (China, 1937). Mingxing Film Company. Director, Writer, Shen Xiling. Cast, Zhao Dan, Bai Yang. Study Copy: VA2749 M – VA2750 M Note: No English subtitles Street Angel (China, 1937). Mingxing Film Company. Director, Writer, Yuan Muzhi. Cast, Zhao Dan, Zhou Xuan. Study Copy: VA2777 M Note: No English subtitles 1940s: [Note: PRC is used as an acronym for the People’s Republic of China]

Spring in a Small City (China, 1947). Wenhua Film Studio. Director, Fei Mu. Writer, Li Tianji. Cast, Wei Wei, Shi Yu, Li Wei. Study Copy: VA2808 M Note: No English subtitles Spring River Flows East (China, 1947). Kunlun Film Studio. Directors, Writers, Cai Chusheng, Zheng Junli. Cast, Bai Yang, Tao Jin. Study Copy: VA2804 M – VA2805 M Note: No English subtitles Myriads of Lights (China, 1948). Kunlun Film Company. Director, Shen Fu. Writer, Yang Hansheng, Shen Fu. Cast, Lan Ma, Shangguan Yunzhu. Study Copy: VA2761 M – VA2762 M Note: No English subtitles Crows and Sparrows (China, 1949). Kunlun Film Company. Director, Zheng Junli. Writers, Shen Fu, Wang Lingu. Cast, Zhao Dan, Wu Ying. Study Copy: VA2792 M Note: No English subtitles Adventures of San Mao (PRC, 1949). Kunlun Film Studio. Directors, Zhao Ming, Yan Gong. Writer, Yang Hangsheng. Cast, Wang Longji. Study Copy: VA2743 M Note: No English subtitles 1950s:

New Year’s Sacrifice (PRC, 1956). Beijing Film Studio. Director, Sang Hu. Writer, Xia Yuan. Cast, Bai Yang. Study Copy: VA2765 M – VA2766 M Note: No English subtitles The Lin Family Shop (PRC, 1959). Beijing Film Studio. Director, Shui Hua. Cast, Xie Tian, Lin Shan. Study Copy: VA2798 M Note: No English subtitles Nie Er (PRC, 1959). Haiyan Film Studio. Director, Zheng Junli. Writer, Yu Ling, Meng Po. Cast, Zhao Dan, Zhang Ruifang. Study Copy: VA2802 M Note: No English subtitles 1960s:

People of the Great North Wasteland (PRC, 1961). Beijing Film Studio. Directors, Cui Wei, Chen Huai’ai. Writer, Xiao Fan. Cast, Zhang Ping, Cui Wei. Study Copy: VA2800 M Note: No English subtitles 23

Archive Research and Study Center:

Chinese Film: 1930s – 2000s 1960s: (continued)

Red Guards of Lake Hunghu (PRC, 1961). Beijing Film Studio. Directors, Xie Tian, Chen Fanggan, Xu Feng. Writers, Mei Shaoshan, Zhang Jiang’an. Cast, Wang Yuzhen. Study Copy: VA2803 M Note: No English subtitles Withered Trees Revive (PRC, 1961). Haiyan Film Studio. Director, Zheng Junli. Writers, Wang Lian, Zheng Junli. Cast, You Jia, Xu Zhihua. Study Copy: VA2788 M Note: No English subtitles Li Shuang Shuang (PRC, 1962). Haiyan Film Studio. Director, Lu Weili. Writer, Li Zhun. Cast, Zhang Ruifang, Zhong Xinghuo. Study Copy: VA2798 M Note: No English subtitles The Naval Battle of 1894 (PRC, 1962). Changchun Film Studio. Director, Lin Nong. Writers, Ye Nan, Xi Nong. Cast, Li Moran, Pu Ke. Study Copy: VA2763 M – VA2764 M Early Spring (PRC, 1963). Beijing Film Studio. Director, Writer, Xie Tieli. Cast, Sun Daolin, Xie Fang. Study Copy: VA2751 M – VA2752 M Serfs (PRC, 1964). August First Film Studio. Director, Li Jun. Writer, Huang Zongjiang. Cast, Wangdui. Study Copy: VA2787 M Note: No English subtitles 1970s:

Reconnaissance Across the Yangtze (PRC, 1974). Shanghai Film Studio. Director, Tang Huada, Tang Xiaodan. Writer, Ji Guanwu, Gao Xing. Cast, Wang Hui, Zhang Xiaozhong. Study Copy: VA2772 M – VA2773 M The Panda (PRC, 1975). Shanghai Film Studio. Study Copy: VA2767 M From Slave to General: Part I (PRC, 1979). Shanghai Film Studio. Director, Wang Yan. Writer, Liang Xin. Cast, Yang Zaibao, Zhang Jinling. Study Copy: VA2753 M – VA2754 M From Slave to General: Part II (PRC, 1979). Shanghai Film Studio. Director, Wang Yan. Writer, Liang Xin. Cast, Yang Zaibao, Zhang Jinling. Study Copy: VA2755 M Troubled Laughter (PRC, 1979). Shanghai Film Studio. Director, Yang Yangjin, Deng Yiming. Writers, Yang Yangjin, Xue Jin. Study Copy: VA2781 M Twins Come in Pairs (PRC, 1979). Shanghai Film Studio. Director, Sang Hu. Writer, Wang Lian, Sang Hu. Cast, Gao Ying, Mao Yongming. Study Copy: VA2784 M What a Family! (PRC, 1979). Beijing Film Studio. Director, Wang Hao Wei. Writer, Lin Li. Cast, Chen Qiang, Chen Peisi. Study Copy: VA2786 M 1980s:

Evening Rain (PRC, 1980). Shanghai Film Studio. Directors, Wu Yonggang, Wu Yigong. Writer, Ye Nan. Cast, Li Zhiyu, Zhang Yu. Study Copy: VA2794 M Note: No English subtitles The Three Monks (PRC, 1980). Shanghai Animation Studio. Director, A Da. Writer, Pao Lei. Study Copy: VA2780 M The Undaunted Wudang (PRC, 1980). Haiyan Film Studio. Director, Zheng Junli. Writer, Wang Lian, Zheng Junli. Cast, You Jia, Xu Zhihua. Study Copy: VA1230 M – VA1231 M 24

Archive Research and Study Center:

Chinese Film: 1930s – 2000s 1980s: (continued)

Beautiful Courtesan (PRC, 1981). Changchun Film Studio. Director, Zhou Yu. Writers, Zhao Menghui, Zhou Yu. Cast, Pan Hong. Study Copy: VA2744 M – VA2745 M Call of the Home Village (PRC, 1981). Pearl River Film Studio. Directors, Hu Bingliu, Wang Jing. Writer, Wang Yiming. Cast, Huang Xiaolei, Ren Yexiang. Study Copy: VA2789 M – VA2790 M Country Couple (PRC, 1981). Pearl River Film Studio. Director, Hu Bingliu. Writer, Yang Yiming. Cast, Zhang Weixin, Liu Yan. Study Copy: VA2742 M The Drive to Win (PRC, 1981). Beijing Youth Film Studio. Director, Writer, Zhang Nuanxin. Cast, Chang Shanshan. Study Copy: VA2793 M Note: No English subtitles Intimate Friends (PRC, 1981). Beijing Film Studio. Directors, Xie Tieli, Chen Huai’ai, Ba Hong. Writer, Hua Ershi. Cast, Wang Xingang, Zhang Yu. Study Copy: VA2797 M The True Story of Ah Q (PRC, 1981). Shanghai Film Studio. Director, Chen Fan. Writer, Chen Baichen. Cast, Yan Shunkai. Study Copy: VA2782 M – VA2783 M Note: No English subtitles Bubbling Spring (PRC, 1982). Shanghai Film Studio. Director, Shi Xiaohua. Writer, Wu Jianxin. Cast, Zhang Ruifang, Zhang Xiangfei. Study Copy: VA2747 M Deer Bell (PRC, 1982). Shanghai Animation Studio. Directors, Tang Cheng, Wu Qiang. Writer, Sang Hu. Study Copy: VA2780 M Growing Up (PRC, 1982). Taiwan Film Company. Director, Cheng Kwon-Hou. Writers, Hou Hsiao-hsion, Chu Tien-wen. Cast, Neu Chong-tse, Yen Cheng-kuo. Study Copy: VA2795 M Happy Bachelors (PRC, 1982). Shanghai Film Studio. Director, Song Cong. Writers, Liang Xingming, Yang Shiwen. Cast, Liu Xinyi, Gong Xue. Study Copy: VA2796 M Note: No English subtitles The Herdsman (PRC, 1982). Shanghai Film Studio. Director, Xie Jin. Writer, Li Zhun. Cast, Zhu Shimao, Cong Shan. Study Copy: VA2757 – VA2758 M My Memories of Old Beijing (PRC, 1982). Shanghai Film Studio. Director, Wu Yigong. Writer, Yi Ming. Cast, Shen Jie, Zheng Zhenyao. Study Copy: VA2799 M Rickshaw Boy (PRC, 1982). Beijing Film Studio. Director, Ling Zifeng. Writer, Ling Zifeng. Cast, Siqin Gaowa. Study Copy: VA2739 M Strange Friends (PRC, 1982). Beijing Film Studio. Director, Xu Lei. Writers, Li Baoyuan, Xu Lei, Xu Tianxia. Cast, Li Ling, Zhang Chao. Study Copy: VA2778 M Sunset Street (PRC, 1982). Beijing Film Studio. Director, Wang Haowei. Writer, Su Shuyang. Cast, Chi Zhiqiang, Zhang Guomin. Study Copy: VA2779 M Teahouse (PRC, 1982). Beijing Film Studio. Director, Writer, Xie Tian. Cast, Yu Shizhi, Zheng Rong. Study Copy: VA2807 M Pride’s Deadly Fury (PRC, 1983). Beijing Film Studio. Director, Zhang Huaxun. Writers, Hua Xun, Xie Hong. Cast, Li Jungfeng, Li Deyu. Study Copy: VA2770 – VA2771 M 25

Archive Research and Study Center:

Chinese Film: 1930s – 2000s 1980s: (continued)

A Good Woman (PRC, 1984). Beijing Film Studio. Director, Huang Jianzhong. Writer, Li Kuanding. Cast, Cong Shan. Study Copy: VA2756 M Life (PRC, 1984). Xi’an Film Studio. Director, Wu Tianming. Writer, Lu Yao. Cast, Zhou Lijing, Wu Yufang. Study Copy: VA2774 M – VA2775 M Note: No English subtitles Black Cannon Incident (PRC, 1985). Xi’an Film Studio. Director, Writer, Jianxin Huang. Cast, Ming Gao, Zifeng Liu. Study Copy: VA2746 M Sacrificed Youth (PRC, 1985). Youth Film Studio. Director, Writer, Zhang Nuanxin. Cast, Li Fengxu. Study Copy: VA2776 M The Girl From Hunan (PRC, 1986). Youth Film Studio. Directors, Xie Fei, Wu Lan. Writer, Zhang Xian. Cast, Na Renhua, Deng Xiaoguang. Study Copy: VA6271 M 1990s:

Ju-Dou (PRC, 1990). Xi’an Film Studio. Directors, Fengliang Yang, Yimou Zhang. Writer, Heng Liu. Cast, Ma Chong, Li Gong. Study Copy: VD480 M Raise the Red Lantern (1991). Salon Films. Co-Production, Hong Kong, Taiwan. Director, Yimou Zhang. Writer, Ni Zhen. Cast, Li Gong, Jingwu Ma. Study Copy: VD711 M Farewell, My Concubine (1992). Beijing Film Studio. Co-Production, Hong Kong. Director, Kaige Chen. Writers, Bik-wa Lei, Wei Lu. Cast, Leslie Cheung, Li Gong. Study Copy: VA12054 M, VD711 M Temptress Moon (1996). Shanghai Film Studio. Co-Production, Hong Kong. Director, Kaige Chen. Writers, Kei Shu, Kaige Chen. Cast, Leslie Cheung, Li Gong. Study Copy: DVD835 M The Emperor and the Assassin (1999). Beijing Film Studio. Co-Production, France, Japan. Director, Kaige Chen. Writers, Peigong Wang, Kaige Chen. Cast, Li Gong, Fengyi Zhang. Study Copy: VA17073 M Shower (PRC, 1999). Xi’an Film Studio. Director, Yang Zhang. Writers, Shangjun Cai, Yinan Diao, Xin Huo. Cast, Wu Jiang, Quanxin Pu. Study Copy: VA21269 M 2000s:

Crouching Tiger, Hidden Dragon (2000). China Film Co-Production Corporation. Co-Production, Hong Kong, Taiwan, USA. Director, Ang Lee. Writer, Hui-Ling Wang. Cast, Michelle Yeoh, Yun-Fat Chow. Study Copy: VA19017 M Together (2002). 21st Century Shengkai Film. Co-Production, South Korea. Director, Kaige Chen. Writers, Xiao Lu Xue, Kaige Chen. Cast, Yun Tang, Peiqi Liu. Study Copy: DVD327 M House of Flying Daggers (2004). Beijing New Picture Film Co. Co-Production, Hong Kong. Director, Yimou Zhang. Writers, Feng Li, Bin Wang. Cast, Takeshi Kaneshiro, Ziyi Zhang. Study Copy: DVD981 M

26

Columbia Films Columbia Pictures began on Hollywood’s Poverty Row, an area housing small production companies that churned out low budget westerns and B pictures. Until his death in 1959, the studio was headed by the indomitable Harry Cohn, who prided himself on producing films quickly and cheaply. In the late 1920s, Columbia began a remarkable collaboration with director Frank Capra, who would make twenty-six films for the studio, among them some of Columbia’s most prestigious productions. It was Capra who directed the studio’s first all-talking picture THE DONAVAN AFFAIR and who won the studio’s first Oscar--for the comedy IT HAPPENED ONE NIGHT. Throughout its history, Columbia produced films that reflected the social concerns of the day, beginning with Capra’s 1932 interracial love story, THE BITTER TEA OF GENERAL YEN. Among the other films included in the UCLA Film and Television Archive’s collection are BLIND ALLEY (1932), ALL THE KING’S MEN (1949), THE CAINE MUTINY (1954), PORGY AND BESS (1959), ON THE WATERFRONT (1954), THE BRIDGE ON THE RIVER

Cary Grant embraces Katharine Hepburn in George Cukor’s Holiday (1938).

KWAI (1957), ALL THE YOUNG MEN (1960), GUESS WHO’S COMING TO DINNER (1967), FIVE EASY PIECES (1970), THE LAST DETAIL (1974) and THE BIG CHILL (1983). A number of important films have been preserved under the Archive’s cooperative preservation program with Columbia Pictures.

27

Columbia Films FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Bitter Tea of General Yen, The (1933). Director, Frank Capra. Writer, Edward Paramore. Study Copy: VA 5045 M Mr. Deeds Goes to Town (1936). Director, Frank Capra. Writer, Robert Riskin. Study Copy: DVD 48 M Awful Truth (1937). Director, Leo McCarey. Writer, Vina Delmar. Study Copy: VA 8154 M His Girl Friday (1940). Director, Howard Hawks. Writer, Charles Lederer. Study Copy: VA 13558 M Lady from Shanghai (1948). Director and Writer, Orson Welles. Study Copy: VA 1082 M All the King’s Men (1949). Director and Writer, Robert Rossen. Based on the novel by Robert Penn Warren. Study Copy: VA 1596 M Shockproof (1949). Director, Douglas Sirk. Writer, Helen Deutsch and Samuel Fuller. Study Copy: VA 1186 M From Here to Eternity (1953). Director, Fred Zinneman. Writer, Daniel Taradash. Based on the novel by James Jones. Study Copy: VD 64 M Caine Mutiny, The (1954). Director, Edward Dymtryk. Writer, Stanley Roberts. Based on the novel by Herman Wouk. Study Copy: VA 5630-31 M On the Waterfront (1954). Director, Elia Kazan. Writer, Bud Schulberg. Study Copy: VD 573 M Lawrence of Arabia (1962). Director, David Lean. Writer, Robert Bolt. Study Copy: VD 32 M Dr. Strangelove, or, How I Learned to Stop Worrying and Love the Bomb (1964). Director, Stanley Kubrick. Writer, Kubrick, Terry Southern and Peter George. Study Copy: VD 465 M Guess Who’s Coming to Dinner (1967). Director, Stanley Kramer. Writer, William Rose. Study Copy: VA 4689 M Five Easy Pieces (1970). Director, Bob Rafelson. Writer, Adrien Joyce. Study Copy: VD 255 M PRINT RESOURCES (for more information consult the UCLA Arts Library)

Dick, Bernard F. The Merchant Prince of Poverty Row: Harry Cohn of Columbia Pictures. Lexington: University Press of Kentucky, 1993. Hirschhorn, Clive. The Columbia Story. New York: Crown Publishers, Inc., 1989.

28

ARSC Study Guide:

Screen Actors Guild Foundation:

“Conversations”

The Screen Actors Guild (SAG) Foundation Legacy Documentation Program is the product of the Foundation's ongoing efforts to preserve and illuminate the history of the Guild, Hollywood, and the labor movement by funding the production of documentary interviews with longtime Guild members. Through its ActorSpeak program, SAG provides a forum for Guild members to relate their shared experiences in the entertainment industry with a diverse public audience in an effort to inspire and inform future generations of performers. Guild member Joe Mantegna in conversation with television pioneer

C o n v e r s a t i o n s is the live Sid Caesar. audience, in-house version of the Foundation’s ActorSpeak Legacy Program that features high-profile SAG members recorded in discussions, often with other Guild members, in a variety of locations around the United States. Dozens of interviews have been completed to date, including discussions with Jack Lemmon, James Garner, Marsha Hunt, Patty Duke, Cliff Robertson, Buddy Ebsen, Gloria Stuart, Charlton Heston, Henry Fonda, Rod Steiger, Danny Glover, Ernest Borgnine, Phyllis Diller and Ed Asner. The living documents created by the Legacy Program offer an unparalleled window into the early struggles and successes of the Guild, as seen through the eyes of the actors and other industry professionals who have contributed to the Guild’s history. For more information regarding material available in this collection please contact the Archive Research & Study Center at 310-206-5388, [email protected] or: Consult the Archive’s online catalog of holdings: • http://cinema.library.ucla.edu

29

ARSC Study Guide:

Screen Actors Guild Foundation:

“Conversations”

SAMPLES FROM THE COLLECTION: (this is only a partial list – consult the Archive Research and Study Center for further listings)

Henry Fonda and Charlton Heston (1979-12-15). Screen Actors Guild Foundation. Study Copy: DVD1426 T Ed Asner interviewed by Terry Sanders (1990-03). Screen Actors Guild Foundation. Study Copy: DVD1438 T Marsha Hunt interviewed by Daryl Anderson (1997-11-10). Screen Actors Guild Foundation. Study Copy: DVD1480 T Jack Lemmon interviewed by Daryl Anderson (1997-12-11). Screen Actors Guild Foundation. Study Copy: DVD1513 T – DVD1514 T Rod Steiger interviewed by Todd Amorde (2002-06-06). Screen Actors Guild Foundation. Study Copy: DVD1468 T Martin Landau interviewed by Todd Amorde (2002-08-26). Screen Actors Guild Foundation. Study Copy: DVD1458 T Joan Chen interviewed by Ed Vasgersian (2002-10-30). Screen Actors Guild Foundation. Study Copy: DVD1418 T George Clooney and Sam Rockwell (2002-12-11). Screen Actors Guild Foundation. Study Copy: DVD1498 T Salma Hayek and Alfred Molina with Lou Diamond Phillips (2003-02-08). Screen Actors Guild Foundation. Study Copy: DVD1511 T Sydney Pollack interviewed by Todd Amorde (2003-07-14). Screen Actors Guild Foundation. Study Copy: DVD1516 T Jeff Daniels interviewed by Michael Bofshever (2004-03-29). Screen Actors Guild Foundation. Study Copy: DVD1429 T Melvin Van Peebles and Mario Van Peebles (2004-04-07). Screen Actors Guild Foundation. Study Copy: DVD1448 T Ernest Borgnine with Lou Diamond Phillips (2004-05-06). Screen Actors Guild Foundation. Study Copy: DVD1430 T Mickey Rooney interviewed by Todd Amorde (2004-05-11). Screen Actors Guild Foundation. Study Copy: DVD1456 T Elliot Gould interviewed by Todd Amorde (2005-03-28). Screen Actors Guild Foundation. Study Copy: DVD1431 T

30

Cecil B. DeMille “I’m ready for my close-up, Mr. DeMille.” --Gloria Swanson in Billy Wilder’s SUNSET BOULEVARD Cecil B. DeMille’s career as a director and producer spans five decades of motion pictures. After directing his first film, the 1914 silent THE SQUAW MAN, DeMille went on to make seventy features, including westerns, adventures, musical comedies and war pictures before his death in 1959. He gave many actors such as Gloria Swanson their start in films, earning him a reputation as a starmaker. A consummate showman, who knew better than anyone how to promote his films and himself, DeMille is best known as the creator of visually lush epics such as THE TEN COMMANDMENTS, THE CRUSADES, CLEOPATRA and DeMille’s own favorite, THE KING OF KINGS as well as sophisticated comedies such as THE AFFAIRS OF ANATOLE, THE CHEAT, and MADAME SATAN. Many of Cecil B. DeMille’s films are available for study and research at the UCLA Film and Television Archive. With generous assistance from the Cecil B. DeMille Trust, the Archive

Claudette Colbert plays the title role in DeMille’s Cleopatra (1934).

has restored and preserved several DeMille films, including CLEOPATRA, THE GODLESS GIRL, KING OF KINGS, THE LITTLE AMERICAN and two versions of THE SIGN OF THE CROSS; the original 1932 release and the re-edited 1944 version. The DeMille prints that the Archive has preserved have been shown in festivals

31

worldwide. Also available for study are clips of DeMille directing a scene from THIS DAY AND AGE, a promotional short showing D. W. Griffith visiting DeMille on the set of THE KING OF KINGS and Paramount newsreel footage featuring DeMille.

Cecil B. DeMille FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

The Cheat (1915). Jesse L. Lasky Feature Play Co. Scenario, Hector Turnbull and Jeanie Macpherson. Silent. Study Copy: VD 710 M The Little American (1917). Mary Pickford Film Corp-Artcraft Pictures Corp. Screenplay, Jeanie Macpherson. Silent. Study Copy: VA 18076 M Male and Female (1919). Famous Players-Lasky Corp. Scenario, Jeanie Macpherson. Silent. Study Copy: VA 18075 M The Affairs of Anatol (1921). Famous Players-Lasky. Scenarist, Jeanie Macpherson. Silent. Study Copy: VA 946 M The Road to Yesterday (1925). DeMille Pictures. Adaptation, Jeanie Macpherson and Beulah Marie Dix. Silent. Study Copy: VA 10375 M King of Kings (1927). DeMille Pictures. Story/Screenplay, Jeanie Macpherson. Silent with music track. Study Copy: VD 436 M The Godless Girl (1929). C. B. DeMille Productions. Story/Dialogue, Jeanie Macpherson. Titles, Beulah Marie Dix and Macpherson. Silent with music score. Study Copy: VA 20034 M Squaw Man (1931). Metro-Goldwyn-Mayer. Writers, Lucien Hubbard and Lenore Coffee. Dialogue, Elsie Janis. Study Copy: VA 18695 M Cleopatra (1934). Paramount. Writers, Waldemar Young and Vincent Lawrence. Study Copy: VA 11307 M Greatest Show on Earth (1952). Paramount. Writers, Fredric M. Frank, Barre Lyndon, Theodore St. John. Study Copy: VA 4194 M Ten Commandments (1956). Paramount. Writers, Aeneas MacKenzie, Jesse L. Laskey, Jr., Jack Gariss, and Fredric M. Frank. Study Copy: VA 2613 M & 2614 M PRINT RESOURCES (for more information consult the UCLA Arts Library)

DeMille, Cecil B. The Autobiography of Cecil B. DeMille. London: W.H. Allen, 1960. Higham, Charles. Cecil B. DeMille. New York: Scribner, 1973. Ringgold, Gene and DeWitt Bodeen. The Films of Cecil B. DeMille. New York: Citadel Press, 1969.

32

Jack Denove Collection During the 1960 presidential campaign, filmmaker Jack Denove was asked to produce campaign commercials and programming for candidate John F. Kennedy. Using hand-held 16mm cameras and a mobile video unit, Denove filmed or video-taped every speech and public appearance, designed commercials, and produced special fifteen and thirty minute programs around specific themes such as urban problems, medical care of the aged, and revitalizing American prestige. This marked the first time television was used in a presidential campaign to this extent. Included in the collection are Kennedy's speech before the Greater Houston Ministerial Association, in which he addressed the issue of his Roman Catholic religious beliefs; COFFEE WITH THE KENNEDYS, a call-in show which included footage from home movies; and NAVY LOG, a television dramatization of the PT-109 incident highlighting Kennedy's heroic actions during World War II. Donated to the UCLA Film and Television Archive by the Denove family, the collection contains all the footage

Presidential candidate Senator John F. Kennedy’s use of television during the 1960 election period was the first to integrate extensive coverage in multiple venues and broadcast programming styles.

Denove shot during the campaign, including completed product, negatives, trims and outs, unedited footage, stock shots, crowd shots, and airport arrivals.

33

Jack Denove Collection SAMPLES FROM THE COLLECTION (this is only a partial list – consult the Archive Research and Study Center for further listings)

Coffee with the Kennedys (1960). Campaign broadcast featuring a call-in segment and home movies of the Kennedy family. This program was aired to correspond with the April 5 Wisconsin primary. Study Copy: VA8946 T Edward R. Murrow Interviews John F. Kennedy, July, 1960. Interview recorded prior to the Democratic National Convention. Study Copy: VA12352 T John F. Kennedy Meets with NAACP Members and Others (1960). Recorded at the Democratic National Convention, Los Angeles, California. Includes a speech given by Kennedy to NAACP members and unedited coverage of Kennedy meeting African-American delegates. Study Copy: VA12353 T John F. Kennedy Speaks on the Middle East (1960). Includes a review of the Democratic and Republican party platforms on the Middle East and excerpts from a speech made by Kennedy before the Zionist Organization of America in New York. Study Copy: VA10433 T Kennedy Answers Farm Questions (1960). Campaign political spot broadcast before the May 10 Nebraska primary. Includes Kennedy’s comments on issues facing the agriculture industry. Study Copy: VA13503 T Kennedy Speech to Greater Houston Ministerial Association (1960). Speech and question and answer period recorded at the Rice Hotel in Houston, Texas on September 12, 1960. Study Copy: VA5093 T Political Spot: John F. Kennedy asks the Support of California Viewers (1960). Study Copy: VA11738 T Political Spot: Kennedy-Nixon Debate (1960). Includes excerpts from the televised debate between Kennedy and Richard Nixon. Study Copy: VA7249 T Public Rally, Hotel Theresa, New York, N.Y., October 12, 1960. Includes remarks by Adam Clayton Powell and Eleanor Roosevelt prior to Kennedy taking the podium. Kennedy discusses Richard Nixon, employment rates, civil rights and other issues to a crowd assembled in Harlem. Study Copy: VA14471 T Speech of Senator John F. Kennedy, Shrine Auditorium, Los Angeles, California, September, 1960. Speech includes Kennedy’s impressions of why the vote in California is significant to the 1960 presidential election. Study Copy: VA6222 T RELATED PROGRAM

Navy Log: PT 109 (1957-10-17). Broadcast on ABC. Director, Sam Gallu. Writer, Allan E. Sloane. Study Copy: VA4533 T PRINT RESOURCES

(for more information consult the UCLA Libraries Collection)

Jamieson, Kathleen Hall. Packaging the Presidency: A History and Criticism of Presidential Campaign Advertising. New York: Oxford University Press, 1996.

34

Early Television In 1946, the first television sets became available to American consumers. Only a few decades later, television’s stylistic conventions have become a very familiar, virtually omnipresent part of the American cultural landscape. But in the late 1940s and early 1950s, the language of television was still being invented. Inspiration came from a variety of sources. Comedy programs such as THE JACK BENNY SHOW and THE GOLDBERGS, dramatic anthologies such as KRAFT TELEVISION THEATER, quiz shows such as NAME THAT TUNE, and variety programs such as ARTHUR GODFREY AND HIS FRIENDS borrowed heavily from popular radio formats. Other early programming addressed the medium’s place in the home. PHOTOGRAPHIC HORIZONS, for example, posed models for viewers to photograph off the television screen. Still other early television programs selfconsciously experimented with the expressive capabilities of the medium itself. Certain special effects on THE ERNIE KOVACS SHOW, for example, drew the audience’s attention to both the limitations and the possibilities of early studio equipment. With the occasional exception of shows such as GARROWAY AT LARGE (which was produced in Chicago) and DRAGNET (which was filmed in Hollywood), early network television emanated from the studios of CBS, NBC and ABC in

Television pioneer Milton Berle (left) was a prominent figure in early television broadcasts. Mr. Berle is shown above with performer Danny Thomas.

New York. Until 1955, the DuMont Television Network also broadcast to a number of cities across the US, including Los Angeles. The UCLA Film and Television Archive has an extensive collection of early television programming. In addition to network programming, the Archive’s DuMont holdings include CAVALCADE OF STARS–which introduced Jackie Gleason’s THE

35

HONEYMOONERS – and CAPTAIN VIDEO – television’s first science-fiction program. The Archive also maintains a large collection of local television programs such as HELP THY NEIGHBOR, a call-in show for Angelinos down on their luck, and THE CONTINENTAL, which featured a host who addressed his audience as if they were inhouse drinking guests.

Early Television SAMPLES FROM THE ARCHIVE

Photographic Horizons (1948-11-10). DuMont. Study Copy: VA8230 T Captain Video (1949). DuMont. Director, Larry White. Writer, M.C. Brock. Study Copy: VA12299 T Kukla, Fran & Ollie. Homecoming (1949). NBC. Producer, Beulah Zachary. Director, Lewis Gomavit. Study Copy: VA9 T The Goldbergs (1949-08-29). CBS. Study Copy: VA5765 T Texaco Star Theater (1949-11-22). NBC. Host: Milton Berle. Study Copy: VA2595 T Cavalcade of Stars (1950-09-02). DuMont. Producer, Milton Douglas. Study Copy: VA2200 T Your Show of Shows (1951-11-10). NBC. Producer, Max Liebman. Cast, Sid Caesar, Imogene Coca, Carl Reiner, Jack Russell and James Starbuck. Study Copy: VA9828 T The Dinah Shore Show. Premiere (1951-11-27). NBC. Producer, Director, Writer, Alan Handley. Study Copy: VA2617 T Philco Television Playhouse. Holiday Song (1952-09-14). NBC. Producer, Fred Coe. Director, Gordon Duff. Writer, Paddy Chayefsky. Study Copy: VA3181 T Goodyear Television Playhouse. Other People’s Houses (1953-08-30). NBC. Producer, David Susskind. Director, William Corrigan. Writer, Tad Mosel. Study Copy: VA2114 T Studio One. Remarkable Incident at Carson Corners (1954-01-11). CBS. Writer, Reginald Rose. Study Copy: VA11347 T See it Now. Report on Joseph R. McCarthy (1954-03-09). CBS. Reported by Edward R. Murrow. Study Copy: VA926 T Kraft Television Theatre. Patterns (1955-02-09). NBC. Director, Producer, Fielder Cook. Writer, Rod Serling. Study Copy: VA116 T. The Honeymooners. TV or not TV (1955-10-01). CBS. Director, Frank Satenstein. Writers, Marvin Marx and Walter Stone. Study Copy: VA6035 T The Ernie Kovacs Show (1956-04-11). Study Copy: VA5081 T Playhouse 90. Requiem for a Heavyweight (1956-10-11). CBS. Producer, Martin Manulis. Director, Ralph Nelson. Writer, Rod Serling. Study Copy: VA1358 T PRINT RESOURCES

(for more information consult the UCLA Libraries Collection)

Kisseloff, Jeff. The Box: An Oral History of Television, 1920-1961. New York: Viking, 1995.

The Days of Live: Television’s Golden Age as seen by 21 Directors Guild of America Members. Ira Skutch, ed. Lanham: Scarecrow Press, 1998.

36

Film Noir Literally meaning “black,” the concept of “noir” was first applied in France to describe the British Gothic novel. It was later used in “Serie Noire,” a collection of American fiction, translated into French, including the writings of “hard-boiled” novelists such as Raymond Chandler, Dashiell Hammett, Cornell Woolrich, James M. Cain and Horace McCoy. French film critics coined the term “film noir” by analogy with those literary works (many of which had been made into film). Many noir films were crafted by German and central European émigrés, trained in the UFA studios in the l920s and early 1930s and influenced by German Expressionism. The noir ambience is dominated by low-key lighting, chiaroscuro effects and deep shadows, creating feelings of disorientation, loneliness and entrapment. Along with other critics, Paul Schrader feels that the cycle of “noir” films starts with John Huston’s THE MALTESE FALCON (l94l), and begins to decline after Orson Welles’ TOUCH OF EVIL (l958). Within these years, noir directors included Fritz Lang, Billy Wilder, Robert Siodmak, Michael Curtiz, William Dieterle, and Otto Preminger. Titles such as THE BIG SLEEP (1946),

Barbara Stanwyck and Fred MacMurray in Billy Wilder’s classic noir, Double Indemnity (1944).

MURDER, MY SWEET (1944), and KISS ME DEADLY (1955) are examples of noir style and storyline. The classic DOUBLE INDEMNITY (1944) has been preserved by the UCLA Film and Television Archive. The “noir” style periodically resurfaces as an homage to these Hollywood

37

classics. Though shot in color, American films like BULLITT (l968), KLUTE (l97l), CHINATOWN (l974), BODY HEAT (l98l) and the contemporary remakes of THE POSTMAN ALWAYS RINGS TWICE and D.O.A. are a tribute to the “noir” sensibility.

Film Noir FILMS

(this is only a partial list – consult the Archive Research and Study Center for further listings)

Maltese Falcon (1941). Warner Bros. Director, Writer, John Huston. Based on the novel by Dashiell Hammett. Study Copy: VD610 M Double Indemnity (1944). Paramount. Director, Billy Wilder. Writers, Billy Wilder, Raymond Chandler. Based on the novel by James M. Cain. Study Copy: VD67 M Murder, My Sweet (1944). RKO. Director, Edward Dmytryk. Writer, John Paxton. Based on the novel Farewell, My Lovely by Raymond Chandler. Study Copy: VA3350 M The Big Sleep (1946). Warner Bros. Director, Howard Hawks. Writers, William Faulkner, Leigh Brackett and Jules Furthman. Based on the novel by Raymond Chandler. Study Copy: DVD116 M Gilda (1946). Columbia. Director, Charles Vidor. Writer, Marion Parsonnet. Study Copy: VA1399 M The Killers (1946). Universal. Director, Robert Siodmak. Writers, Anthony Veiller and John Huston. Study Copy: VA10739 M Postman Always Rings Twice (1946). Loew’s Inc. Director, Tay Garnett. Writers, Harry Ruskin, Niven Busch. Study Copy: VA19052 M Gun Crazy (1949). United Artists. Director, Joseph H. Lewis. Writers, MacKinlay Kantor, Millard Kaufman. Study Copy: VA20193 M Night and the City (1950). 20th-Century Fox. Director, Jules Dassin. Writer, Joe Eisinger. Study Copy: VA2995 M Sunset Boulevard (1950). Paramount. Director, Billy Wilder. Writers, Charles Brackett, Billy Wilder, D.M. Marshman, Jr. Study Copy: VD570 M Kiss Me Deadly (1955). Parklane Pictures, Inc. Director, Robert Aldrich. Writer, A.I. Bezzerides. Study Copy: VD727 M Touch of Evil (1958). Universal. Director, Writer, Orson Welles. Study Copy: VD611 M Chinatown (1974). Long Road Productions. Director, Roman Polanski. Writer, Robert Towne. Study Copy: VD597 M Postman Always Rings Twice (1981). MGM. Director, Bob Rafelson. Writer, David Mamet. Study Copy: VD553 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Hirsch, Foster. Dark Side of the Screen: Film Noir. New York: Da Capo Press, 2001. Keaney, Michael F. Film Noir Guide: Films of the Classic Era, 1940-1959. Jefferson: McFarland, 2003. Silver, Alain and James Ursini, eds. Film Noir Reader. New York: Limelight Editions, 1996.

38

Hallmark Hall of Fame Since the earliest days of television Hallmark Cards, Inc. has championed the production of quality television through its sponsorship of programs under the “Hallmark Hall of Fame” banner. “Hallmark Hall of Fame” premiered on Christmas Eve of 1951 with a live presentation of “Amahl and the Night Visitors.” Between January 1952 and June 1955 the “Hall of Fame” aired as a weekly series focusing predominately on biographies and historical recreations. Additional “special presentations” offered adaptations of classics from literature and the theatre which featured prominent actors, often in the roles that made them famous. Eventually these special telecasts replaced the weekly series and became Hallmark’s signature programming. “Hallmark Hall of Fame” has consistently been the object of both popular and critical acclaim. The series has received more awards for excellence than any other television program. Through the years its producers have remained responsive to contemporary programming trends and the

Based on the Hallmark signature and crown logo created in 1949, the “Hallmark Hall of Fame” series logo was adapted for use as a mark of quality programming that helped reinforce the company’s retail brand on television.

possibilities provided by technological innovation. In l960, “Hallmark Hall of Fame” emerged from the confines of the television studio to film its version of “Macbeth” on location in Scotland. While the series has maintained its interest in the classics, it has also expanded its repertoire to include socially relevant stories written specifically for television. These intimate portraits include “Teacher, Teacher” the story of a mentally retarded youth, “Promise” which examined how the relationship of two

39

brothers is affected by one’s schizophrenia, and “My Name is Bill W.” which tells the story of the founding of Alcoholics Anonymous.

Hallmark Hall of Fame TELEVISION SPECIALS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Amahl and the Night Visitors (1951). Hallmark-NBC. Director, Kirk Browning. Libretto, Gian Carlo Menotti. Study Copy: VA247 T Macbeth (1960). Grand Prize Films Production. Director, George Schaefer. Writer, William Shakespeare. Study Copy: VA3104 M Teacher, Teacher (1969). Henry Jaffe Enterprises. Director, Fielder Cook. Writer, Ellison Carrol. Study Copy: VA496 T Storm in Summer (1970). MPC Production. Director, Buzz Kulik. Writer, Rod Serling. Study Copy: VA13060 T (UCLA Film and Television Archive Preservation) The Snow Goose (1971). Universal Television. Director, Patrick Garland. Writer, Paul Gallico. Study Copy: VA478 T Gideon (1971). Compass Production. Director, George Schaefer. Writer, Paddy Chayefsky. Study Copy: VA17790 T The Price (1971). Talent Associates. Director, Fielder Cook. Writer, Arthur Miller. Study Copy: VA455 T Fame (1978). Hallmark. Director, Marc Daniels. Writer, Arthur Miller. Study Copy: VA298 T The Marva Collins Story (1981). Hallmark. Director, Peter Levin. Writer, Clifford Campion. Study Copy: VA179 T Promise (1986). Garner-Duchow Productions. Director, Glenn Jordan. Writer, Richard Friedenberg. Study Copy: VA456 T My Name is Bill W. (1989). Hallmark. Director, Daniel Petrie. Writer, William G. Borchert. Study Copy: VA181 T The Piano Lesson (1995). Hallmark. Director, Lloyd Richards. Writer, August Wilson. Study Copy: VA12834 T PRINT RESOURCES

(for more information consult the UCLA Arts Library)

UCLA Film and Television Archive Presents Hallmark Hall of Fame: The First Fifty Years. Los Angeles: The Archive, 2001. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds scripts and production materials related to the Hallmark Hall of Fame radio and television series for the years 1951-1984. For more information, please contact Arts Library Special Collections: (310) 825-7253

40

Hearst Metrotone Newsreels UCLA’s Hearst Metrotone News Collection is one of the largest newsreel collections in the world. It contains over 27 million feet of distributed newsreels, unreleased stories and outtakes. The Hearst newsreel went through a series of incarnations. Begun in the teens, these newsreels were first envisioned as a way to boost Hearst-owned newspaper readership. The tabloid style of Hearst papers would heavily influence the style and content of the newsreels, UCLA’s Hearst Metrotone News Collection contains 27 million feet of newsreels and additional footage. and arguably television news forms as well. The silent Hearst reels covered Although the reels at the Archive Research and topics such as the First were fashioned for the most Study Center, the Archive’s World War, the Mexican part to be entertaining, they Commercial Services American War, the Black uniquely document the department licenses the Sox Scandal, adventurous events of their time. During footage to clients including aviators, and North Pole their heyday, the newsreels the producers of EYES ON explorers. European royalty THE PRIZE, NOVA, were given special attention presented everything from the battle for recovery from AMERICAN MASTERS, in the newsreels. The the Depression to the INFINITE VOYAGE, and attraction of celebrity battles of World War Two. AMERICAN EXPERIENCE. served the reel further The onset of television when it became half-owned news ended the golden age by MGM. Distributed with of the newsreel, but it MGM features throughout nonetheless continued to be the 1930s and 1940s, the distributed theatrically well reel could promote the studio’s stars in the guise of into the 1960s. In addition to providing on-site viewing news items.

41

Hearst Metrotone Newsreels FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Hoover, Depression. 1929-1939. Includes the following: Depression story (Wall Street, stock market, street scene), Loses millions, but not his faith—Julius Rosenwald, Hoover at Capital as Congress quits, and others. Study Copy: VA 6005 M Prelude to War (Tape # 27). 1939. Includes the following: Japanese take Soviet Prisoners, The Netherlands mobilizes against war, The war in Europe, France takes war in stride, Hitler in Warsaw, Rumania avenges slain premier, films of Warsaw surrender, and others. Study Copy: VA 17321 M Post WWII Demobilization. 1945-1946. Includes the following: G.I.’s demobilized, Queen Mary brings 14,526 G.I.’s home, G.I victory parade, and others. Study Copy: VA 3473 M The Nuclear Age. 1953-1963. Includes the following: US airpower boosted by new stratojets, Russians reveal super-jet bomber, Ike, AEC boss discusses H-bomb, Khrushchev takes over missiles shown in Moscow parade, and others. Study Copy: VA 4624 M Martin Luther King, Freedom Riders. 1956-1961. Includes the following: Demonstrations against lunch counter segregation span nation, Alabama: Rev. King and Abernathy speak on freedom riders, and others. Study Copy: VA 4149 M Vietnam 1965-Democratic Convention 1960. 1956-1965. Includes the following: Democratic Convention highlights, face of the war in Vietnam, Vietnam ‘Search and Destroy’ sweep, Vietnam combat report. Study Copy: VA 4762 M Segregation. 1956-1975. Includes the following: African-Americans still ride in rear of desegregated buses, Norfolk, VA and Integration-Pleasanton, TX. Study Copy: VA 5406 M Chinese Prepare for New Year-Los Angeles, CA. 1961. Includes the following: Chinese clean their houses thoroughly before New Year arrives, small children place candy and cookies before ancestor pictures as is the custom, and others. Study Copy: VA 4737 M JFK-Dead in Dallas. 1963. Kennedy Motorcade, Lee Harvey Oswald. Study Copy: VA 5388 M Apollo 13 Astronauts Training. 1970. Includes the following: Various shots of Lovell, Mattingly, and Haise during training. Study Copy: VA 12540 M PRINT RESOURCES (for more information consult the UCLA Arts Library)

Fielding, Raymond. The American Newsreel, 1911-1967. Norman: University of Oklahoma Press, 1972. Kalas, Andrea Marin. Hearst Metrotone News 1929-1934: A History of the American Early Sound Newsreel. MA Thesis. UCLA. 1990.

42

ARSC Study Guide:

HOLLYWOOD REPORTER’S KEY ART AWARDS Since its inception in 1972, the Key Art Awards founded by the Hollywood Reporter have recognized and honored the labor of the professional community who craft motion picture advertising such as theatrical trailers, posters, television commercials and internet advertising. Held annually, the Key awards profile contributions to marketing in over thirty categories, including two student categories established in an effort to recognize emerging work in the fields of trailer production and one-sheet print advertising. In 2002, the UCLA Film and Television Archive in partnership with the Hollywood Reporter established the KEY ART AWARDS COLLECTION designed to give students, researchers and industry professionals access to select print and trailer entries from competition. The collection offers permanent record to material that, as a result of the ephemeral nature of commercial marketing cycles, are often difficult to find outside of the context of private collections. Holdings in the collection originate from a merging of two significant sources of motion picture advertising and promotional materials. It consists of trailers acquired by the Hollywood Reporter as a result of its Key Art Awards nomination and selection process and check prints of domestic and foreign release trailers and electronic press kits for commercially released live-action and animated features that were acquired as part of the Trailer Audio Standards Association (TASA) sound check program. Each of the majority of trailers distributed in the United States since 2002 is represented by an electronic press kit and a trailer print. The establishment of the Key Art collection underscores a commitment to recognizing the value and significance of the study and preservation of marketing media produced by the commercial film industry in the United States. For more information regarding material available in this collection, or to arrange research viewing, please contact the Archive Research and Study Center.

43

ARSC Study Guide:

HOLLYWOOD REPORTER’S KEY ART AWARDS SAMPLES FROM THE COLLECTION

(this is only a partial list – consult the Archive Research and Study Center for further listings)

8 Mile – Trailer (2002). mOcean. Creative agency mOcean’s entry in the 2003 Hollywood Reporter Key Art Award competition Black Hawk Down – Trailer (2001). Trailer Park. Producer, Tim Nett. Creative Director, Benedict Coulter. Editor, Adrian Sainsbury-Carter. Produced by Trailer Park for the Sony Pictures Entertainment motion picture Black Hawk Down and a winner in the 2002 Hollywood Reporter Key Art Award competition in the Drama Trailers category. Driven – Strap In (2001). Intralink Film Graphic Design. Producer, Tom Merchant. Creative Director, Anthony Goldschmidt. Editor, Robert Walker. Television spot produced by Intralink Film Graphic Design for the Warner Brothers/Franchise Pictures motion picture Driven and a winner in the 2002 Hollywood Reporter Key Art Award competition in the Action Adventure Television Spots category. The Lord of the Rings – Fate (2001). The Ant Farm. Producer, Rodd Perry. Creative Director, Barbara Glazer. Editor, Jennifer Horvath. Produced by The Ant Farm for the New Line Cinema motion picture The Lord of the Rings: The Fellowship of the Ring and a winner in the 2002 Hollywood Reporter Key Art Award competition in the Action Adventure Trailers category. Student Competition

For the Dream of Rome (2000). Editor, Kari Stringham. Trailer for Gladiator edited by California State University, Fullerton student Kari Stringham and entered in the Hollywood Reporter Key Art Award competition. Gladiator – Trailer (2000). Editor, Aaron Metchik. Trailer for Gladiator edited by University of California, Los Angeles student Aaron Metchik and entered in the Hollywood Reporter Key Art Award competition. On Tour with Penny Lane (2000). Editor, Byron Smith. Trailer for Almost Famous edited by American Film Institute student Byron Smith and entered in the Hollywood Reporter Key Art Award competition. Write What You Want (2000). Editor, Radu Ion. Trailer for Almost Famous edited by American Film Institute student Radu Ion and entered in the Hollywood Reporter Key Art Award competition. PRINT RESOURCES

(for more information consult the UCLA Arts Library)

The Hollywood Reporter Annual Key Art Awards: Exposition Catalogue. Hollywood, CA: The Hollywood Reporter, Inc. Volumes 8 (1979), 18-29 (1989-2000), 31-34(2002-2005) available through the UCLA Arts Library.

44

Walter Lantz

Lantz created many popular cartoon characters, including the bird with the trademark laugh, Woody Woodpecker. The Film and Television Archive holds more than twenty-five of Walter Lantz’ cartoon shorts, spanning the early 1930s to the 1960s. Many of the titles from the 1940s feature the Woody Woodpecker character. At Arts-Special Collections the Walter Lantz Archive (19401979) is available for research. It consists of 350 boxes, divided into three main areas. Part I contains animation cels

Walter Lantz’s Woody Woodpecker and friend.

and models, storyboards and backgrounds. Part II is devoted to production materials, including research materials and notes, scripts, treatments, storyboard sketches, cutting continuities, publicity materials (clippings, stills). Part III is a collection of comic books featuring Walter Lantz cartoon characters.

45

UCLA’s Music Library holds the Walter Lantz Music Collection, containing scores, parts and detail sheets for Woody Woodpecker cartoons and various commercials. It also features popular sheet music for use as source material for productions.

COLLECTION PROFILE

Walter Lantz was born into an immigrant Italian family in New Rochelle, New York. A newspaper cartoonist during his teens, he became an animator with Gregory La Cava and then worked with the animation pioneers at Bray Studios. In the late twenties he moved to Hollywood, landing a job with Universal Pictures. In 1935 he started his own production company, striking a deal with Universal to provide cartoons on a regular basis. Five years later, Walter Lantz Productions became a completely independent company. Eventually, its activities expanded to other areas such as television and the merchandising of cartoonrelated products.

Walter Lantz FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Bandmaster (1931). Universal Pictures. Directors, Walter Lantz and Bill Nolan. Artists, Clyde Geronomi, Manuel Moreno, Ray Abrams, Fred Avery, Lester Kline, Chet Karrbers, and Pinto Colvig. Study Copy: VD 755 M Knock, Knock (1940). Universal Pictures. Director, Walter Lantz. Story, Ben Hardaway and Lowell Elliot. Artists, Alex Lovy and Frank Tipper. Study Copy: VD 755 M Woody Woodpecker: The Cracked Nut (1941). Walter Lantz Productions. Director, Walter Lantz. Story, Ben Hardaway and Jack Cosgriff. Artists, Alex Lovy and Ray Fahringer. Study Copy: VD 754 M Musical Moments from Chopin (1947). Walter Lantz Productions. Director, Dick Lundy. Story, Ben Hardaway and Milt Schaffer. Animation, Laverne Harding and Les Kline. Study Copy: VD 755 M Well Oiled (1947). Walter Lantz Productions and Universal Pictures. Director, Dick Lundy. Story, Ben Hardaway and Milt Schaffer. Animation, Les Kline and Pat Mathews. Study Copy: VD 754 M Banquet Busters (1948). Walter Lantz Productions. Director, Dick Lundy. Story, Ben Hardaway, Jack Cosgriff. Animation, Les Kline and Pat Mathews. Study Copy: VD 754 M Redwood Sap (1951). Walter Lantz Productions. Director, Walter Lantz. Animation, Ray Abrams, Don Patterson, Laverne Harding and Paul Smith. Study Copy: VD 754 M I’m Cold (1954). Universal-International. Producer, Walter Lantz. Director, Tex Avery. Story, Homer Brightman. Animation, Ray Abrams, Don Patterson and Laverne Harding. Study Copy: VA 1540 M PRINT RESOURCES (for more information consult the UCLA Arts Library)

Adamson, Joe. The Walter Lantz Story: With Woody Woodpecker and Friends. New York: G.P. Putnam’s Sons, 1985. Lantz, Walter. Walter Lantz Animation Art. Universal City, CA: Walter Lantz Productions, 1990. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds various materials related to Walter Lantz in the Walter Lantz Animation Archive 1940-1979. For more information, please contact Arts Library Special Collections: (310) 825-7253

46

Latin America FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Argentina

Camila (1984). Director, Maria Luisa Bemberg. Writers, María Luisa Bemberg, Beda Docampo Feijóo, Juan Bautista Stagnaro. Study Copy: VA5877 M La Historia Official (1985). Director, Luis Puenzo. Writers, Luis Puenzo and Aida Bortnik. Study Copy: VA5886 M Eva Pe_ron (1996). Director, Juan Carlos Desanzo. Writer, Jose_ Pablo Feinmann. Study Copy: VA20116 M Brazil

A Filha do Advogado (1926). Director, Jota Soares. Study Copy: DVD119 M Macunai_ma (1969). Director and Writer, Joaquim Pedro de Andrade. Study Copy: VA13283 Kiss of the Spider Woman (1985). Director, Hector Babenco. Writer, Leonard Schrader. Study Copy: VD225 M Central Station (1998). Director, Walter Salles. Writer, Joa_o Emanuel Carneiro. Study Copy: VA18607 M City of God (2002). Director, Ka_tia Lund and Fernando Meirelles. Writer, Bra_ulio Mantovani. Study Copy: VA19654 M Cuba

Hasta la Victoria Siempre (1965). Director, Santiago Alvarez. Study Copy: VA6618 M Fresa y Chocolate (1994). Director, Toma_s Gutie_rrez Alea and Juan Carlos Tabi_o. Writer, Senel Paz. Study Copy: VA12843 M Mexico

Alla en el Rancho Grande (1933). Director, Fernando de Fuentes. Writers, Gernando de Fuentes and Guz Aguila. Study Copy: VA10845 M Aventurera (1949). Director, Alberto Gout. Writer, Carlos Sampelayo. Study Copy: VA11100 M Nazari_n (1958). Director and Writer, Luis Bun_uel. Study Copy: VA8494 M El Lugar Sin Limites (1977). Director and Writer, Arturo Ripstein. Study Copy: VA8548 M Uruguay

Visita al Teatro Solis (19--). Director, Martha Vila. Study Copy: VA9878 M Co-Productions

Alsino and the Condor (1983). Director and Writer, Miguel Litti_n. A Co-production of Costa Rica, Cuba, Mexico and Nicaragua. Study Copy: VD533

47

Latin America NEWSREELS AND DOCUMENTARIES (this is only a partial list – consult the Archive Research and Study Center for further listings)

Newsreels

Hearst Newsreel Footage, Castro’s Cuba Unedited footage collection taken in Cuba during 1963. Study Copy: VA8901 M Hearst Newsreel Footage, Central America – Tape One Covering the 1920s through the 1960s; footage features events from Guatemala, Nicaragua and El Salvador. Study Copy: VA2681 M Hearst Newsreel Footage, Central America – Tape Two Covering the 1940s through the 1960s; footage features events from Costa Rica, Guatemala, Nicaragua, El Salvador and Uruguay. Study Copy: VA2683 M Hearst Newsreel Footage, Latin America – Hollywood Provides footage of US Marine activities in Haiti during the 1920s and 30s. Study Copy: VA4515 M Hearst Newsreel Footage, Mexico Program 1 and 2 A collection of footage covering the 1920s through the 1960s. Study Copy: VA4288 M (1928-1946), VA4387 M (1950s), VA4389 M (1930s), VA4390 M (1942-1943), VA4391 M (1947-1964) Hearst Newsreel Footage, Mexican Revolution Footage is dated between 1929 and 1939. Study Copy: VA4279 M Hearst Newsreel Footage, Peron – Argentina Collection of footage chronicling Argentina during the 1940s and 1960s. The majority of the material in this collection focuses on Eva Peron. Study Copy: VA4955 M Hearst Newsreel Footage, U.S. Foreign Policy – Guatemala Footage covers events in Guatemala and the United States from 1950 through 1963. Study Copy: VA3864 M News of the Day, Pan American news – Artists Lured by Rio’s Beauty Footage recorded in 1951 and includes: Sugarloaf Mountain, Copacabana Beach and horse races. Study Copy: VA8900 M Documentaries

Derrumbes (1985-1989) [Mexico] (1990). Director, Orlando Merino. Study Copy: VA9919 M Mosori Monika [Venezuela] (1965). UCLA Ethnographic Film Project. Study Copy: VA1125 M My Country Occupied [Guatemala] (1971). Director, Tami Gold and Heather Archibald. Study Copy: VA6624 M Nicaragua: One Woman’s View (1986). Producer and Writer, Leticia Ponce. Study Copy: VA1699 T Our Latin American Neighbors: Argentina (1961). Centron Corp. Study Copy: VA19790 M

48

Newsreel, Third World Newsreel, California Newsreel Newsreel was a production and distribution company founded in 1967 in response to the political turmoil that surrounded the Vietnam War and the Civil Rights movement. Its mission was to find audiences for socially relevant documentaries with a New Left perspective. Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verite and poster art. The student movement (COLUMBIA REVOLT), racism (BLACK PANTHER) and Vietnam (NO GAME; PEOPLE’S WAR) were among the subjects Newsreel addressed. Feminist consciousness raising efforts were documented in films such as THE WOMAN’S FILM, produced collectively by women, and MAKEOUT. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and NOW omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.

Films like Third World Newsreel’s Namibia: Independence Now! (1985), pictured here, sought to increase awareness and activism by addressing political issues around the world.

In the early 1970’s, many Newsreel offices disbanded. Today, Third World Newsreel in New York and California Newsreel in San Francisco continue to produce and distribute films which take a leftist position on subjects such as the role of South African women in the movement against apartheid (YOU HAVE STRUCK A ROCK!), the situation in Central America (THE MARRIAGE DINNER; CHRONICLE OF HOPE: NICARAGUA), feminism (PERMANENT WAVE), women in prison (INSIDE WOMEN INSIDE), the history of

49

Chinese immigrants in New York (FROM SPIKES TO SPINDLES) and battered wives and child abuse (TO LOVE, HONOR, AND OBEY; SUZANNE, SUZANNE). California Newsreel has also produced exposes of multinational corporations (CONTROLLING INTEREST) and economics in the Reagan administration (THE BUSINESS OF AMERICA).

Newsreel, Third World Newsreel, California Newsreel FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Black Panther (1968). Newsreel. Director unknown. Study Copy: VA 6623 M No Game (1968). Newsreel. Director unknown. Study Copy: VA 6613 M People’s War (1969). Newsreel. Director unknown. Study Copy: VA 6631 M The Woman’s Film (1971). San Francisco Newsreel. Director unknown. Study Copy: VA 6628 M The Marriage Dinner (1986). Third World Newsreel. Director unknown. Study Copy: VA 6611 M From Spikes to Spindles (1976). Third World Newsreel. Director, Christine Choy. Study Copy: VA 6619 M Controlling Interest (1978). California Newsreel. Director unknown. Study Copy: VA 6625 M Permanent Wave (1986). Films Now/ Third World Newsreel. Directors, Christine Choy, Renée Tajima. Study Copy: VA 6617 M Namibia: Independence Now! (1985). Third World Newsreel. Directors, Christine Choy, Pearl Bowser. Study Copy: VA 6608 M Suzanne, Suzanne (1982). Third World Newsreel. Directors, Camille Billops and James V. Hatch. Study Copy: VA 6605 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Third World Newsreel (Film/Video Catalogue). New York: Newsreel, 1998. Nichols, William James. Newsreel Microform: Documentary Filmmaking on the American Left (19711975). UCLA PhD Thesis, 1978.

50

George Pal The UCLA Film and Television Archive collections include a large body of work by filmmaker George Pal (l908-l980). Included in the Archive’s holdings are Puppetoons and other animated shorts, as well as Pal’s science-fiction features including DESTINATION MOON (l950), WHEN WORLDS COLLIDE (l95l) and THE WAR OF THE WORLDS (l953). This film collection is complemented by the George Pal Papers, consisting of Pal’s scripts and artwork, held at UCLA’s Arts Library. Originally from Hungary, Pal came to Hollywood in 1940. At Paramount, he fully developed his Puppetoon technique for which he subsequently received an honorary Academy Award. The Puppetoons were animated wooden puppets set against papier-mâché and cardboard backgrounds. The puppets and backgrounds were intricately detailed and ornately decorated. The Puppetoons are an extension of Pal’s unique imagination. One example was the Screwball Army--puppets composed of nuts and bolts which parodied a fictional totalitarian regime. Other Puppetoon creations were Jasper and his two

George Pal with one of his Puppetoon characters.

friends, Professor Scarecrow and Blackbird. These characters, who appeared in a number of Puppetoon shorts, are key examples of racist stereotyping of AfricanAmericans in American popular culture. Over time Pal’s imagination drew him to special effects. In the early fifties he became a producer-and eventually,

51

director/producer--of science fiction and adventure films involving trick photography. Pal went on to win five Academy Awards for Special Effects.

George Pal FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Seven Faces of Dr. Lao (1964). Galaxy Productions. Director, George Pal. Writer, Charles Beaumont. Study Copy: VD476 M Wonderful World of the Brothers Grimm (1962). MGM. Directors, Henry Levin and George Pal. Writers, Charles Beaumont, Hermann Gerstner, David P. Harmon, and William Roberts. Study Copy: VA11600 M War of the Worlds (1953). Producer, George Pal. Director, Byron Haskin. Writer, Barre Lyndon. Study Copy: VD636 M When Worlds Collide (1951). Producer, George Pal. Director, Rudolph Maté. Writer, Sydney Boehm. Study Copy: VD550 M Destination Moon (1950). Eagle Lion Classics (produced by George Pal). Director, Irving Pichel. Writers, Rip Van Ronke, Robert Heinlein, and James O’Hanlon. Study Copy: VA15501 M PUPPETOONS

(this is only a partial list – consult the Archive Research and Study Center for further listings)

Wilbur the Lion (1947) and Bravo Mr. Strauss (1943). Study Copy: VA3950 M And to Think That I Saw It on Mulberry Street (1944). Study Copy: VA17602 M South Seas Sweethearts (year unknown) and Jasper and the Haunted House (1942). Study Copy: VA10898 M The Sky Princess (1942) and Tubby the Tuba (1947). Study Copy: VA17604 M George Pal Sample Reel, including: Two Gun Rusty (1944), Western Daze (1941), Tubby the Tuba (1947), The Gay Knighties (1941), The 500 Hats of Bartholomew Cubbins (1943), and Good Night Rusty (1943). Study Copy: VA14010 M PRINT RESOURCES (for more information consult the UCLA Arts Library)

Hickman, Gail Morgan. The Films of George Pal. South Brunswick, NJ: A.S. Barnes, 1977. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds various materials related to George Pal in the George Pal Papers collection. For more information, please contact Arts Library Special Collections: (310) 825-7253

52

Paramount The Paramount holdings at the UCLA Film and Television Archive include the entire studio output from the coming of sound in the late 1920s to l948. In many cases these studio prints are the best, or only, available materials for preservation. Paramount features and shorts have been at the forefront of the Archive’s preservation program and the Archive staged a major retrospective of Paramount titles in 1987.Paramount Pictures, the most powerful motion picture corporation coming out of the l920s into the studio era, braved the adverse effects of the Depression and enjoyed financial success throughout the 1930s and 1940s. Over this three-decade span, the studio boasted an enormous diversity of talent and style including work by an impressive range of Hollywood masters. Ernst Lubitsch, Billy Wilder, Preston Sturges, Josef von Sternberg and Rouben Mamoulian among others, directed sophisticated comedies of manners and contemporary dramas, while Cecil B. DeMille crafted his famed monumental epics. The studio discovered and promoted stars as diverse as Gary Cooper, Marlene Dietrich, Claudette Colbert, Maurice Chevalier, Mae West and George Raft. Currently, Paramount’s in-house production is combined with the sponsorship of an increasing number of independently packaged films: GREASE, SATURDAY NIGHT FEVER, THE GODFATHER films, the Indiana Jones series, and the films of

Marlene Dietrich, shown here in Blonde Venus (1932), was a staple of Paramount in the 1930s.

Eddie Murphy. The Paramount collection housed at UCLA comprises more than 800 feature films, most of which are from the studio’s “Golden Age.” Cartoons and short subjects also constitute a sizable part of the collection. The Archive holds, for example, the acclaimed cartoons of Max and Dave Fleischer. There are also a good number of Paramount’s own inhouse productions, including the “Screen Songs” series and shorts featuring Little Lulu. A smaller number of newsreels and live action short subjects are part of the collection--of particular interest are the publicity shorts for Paramount features including “Hedda Hopper’s Hollywood” (l94l-l942)

53

and “Hollywood on Parade” (l932-l934). Some of the films from the Paramount collection which have been preserved and restored by the Archive include: THE WILD PARTY (l929, Dorothy Arzner); MOROCCO (l930, Josef von Sternberg); THE VIRGINIAN (l929, Victor Fleming); THE SCOUNDREL (l935, Ben Hecht and Charles MacArthur); REMEMBER THE NIGHT (l940, Mitchell Leisen); HIGH, WIDE AND HANDSOME (l937, Rouben Mamoulian); THE MOON’S OUR HOME (l936, William A. Seiter); ROAD TO UTOPIA (l945, Hal Walker); GLORIFYING THE AMERICAN GIRL (l929, Millard Webb).

Paramount FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Morocco (1930). Paramount. Director, Josef von Sternberg. Writer, Jules Furthman. Study Copy: VA 17504 M The Virginian (1929). Paramount. Director, Victor Fleming. Writer, Howard Estabrook. Study Copy: VA 11159 M The Palm Beach Story (1942). Paramount. Writer and Director, Preston Sturges. Study Copy: VA 2012 M Remember the Night (1940). Paramount. Director, Mitchell Leisen. Writer, Preston Sturges. Study Copy: VA 1176 M Broken Lullaby (1932). Paramount. Director, Ernst Lubitsch. Writers, Samson Raphaelson, Ernest Vajda. Study Copy: VA 971 M Sunset Boulevard (1950). Paramount. Director, Billy Wilder. Writers, Charles Brackett, Billy Wilder, D. M. Marshman, Jr. Study Copy: VD 570 M (laser disc) and VA 1945 M (video) Dr. Jekyll and Mr. Hyde (1932). Paramount. Director, Rouben Mamoulian. Writers, Samuel Hoffenstein and Percy Heath. Based on the novel by Robert Louis Stevenson. Study Copy: VA 934 M The Ten Commandments (1956). Paramount. Director, Cecil B. DeMille. Writers, Aeneas MacKenzie, Jesse Lasky, Jr., Jack Gariss, and Frederick M. Frank. Study Copy: VA 2613-14 M The Smiling Lieutenant (1931). Paramount. Director, Ernst Lubitsch. Writers, Ernest Vajda and Samson Raphaelson. Study Copy: VD 724 M Klondike Annie (1936). Paramount. Director, Raoul Walsh. Writer, Mae West. Study Copy: VD 832 M PRINT RESOURCES (for more information consult the UCLA Arts Library)

Edmonds, I. G. Paramount Pictures and the People Who Made Them. San Diego, CA: A.S. Barnes, 1980. Halliwell, Leslie. Mountain of Dreams: The Golden Years of Paramount Pictures. New York: Stonehill Pub. Co., 1976. Eames, John Douglas. The Paramount Story. New York: Crown, 1985.

54

The Pre-Code Era From the beginning of American motion picture history, a debate has raged over film’s role in promoting social and moral values. In the late 1920s, increased local and state regulation of film exhibition, calls for federal censorship, and a series of Hollywood scandals united industry leaders in an effort to fend off threats to the industry’s autonomy and profit-making ability. And, in 1930, the Motion Picture Production Code was developed in order to appease Hollywood’s critics. The Code was a self-regulatory measure which outlined specific dos and don’ts concerning what should appear on American movie screens. The code began to be strictly enforced in 1934 when all films were required to have certificates of approval issued by the Production Code Administration. Many motion picture historians have argued that Hollywood sound films produced prior to enforcement of the Code were not only more provocative but also offered more diversity than those produced while the Code was in place (1934-1966). Often cited notorious examples include BABY FACE (Alfred E. Green, 1933), THE STORY OF TEMPLE DRAKE (Paramount, 1933. Stephen Roberts) and COMMON CLAY (Fox, 1930. Victor Fleming). Some film scholars have even attributed the

Bad girls, like Jean Harlow (pictured here in 1931’s Goldie), and risqué material were common features of the “anything goes” mentality of PreCode films.

appearance of homogenized portrayals of women, sexuality, race, and religion to the imposition of the Code. Mae West’s career at Paramount Pictures, for example, illustrates the effects of the Production Code’s enforcement. Her popularity in films such as SHE DONE HIM WRONG (1933), I’M NO ANGEL (1933) and BELLE OF THE NINETIES (1934) was derived in part from her characters’ predilection for double entendres, sexual innuendo and implied

55

promiscuity. Following the Production Code crackdown, films such as GOIN’ TO TOWN (1935) and KLONDIKE ANNIE (1936) feature a considerably sanitized, and some would argue, stifled version of the Mae West persona.

The Pre-Code Era FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Story of Temple Drake (1933). Paramount. Director, Stephen Roberts. Writer, Oliver H. P. Garrett. Study Copy: VA 13791 M Baby Face (1933). Warner Brothers. Director, Alfred E. Green. Writers, Gene Markey and Kathryn Scola. Study Copy: VA 964 M Goldie (1931). Fox Film Corporation. Director, Benjamin Stoloff. Writers, Gene Towne and Paul Perez. Study Copy: VA 17992 M I’m No Angel (1933). Paramount. Director, Wesley Ruggles. Writer, Mae West. Study Copy: VA 2310 M Search For Beauty (1934). Paramount. Director, Erle C. Kenton. Writers, Frank Butler, Claude Binyon. Study Copy: VA 6596 M Blonde Venus (1932). Paramount. Director, Josef von Sternberg Writers, S. K. Lauren, Jules Furthman. Study Copy: VD 599 M Trouble in Paradise (1932). Paramount. Director, Ernst Lubitsch. Writer, Samson Raphaelson. Study Copy: VD 724 M The Painted Woman (1932). Fox Film Corporation. Director, John Blystone. Writers, Guy Bolton, Leon Gordon. Study Copy: VA 2056 M Guilty Hands (1931). Loew’s. Directors, Lionel Barrymore and W. S. Van Dyke. Writer, Bayard Veiller. Study Copy: VA 17811 M Murder at the Vanities (1932). Paramount. Director, Mitchell Leisen. Writers, Carey Wilson and Joseph Gollomb. Study Copy: VD 13592 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

LaSalle, Mick. Complicated Women: Sex and Power in Pre-Code Hollywood. New York: Thomas Dunne Books, 2000. Doherty, Thomas Patrick. Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema 1930-1934. New York: Columbia University Press, 1999. Vieira, Mark. Sin in Soft Focus: Pre-Code Hollywood. New York: Harry N. Abrams, 1999. Jacobs, Lea. The Wages of Sin: Censorship and the Fallen Woman Film 1928-1942. Madison, Wisc.: University of Wisconsin Press, 1991.

56

Preservation By the time cinema celebrated its centennial in 1995, a major portion of our film heritage had been irretrievably lost. Fifty percent of all films produced in the United States prior to 1950 have already disappeared. Ninety percent of classic film prints in the United States are currently in very poor condition. Similarly, much of historic television now exists only on obsolete and deteriorating tape formats. The UCLA Film and Television Archive has committed itself to the preservation of these invaluable moving image materials. In general, the term “preservation” refers to the process of gathering the best surviving materials from a film or television program and transferring them to the most stable format possible. “Restoration” usually refers to even more time-consuming and complicated projects in which altered or missing material is restored to the film, bringing it as close as possible to its initial release form. The Archive’s internationally recognized preservation program has been responsible for preserving nearly 300 films. RKO’s BECKY SHARP (1935), the first film shot using three-color Technicolor, had original elements literally scattered throughout the world. This not atypical preservation and restoration effort required not only unearthing the missing footage, but also repairing the

physical damage to the material. It also meant conducting extensive historical research about the original so that sound and image could be recreated accurately. Some of the other titles preserved by UCLA include Cecil B. DeMille’s CLEOPATRA (1934); Marlon Brando’s first film, THE MEN; Dorothy Arzner’s THE WILD PARTY (1929) starring Clara Bow; Max Ophul’s 1949 film CAUGHT; John Ford’s STAGECOACH; Katherine Hepburn’s screen test for THE ANIMAL KINGDOM; early Vitaphone sound-on-disk films; one of the last of the two-color Technicolor films, DOCTOR X; both release and full-length versions of A LONG DAY’S JOURNEY INTO NIGHT; and THE BETTER ‘OLE. Preservation efforts also extend to the Archive’s Hearst Metrotone Newsreel Collection. Here, a comprehensive approach is aimed at preserving distributed newsreels, unreleased stories, and outtakes. This collection provides invaluable documentation of the history of the first half of the twentieth century. Newsreel preservation activity is ongoing, yet due to limited funding only a small percentage of the 27 million feet has been preserved. Television preservation is a relatively new field. Previously it consisted only of safeguarding historic kinescopes and tapes, but in recent years the Archive has expanded the program to include a transfer

57

and restoration program. Preservation efforts have centered around the preservation of programs originally produced on 2” videotape from the late 1950s through the 1970s, and the Archive has focused on the preservation of early color programs, including the three Fred Astaire specials (1958’s AN EVENING WITH FRED ASTAIRE, the first major broadcast to use color videotape; 1959, and 1960); THE GEORGE BURNS SHOW (1960); ESTHER WILLIAMS AT CYPRESS GARDENS (1960); two 1959 color specials starring Gene Kelly; and the Nixon-Khrushchev debate taped in Moscow in 1959. Other programs preserved include a number of episodes of RALPH STORY’S LOS ANGELES (1965-70); a number of campaign speeches and special programs from the 1960 JFK presidential campaign; several HALLMARK HALL OF FAME productions; coverage of Robert F. Kennedy’s assassination; interviews with Rube Goldberg and Harold Lloyd; and a 1966 press conference with The Beatles. The UCLA Film and Television Archive regularly presents a biennial Festival of Preservation which showcases films, televisions and newsreels recently preserved at UCLA.

Preservation SAMPLES FROM THE COLLECTION (this is only a partial list – consult the Archive Research and Study Center for further listings)

Classic Film

Fun in a Bakery Shop - Edison (1902). Camera, Edwin S. Porter. Study Copy: VA1528 M The Wild Party (1929). Paramount Famous Lasky Corp. Director, Dorothy Arzner. Writer, E. Lloyd Sheldon. Study Copy: VA11193 M The Bat Whispers (1930). Art Cinema Corp. Director, Writer Roland West. Study Copy: VA8048 M Tabu: A Story of the South Seas (1931). Golden Bough, Inc. Directed by F.W. Murnau. Writers, F.W. Murnau and R.J. Flaherty. Study Copy: VA7372 M Boop-oop-a-doop (1932). Paramount Publix Corp. Director, Dave Fleischer. Study Copy: VA1081 M Becky Sharp (1935). Pioneer Pictures, Inc. Director, Rouben Mamoulian. Writer, Francis Edwards Faragoh. Study Copy: VA1834 M Stagecoach (1939). Walter Wanger Productions, Inc. Director, John Ford. Writer, Dudley Nichols. Study Copy: VA19847 M Hearst Metrotone Newsreel

The 1930s – Prelude to War (Tape 1). Includes the following: Spanish royalty welcome zeppelin, Children enlist in India revolt, Hoover advisers find business good, and others. Study Copy: VA17295 Marian Anderson sings at Lincoln Memorial, Washington, D.C. (1939). Study Copy: VA11119 M Independent Cinema

Chicano Love is Forever / Amor Chicano es para siempre (1977). Director, Efrai_n Gutie_rrez. Writer, Sabino Garza. Study Copy: VA17601 M Killer of Sheep (1978). Director, Writer, Charles Burnett. Study Copy: VA17600 M The Times of Harvey Milk (1984). Director, Robert Epstein. Writers, Judith Coburn and Carter Wilson. Study Copy: DVD576 M Television

An Evening with Fred Astaire (1958). NBC. Director, Bud Yorkin. Study Copy: VA1201 T Hallmark Hall of Fame: Abe Lincoln in Illinois (1964). NBC. Director, George Schaefer. Writer, Robert Hartung. Study Copy: VA19729 T Speculation: A Conversation with Alfred Hitchcock (1969). PBS. Study Copy: VA10625 T

58

Jean Renoir In 1975 Jean Renoir was awarded an honorary Academy Award for his lifetime contribution to film. He is considered one of the first great auteurs, a cinematic master whose distinctive style always contained a concern for human issues and a reverence for natural beauty. As the son of the great impressionist painter, Auguste Renoir, the filmmaker as a young man was encouraged to freely explore artistic and intellectual pursuits. He eventually chose ceramics, but during a long convalescence, developed a passion for film. He started his own production company in 1924, largely in order to launch the acting career of his wife, Catherine Hessling. His first film, LA FILLE DE L’EAU (1925) THE WHIRLPOOL OF FATE, and other silent films display early signs of what was to become characteristic of Renoir’s work-a sense of visual realism, the love of nature and the poetic representation of the physical environment. Film theorist Andre Bazin praised Renoir’s early works for their modest use of camera movement and editing and emphasis on deep focus photography. Bazin argued that these techniques could lead the spectator to a more direct relationship with the landscapes and characters. It was Renoir’s “Popular Front” films of the late 1930s which brought him international acclaim. These films include such incontrovertible cinematic classics as LE CRIME DE M. LANGE (1936) THE CRIME OF

Erich von Stroheim plays Captain von Rauffenstein in Jean Renoir’s anti-war masterpiece La Grande Illusion (1937).

MR. LANGE, LA BETE HUMAINE (1938) THE HUMAN BEAST, LA REGLE DU JEU (1939) THE RULES OF THE GAME and LA GRANDE ILLUSION (1937) THE GRAND ILLUSION. Renoir lived in the United States in the 1940s and continued his career under 20th-Century Fox. His films from the time period include THIS LAND IS MINE (1943), DIARY OF A CHAMBERMAID (1946), and THE WOMAN ON THE BEACH (1947). The UCLA Film and Television Archive has preserved the 1945 film, THE SOUTHERNER. Although Renoir

59

considered his tenure in Hollywood a period of “unrealized works and unrealized hopes,” this film is a beautifully crafted story of a migrant worker who tries to start his own farm and who faces enormous hardship. Before Renoir returned to France, he traveled to India to make THE RIVER (1951). The film was made in Technicolor, and Renoir used this to explore the texture of the Indian landscape and culture.

Jean Renoir FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

La Chienne (1931). Producer, Braunberger-Richebé. Director, Jean Renoir. Writers, Jean Renoir, André Girard. Study Copy: VD 322 M La Règle Du Jeu (Rules of the Game) (1939). Producer, Claude Renoir. Director, Jean Renoir. Writers, Jean Renoir and Karl Kock. Study Copy: VD 24 M Grand Illusion (1937). Producer, Raymond Blondy. Director, Jean Renoir. Writers, Charles Spaak, Jean Renoir. Study Copy: VD 44 M The Southerner (1945). United Artists. Director, Jean Renoir. Writers, Jean Renoir and Hugo Butler. Study Copy: VA 5745 M La Bête Humaine (Human Beast) (1938). Producer, Roland Tual. Director and Writer, Jean Renoir. Study Copy: VA 5808 M Le Crime de Monsieur Lange (1936). Producer, Geneviève Blondeau. Director, Jean Renoir. Writers, Jacques Prévert and Jean Renoir. Study Copy: VD 537 M Boudu Sauvé des Eaux (Boudu Saved From Drowning) (1932). Producers, Michel Simon, Jean Gehret. Director and Writer, Jean Renoir. Study Copy: VA 5621 M Toni (1935). Films d’Aujourd’hui. Director, Jean Renoir. Writers, Jean Renoir and Carl Einstein. Study Copy: VA 5831 M. La Petite Marchande d’Allumettes (Little Matchgirl) (1928). Producers, Jean Renoir and Jean Tedesco. Director and Writer, Jean Renoir. Study Copy: VA 2999 M The Woman on the Beach (1947). RKO. Director, Jean Renoir. Writers, Jean Renoir and Frank Davis. Study Copy: VA 5351 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Bazin, André. Jean Renoir. New York: DaCapo Press, 1992. Bertin, Célia. Jean Renoir: A Life in Pictures. Baltimore: Johns Hopkins University Press, 1991. Renoir, Jean. My Life and My Films. New York: DaCapo Press, 1991. Sesonske, Alexander. Jean Renoir: The French Films, 1924-1939. Cambridge, Mass.: Harvard University Press, 1980. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds various materials related to Jean Renoir in the Jean Renoir Papers collection. For more information, please contact Arts Library Special Collections: (310) 825-7253

60

Mexico in Focus:

Ripstein and Hermosillo Two of the strongest directors to emerge from Mexico in the 1960s were Arturo Ripstein and Jaime Humberto Hermosillo. Breaking away from an earlier cinematic tradition which emphasized folklore and fantasy, Ripstein and Hermosillo focus instead on social reality-condemning intolerance, convention and the sexual tyranny of “machismo.” The films in this collection were screened as part of the UCLA Film and Television Archive’s series “The Films of Arturo Ripstein and Jaime Humberto Hermosillo” organized in collaboration with the Instituto Mexicano de Cinematografia (IMCINE) and the Cineteca Nacional de Mexico. Hermosillo often uses the language of melodrama to dissect the values of the modern Mexican middle class and is one of the first Mexican filmmakers to deal sympathetically with the issues of homosexuality and gender difference. Hermosillo’s film DONNA HERLINDA AND HER SON accepts the love between two gay men as normal. THE PASSION ACCORDING TO BERENICE examines a woman’s rebellion. MARY MY DEAREST written in collaboration with Gabriel Garcia Marquez, is a story of love, fate and magic.

Cadena Perpetua (In for Life), based on a Luis Spota novel, was directed by Arturo Ripstein.

Ripstein, the son of a film producer, began his career in film as a teenager when he worked as Luis Buñuel’s assistant during the filming of EXTERMINATING ANGEL. He has collaborated with some of Latin America’s most important writers, including Carlos Fuentes and Jose Donoso. Often set in small towns, Ripstein’s films puncture macho posturing and examine oppressive social conditions and traditions. THE REALM OF FORTUNE, Ripstein’s most acclaimed film, allied to the literary style of magic realism, a Latin

61

American movement whose most well-known practitioner is Gabriel Garcia Marquez. With an uncredited Manuel Puig, Ripstein wrote and directed THE PLACE WITHOUT LIMITS, which examines homophobia in a macho society.

Mexico in Focus:

Ripstein and Hermosillo FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Arturo Ripstein:

Time to Die (Tiempo de Morir) (1965). Alameda Films. Writers, Gabriel Garcia Marques, Carlos Fuentes. Study Copy: VA 7163 M Holy Office (El Santo Oficio) (1973). Cinematografica Marco Polo S.A. Writers, Jose Emilio Pacheco, Ripstein. Study Copy: VA 6811 M Place Without Limits (El Lugar sin Limites) (1977). Conacite Dos and Francisco del Villar. Writers, Ripstein, Manuel Puig, and Jose Emilio Pacheco. Study Copy: VA 8548 Note: In Spanish, no English Subtitles. Realm of Fortune (El Imperio de la Fortuna) (1985). IMCINE. Writer, Paz Alicia Garciadiego. Study Copy: VA 7180 M White Lies (Mentiras Piadosas) (1988). Producciones Filmicas Internacionales. Writer, Pas Alicia Garciadiego. Study Copy: VA 7155 M Jaime Humberto Hermosillo:

Dog’s Birthday (El Cumpleanos del Perro) (1974). Conacine, Dasa Films S.A. Writer, Hermosillo. Study Copy: VA 7162 M Passion According to Berenice (La Pasion Segun Berenice) (1975). Conacine, Dasa Films S.A. Writer, Hermosillo. Study Copy: VA 7181 M Shipwreck (Naufragio) (1977). Conacite Uno. Writer, Hermosillo. Study Copy: VA 7158 M Looks Can Be Deceiving (Las Apariencias Enganan) (1978). Hernan Littin. Writer, Hermosillo. Study Copy: VA 7159 M Mary, My Dearest (Maria de mi Corazon) (1979). Universidad Veracruzana y Asociados. Writers, Gabriel Garcia Marques and Hermosillo. Study Copy: VA 7154 M All films in Spanish with English subtitles, unless otherwise noted. PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Hershfield, JoAnne and David R. Maciel, eds. Mexico’s Cinema: A Century of Film and Filmmakers. Wilmington, DE: Scholarly Resources, 1999. Noriega, Chon A. and Steven Ricci, eds. The Mexican Cinema Project. Los Angeles: UCLA Film and Television Archive, 1994.

62

Soundies Soundies can be considered the precursors to music videos. Produced during the years 1940 to 1946, soundies were made to be seen on self-contained, coinoperated, 16mm rear projection machines called Panorams located in nightclubs, bars, restaurants and other public places. Eight soundies, featuring a variety of musical performances, were generally spliced together on a reel which ran in a continuous loop. The Panoram, a complicated and unique machine, later served as the basis for the RCA 16mm projector. Soundies were produced by various companies such as Minoco and RCM Productions, a company formed by James Roosevelt (the son of Franklin D. Roosevelt) songwriter Sam Coslow, and Herbert Mills, a pioneer in the development of arcade music machines. In order to achieve the widest possible distribution, soundies covered the gamut of musical styles from country and western to Russian balalaika music, tenors singing Irish folksongs, the big band swing music of Stan Kenton and Tommy Dorsey and jazz greats Count Basie, Duke Ellington and Nat King Cole. Included in the collection at the UCLA Film and Television Archive are Spike Jones and his City Slickers, Thelma White and her All Girl Orchestra, Noro Morales and his Orchestra, and Fats Waller

Minoco Productions’ I’m Gonna Swing My Way Up to Heaven (1941) directed by John Primi.

performing numbers like “Drink to Me Only With Thine Eyes,” “Don’t Get Around Much Anymore,” “The Hokey Pokey Polka,” “I Cover the Waterfront,” “A Zoot Suit” and “The William Tell Overture.” A soundie reel sometimes included cheesecake segments--striptease, burlesque routines or shots of women in bathing suits-specifically intended to attract wartime military personnel on leave. Appeals for war bonds and other patriotic messages (“We’re All Americans,” “When Hitler Kicks the Bucket,” “The

63

White Cliffs of Dover,”) were included. Soundies often starred little known performers who later became famous, such as Alan Ladd, Cyd Charisse, Doris Day and Ricardo Montalban, as well as performers on their way down. Many African-American performers like Dorothy Dandridge, Louis Armstrong and Stepin Fetchit who were largely absent from mainstream films except in minor roles were featured.

Soundies FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Spike Jones and His City Slickers: A Musical Film Revue (194?). Official Films. Includes three musical shorts. Study Copy: VA 4361 M April in Paris (1946). RCM Productions. Features Thelma White and her All-Girl Orchestra. Study Copy: VA 9087 M A Gay Ranchero (1941). Minoco Productions. Features Noro Morales and his orchestra. Study Copy: VA 12486 M A Fats Waller Medley (1945). Director, Warren Murray. Study Copy: VA 9085 M Once Over Lightly (1941). Features Doris Day. Study Copy: VA 9088 M Cow-Cow Boogie (1942). Features Dorothy Dandridge. Study Copy: VA 9106 M A Zoot Suit (1942). RCM Productions. Features Dorothy Dandridge. Study Copy: VA 6470 M Shine (1942). RCM Productions. Director, Josef Berne. Features Louis Armstrong. Study Copy: VA 4381 M Sleepy Time Down South (1942). RCM Productions. Director, Josef Berne. Features Louis Armstrong. Study Copy: VA 6468 M Broadway and Main (1945). Features Stepin Fetchit with Gloria Parks and her orchestra. Study Copy: VA 9010 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Terenzio, Maurice. The Soundies Distributing Corporation of America: A History and Filmography of their “Jukebox” Musical Films of the 1940s. Jefferson, NC: McFarland and Co., 1991.

64

Sundance The Sundance Collection at UCLA was established in 1997 in order to provide long-term access to independent film production. With support from the Ahmanson Foundation, the Sundance Collection at UCLA is one part of a multi-faceted plan within the Archive for preserving, studying and exhibiting independent cinema. A joint effort between the UCLA Film and Television Archive and the Sundance Institute, the Sundance Collection at UCLA underscores the importance of independent production while recognizing that such films are at much greater risk of disappearing from the public sphere than larger budget, studio-based cinema.

By combining the resources of one of the world’s leading media and preservation centers with an organization at the forefront of contemporary independent cinema, we hope to guarantee that future generations of filmmakers and media historians will be able to appreciate this extraordinarily vital part of contemporary culture. Eight founding donors have already begun to add 35mm and videotape copies of their films to the collection, including: Fine Line Features, Gramercy Pictures, Miramax Films, New Line Cinema, October Films, Sony Picture Classics, Strand Releasing, and Trimark Pictures. Along with the titles which come from individual filmmakers, the support from these founding donors ensures that the collection will be truly representative of the independent landscape and that it will continue to grow over time. Films within the Sundance Collection at UCLA already include: A WALK ON THE MOON, BREAKING THE WAVES, CLERKS, EXOTICA, HIGH ART, PARIS IS BURNING, PULP FICTION, WILD BILL: HOLLYWOOD MAVERICK, and many more. The collection includes

65

documentaries, narratives, general release and limited release independent projects. A complete list of titles from the Sundance Collection at UCLA is available in the ARSC office, located in the Powell Library on the UCLA campus.

Sundance FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Before the Rain (1994). Director, Writer, Milcho Manchevski. Study Copy: VA15756 M Breaking the Waves (1996). Director, Writer, Lars von Trier. Study Copy: VA 15071 M Exotica (1994). Writer and Director, Atom Egoyan. Study Copy: VA 16205 M The Fifteen Minute Hamlet (1995). Director, Todd Louiso. Writers, Todd Louiso, Ethan Tucker, and Michael Goldberg. Study Copy: VA 16225 M Hate (1995). Director, Writer, Mathieu Kassovitz. Study Copy: VA 15757 M Hoop Dreams (1994). Director, Steve James. Study Copy: VA 12637 M Paris is Burning (1990). Director, Jennie Livingston. Study Copy: VA 16211 M Smoke Signals (1998). Director, Chris Eyre. Writer, Sherman Alexie. Study Copy: VA 16220 M Velvet Goldmine (1998). Director, Todd Haynes. Writers, Todd Haynes and James Lyons. Study Copy: VA 16209 M The White Balloon (1996). Director, Jafar Panahi. Writer, Abbas Kiarostami. Study Copy: VA 17980 M PRINT RESOURCES (for more information consult the UCLA Arts Library)

Baimbridge, Richard. “Indies: 1, Hollywood: 0.” Independent Film and Video Monthly 24:3 (April 2001): 16-18. Gross, Larry. “Between Hollywood and Sundance.” Sight and Sound 6:4 (April 1996): 10-13. Turan, Kenneth. Sundance to Sarajevo: Film Festivals and the World They Made. Berkeley, CA: University of California Press, 2002.

66

Television Commercials “I can’t believe I ate the whole thing.” “You’ve come a long way, baby.” “Where’s the beef?” “I’ve fallen, and I can’t get up!”

Television advertising occupies a central position in the landscape of consumer culture. Advertisers commit major resources to finding out how the purchase of a product could fulfill consumer needs and desires-desires which may or may not have anything to do with the product’s purpose. While advertising’s immediate goal may be the promotion of a specific item, its legacy is a standard of values and behavior which have made advertising copy into idiomatic expressions. The UCLA Film and Television Archive collections include an estimated 10,000 television commercials, spanning from 1948 to the present. Ads for virtually all types of consumer goods and services are represented.

Whether the issue was foot odor or the product new bedroom furniture from Sears, commercial sponsorship and advertiser spots have continually occupied a prominent place in both television’s history and programming flow.

Among the holdings are classic i.d. characters such as the Ajax White Knight and Charmin’s Mr. Whipple, as well as such classic campaigns as Parkay’s “It’s Not Nice to Fool Mother Nature” and Coca Cola’s “I’d Like to Teach the World to Sing.” Animated spots include “I Wish I Were an Oscar Meyer Wiener” and “Ruffles Have Ridges.” Other commercials feature celebrities endorsing products (Joe Namath for Noxzema Shaving Cream)

67

and some spokespersons who later became celebrities (Diane Keaton for Hour After Hour Deodorant).

Television Commercials SAMPLES FROM THE ARCHIVE (this is only a partial list – consult the Archive Research and Study Center for further listings)

Bond Bread - Hopalong Cassidy (1948). Collection of Bond Bread commercials from the Hopalong Cassidy television series. Study Copy: VA11493 T Commercials (1957-1958). Includes spots for: Chicken of the Sea Tuna, Carnation Nonfat Instant Dry Milk, Oldsmobile, White King Liquid Detergent (with Mary Tyler Moore) and New Dawn Mist Hair Spray. Study Copy: VA7721 T Commercials (1965-1970). Includes spots for: Polident Denture Cleanser Tablets, Playtex Living Bra, Phillip Morris Filters, United Nations, Johnson Baby Lotion, Post, Pontiac GTO (1965) and Band-Aid Plastic Strips. Study Copy: VA8620 T Commercials (1971-1972). Includes spots for: Mexicana Airlines, Household Finance, Mego Toys Action Jackson, Glidden Paint, Toro Lawn Mower, Ice Capades, Pacific Coast Pears and Penzoil. Study Copy: VA5408 T Commercials: 1983. Includes spots for: Ace Hardware, Master Card, Burger King, Colorado National Bank, Schwinn Bicycles, Minolta, Time Magazine, Activision and 7-Up. Study Copy: VA13992 T – VA13993 T Commercials: 1990. Includes spots and public service announcements for: Pizza Hut, Royal Whiskey, Southern Bell, Tylenol, Boys Scouts, U.S. Savings Bonds and the Goodwill Games. Study Copy: VA8669 T Compilations

And Now, An Animated Word From Our Sponsor: 1948-1978 (1978). Compilation includes spots for: General Motors, Ford, Coca Cola, United Airlines, Kool Aid, Kellogg’s, General Electric and Ajax. Study Copy: VA816 T 50 Years of 30 Seconds (1996). Academy of Television Arts and Sciences’ 50th anniversary celebration of television commercials presents clips of commercials from the 1940s to the present. Study Copy: VA10186 T RELATED PROGRAM

You and the Commercial (1973). CBS News. Investigative report on the television commercial industry narrated by Charles Kuralt. Study Copy: VA11170 T PRINT RESOURCES (for more information consult the UCLA Libraries Collection)

Bogart, Leo. Commercial Culture: The Media System and the Public Interest. New York: Oxford University Press, 1995. Samuel, Lawrence R. Brought To You By: Postwar Television Advertising and the American Dream. Austin: University of Texas Press, 2001.

68

20th Century-Fox The Fox Film Corporation, founded by William Fox, was one of the first movie companies to experiment with sound. Using sound-on-film technology developed by engineer Theodore Case, FOX MOVIETONE NEWS brought financial success for the studio. Directors such as John Ford, Lewis Seiler and Frank Borzage honed their skills at Fox, and stars such as Spencer Tracy and Jean Harlow began their feature careers at the studio. Will Rogers’ folksy humor in films such as THE CONNECTICUT YANKEE (1931) proved remarkably popular with audiences in the early 1930s. Plagued by financial problems, the Fox Film Corporation merged with Twentieth Century Pictures to form Twentieth Century-Fox Film Corporation. Twentieth Century-Fox produced a string of hits including THE GRAPES OF WRATH and TOBACCO ROAD. Among the studio’s most popular features were THE LITTLEST REBEL and WEE WILLIE WINKIE with child star Shirley Temple; ONE IN A MILLION, ice-skating champion Sonja Henie’s first film; and musicals such as KING OF BURLESQUE(1936) starring singer Alice Faye and THE DOLLY SISTERS (1945) starring Betty Grable.

Fox Movietone Follies of 1930, pictured above, was preserved by the UCLA Film and Television Archive.

Tyrone Power joined Faye in IN OLD CHICAGO and became a top grossing star for the studio. Under Darryl F. Zanuck, the studio produced over seventy-five Technicolor films, more than any other studio at the time. The studio’s B unit churned out the popular CHARLIE CHAN, RITZ BROTHERS and MR. MOTO series. After World War II, Zanuck produced a number of films with social themes such as GENTLEMAN’S AGREEMENT

69

(1947) and PINKY (1949).The UCLA Film and Television Archive has preserved a number of Fox titles including I BELIEVED IN YOU (1934), MOVIETONE FOLLIES OF 1930, and AFTER TOMORROW, thought at one time to be a lost film. UCLA’s Arts Library-Special Collections holds documents from the studio including the Twentieth Century-Fox Produced Scripts Collection and the Records of the Twentieth Century-Fox Legal Department.

20th Century-Fox FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

Grapes of Wrath (1940). 20th Century-Fox. Director, John Ford. Writer, Nunnally Johnson. Based on the novel by John Steinbeck. Study Copy: VD 696 M Guadalcanal Diary (1943). 20th Century-Fox. Director, Lewis Seiler. Writer, Lamar Trotti. Study Copy: VD 360 M Bad Girl (1931). Fox Film Corporation. Director, Frank Borzage. Writer, Edwin Burke. Study Copy: VA 19474 M The Power and the Glory (1933). Fox Film Corporation. Director, William K. Howard. Writer, Preston Sturges. Study Copy: VA 2064 M All About Eve (1950). 20th Century-Fox. Director and Writer, Joseph Mankiewicz. Study Copy: VA 948 M The Littlest Rebel (1935). 20th Century-Fox. Director, David Butler. Writer, Edwin J. Burke. Study Copy: VA 12159 M Gentleman’s Agreement (1947). 20th Century-Fox. Director, Elia Kazan. Writer, Moss Hart. Based on the novel by Laura Z. Hobson. Study Copy: VA 7919 M Charlie Chan on Broadway (1937). 20th Century-Fox. Director, Eugene Forde. Writers, Charles Belden and Jerry Cady. Study Copy: VA 14839 M Fox Movietone Follies 1930 (1930). Fox Film Corporation. Director, Benjamin Stoloff. Writer, William K. Wells. Study Copy: VD 7398 M How to Marry a Millionaire (1953). 20th Century-Fox. Director, Jean Negulesco. Writer, Nunnally Johnson. Study Copy: VD 224 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Behlmer, Rudy, ed. Memo From Darryl F. Zanuck: The Golden Years at 20th Century-Fox. New York: Grove Press, 1993. Solomon, Aubrey. 20th Century-Fox: A Corporate and Financial History. Metuchen, NJ: Scarecrow Press, 1988. Silverman, Stephen M. The Fox That Got Away: The Last Days of the Zanuck Dynasty at 20th CenturyFox. Seacaucus, NJ: L. Stuart, 1988. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds various materials related to the Twentieth Century-Fox Film Corporation. For more information, please contact Arts Library Special Collections: (310) 825-7253

70

Warner Brothers Within several years of its founding in 1923, Warner Brothers had acquired First National Pictures. It then teamed with Western Electric to form Vitaphone, a subsidiary to develop soundon-disc motion pictures. After a period of experimentation, the company made cinematic history with the release of the first film with synchronized songs and dialogue, THE JAZZ SINGER. Almost more than from any other Hollywood studio, films made at Warner Brothers have been historically associated with a distinctive style. Warner films have been described as socially conscious in theme and relatively simple in visual style (low key lighting and sparse sets). These aspects are present in the studio’s best-known genre, the gangster film (PUBLIC ENEMY, LITTLE CAESAR, THE ROARING TWENTIES), but is also readily evident in the studio’s “New Deal” dramas (THEY DRIVE BY NIGHT, I AM A FUGITIVE FROM A CHAIN GANG) and its musicals (GOLDDIGGERS OF 1933). Cartoons were a Warner Brothers’ staple throughout the studio era. The studio’s animation department routinely allowed its talented artists, voice actors, writers, and composers complete

Alexander Gray in Warner Brothers’ 1930 musical Viennese Nights. This film was preserved by the UCLA Film and Television Archive.

access to studio resources and facilities, and encouraged creative freedom as long as a certain output was guaranteed (30-40 shorts per year). For thirty years, beginning in 1930, the studio produced the LOONEY TUNES and MERRIE MELODIES series which featured “stars” like Bugs Bunny, Porky Pig, and Daffy Duck. During the studio’s heyday (1930s and 1940s) it employed legendary producers Darryl Zanuck, Hal B. Wallis, and Steve Trilling. Directors

71

associated with Warner Brothers include Michael Curtiz, Mervyn LeRoy, William Wellman, John Huston, William Dieterle, and Raoul Walsh. Its impressive star roster boasted the likes of Bette Davis, Errol Flynn, Olivia de Havilland, Humphrey Bogart, James Cagney, Edward G. Robinson, Paul Muni, and Joan Crawford.

Warner Brothers FILMS (this is only a partial list – consult the Archive Research and Study Center for further listings)

The Jazz Singer (1927). Warner Brothers. Director, Alan Crosland. Writer, Al Cohn. Study Copy: VA 2858 M I Am a Fugitive From a Chain Gang (1932). Warner Brothers. Director, Mervyn LeRoy. Writers, Howard J. Green, Brown Holmes, and Sheridan Gibney. Study Copy: VA 1071 M Golddiggers of 1933 (1933). Warner Brothers. Director, Mervyn LeRoy. Writers, Erwin Gelsey, James Seymour. Study Copy: VA 2736 M The Public Enemy (1931). Warner Brothers. Director, William Wellman. Writers, Kubec Glasmon, John Bright. Study Copy: VA 1168 M Casablanca (1942). Warner Brothers. Director, Michael Curtiz. Writers, Julius J. and Philip G. Epstein, Howard Koch. Study Copy: VD 34 M Little Caesar (1930). Warner Brothers. Director, Mervyn LeRoy. Writer, Francis Faragoh. Study Copy: VA 2894 M Juarez (1939). Warner Brothers. Director, William Dieterle. Writers, John Huston, Aereas MacKenzie, and Wolfgang Reinhardt. Study Copy: VA 1436 M Key Largo (1948). Warner Brothers. Director, John Huston. Writers, Richard Brooks and John Huston. Study Copy: VA 10711 M The Treasure of the Sierra Madre (1948). Warner Brothers. Director and Writer, John Huston. Study Copy: VA 5560 M They Drive By Night (1940). Warner Brothers. Director, Raoul Walsh. Writers, Jerry Wald, Richard Macaulay. Study Copy: VD 456 M PRINT RESOURCES

(for more information consult the UCLA Arts Library)

Behlmer, Rudy, ed. Inside Warner Bros. (1935-1951). New York: Simon & Schuster, 1987. Friedwald, Will. The Warner Brothers Cartoons. Metuchen, NJ: Scarecrow Press, 1981. Roddick, Nick. A New Deal in Entertainment: Warner Brothers in the 1930s. London: British Film Institute, 1983. Sperling, Cass Warner. Hollywood Be Thy Name: The Warner Brothers Story. Lexington, Kentucky: University Press of Kentucky, 1998.

72

Radio and Audio Collection Profiles

73

AUDIO COLLECTION:

Archive Events The UCLA Film and Television Archive, the UCLA Department of Film, Television and Digital Media and partnering organizations have invited numerous guests and media industry practitioners to speak to audiences in conjunction with screenings, master classes and symposiums. The UCLA Film and Television Archive Research and Study Center holds unabridged audio recordings for many of these panel discussions, conferences and other public forum events. These recordings are available for onsite listening by appointment in the Archive Research and Study Center’s offices located in 46 Powell. Holdings in the collection cover a diverse selection of topics which pertain to the study of moving image media in the arts and its various roles and functions in society, including the restoration and preservation of films by the UCLA Film and Television Archive, women filmmakers of Africa and the Middle East, the business economy of television, a retrospective on the work of John Cassavetes and an examination of the representations of

The Archive presented a tribute to the life and work of Italian filmmaker and poet Pier Paolo Pasolini (pictured here at right, with filmmaker Federico Fellini) during 1984. Audio recordings related to the Pasolini tribute make up part of the Archive Events Collection.

communists in American feature films. A wide range of writers, artists and media scholars are represented in the collection, including: Allen Ginsberg, John Kenneth Galbraith, Charles Burnett, Pauline Kael, Terry Gilliam, Clint Eastwood, Wong Kar Wai, Liv Ullmann, Roberto Rossellini, and many others. To schedule a listening appointment for research purposes or to search for titles in the audio collection, please contact the Archive Research

74

and Study Center at 310206-5388 or via email: [email protected]

AUDIO COLLECTION:

Archive Events COLLECTION RESOURCES (Please contact the Archive Research and Study Center for additional titles)

“Cat People” Q & A with Paul Schrader (4-21-1981) Audio Study Copy: AA 1228

Lumiere’s Century (1-14-1993) With Agnes Varda Audio Study Copy: AA 1461

Pier Paolo Pasolini Tribute (3-7-1984) Audio Study Copy: AA 1286

Panel Discussion: “Scary Women” (1-29-1994) With Vivian Sobchack and others Audio Study Copy: AA 1608, AA 1270 – AA 1271

Poetry reading with Allen Ginsberg (3-12-1985) Audio Study Copy: AA 1300 “Reality vs. Economics in Time” Lecture, John Kenneth Galbraith (4-25-1985) Audio Study Copy: AA 1303

“1900” The Films of Bernardo Bertolucci (10-19-1996) With Bernardo Bertolucci and Vittorio Storaro Audio Study Copy: AA 1506

“The Bloody Child” Q & A with Nina Menkes (11-11-1986) Audio Study Copy: AA 1422

“A Girl in Every Port” Howard Hawks Retrospective (5-3-1997) With Peter Wollen Audio Study Copy: AA 1505

“Black Journal” African-American Film (2-17-1987) With Sinclaire Borne Audio Study Copy: AA 1421

“King Solomon’s Mines” Paul Robeson Centennial (10-4-1998) With Anna Lee and Lamont Yeakey Audio Study Copy: AA 1542

Panel: Women of the Wave Films of Australian Women (10-23-1988) With Gillian Armstrong and others Audio Study Copy: AA 1417

“Joyless Street” Film Restoration Today (4-14-1999) With Jutta Landa and Jan-Christopher Horak Audio Study Copy: AA 1549

“Ralph Story’s Los Angeles” 2nd Annual Festival of Preservation (7-19-1990) With Dan Einstein Audio Study Copy: AA 1398

Visible Evidence Conference (8-20-1999) With Marina Goldovskaya and others Audio Study Copy: AA 1552, AA 1593 – AA 1595

“A History of Clouds” Asian Pacific American Film Festival (5-12-1991) With Bruce and Norman Yonemoto Audio Study Copy: AA 1372 Hallmark Hall of Fame: The First 40 Years (7-18-1991) With George LeMaire Audio Study Copy: AA 1367 “Love in the Time of Hysteria” Contemporary Mexican Film (12-5-1992) Q & A with Carlos Cuarón Audio Study Copy: AA 1353

“Iranian Cinema after the 1979 Revolution” New Iranian Films (2-19-2000) With Jamsheed Akrami Audio Study Copy: AA 1449 “Chicano Love is Forever” 10th Annual Festival of Preservation (8-16-2000) With Efraín Gutiérrez Audio Study Copy: AA 1473 “Glass Shield” With Charles Burnett (5-16-2001) Audio Study Copy: AA 1440

75

AUDIO COLLECTION:

A Decade Under the Influence Ted Demme and Richard LaGravanese’s documentary film A Decade Under the Influence investigates commercial filmmaking in Hollywood during the 1970s through some of the influential films and careers of the filmmakers and performers who helped to define the era. The UCLA Film and Television Archive Research and Study Center holds audio copies of the unedited interview footage recorded during the production of the film as well as typed transcripts of these interviews. Both the transcripts and recordings are available for use on-site at the Archive Research and Study Center. Hollywood arrived in the 1970s struggling in the wake of conflict brought upon by the gradual decline of studio power and a collection of unsuccessful high cost films that failed to find a mass audience. Studio management attempted to counter these difficulties by employing an array of ‘outsiders,’ young film directors, most with little professional experience in the industry and highly influenced by the international cinema, to produce a range of smaller-budget films aimed for a changing audience who came to the movie theater with a set of new expectations. What resulted from this routine corporate maintenance task was one of the most innovative and experimental periods found in the major commercial American cinema. Combining interviews from the generation of directors, writers and performers who played a seminal role in defining this period, A Decade Under the Influence chronicles the rise of these new creative principals directly from the individuals who helped usher in this vanguard era of commercial filmmaking. Featured interviews in the audio collection include: Francis Ford Coppola, Ellen Burstyn, Peter Bogdanovich, Pam Grier, Martin Scorsese and Sissy Spacek.

76

AUDIO COLLECTION:

A Decade Under the Influence COLLECTION RESOURCES (Please contact the Archive Research and Study Center for additional interview titles)

Roger Altman (2001) Audio Study Copy: AA1618

Sidney Lumet (2002) Audio Study Copy: AA1629

Peter Bogdanovich (2002) Audio Study Copy: AA1643 – AA1644

Alexander Payne (2002) Audio Study Copy: AA1624

Francis Ford Coppola (2002) Audio Study Copy: AA1624

Sydney Pollack (2001) Audio Study Copy: AA1620

Roger Corman (2001) Audio Study Copy: AA1617

Roy Scheider (2002) Audio Study Copy: AA1623, AA1647

Bruce Dern (2001) Audio Study Copy: AA1641 – AA1642

Paul Schrader (2002) Audio Study Copy: AA1627

Clint Eastwood (2001) Audio Study Copy: AA1648 – AA1649

Martin Scorsese (2002) Audio Study Copy: AA1646

Milos Forman (2002) Audio Study Copy: AA1628

Robert Towne Audio Study Copy: AA1621 – AA1622

William Friedkin (2001) Audio Study Copy: AA1630 – AA1632

Jon Voight (2002) Audio Study Copy: AA1638 – AA1640

Pam Grier (2002) Audio Study Copy: AA1625

Haskell Wexler (2002) Audio Study Copy: AA1634 – AA1636

Dennis Hopper (2002) Audio Study Copy: AA1611 RELATED RESOURCE

A Decade Under the Influence (2003). Constant Communications / Written in Stone. Directors, Ted Demme, Richard LaGravenese. Study Copy: DVD506 T PRINT RESOURCES (For more information consult the UCLA Libraries Collection)

Biskind, Peter. Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock-'n'-Roll Generation Saved Hollywood. New York: Simon and Schuster, 1998. Cook, David A. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. New York: Charles Scribner’s Sons, 2000. Dunne, John Gregory. The Studio. New York: Simon and Schuster, 1979.

77

RADIO COLLECTION: Amos ‘n’ Andy (Broadcast: March 19, 1928 – November 25, 1960)

At its peak in 1931, Amos ‘n’ Andy enjoyed the benefits of an American audience on the NBC Blue Network of which was estimated to be forty million listeners.

Charles Correll and

Freeman Gosden, co-creators of the show, became prominent public figures as a result of this success and rose from relative obscurity on local radio in Chicago, Illinois to commanding national attention through their appearance on the most prominent commercial radio broadcasting networks in the United States.

Amos ‘n’ Andy debuted on WMAQ during 1928 and was picked up by the NBC Blue Network. Upon its switch to the NBC Red Network in 1935, Amos ‘n’ Andy attracted corporate patronage through a sponsorship deal with Pepsodent, and became part of the first national network programming to exploit the burgeoning practice of commercial sponsorship, chain broadcasting and product licensing. As the program’s commercial presence grew so did the public criticism of its representations of African-American culture. During the 1930s the show was petitioned to be removed from the air by the Pittsburgh Courier and attracted 750,000 signatures. The National Association for the Advancement of Colored People led protests against the radio show, and during the 1950s, played a crucial role in pressuring the CBS television network to remove the television franchise from national broadcast.

In more recent years, Amos ‘n’ Andy has been

approached by artists, social historians and media scholars as a rich and complex site in which the struggle over representations of race, class and gender within the confines of the American mass media landscape have offered numerous potential for further critical reflection. The UCLA Film and Television Archive holds multiple titles of Amos ‘n’ Andy in both its radio and television forms available for use on-site at the Archive Research and Study Center.

78

RADIO COLLECTION: Amos ‘n’ Andy (Broadcast: March 19, 1928 – November 25, 1960)

Andy Almost Gets Married (1939-04-03). Broadcast on CBS. Audio Study Copy: AA396 Guest, Charles Coburn (1943-10-08). Broadcast on NBC. Audio Study Copy: AA464 Christmas Show (1944-12-22). Broadcast on NBC. Audio Study Copy: AA212 Trial of Andy’s Girlfriend (1945-01-05). Broadcast on NBC. Audio Study Copy: AA24 Kingfish Tries to Get Andy Married (1947-01-27). Broadcast on NBC. Audio Study Copy: AA226 Kingfish Tries to Sell A Gun (1949-03-27). Broadcast on CBS. Audio Study Copy: AA81 TELEVISION

(Please contact the Archive Research and Study Center for additional titles)

Rare Coin – Premiere Episode (1951-06-28). CBS. Producers, Freeman Gosden and Charles Correll. Writers, Joe Connelly, Bob Mosher and Bob Ross. Study Copy: VA952 T Traffic Violations (1951-11-08). Broadcast on CBS. Study Copy: VA19530 T Eyeglasses (1952-08-07). CBS. Producer, Sidney van Keuren. Director, Charles Barton. Writers, Bob Ross, Dave Schwartz. Study Copy: VA786 T RELATED RESOURCES

Color Adjustment (1992-06-15). PBS. Producer, Director, Writer, Marlon T. Riggs. Summary: Documentary film investigating the representation of African-Americans on television. Study Copy: VA8472 T PRINT RESOURCES

(For more information consult the UCLA Libraries Collection)

Andrews, Bart and Ahrgus Julliard. Holy Mackerel! The Amos 'n' Andy Story. New York: E.P. Dutton, 1986. Ely, Melvin Patrick. The Adventures of Amos 'n' Andy: A Social History of an American Phenomenon. Charlottesville: University Press of Virginia, 2001.

79

AUDIO COLLECTION RESOURCES

RADIO

(Please contact the Archive Research and Study Center for additional titles)

RADIO COLLECTION: Jack Benny (Broadcast: May 2, 1932 – June 22, 1958)

Jack Benny’s career in radio, spanning over twenty years, followed the medium from its socalled golden age to its gradual decline in the 1950s.

Benny made his first appearance on

commercial radio in March of 1932 on The Ed Sullivan Show for the CBS network, after developing a strong presence on the vaudeville circuit with a stage act that featured a comic violin performance. After proving he was adaptable to the demands of radio with Sullivan, Benny was able to negotiate a deal with the NBC Blue Network and sponsor Canada Dry Ginger Ale, Inc. for a music variety series that featured Benny accompanied by conductor George Olsen and vocalist Ethel Shutta. During his early apprenticeship on air, Benny collaborated with writer Harry Conn who, from 1932 – 1936, helped him develop a clearly defined commercial persona as a well-mannered eccentric surrounded by a group of oddball associates with a repertoire of skits and gags that permitted Benny to greatly expand his presence in the commercial media through the fields of film and television. This work included starring and supporting roles in films for major studios in Los Angeles, (building on a corpus of film material Benny had completed in the late 20s and early 30s), and a weekly television variety series, The Jack Benny Program, which aired on CBS and NBC during 1950 – 1965. The UCLA Film and Television Archive holds numerous titles of Jack Benny’s work in radio and some of Mr. Benny’s work in television and film available for use on-site at the Archive Research and Study Center. In addition to the media holdings found in the Archive, the Department of Special Collections unit of the UCLA Libraries Collection holds various print materials related to Jack Benny in the Jack Benny Papers, 1930 – 1974 collection.

80

RADIO COLLECTION: Jack Benny (Broadcast: May 2, 1932 – June 22, 1958)

RADIO (Please contact the Archive Research and Study Center for additional titles)

The Canada Dry Program with Jack Benny. Premiere (1932-05-02). Broadcast on NBC – Blue Network. Audio Study Copy: AA213 The Jello-O Program Starring Jack Benny. 5th Anniversary Show (1937-05-02). Broadcast on NBC – Red Network. Audio Study Copy: AA329 The Jell-O Program Starring Jack Benny. The Hunchback of Beverly Hills with Orson Welles (1940-03-17). Broadcast on NBC – Red Network. Audio Study Copy: AA1139 The Lucky Strike Program Starring Jack Benny. Guest, Frank Sinatra (1944-10-08). Broadcast on NBC. Audio Study Copy: AA789 The Grape Nuts and Grape Nuts Flakes Program Starring Jack Benny. The Gang is Going to NYC (1945-01-07). Broadcast on NBC. Audio Study Copy: AA781 The Lucky Strike Program Starring Jack Benny. Guests, Amos ‘n’ Andy and Red Skeleton (1949-09-25). Broadcast on CBS. Audio Study Copy: AA198 The Lucky Strike Program Starring Jack Benny. Guests, Danny Kaye, George Burns, Frank Sinatra and Groucho Marx (1952-03-02). Broadcast on CBS. Audio Study Copy: AA1061 The Lucky Strike Program Starring Jack Benny. Christmas Special (1956-12-23). Broadcast on CBS. Audio Study Copy: AA775

TELEVISION (Please contact the Archive Research and Study Center for additional titles)

The Jack Benny Program. Pilot (1950-10-28). CBS. Study Copy: VA7059 T The Jack Benny Program. Guests: Bing Crosby and George Burns (1954-03-21). CBS. Study Copy: VA9355 T

PRINT RESOURCES

(For more information consult the UCLA Libraries Collection)

Benny, Jack and Joan Benny. Sunday Nights at Seven: The Jack Benny Story. New York: Warner Books, 1990.

Jack Benny: The Radio and Television Work. The Museum of Television and Radio. New York: Harper-Perennial, 1991.

RELATED RESOURCES The Department of Special Collections unit of the UCLA Libraries Collection holds various materials related to Jack Benny in the Jack Benny Papers, 1930-1974 collection. For more information, please contact Special Collections: (310) 825-4988

81

RADIO COLLECTION: Burns and Allen

(Broadcast: September 23, 1936 – May 17, 1950)

Like many of their colleagues on the vaudeville circuit, Gracie Allen and George Burns would make the transition to performing their stage act on commercial radio. The pair initially made appearances on The Guy Lombardo Show between 1932 and 1934 and emerged together on The

Burns and Allen Show in 1936 on CBS, becoming popular fixtures on network radio by 1938 and attracting national corporate sponsorship. During 1942, The Burns and Allen Show altered its performance format from its vaudevillian variety style to a situation comedy in response to a substantial drop in audience ratings. The switch in format helped rebuild a mass audience for Allen and Burns playing on their unique chemistry and strengths as a comedic pair and would aide their future transition to television, where the two stayed together until Allen’s death in 1964. The UCLA Film and Television Archive holds multiple titles of The Burns and Allen Show in both its radio and television forms available for use on-site at the Archive Research and Study Center.

82

RADIO COLLECTION: Burns and Allen

(Broadcast: September 23, 1936 – May 17, 1950)

RADIO (Please contact the Archive Research and Study Center for additional titles)

Rain – The Adventures of Gracie (1936-01-15). Broadcast on CBS. Audio Study Copy: AA313 Going to Hawaii – The Burns and Allen Show (1938-08-01). Broadcast on NBC. Audio Study Copy: AA513 Last Show for Swan (1945-06-25). Broadcast on NBC. Audio Study Copy: AA387 15th Anniversary On Radio (1947-02-20). Broadcast on NBC. Audio Study Copy: AA701 Gracie Wants George To Be A Surgeon (1949-02-24). Broadcast on NBC. Audio Study Copy: AA315 Gracie Works for Women’s Rights (1949-06-09). Broadcast on NBC. Audio Study Copy: AA725 TELEVISION

(Please contact the Archive Research and Study Center for additional titles)

The George Burns and Gracie Allen Show. Burlesque (1956-04-16). CBS. Study Copy: VA8248 T The George Burns and Gracie Allen Show. Ronnie is lovesick (1956-05-28). CBS. Study Copy: VA10991 T The George Burns and Gracie Allen Show. Ronnie makes a record (1958-05-08). CBS. Study Copy: VA19243 T PRINT RESOURCES (For more information consult the UCLA Libraries Collection)

Blythe, Cheryl and Susan Sackett. Say Good Night, Gracie! The Story of Burns and Allen. New York: Dutton, 1986. Clements, Cynthia and Sandra Weber. George Burns and Gracie Allen: A Bio-Bibliography. Westport: Greenwood Press, 1996. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds scripts from The Burns and Allen Show television series (1956 – 1958) by Rod Amateau. For more information, please contact Arts Library Special Collections, (310) 825-7253.

83

RADIO COLLECTION: CBS Radio Mystery Theater (Broadcast: January 6, 1974 – December 31, 1982)

Prompted by the decline of commercial radio drama during the 1960s and 70s, veteran radio producer Himan Brown was given the chance by CBS to revive the form in 1973 with the hourlong mystery anthology, The CBS Radio Mystery Theater. Covering a range of topics and styles within the genre, the show featured a mix of original scripts from staff writers George Lowther and Sam Dann and guest writers, and adaptations from a diverse collection of authors ranging from Mark Twain (Samuel Clemens) to Arthur Conan Doyle who had enriched or experimented in the field of mystery. CBS initially ordered a premiere range of 195 original programs that were to be fed to its affiliate stations across the United States. For Brown, this meant working with a limited budget and a production schedule of about two days in which he had to coordinate script production and recording. Burdened with a tight production schedule and limited funds for talent costs, Brown was still able to attract an impressive roster of performers from film, television and radio. Notable performers that made appearances on the show include E.G. Marshall, who hosted the show until 1981, Agnes Moorehead, Kevin McCarthy, John Lithgow, Casey Kasem, Zero Mostel, Mariette Hartley and Sarah Jessica Parker. The initial reception of the program varied, and the show was frequently bumped by local affiliates from the national broadcast network feed and replaced with live regional sports coverage. The show persevered however, and backed by CBS funding would garner formal critical and industry acclaim, receiving a Peabody Award in 1974 for, “creating a new era of radio entertainment.” The UCLA Film and Television Archive holds multiple titles of The CBS Radio Mystery Theater available for use on-site at the Archive Research and Study Center.

84

RADIO COLLECTION: CBS Radio Mystery Theater (Broadcast: January 6, 1974 – December 31, 1982)

RADIO (Please contact the Archive Research and Study Center for additional titles)

Blizzard Of Terror (1974-02-18). Broadcast on CBS. Audio Study Copy: AA389 The Rat (1974-06-03). Broadcast on CBS. Audio Study Copy: AA520 The Picture Of Dorian Gray (1974-08-07). Broadcast on CBS. Audio Study Copy: AA10 Murder To Perfection (1974-09-30). Broadcast on CBS. Audio Study Copy: AA436 You Only Die Once (1974-10-08). Broadcast on CBS. Audio Study Copy: AA441 The Hands Of Mrs. Mallory (1974-10-18). Broadcast on CBS. Audio Study Copy: AA445 Return Of Anatole Chevenic (1974-10-26). Broadcast on CBS. Audio Study Copy: AA447 The Bride That Wasn’t (1974-11-19). Broadcast on CBS. Audio Study Copy: AA454 How Eberhard Won His Wings (1974-12-25). Broadcast on CBS. Audio Study Copy: AA635 Guilty (1975-07-07). Broadcast on CBS. Audio Study Copy: AA503 The Smoking Pistol (1977-03-30). Broadcast on CBS. Audio Study Copy: AA21 Love After Death (1979-07-27). Broadcast on CBS. Audio Study Copy: AA422 The Death Disc (1980-07-30). Broadcast on CBS. Audio Study Copy: AA648

85

RADIO COLLECTION: Bing Crosby

(Broadcast: October 16, 1946 – December 28, 1956)

A versatile performer, Bing Crosby was able to bridge the gap between a variety of commercial media finding a well-established place in film, radio and television. Crosby’s career in radio coincided with his emergence in film during the early 1930s, a path that would lead him to success in both mediums by the middle of the decade. Crosby’s early work in radio found him performing with the Gus Arnheim Orchestra in Los Angeles, emerging as an exclusive singular personality with his self-titled, Fifteen Minutes with

Bing Crosby by 1932 on CBS and playing host for the popular variety show, The Kraft Music Hall on NBC during 1935.

It was with the Kraft Music Hall that Crosby and his creative staff

developed a successful show format that Crosby would continue to use throughout his career on radio. Balancing guest interviews, musical performances and segments featuring interaction with a house band, the program style popularized by Crosby can now be seen on almost all of the major television networks late-night talk show circuits, a testament to its success with both network business economies and audiences. Crosby would stay with NBC on the Kraft Music Hall until 1946, when a dispute with network managers and the program’s sponsor, Kraft, prompted him to leave the network and partner with ABC to produce the pre-recorded Philco Radio Time, a variety show featuring guest interviews, under the banner of The Bing Crosby Show.

The move to pre-recorded production was

significant for Crosby, as it allowed him to schedule his radio appearances at his convenience and exposed the show to a national audience linked by the ABC network chain. Following the rise of television, Crosby would appear in a range of projects produced for the medium, including numerous variety specials, a popular Christmas series and a sitcom. The UCLA Film and Television Archive holds multiple titles of The Bing Crosby Show in its radio form and some of Mr. Crosby’s television work available for use on-site at the Archive Research and Study Center.

86

RADIO COLLECTION: Bing Crosby

(Broadcast: October 16, 1946 – December 28, 1956)

RADIO (Please contact the Archive Research and Study Center for additional titles)

World Premiere – Philco Radio Time (1946-10-16). Broadcast on ABC. Audio Study Copy: AA16 Guests: Peggy Lee, Mills Brothers (1948-12-29). Broadcast on ABC. Audio Study Copy: AA529 Guest: Al Jolson – The Bing Crosby Chesterfield Show (1949-11-30). Broadcast on CBS. Audio Study Copy: AA342 Guest: Ethel Barrymore (1949-12-21). Broadcast on CBS. Audio Study Copy: AA572 Guests: Martin & Lewis (1951-11-07). Broadcast on CBS. Audio Study Copy: AA417 Substitute Host: Judy Garland – The General Electric Show (1952-10-30). Broadcast on CBS. Audio Study Copy: AA415 Guests: Jack Benny and Joe Venuti (1953-02-12). Broadcast on CBS. Audio Study Copy: AA1108 Guest: Frank Sinatra (1954-03-21). Broadcast on CBS. Audio Study Copy: AA527 TELEVISION (Please contact the Archive Research and Study Center for additional titles)

The Bing Crosby Show (1958-10-01). ABC. Producers, Bill Colleran and Sammy Cahn. Director, Bill Colleran. Writer, Bill Morrow. Study Copy: VA10647 T The Bing Crosby Show (1961- 03-20). ABC. Producer, Director, William O. Harbach. Writers, Bill Morrow, George Foster and Saul Ilson. Study Copy: VA10648 T The Bing Crosby Christmas Show (1962-12-24). ABC. Producer, Roger Gimbel. Director, Norman Abbott. Writers, William Morrow, Howard Leeds, Sheldon Keller and Howard Merrill. Study Copy: VA10649 T PRINT RESOURCES (For more information consult the UCLA Libraries Collection)

Crosby, Bing. Call Me Lucky. New York: Simon and Schuster, 1953. Morgereth, Timothy A. Bing Crosby: A Discography, Radio Program List and Filmography. Jefferson: McFarland, 1987. Osterholm, J. Roger. Bing Crosby: A Bio-Bibliography. Westport: Greenwood Press, 1994. Thompson, Charles. Bing: The Authorized Biography. New York: McKay, 1976.

87

RADIO COLLECTION:

DRAGNET

(Broadcast: June 3, 1949 – February 26, 1957)

With its iconic opening theme music and its dedication to realism, Dragnet pushed the day-to-day professional lives of Los Angeles police officers to the fore of national popular culture in the United States. Jack Webb, the program’s creator, star (as Detective Sergeant Joe Friday) and key director developed the idea for a serial radio program that would focus on the investigative procedures of the contemporary urban police department during his tenure as a performer in detective and crime films, where he found himself preoccupied with the culture of law enforcement rather than the narrative conventions of the crime genre of his time. Webb’s most significant collaborator on Dragnet was the Los Angeles Police Department (LAPD) who granted him access to case files and a technical advisor with the stipulation that he would not compromise confidentiality nor represent the department in “unflattering entanglements.” The show foregrounded the participation of the LAPD, announcing in its prologue that Dragnet was being presented ”in cooperation with” the police department, couching a sense of timely authenticity and urgency to the crimes and social subjects the program featured.

Jack Webb, lead performer and creator of Dragnet.

The success of Dragnet on commercial radio was followed by a television series that debuted in 1951 on NBC that quickly established itself amongst the top rated television programming of the early 1950s, a broadcast run that would last until 1959 in its original format. Warner Brothers produced a feature film version of the series in 1954, building on a franchise that had a presence in every major broadcast medium. The UCLA Film and Television Archive holds

88

numerous titles of Dragnet in both its radio and television formats available for use onsite at the Archive Research and Study Center and the Instructional Media Lab located in the Powell library on the campus of UCLA. In addition to the media holdings found in the Archive, the Arts Library Special Collections unit of the UCLA Libraries Collection holds material related to Jack Webb in the Jack Webb Collection of Scripts for Radio and Television, 1949-1975.

RADIO COLLECTION:

DRAGNET

(Broadcast: June 3, 1949 – February 26, 1957) RADIO (Please contact the Archive Research and Study Center for additional titles)

Johnny Savage, Red Light Bandit (1949-07-14). Broadcast on NBC. Audio Study Copy: AA 626 Jewel Thief (1949-08-18). Broadcast on NBC. Audio Study Copy: AA 374 Disappearance of an Elderly Couple (1950-09-07). Broadcast on NBC. Audio Study Copy: AA 496 Late Model GM Cars Are Stolen (1951-04-26). Broadcast on NBC. Audio Study Copy: AA 361 The Big Juvenile Division (1952-01-17). Broadcast on NBC. Audio Study Copy: AA 908 Friday Tries to Stop a Suicide (1953-09-29). Broadcast on NBC. Audio Study Copy: AA 662 TELEVISION (Please contact the Archive Research and Study Center for additional titles)

Dragnet. The Big Reminisce (1955-12-29). Study Copy: VA5649 T Dragnet. The Big Bed (1958-06-05). NBC. Producer, Director, Jack Webb. Study Copy: VA18310 T Dragnet. The Big Hammer (1967-03-02). NBC. Producer, Director, Jack Webb. Study Copy: VA18308 T Dragnet. The Big Problem (1968-03-28). NBC. Producer, Director, Jack Webb. Writer, Michael Donovan. Study Copy: VA13399 T PRINT RESOURCES

(For more information consult the UCLA Arts Library)

Alvarez, Eugene and Daniel Moyer. Just the Facts, Ma’am: The Authorized Biography of Jack Webb. Santa Ana: Seven Locks Press, 2001. Hayde, Michael. My Name’s Friday: The Unauthorized but True Story of Dragnet and the Films of Jack Webb. Nashville: Cumberland House, 2001. RELATED RESOURCES The Arts Library Special Collections unit of the UCLA Libraries Collection holds materials related to Jack Webb in the Jack Webb Collection of Scripts for Radio and Television, 1949-1975 . For more information, please contact Arts Library Special Collections: 310-825-7253

89

RADIO COLLECTION:

SUSPENSE

(Broadcast: June 17, 1942 – June 3, 1962)

With a revolving guest cast of some of Hollywood’s most popular names, the Peabody Awardwinning Suspense ushered into radio’s golden age a unique point of crosspollination between media industries. Under the management of producer William Spier and the patronage of the CBS radio network, the weekly “psychological drama” featured performances from a range of successful commercial film personas of “marquee status” including Cary Grant, Judy Garland and Humphrey Bogart, with notable episodes featuring Agnes Moorehead and Orson Welles. Moorehead’s role as the bedridden Mrs. Elbert Stevenson in Sorry, Wrong Number proved such a ratings success that she repeated the performance seven times in subsequent broadcasts. The initial success of Suspense was due in large part to the partnership between its producer Spier, composer Lucien Moraweck and sound effects supervisor Berne Surrey who fostered a production environment that allowed for minimal rehearsal time from its performers, making the show appealing for film stars coordinating busy shooting and publicity

Agnes Moorehead performs as Mrs. Elbert Stevenson in Sorry, Wrong Number for the weekly radio crime anthology, Suspense.

schedules. Spier’s focus on fully integrating the program’s soundscape, including the dramatic use of moments of silence, with its script foregrounded the aural nature of the medium while building upon the commercially-friendly national reputation of its guest cast members from Hollywood. This formula would prove effective well into the 1950s when staff changes at CBS and shifts in the radio and film industries along with the proliferation of television ownership caused a realigning of the

90

importance of radio in commercial drama. For Suspense, faced with the lack of participation of major film stars during the late 1950s, the program would weather the difficulties of a shrinking budget and dwindling audience base until 1962. The UCLA Film and Television Archive holds multiple titles of Suspense available for use on-site at the Archive Research and Study Center.

RADIO COLLECTION:

SUSPENSE

(Broadcast: June 17, 1942 – June 3, 1962) RADIO (Please contact the Archive Research and Study Center for additional titles)

Suspense. Sorry, Wrong Number – Version Two (1943-08-21). Broadcast on CBS. Cast, Agnes Moorehead. Audio Study Copy: AA 572 Suspense. Back For Christmas (1943-12-23). Broadcast on CBS. Cast, Peter Lorre. Audio Study Copy: AA 269 Suspense. Donovan’s Brain (1944-05-18). Broadcast on CBS. Cast, Orson Welles. Audio Study Copy: AA 604 Suspense. The Man Who Knew How (1944-08-10). Broadcast on CBS. Cast, Charles Laughton. Audio Study Copy: AA 630 Suspense. The Thing In The Window (1946-12-19). Broadcast on CBS. Cast, Joseph Cotton. Audio Study Copy: AA 184 Suspense. Death At Live Oak (1947-05-15). Broadcast on CBS. Cast, Robert Mitchum. Audio Study Copy: AA 697 Suspense. Love’s Lovely Counterfeit (1948-01-17). Broadcast on CBS. Cast, James Cagney. Audio Study Copy: AA 486 Suspense. The Man Who Wanted To Be Edward G. Robinson (1948-09-30). Broadcast on CBS. Cast, Edward G. Robinson. Audio Study Copy: AA 296 Suspense. Death Has A Shadow (1949-05-05). Broadcast on CBS. Cast, Bob Hope. Audio Study Copy: AA 181 Suspense. Mission Completed (1949-12-01). Broadcast on CBS. Cast, James Stewart. Audio Study Copy: AA 545 Suspense. A Good And Faithful Servant (1952-06-02). Broadcast on CBS. Cast, Jack Benny. Audio Study Copy: AA 342 Suspense. Joker Wild (1952-12-08). Broadcast on CBS. Cast, Elliot Lewis, Kathy Lewis. Audio Study Copy: AA 228 Suspense. Kaleidoscope (1955-07-12). Broadcast on CBS. Writer, Ray Bradbury. Cast, William Conrad. Audio Study Copy: AA 330 Suspense. Murder on Mike (1957-07-28). Broadcast on CBS. Cast, Raymond Burr. Audio Study Copy: AA 726 Suspense. Tonight at 5:55 (1960-04-17). Broadcast on CBS. Cast, Louie Van Rooten. Audio Study Copy: AA 525

91

RADIO COLLECTION: Your Hit Parade (Broadcast: April 20, 1935 – January 16, 1953)

Developed under the patronage of the American Tobacco Company and NBC, Your Hit

Parade brought to a national audience of radio listeners each week a presentation of the “most popular songs in America” sung by a revolving cast of vocalists who performed cover versions of contemporary popular music. The program’s format, which included a survey of the “top ten” songs as defined by record and sheet music sales, was among the first of its type to establish an explicit relationship between aggregate sales data and the concept of national popular taste on commercial radio. Vocalists that appeared on the program included: Joan Edwards, Frank Sinatra, Andy Russell and Snooky Lanson. In July of 1950 a simulcast version of Hit Parade was broadcast on the NBC television network following the diverse trend of importing successful radio formats, producers and performers for use on television.

Although a steady ratings success on NBC for many years,

Your Hit Parade encountered challenges as changes in popular music, signaled predominately by the expansion of the rock ‘n’ roll genre and the development of youth-orientated marketing, caused a shift in television and radio programming unable to sustain the ‘big band’ cover arrangements that were a mainstay on the Hit Parade. By 1959, a year after its debut on the CBS television network, the show was cancelled. A revival of the program was attempted in 1974 as a replacement spot in the summer schedule on CBS, but the show failed to find an audience and was removed from the broadcast schedule after a brief period. The UCLA Film and Television Archive holds multiple copies of Your Hit Parade in both its radio and television formats available for use on-site at the Archive Research and Study Center.

92

RADIO COLLECTION: Your Hit Parade (Broadcast: April 20, 1935 – January 16, 1953)

RADIO (Please contact the Archive Research and Study Center for additional titles)

Your Hit Parade (1938-10-22). CBS. With, W.C. Fields. Audio Study Copy: AA775 Your Hit Parade (1944-07-22). CBS. With, Bea Wain and Frank Sinatra. Audio Study Copy: AA524 Your Hit Parade (1947-12-06). NBC. With, Frank Sinatra, The Hit Paraders and Beryl Davis. Audio Study Copy: AA1008 Your Hit Parade (1948-09-11). CBS. With, Frank Sinatra and Eileen Wilson. Audio Study Copy: AA332 Your Hit Parade (1950-10-21). NBC. With, Eileen Wilson, Snooky Lanson and Dorothy Collins. Audio Study Copy: AA491 TELEVISION

(Please contact the Archive Research and Study Center for additional titles)

Your Hit Parade (1950-08-19). NBC. Study Copy: VA14461 T Your Hit Parade (1951-03-10). NBC. Study Copy: VA14461 T Your Hit Parade (1953-05-02). NBC. Vocalists, Snooky Lanson, Dorothy Collins, June Valli and Russell Arms. Study Copy: VA8086 T Your Hit Parade (1953-12-19). NBC. Study Copy: VA939 T Your Hit Parade (1956-04-07). NBC. Study Copy: VA14486 T Your Hit Parade (1958-03-29). NBC. Vocalists, Tommy Leonetti, Jill Corey, Alan Copeland, Virginia Gibson and Johnny Desmond. Study Copy: VA8086 T RELATED RESOURCES

A Salute to the Best Years of Your Hit Parade (c. 1975). Producers, Ron Lyons and Hal Collins. Director, Hal Collins. Writer, Buddy Arnold. Study Copy: VA14545 T PRINT RESOURCES

(For more information consult the UCLA Libraries Collection)

Elrod, Bruce. Your Hit Parade: April 20, 1935 to June 7, 1958: American Top 10 Hits, 1958-1984. White Rock: B.C. Elrod, 1985. Williams, John R. This was Your Hit Parade. Camden: N.p., 1973.

93

Research Resources

94

Film Archive Resources

LIBRARY OF CONGRESS Motion Picture, Broadcasting, and Recorded Sound Division Room 336, Madison Building 101 Independence Ave., S.E. Washington, DC 20540-4690 Phone: (202) 707-8572 Fax: (202) 707-2371 Website: http://lcweb.loc.gov/rr/mopic/

ACADEMY FILM ARCHIVE Pickford Center for Motion Picture Study 1313 North Vine Street Los Angeles, CA 90028 Phone: (310) 247-3016 Website: http://www.oscars.org/filmarchive/index.html Collection of over 70,000 individual moving image titles encompassing the history of the Academy; international and early cinema; home movies and amateur films.

Largest moving image collection in the United States. Holdings include rare films and television programs. WISCONSIN CENTER FOR FILM AND THEATER RESEARCH Wisconsin Historical Society 816 State St. Room 412 Madison, WI 53706 Phone: (608) 264-6466 Fax: (608) 264-6472 Websites: http://www.wisconsinhistory.org/wcftr/ http://commarts.wisc.edu/Grad/MCS/General/facilities.htm

GEORGE EASTMAN HOUSE Menschel Library 900 East Ave. Rochester, NY 14607 Phone: (585) 271-3361 x313 Fax: (585) 271-3970 Website: http://www.eastmanhouse.org Collection of rare moving image and photographic materials. Paper collections include letters, scripts, musical scores, lobby cards, posters, film stills.

Cinema collection consists of almost two thousand 16mm reference prints of feature films from Warner Brothers, RKO, and Monogram Pictures. Also holds television programs, still photographs, and several thousand sound recordings.

MUSEUM OF MODERN ART Department of Film and Video Phone: Bartos Study Center: (212) 708-9613 Circulating film library: (212) 708-9530 Fax: (212) 708-9531 Website: http://www.moma.org/collection/depts/film_media/ Collection includes more than 22,000 films, and an international film collection.

For a comprehensive index of moving-image archives in the United States, visit the National Film Preservation Foundation website: http://www.nfpf .com For a comprehensive international index of moving-image archives, visit the International Federation of Film Archives (FIAF) website: http://www.fiafnet.org/uk/members/directory.cfm

95

Latin American Film Resources

Retail Resources

Research Resources

CINEVISTA 2044 Prairie Ave. Miami Beach, FL 33139 Phone: (305) 532-3400 or (305) 532-0047 E-mail: [email protected] Website: http://www.cinevistavideo.com/

CENTER FOR CUBAN STUDIES 124 West 23rd Street New York, NY 10011 Phone: (212) 242-0559 Fax: (212) 242-1937 E-mail: [email protected] Website: http://www.cubaupdate.org/index.htm

FACETS VIDEO 1517 W. Fullerton Ave. Chicago, IL 60614 Phone: (800) 331-6197 E-mail: [email protected] Website: http://www.facets.org

The Center for Cuban Studies opened in New York City in 1972, organized by a group of scholars, writers, artists and other professionals who hoped to counter the effects of U.S. policy toward Cuba. The 1961 U.S. ban on trade with and travel to Cuba, followed by the break in diplomatic relations, had created a de facto embargo on information about Cuba. The Center has served as a vital communication link between the U.S. and Cuba through its publications, organized tours, library services, exchange programs and art projects.

HOLLYWOOD’S ATTIC Discount Video Tapes, Inc. P.O. Box 7122 Burbank, CA 91510 Phone: (818) 843-3366 Website: http://www.hollywoodsattic.com

IMCINE: MEXICAN FILM INSTITUTE Website: http://www.imcine.gob.mx/

MEXICAN FILM RESOURCE PAGE Website: http://www.wam.umd.edu/~dwilt/mfb.html

The website of the Instituto Mexicano de Cinematografia. It lists contact persons for its various departments, and links to other film related institutions in Mexico, including the Cineteca Nacional (National Film Archives), the Mexican Academy of Motion Picture Arts and Sciences, the National Cinematographic and Video Chamber, the Centro de Capacitacion Cinematografica, and the Filmoteca UNAM (the film archives of Mexico’s national university).

A page of information and links for finding more information on Mexican cinema and related areas. FOOTHILL VIDEO 42257 6th Street, West Bldg. 306 Lancaster, CA 93534 Phone: (805) 726-7533 or (805) 726-7534 Fax: (805) 726-7535 LATIN AMERICAN VIDEO ARCHIVES (LAVA) 124 Washington Place New York, NY 10014 Phone: (212) 243-4804 or (212) 243-2007 E-mail: [email protected] Website: http://www.lavavideo.org A non-profit organization dedicated to the distribution and dissemination of Latin American and Latino video to educational institutions in the United States and Canada. LAVA's website contains a searchable database of Latin American cinema with over 8,000 titles for sale. Their archive is open to the public free of charge for viewing at our office.

96

Russian Cinema Resources

AMHERST COLLEGE COLLECTION Amherst College Library P.O. Box 5000 Amherst, MA 01002 Phone: (413) 542-2373 Fax: (413) 542-2662 Website: http://www.amherst.edu/~russian/resource/films/

PACIFIC FILM ARCHIVE 2625 Durant Avenue #2250 Berkeley, CA 94720 Phone: (510) 642-1437 Website: http://www.bampfa.berkeley.edu/resources/pfa_filmcollec tion/index.html

Database of Russian and Soviet Films held by the Frost Media Center at Amherst College Library.

The collection holds over 300 titles from the former Soviet Union including titles from Georgia and the Ukraine, Armenia and Uzbekistan. Soviet silent films such as work by Dziga Vertov and East European cinema are some of the Pacific Film Archive's main areas of concentration.

GOSFILMOFOND OF RUSSIA 142050 Belye Stolby Station Moscow Region, Russia Phone: +007 (095) 546-0520 Fax: +007 (096) 796-34-98 E-mail: [email protected]

RUSSIAN ARCHIVES ONLINE The Russian State Documentary Film and Photo Archive At Krasnogorsk Phone: (877) 304-5495 Website: http://www.abamedia.com/rao/archives/rgakfd/coll.html

KINOEYE ARCHIVE Russia – Web Resources On Russian Cinema Website: http://www.kinoeye.org/archive/country_russia.php

The Krasnogorsk Archive's Film Collection documents the entire history of Russian filmmaking.

KINOEYE VIDEO STORE Russia Index Website: http://www.ce-review.org/video/video_russia.html

UC BERKELEY MEDIA RESOURCES Soviet and Eastern European Cinema Media Resource Center Moffitt Library Phone: (510) 642-8197 Website: http://www.lib.berkeley.edu/MRC/Sovietfilm.html

Offers a selection of Russian films available on VHS. LIBRARY OF CONGRESS Russian Film Holdings Motion Picture, Broadcasting, and Recorded Sound Division Room 336, Madison Building 101 Independence Ave., S.E. Washington, DC 20540-4690 Phone: (202) 707-8572 Fax: (202) 707-2371 Website: http://www.loc.gov/rr/mopic/findaid/russian.html

UNIVERSITY COLLEGE LONDON School Of Slavonic And East European Studies – Internet Resources On Russian Cinema Website: http://www.ssees.ac.uk/russcin.htm

NEW YORK FILM ANNEX 1618 W 4th Street Brooklyn, NY 11223 Phone: (718) 382-8868 Website: http://www.nyfavideo.com/index.htm Distributor specializing in foreign, cult, avant-garde, silent films, and Russian film selections.

97

Additional Television Research Resources

THE CENTER FOR THE STUDY OF POPULAR TELEVISION Center for the Study of Popular Television S.I. Newhouse School of Public Communications Syracuse University Syracuse, NY 13244-2100 Phone: (315) 443-4077 E-mail: [email protected] Website: http://newhouse.syr.edu/research/POPTV/

SYRACUSE UNIVERSITY LIBRARY Media Services Television History Center 222 Waverly Avenue Syracuse, NY 13244 Phone: (315) 443-2438 E-mail: [email protected] Website: http://libwww.syr.edu/information/media/archive/main.htm UNIVERSITY OF GEORGIA Media Archives and Peabody Awards Collection University of Georgia Libraries Athens, GA 30602 Phone: (706) 542-7360 Fax: (706) 542-4144 Website: http://www.libs.uga.edu/media/collections/peabody/

LIBRARY OF AMERICAN BROADCASTING 3210 Hornbake Library University of Maryland College Park, MD 20742 Phone: (301) 405-9160 Fax: (301) 314-2634 E-Mail: [email protected] Website: http://www.lib.umd.edu/LAB/

USC CINEMA-TELEVISION LIBRARY AND ARCHIVES OF PERFORMING ARTS 3305-B South Hoover Blvd. Los Angeles, CA 90007 Phone: (213) 740-8906 Website: http://artscenter.usc.edu/cinematv

LIBRARY OF CONGRESS Motion Picture, Broadcasting, and Recorded Sound Division Room 336, Madison Building 101 Independence Ave., S.E. Washington, DC 20540-4690 Phone: (202) 707-8572 Fax: (202) 707-2371 Website: http://lcweb.loc.gov/rr/mopic/

THE WISCONSIN CENTER FOR FILM AND THEATER RESEARCH Wisconsin Historical Society 816 State Street Room 412 Madison, WI 53706 Phone: (608) 264-6466 Fax: (608) 264-6472 Websites: http://www.wisconsinhistory.org/wcftr/ http://commarts.wisc.edu/Grad/MCS/General/facilities.htm

MUSEUM OF BROADCAST COMMUNICATIONS 9 W. Kinzie Street Chicago, Illinois 60610 Phone: (312) 629-6000 E-mail: [email protected] Website: http://www.mbcnet.org THE MUSEUM OF TELEVISION AND RADIO 465 North Beverly Drive Beverly Hills, CA 90210 Phone: (310) 786-1000 or 25 West 52nd Street New York, NY 10019 Phone: (212) 621-6600 Website: http://www.mtr.org

VANDERBILT UNIVERSITY TELEVISION NEWS ARCHIVE 110 21st Avenue South Suite 704 Nashville, TN 37203 Phone: (615) 322-2927 E-mail: [email protected] Website: http://tvnews.vanderbilt.edu/

98

Television Commercial Research Resources

LIBRARY OF CONGRESS Motion Picture, Broadcasting, and Recorded Sound Division Room 336, Madison Building 101 Independence Ave., S.E. Washington, DC 20540-4690 Phone: (202) 707-8572 Fax: (202) 707-2371 Website: http://lcweb.loc.gov/rr/mopic/

THE MUSEUM OF TELEVISION AND RADIO 465 North Beverly Drive Beverly Hills, CA 90210 Phone Number: (310) 786-1000 or 25 West 52nd Street New York, NY 10019 Phone Number: (212) 621-6600 Website: http://www.mtr.org/

Robert R. Gitt Collection of Television Commercials Website: http://www.loc.gov/rr/mopic/findaid/gitt/gitt1.html

Extensive television programming collection available for onsite viewing on a walk-in basis. AMERICAN MUSEUM OF THE MOVING IMAGE 35th Avenue at 36th Street Astoria, NY 11106 Administrative Offices: (718) 784-4520 Program Information: (718) 784-0077 Fax: (714) 784-4681 E-mail: [email protected] Website: http://www.ammi.org/site/site.php

Dartmouth College Collection of TV Commercials Website: http://www.loc.gov/rr/mopic/findaid/dart/dart1.html Karr Collection of Television Commercials Website: http://www.loc.gov/rr/mopic/findaid/karr/karr1.html SYRACUSE UNIVERSITY LIBRARY TELEVISION HISTORY ARCHIVE The Edwin Diamond Political Campaign Commercials Collection 222 Waverly Avenue Syracuse, NY 13244 Phone: (315) 443-2438 Website: http://libwww.syr.edu/information/media/archive/diamon dvideos.htm

The Museum of the Moving Image maintains a permanent collection of moving image artifacts and offers extensive exhibitions, film screenings, lectures, seminars, and other educational programs. UNIVERSITY OF OKLAHOMA Julian P. Kantor Political Commercial Archive Political Communication Center 610 Elm Ave., Burton Hall-113 Norman, Oklahoma 73019-3141 Curator/Archivist: Lewis Mazanti Phone: (405) 325-3114 or (405) 325-1573 Fax: (405) 325-1566 E-mail: [email protected] Website: http://www.ou.edu/pccenter/aboutthearchive.htm

The Television History Archive houses the Edwin Diamond Political Campaign Commercials Collection, which includes commercial examples, created by local and federal government agencies. They also range from some of the earliest examples during the Eisenhower campaign to the first Clinton campaign in the early 1990s.

The University of Oklahoma’s Political Communication Center houses the Julian P. Kanter Political Commercial Archive, a comprehensive collection of broadcast advertising.

SMITHSONIAN INSTITUTE ARCHIVES CENTER National Museum of American History 12th, 14th & Constitution Avenue Washington, D.C. 20560-0601 Phone: (202) 633-3270 TDD: (202) 357-1729 Fax: (202) 786-2453 E-mail: [email protected] Website: http://americanhistory.si.edu/archives/d-7.htm

99

Television Commercial Research Resources (Continued) Commercial Monitoring Services SOURCE TV 1499 W. Palmetto Pk Rd., #120 Boca Raton, FL 33486 Phone: (800) 525-0230 Website: http://www.sourcetv.com/ An extensive database that tracks TV commercials in the United States. Specializes in the credits and content of commercials. VIDEO MONITORING SERVICE (VMS) 430 West Sunset Boulevard Los Angeles, CA 90028 Phone: (323) 993-0111 Fax: (323) 871-8065 E-mail: [email protected] Website: http://www.vidmon.com Pay service that tracks television ad placement. MULTIVISION Phone: (800) 560-0111 Website: http://www.multivisioninc.com/ Pay service that tracks television ad placement.

100

Radio Research Resources

UCLA ARTS LIBRARY – SPECIAL COLLECTIONS Charles E. Young Research Library Room 22478, Box 951575 Los Angeles, CA 90095 310-825-7253 Website: www.library.ucla.edu/libraries/arts/

MEDIA ARCHIVES AND PEABODY AWARDS COLLECTION University of Georgia University of Georgia Libraries Athens, GA 30602 706-542-7360 Website: www.libs.uga.edu/media/collections /peabody

Holds archival collection material related to numerous individual practitioners and programs including: Harry Crane, Robert Ross, Joe Quillan and the Hallmark Hall of Fame.

With holdings numbering over 40,000, the Peabody Collection at the University of Georgia reflects a wide range of national broadcast and locally produced formats and styles including news, public service, education and children’s programming.

AMERICAN RADIO ARCHIVES Thousand Oaks Library 1401 E. Janss Road Thousand Oaks, CA 91362 805-449-2660 Website: www.toaks.org/library

THE MUSEUM OF BROADCAST COMMUNICATIONS 400 North State Street, Suite 240 Chicago, IL. 60610 312-245-8200 Website: www.museum.tv

Established in 1984, the collection includes sound recordings, scripts, manuscripts and other paper ephemera.

Collection includes programming from the 1930s and 1940s and a number of oral histories related to broadcast radio history.

MUSEUM OF TELEVISION AND RADIO 465 North Beverly Drive Beverly Hills, CA 90210 310-786-1025 Website: www.mtr.org Presents live radio broadcasts on site as well as offering a series of listening exhibitions for public use in the museum’s Ahmanson Radio Listening Room.

THE LIBRARY OF AMERICAN BROADCASTING University of Maryland 3210 Hornbake Library College Park, MD 20742 301-405-9160 Website: www.lib.umd.edu/LAB/ Formerly the Broadcast Pioneers Library, the LAB holds a diverse collection of radio programming and journalism, oral histories, speeches and congressional hearings.

Please contact institutions directly for specific access policies, procedures and availability.

101

Radio Research Resources (continued) PRINT RESOURCES (For more information please consult the UCLA Libraries Collection)

Barfield, Ray. Listening to Radio: 1920-1950. Westport: Praeger, 1996. Barnouw, Erik. A Tower in Babel: A History of Broadcasting in the United States, to 1933. New York: Oxford University Press, 1966. Cox, Jim. Say Goodnight, Gracie: The Last Years of Network Radio. Jefferson: McFarland & Company, 2002. Douglas, Susan. Listening In: Radio and the American Imagination from Amos ’n’ Andy and Edward R. Murrow to Wolfman Jack and Howard Stern. New York: Times Books, 1999. Dunning, John. On the Air: The Encyclopedia of Old-Time Radio. New York: Oxford University Press, 1998. Hilmes, Michelle. Radio Voices: American Broadcasting 1922-1950. Minneapolis: University of Minnesota Press, 1997. MEDIA RESOURCES FROM THE ARCHIVE (For more information please contact the Archive Research and Study Center)

Newsreels Hearst Metrotone News. President Roosevelt Demands Industrial Truce! “Fireside Chat” Broadcast to Nation Defends New Deal in Defiance of Critics (1934-10-01). Study Copy: VA5393 M News of the Day. America Listens in as Britain Crowns King George VI (1937-05-12). Study Copy: VA13136 M Hearst Newsreel Footage. Radio Station’s ‘Attack’ by Mars Panics Thousands (1938). Study Copy: VA4693 The March of Time. Is Anybody Listening? Radio Broadcasting Today (1947). Study Copy: VA1111 M Documentaries Radio and Television (1940). Carl F. Mahnke Productions. Study Copy: VA1898 M ‘Job information film’ produced for use by the U.S. military. American Experience. The Radio Priest: The Life and Times of Father Charles Coughlin (1988-12-13). WGBH. Producers, Judy Crichton and Irv Drasnin. Writer, Irv Drasnin. Study Copy: VA76 T

102

Still and Paper Collections at UCLA

UCLA ARTS LIBRARY SPECIAL COLLECTIONS Charles E. Young Research Library Room 22478, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-7253 Fax: (310) 825-1210 Contact: Julie Graham, Arts Special Collections E-mail: [email protected] Website: http://www.library.ucla.edu/libraries/arts/speccoll/speccol l.htm

UCLA MUSIC LIBRARY SPECIAL COLLECTIONS Music Library Special Collections University of California, Los Angeles Box 951490 Los Angeles, CA 90095-1490 Phone: (310) 825-1665 Fax: (310) 206-7322 E-mail: [email protected] Website: http://www.library.ucla.edu/libraries/music/mlsc/index.htm

Studio collections include 20th Century Fox scripts, production material, and legal records; motion picture stills collections from Columbia and Paramount; scripts and architectural set designs from M-G-M; and the RKO Studio Collection of script material, production information, and music scores. Personal papers collections highlight the careers of Betty Bronson, Jean Renoir, Robert Rossen, Rosalind Russell, Waldo Salt, and William Wyler.

Music Library Special Collections houses rare books and scores, manuscripts, and archives, including the Archive of Popular American Music. Important holdings include collections of popular sheet music and sound recordings, and archives relating to popular music, film, and television music, including the Capitol Theatre Collection of Silent Film Music and the CBS Television and Film Music Collection.

UCLA LIBRARY DEPARTMENT OF SPECIAL COLLECTIONS Charles E. Young Research Library Room A1713, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 E-mail: [email protected] Website: http://www.library.ucla.edu/libraries/special/scweb/ The Department of Special Collections offers a vast collection of motion picture and television manuscripts, musical scores, press books, and personal papers of such industry luminaries as Cecil B. DeMille, Max Steiner, and Dorothy Arzner. It also includes over 5 million photographs and negatives, movie ephemera, and other graphic arts material.

103

Paper Collection and Stills Research Resources AMERICAN FILM INSTITUTE Louis B. Mayer Library American Film Institute 2021 North Western Ave. Los Angeles, CA 90027 Phone: (323) 856-7654 Website: http://www.afi.com/about/library.aspx

MARGARET HERRICK LIBRARY 333 South La Cienega Blvd. Beverly Hills, CA 90211 Phone: (310) 247-3020 Websites: http://www.oscars.org/ Library: http://www.oscars.org/mhl Library holds extensive collection of books; periodical titles; screenplays; clipping files; posters; lobby cards, photographs; and special collections relating to prominent industry individuals, studios and organizations.

Collection of 14,000 books and periodicals, including rare screenplays and production-related files. LIBRARY OF CONGRESS Motion Picture, Broadcasting, and Recorded Sound Division Room 336, Madison Building 101 Independence Ave., S.E. Washington, DC 20540-4690 Phone: (202) 707-8572 Fax: (202) 707-2371 Website: http://lcweb.loc.gov/rr/mopic/

WISCONSIN CENTER FOR FILM AND THEATER RESEARCH Wisconsin Historical Society 816 State St. Room 412 Madison, WI 53706 Phone: (608) 264-6466 Fax: (608) 264-6472 Websites: http://www.wisconsinhistory.org/wcftr/ http://commarts.wisc.edu/Grad/MCS/General/

Largest moving image collection in the United States. Holdings include rare films and television programs.

Cinema collection consists of almost two thousand 16mm reference prints of feature films from Warner Brothers, RKO, and Monogram Pictures. Also holds television programs, still photographs, and several thousand sound recordings.

GEORGE EASTMAN HOUSE Menschel Library 900 East Ave. Rochester, NY 14607 Phone: (585) 271-3361 x313 Fax: (585) 271-3970 Website: http://www.eastmanhouse.org

WARNER BROTHERS ARCHIVE (USC) School of Cinema-Television University of Southern California Los Angeles, CA 90089-2211 Phone: (213) 748-7747 Fax: (213) 748-7860 Website: http://www-cntv.usc.edu/resources/resourceswbarchive.php

Collection of rare moving image and photographic materials. Paper collections include letters, scripts, musical scores, lobby cards, posters, film stills. USC CINEMA-TELEVISION LIBRARY AND ARCHIVES OF PERFORMING ARTS 3305-B South Hoover Blvd. Los Angeles, CA 90007 Phone: (213) 740-8906 Website: http://www.usc.edu/isd/libraries/locations/cinema_tv/

Collection of stills and production files and paper documents related to Warner Bros. and its motion picturerelated subsidiaries.

Extensive book collection and archives focusing on the history of the film industry. Holds photographs, scripts, scores and other artifacts.

104

Resources for Screenplays

UCLA CHARLES E. YOUNG RESEARCH LIBRARY Arts Library Special Collections Room 22478, Box 951575 Los Angeles, CA 90095 Phone: (310) 825-7253 E-mail: [email protected] Website: http://www.library.ucla.edu/libraries/arts/speccoll/scripts.htm

Department of Special Collections Room A1713, Box 951575 Los Angeles, CA 90095 Phone: (310) 825-4988 E-mail: [email protected] Website: http://www.library.ucla.edu/libraries/special/scweb/

The UCLA Charles E. Young Research Library houses two special collections containing motion picture and television scripts. The Arts Library Special Collection includes motion picture scripts dating from 1921 to the present, and television scripts from the early days of television to the present, including a small collection of scripts for television mini-series. The Department of Special Collections holds television scripts from series such as I Spy and the NBC Matinee Theater as well as motion picture scripts held in paper collections such as those of Disney layout artist David Rose and writer, Ben Starr. AMERICAN FILM INSTITUTE Louis B. Mayer Library American Film Institute 2021 North Western Avenue Los Angeles, CA 90027 Phone: (323) 856-7654 Website: http://www.afi.com/about/library.aspx

USC CINEMA–TELEVISION LIBRARY Doheny Library University Park Los Angeles, CA 90089 Phone: (213) 740-8906 Website: http://www.usc.edu/isd/libraries/locations/cinema_tv/

Over 5,000 scripts from classic and contemporary periods, and 4,000 television scripts. Collection also includes film and television programming including the silent film scenarios. Charles W. Fries Tele-feature Library with scripts of made-for-television movies and miniseries.

In addition to an extensive book collection, the library holds many archives focusing on the history of the film industry and containing many rarely seen photographs, as well as scripts, scores, and other artifacts, including the David L. Wolper, Constance McCormick and Warner Brothers Archives collections

MARGARET HERRICK LIBRARY 333 South La Cienega Blvd. Beverly Hills, CA 90211 Phone: (310) 247-3020 Website: http://www.mhlcardcat.org

WRITERS GUILD FOUNDATION LIBRARY 7000 West Third Street Los Angeles, CA 90048 Phone: (323) 782-4692 Website: http://www.wgfoundation.org/library.htm

Collection includes over 10,000 produced films, extensive collection of more than 60,000 television and radio scripts, as well as over 1,500 screenplays; including over 8,000 produced books, periodicals, and writings on writers; and screenplays from both the silent and sound eras.

Collection includes 10,000 produced film, television, and radio scripts, 1,500 books on writing, writers, and the entertainment industry, and taped seminars, events, and interviews pertaining to a wide variety of topics.

105

Licensing and Commercial Resources

106

Retail Sources for Hard-to-Find Films

The following businesses specialize in vintage, hard-to-find films on video. Please note that the Archive does not endorse any of these businesses, nor take any responsibility for their legal right to distribute any copyrighted titles. EDDIE BRANDT’S SATURDAY MATINEE 5006 Vineland Avenue North Hollywood, CA 91601 Phone: (818) 506-4242 Website: http://www.saturdaymatinee.com/

MOVIES UNLIMITED 3015 Darnell Road Philadelphia, PA 19154 Phone: (800) 668-4344 Website: http://www.moviesunlimited.com

CINEFILE 11280 Santa Monica Blvd Los Angeles, CA 90025 Phone: (310) 312-8836 Website: http://www.cinefilevideo.com/

ROCKET VIDEO 726 N. La Brea Ave Los Angeles, CA 90036 Phone: (323) 965-1100 Website: http://www.rocketvideo.com/

FACETS VIDEO 1517 West Fullerton Avenue Chicago, IL 60614 Phone: (800) 331-6197 Fax: (773) 929-5437 Website: http://www.facets.org

VIDIOTS 302 Pico Blvd. (at 4th St) Santa Monica, CA 90405 Phone: (310) 392-8508 Website: http://www.vidiotsvideo.com/

KINO INTERNATIONAL 333 W. 39th St., Ste. 503 New York, NY 10018 Phone: (800) 562-3330 Fax: (212) 714-0871 Website: http://www.kino.com/

107

Retail Sources for Vintage Television Programming

The following businesses specialize in vintage, hard-to-find television programs on video. Please note that the Archive does not endorse any of these businesses, nor take any responsibility for their legal right to distribute any copyrighted titles. EDDIE BRANDT’S SATURDAY MATINEE 5006 Vineland Avenue North Hollywood, CA 91601 Phone: (818) 506-4242 Website: http://www.saturdaymatinee.com/

NOSTALGIA FAMILY VIDEO, INC. P.O. Box 606 Baker City, OR 97814 Phone: (800) 784-3362 Fax: (541) 523-7115 E-mail: [email protected] Website: http://www.hollywoodsattic.com

KINE VIDEO E-mail: [email protected] Website: http://www.kinevideo.net/

ARCHIVAL TELEVISION AUDIO, INC. P.O. Box 88 Albertson, NY 11507 Phone: (516) 656-5677 E-mail: [email protected] Website: http://www.atvaudio.com/

SHOKUS VIDEO P.O. Box 3125 Chatsworth, CA 91313-3125 Phone: (818) 704-0400 Fax: (818) 701-0560 Order Desk: (800) SHOKUS-1 E-Mail: [email protected] Website: http://www.shokus.com/

Audio-only collection of rare TV broadcasts.

TVIDEO P.O. Box 102051 Denver, CO 80250 Website: http://www.tvideo.com/ VIDEO RESOURCES New York 220 West 71st Street New York, NY 10023 Phone: (212) 724-7055 Fax: (212) 595-0189 E-mail: [email protected] Website: http://www.tvdays.com/

108

Public Domain Resources

Please note that the Archive does not endorse any of these businesses, nor takes any responsibility for their legal right to distribute or license any copyrighted material. For Exhibition and Broadcast

For License

RETROFILM MEDIA INTERNATIONAL 11400 West Olympic Blvd Suite 200 Los Angeles, CA 90064 Phone: (310) 458-1414 E-mail: [email protected] Website: http://www.retrofilm.com/mainframe.html

NATIONAL ARCHIVES AND RECORDS ADMINISTRATION Special Media Archives Motion Picture, Sound, and Video Unit 8601 Adelphi Road College Park, MD 20740 Phone: (301) 837-3520 Fax: (301) 837-3620 Website: http://www.archives.gov

Features a collection of broadcast masters for over 6,000 public domain movies and television programs (available to businesses only).

Features a collection of government-financed films and assorted gift collections, including Universal Newsreel releases and outtakes

DESERT ISLAND FILMS 11 Coggeshall Circle Middletown, RI 02842 Phone: (800) 766-8550 Fax: (401) 846-0919 E-mail: [email protected] Website: http://www.desertislandfilms.com/

INTERNET ARCHIVE The Presidio of San Francisco P.O. Box 29244 116 Sheridan Avenue San Francisco, CA 94129 Phone: (415) 561-6767 Fax: (415) 840-0391 E-mail: [email protected] Website: www.archive.org

Broadcast master library of over 4,000 public domain movies and television programs. FESTIVAL FILMS 6115 Chestnut Terrace Shorewood, MN 55331 Phone and Fax: (952) 470-2172 E-mail: [email protected] Website: http://www.fesfilms.com

Provides access to moving image, audio, and text-based material via the Internet Additional Resource

A retail source for public domain 16mm films, videotapes, movie posters and DVDs.

A list of public domain and stock footage resources may be found at Filmmakers.com: http://www.film-makers.com/Resources/Stock_Footage/

LIBRARY OF CONGRESS Website: http://www.loc.gov/rr/mopic/pubdomain.html Contains information regarding copyright searches and sources for public domain footage.

109

Newsreel Footage Licensing Resources The UCLA Film & Television Archive’s Hearst Metrotone News Collection (1915-1977) is one of the largest newsreel collections in the world. It contains over 27 million feet of distributed newsreels, unreleased stories, and outtakes. For more information on licensing footage or to inquire about your specific requests, please contact: UCLA FILM AND TELEVISION ARCHIVE COMMERCIAL SERVICES 1015 N. Cahuenga Boulevard Hollywood, CA 90038 Phone: (323) 466-8559 Fax: (323) 461-6317 E-mail: [email protected] Website: http://www.cinema.ucla.edu Additional newsreel sources include: BRITISH MOVIETONE NEWS (1929-1979) British Movietone Ltd. Denham Media Park Denham, UB9 5HQ United Kingdom Phone: (+44) (0) 1895 833071 Fax: (+44) (0) 1895 834893 E-mail: [email protected] Website: http://www.movietone.com/

FOX-MOVIETONE NEWSREEL Fox News, Inc. Fox-Movietone News 1211 Avenue of the Americas 18th Floor New York, NY 10036 Phone: (212) 301-3045 Fax: (212) 301-5977

BRITISH PATHÉ FILM ARCHIVE (1896-1970) British Pathé Plc. c/o ITN Archive 200 Gray's Inn Road London WC1X 8XZ Phone: (+44) 207 430 4480 Fax: (+44) 207 430 4453 Website: http://www.britishpathe.com/

UNIVERSAL NEWSREEL (1929-1967) National Archives at College Park Motion Picture Reference (NWCS-Motion Reference) Room 3340 8601 Adelphi Road College Park, MD 20740-6001 Phone: (301) 837-3520 Fax: (301) 837-3620 Website: http://www.archives.gov/research_room/media_formats/fi lm_sound_video_catalogs.html

FOX MOVIETONEWS NEWSREEL (1919-1934 / 1942-1944) Newsfilm Library University of South Carolina 1139 Wheat Street Columbia, SC 29208 Curator: Andrew Murdoch Phone: (803) 777-6841 Fax: (803) 777-4756 E-mail: [email protected] Website: http://www.sc.edu/newsfilm/

For a comprehensive list of additional footage resources, please visit the National Archives and Records (NARA) website: http://www.archives.gov/research_room/obtain_copies/film_sources_contact_list.html

110

Sports Film Licensing Resources

The UCLA Film & Television Archive’s Hearst Metrotone News Collection (1915-1977) and KTLA Collection (19551981) has one of the largest collections of sports footage in the world (featuring such legends as Babe Ruth, Muhammad Ali, Vince Lombardi, Jackie Robinson, and Wilt Chamberlain to name just a few). For more information on licensing footage or to inquire about a specific requests, please contact: UCLA Film and Television Archive Commercial Services 1015 N. Cahuenga Boulevard Hollywood, CA 90038 Phone: (323) 466-8559 Fax: (323) 461-6317 E-mail: [email protected] Website: http://www.cinema.ucla.edu Additional sports film resources include: NATIONAL BASEBALL HALL OF FAME LIBRARY Film, Video, and Recorded Sound Department 25 Main Street Cooperstown, NY 13326 Phone: (607) 547-0314 Website: http://www.baseballhalloffame.org/library/fvrs.htm

NFL FILMS, INC. One NFL Plaza Mt. Laurel, NJ 08054 Phone: (877) NFL-5675 Fax: (856) 866-4848 Home Video Special Order Catalog: (856) 638-6843 E-mail: [email protected] Website: http://www.nflfilms.com

The National Baseball Hall of Fame Library contains over 12,000 hours of moving image and sound recordings, including interviews, game highlights, television and radio broadcasts.

NFL Films, Inc. contains more than 100 million feet of NFL football moments from 1894 to the present day.

AMATEUR ATHLETIC ASSOCIATION 2141 W. Adams Blvd. Los Angeles, CA 90018 Phone: (323) 730-4646 E-mail: [email protected] Website: http://www.aafla.org

ESPN FOOTAGE LICENSING ESPN Enterprises 19 East 34th Street New York, NY 10016 Phone: (212) 515-1252 Fax: (212) 515-1211 E-mail: [email protected] Website: http://www.espnfootage.com/footage/

The AAF Sports Library makes all of its digitized, paper documents available at no cost to website visitors. The AAF Search page provides full-text access to all digital documents and shows a complete list of titles.

ESPN Footage Licensing offers business-related access to their large sports film collection, including the Big Fights boxing library, the X Games, NASCAR, College Basketball and Football, and other team sports.

NHL HOCKEY ARCHIVE Footage Licensing Phone: (201) 750-5860 Fax: (201) 750-5850 E-mail: [email protected] Website: http://www.nhlhockeyarchive.com

111

Sports Film Licensing Resources (Continued) HBO SPORTS ARCHIVES Phone: (866) 825-3317 E-mail: [email protected] Website: http://hboarchives.com/ UCLA UNIVERSITY ARCHIVES 21560 Young Research Library Phone: (310) 825-4068 E-mail: [email protected] Website: http://www.library.ucla.edu/libraries/special/scweb/archiv es.htm The UCLA University Archives contains a variety of UCLA sports-related films (35mm, 16mm and video) dating back to the late 1930’s. The collection includes numerous UCLA basketball and football games, as well as baseball, softball, track, tennis, etc.

112

Studio Licensing Resources

MGM Clip & Still Licensing 2500 Broadway Street Santa Monica, CA 90404 Fax: (310) 449-3277 E-mail: [email protected] Website: http://www.mgmstills.com

WARNER BROS. Clip & Still Licensing 4000 Warner Blvd. Burbank, CA 91522 Phone: (818) 954-1853 Fax: (818) 954-3817 UNIVERSAL STUDIOS Stock Footage Library Phone : (818) 777-1695 Fax: (818) 866-0763 E-mail: [email protected] Websites: http://www.filmmakersdestination.com/postprod/stock_fo otage.html http://creative.gettyimages.com

Website allows users to search for film clips and stills that are available for licensing. PARAMOUNT PICTURES Film Clip Licensing 5555 Melrose Avenue Hollywood, CA 90038 Phone : (323) 956-5000 Fax: (323) 862-2231 Website: http://paramountpictures.com/filmcliplicensing/index.htm

Universal Studios Stock Footage Library contains over 5000 categories of available-to-license film clips, including scenes from their feature film and television catalogs. Source footage is on 35mm color negative. All video formats supplied.

Collection includes the libraries of Paramount Pictures, with film and television post-1950, Republic Pictures, Rysher Entertainment, Spelling/Worldvision, and Viacom Productions. A licensing submission form is available on the website. SONY PICTURES Stock Footage 10202 W. Washington Blvd. Culver City, CA 90232 Phone: (866) 275-6919 E-mail: [email protected] Website: http://sonypicturesstockfootage.com Collection of stock footage, that is largely un-related to Columbia Pictures or Sony Pictures Entertainment.

For additional clip and licensing availability, consult the BROADCAST INFORMATION BUREAU (BIB) TELEVISION PROGRAMMING SOURCE BOOKS. A current edition of the BIB source books is available at the Beverly Hills Public Library. Reference Phone Number: (310) 288-2244

113

Television Commercial Licensing Resources

Please note that the Archive does not endorse any of these businesses, nor take any responsibility for their legal right to distribute or license any copyrighted material. GETTY IMAGES Archive Films 75 Varick Street New York, NY 10013 Phone: (800) 876-5115 Fax: (646) 613-4601 or: 2450 Colorado Avenue, Suite 5000 West Watergardens Santa Monica, CA 90404 Phone: (310) 998-2500 Website: http://creative.gettyimages.com/archivefilms/

TV DAYS CLASSIC VIDEO ARCHIVES Video Resources New York TV Commercial Archives 220 West 71st Street New York, NY 10023 Phone: (212) 724-7055 Fax: (212) 595-0189 E-mail: [email protected] Website: http://www.tvdays.com/commercials.htm USA TV ADS E-mail: [email protected] Website: http://www.usatvads.com/

HISTORIC FILMS 211 Third Street Greenport, NY 11944 Phone: (800) 249-1940 Fax: (631) 477-9800 E-mail: [email protected] Website: http://www.historicfilms.com/

Offers digital delivery of TV commercials from 1975.

MACDONALD & ASSOCIATES Vintage Television Advertising Archive MacDonald & Associates 5660 N. Jersey Avenue Chicago, Il 60659-3694 Phone: (773) 267-9899 Fax: (773) 267-7796 E-mail: [email protected] Website: http://www.macfilms.com/ PRODUCERS LIBRARY SERVICE 10832 Chandler Boulevard North Hollywood, CA 91601 Phone: (800) 944-2135 Fax: (818) 752-9196 Website: http://www.filmfootage.com/

114

Television News Footage Licensing Resources

The UCLA Film and Television Archive offers one of the largest libraries of historical footage documenting the people, places, events and lifestyles of the 20th Century - nationally and worldwide. Available television news footage includes local award-winning television coverage from the KTLA Collection (1955-1981) and the TV News Collection (19731975). For more information on licensing footage or to inquire about your specific requests, please contact: UCLA Film and Television Archive Commercial Services 1015 N. Cahuenga Boulevard Hollywood, CA 90038 Phone: (323) 466-8559 Fax: (323) 461-6317 E-mail: [email protected] Website: http://www.cinema.ucla.edu Additional television news footage resources include: ABC NEWS VIDEO SOURCE 125 West End Avenue New York, NY 10023 Phone: (800) 789-1250 Fax: (212) 456-5428 Website: https://www.abcnewsvsource.com/

C-SPAN ARCHIVES Purdue Research Park P.O. Box 2909 West Lafayette, IN 47996-2909 Phone: (877) 662-7726 Fax: (765) 497-9699 E-mail: [email protected] Websites: http://www.c-spanarchives.org/specialuse.php http://www.c-spanstore.com/Info/aboutarchives.php

CBS NEWS ARCHIVE (BBC LIBRARY SALES) BBC Worldwide Americas (New York) 747 Third Avenue 6th Floor New York, NY 10017 Phone: (212) 705-9399 Fax: (212) 705-9342 E-mail: [email protected] or: BBC Worldwide Americas (Los Angeles) Suite 110 3500 West Olive Avenue Burbank, CA 91505 Phone: (818) 840-9970 Fax: (818) 840-9781 E-mail: [email protected] Website: http://www.bbcfootage.com

NBC NEWS ARCHIVES 30 Rockefeller Plaza Room 327 W New York, NY 10112 Phone: (212) 664-3797 Fax: (212) 703-8558 E-mail: [email protected] Website: http://www.nbcnewsarchives.com/ ITN ARCHIVES New York Contact: Steve Messere The Empire State Building 350 Fifth Avenue, Suite 7304 New York, NY 10118-7304 Phone: (646) 723-9540 Fax: (646) 792-4668 E-mail: [email protected] or Los Angeles Contact: Dominic Dare 3500 West Olive Ave. Suite 1490 Burbank, CA 91505 Phone: (818) 953-4115 Fax: (818) 953-4137 E-mail: [email protected]

CNN IMAGE SOURCE One CNN Center Atlanta, GA 30303 Phone: (404) 827-3326 Fax: (404) 827-1840 Website: http://www.cnnimagesource.com FOX NEWS ARCHIVES Website: http://itnarchive.com/fox/ Website facilitates searches on Fox News Channel material from 1996 to the present.

115

35mm and 16mm Print Rental Resources 35mm & 16mm Theatrical and Non-Theatrical

16mm Non-Theatrical

THE MUSEUM OF MODERN ART (MoMA) Circulating Film and Video Library Phone: (212) 708-9530 Fax: (212) 708-9531 Website: http://www.moma.org/research/studycenters/index.html

MODERN SOUND PICTURES 1402 Howard St. Omaha, NE 68102-2885 Website: http://www.modernsoundpictures.com/ Large section of films, including Walt Disney Studio titles.

The library includes more than 1,200 16mm prints covering the history of film from the 1890s to the present, as well as art films from the American Federation of the Arts and 35mm films from the Library of Congress. For information on the rental or sale of these films, see the price list, available free from the library. The library also incorporates an important collection of works by leading video artists, which are available for rental or sale in all formats. FIRST RUN FEATURES 153 Waverly Place New York, NY 10014 Phone: (212) 243-0600 Fax: (212) 989-7649 Website: http://firstrunfeatures.com/ Independent, foreign, fiction, non-fiction. and children's films. KINO INTERNATIONAL CORP. 333 W. 39th St., Ste. 503 New York, NY 10018 Phone: (800) 562-3330 Fax: (212) 714-0871 Website: http://www.kino.com/theatrical/ Classic and world cinema; art-house and foreign-language titles. SWANK MOTION PICTURES, INC. 201 S. Jefferson Ave. St. Louis, Missouri 63103-2579 Phone: (800) 876-5577 Website: http://www.swank.com/ Large selection of films, including classic studio and contemporary titles.

116

Commercial / Retail Sources for Still Photos ARCHIVAL PHOTOGRAPHY 14845 Anne Street Allen Park, MI 48101 Phone: (313) 388-5452 E-mail: [email protected] Website: http://www.arch-photo.com

GETTYIMAGES 601 N. 34th Street Seattle, WA 98103 Phone: (800) 462-4379 Website: http://www.gettyimages.com LARRY EDMUNDS BOOKSTORE 6644 Hollywood Blvd. Hollywood, CA 90028 Phone: (323) 463-3273 Fax: (323) 463-4245 Website: http://www.larryedmunds.com/

CORBIS Toll Free: (800) 260-0444 Los Angeles: (323) 602-5701 New York: (212) 358-9018 Seattle: (206) 373-6100 E-mail: [email protected] Website: http://pro.corbis.com/

MPTV Motion Picture & Television Photo Archive 16735 Saticoy Street, Ste. 109 Van Nuys, CA 91406 Phone: (818) 997-8292 E-mail: [email protected] Website: http://www.mptv.net

EDDIE BRANDT’S SATURDAY MATINEE 5006 Vineland Ave. North Hollywood, CA 91606 Phone: (818) 506-4242 or (818) 506-7722 Website: http://www.saturdaymatinee.com/ FOTOSEARCH 21155 Watertown Road Waukesha, WI 53186-1898 Phone: (800) 827-3920 E-mail: [email protected] Website: http://www.fotosearch.com

117

Film Preservation Resources

118

Film Preservation Information Resources

ASSOCIATION OF MOVING IMAGE ARCHIVISTS (AMIA) Website: http://amianet.org/

MOVING IMAGE COLLECTIONS (MIC) Website: http://mic.imtc.gatech.edu/ An extensive directory of resources on moving images and moving image preservation.

The largest non-profit professional membership association for individuals and institutions concerned with the preservation of moving images.

THE NATIONAL FILM PRESERVATION FOUNDATION (NFPF) Website: http://www.filmpreservation.org/

AMIA: PRESERVATION MANUALS AND FACT SHEETS Website: http://www.amianet.org/publication/resources/guidelines/ videofacts/about.html

Non-profit organization created by the U.S. Congress to help save America's film heritage. Site offers a downloadable 138-page Film Preservation Guide.

Storage standards and guidelines for film and videotape.

NATIONAL FILM PRESERVATION BOARD—LIBRARY OF CONGRESS Website: http://www.loc.gov/film/

FILM FOREVER: THE HOME FILM PRESERVATION GUIDE Website: http://www.filmforever.org/

Site includes extensive links to film preservation resources.

Presented by AMIA. Simple guidelines for preserving motion picture film materials outside of specialized archives, with a focus on storage at home. THE FILM FOUNDATION Website: http://www.admitone.org/ A non-profit organization dedicated to fostering greater awareness of the urgent need to protect and preserve motion picture history. THE INTERNATIONAL FEDERATION OF FILM ARCHIVES (FIAF) Website: http://www.fiafnet.org/uk/ A collaborative association of the world's leading film archives dedicated to the proper preservation and exhibition of motion pictures.

119

Professional Film Preservation and Restoration Services

The following is a condensed list of commercial laboratories experienced in the preservation, copying, and restoration of motion pictures as compiled by the National Film Preservation Foundation (NFPF). It is provided as a public service and does not constitute an endorsement by the National Film Preservation Foundation nor the UCLA Film and Television Archive. This list is limited to Los Angeles-area companies. For the NFPF’s complete list, please download their extensive Film Preservation Guide: http://www.filmpreservation.org/preservation/film_guide.html AUDIO MECHANICS (sound track) 1200 W. Magnolia Blvd. Burbank, CA 91506 Phone: (818) 846-5525 Website: http://www.audiomechanics.com

NT AUDIO VIDEO FILM LABS (sound track) 1833 Centinela Ave. Santa Monica, CA 90404 Phone: (310) 828-1098 Fax: (310) 828-9737 (video) 1400 N. Cahuenga Blvd. Hollywood, CA 90028 Phone: (323) 957-4200 Fax: (323) 957-4212 Website: http://www.ntaudio.com

CHACE PRODUCTIONS INC. (sound track) 201 S. Victory Blvd. Burbank, CA 91502 Phone: (800) 842-8346 Fax: (818) 842-8353 Website: http://www.chace.com CINETECH 27200 Tourney Rd., Ste. 100 Valencia, CA 91355 Phone: (661) 222-9073 Website: http://www.cinetech.com

TECHNICOLOR CREATIVE SERVICES 4050 Lankershim Blvd. North Hollywood, CA 91604 Phone: (818) 260-3839 Fax: (818) 505-5159 Website: http://www.technicolor.com

DJ AUDIO (sound track) 10806 Ventura Blvd., Ste. 2 Studio City, CA 91604 Phone: (818) 760-1673 E-mail: [email protected]

TRIAGE MOTION PICTURE SERVICES 516 N. Larchmont Blvd. Los Angeles, CA 90004 Phone: (323) 962-7420 Fax: (323) 962-7423 Website: http://www.triage.to

FILM TECHNOLOGY COMPANY INC. 726 N. Cole Ave. Los Angeles, CA 90038 Phone: (323) 464-3456 Fax: (323) 464-7439 Website: http://www.filmtech.com

YCM LABORATORIES 3140 Clybourne Ave. Burbank, CA 91505 Phone: (818) 843-5300

FOTOKEM FILM AND VIDEO 2801 W. Alameda Ave. Burbank, CA 91505 Phone: (800) 368-6536 Website: http://www.fotokem.com

120

Film Preservation Bibliography

PUBLICATIONS AVAILABLE THROUGH THE UCLA LIBRARIES: Eastman Kodak Company. The Book of Film Care. Rochester, NY: Kodak, 1983. Arts Library TR886.3.B64 1983 Gracy, Karen Frances. The Imperative to Preserve: Competing Definitions of Value in the World of Film Preservation. 2001 (dissertation). YRL LD791.9.L5 G753 2001 Sargent, Ralph N. Preserving the Moving Image. Washington: National Endowment for the Arts, 1974. Arts Library TR886.3 .S245p Slide, Anthony. Nitrate Won’t Wait: A History of Film Preservation in the United States. Jefferson, NC: McFarland & Co., 1992. YRL TR886.3 .S55 1992 and Arts Library FTV298B-4 Wilhelm, Henry Gilmer. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. 1st ed. Grinnell, IA: Preservation Pub. Co., 1993. Arts Library Reference TR465.W55 1993. PUBLICATIONS AVAILABLE ON THE INTERNET: “The Film Preservation Guide: The Basics for Archives, Libraries, and Museums.” The National Film Preservation Foundation. http://www.filmpreservation.org/ “The Home Film Preservation Guide.” Association of Moving Image Archivists (AMIA). 2004. http://www.filmforever.org “The Moving Image Online Collection.” Association of Moving Image Archivists (AMIA). http://muse.jhu.edu/journals/the_moving_image/ http://www.ipress.umn.edu/journals/movingimage/backissues.html (Bibliography of issues) Wheeler, Jim. Videotape Preservation Handbook. 2002. http://www.amianet.org/publication/resources/guidelines/WheelerVideo.pdf ADDITIONAL PUBLICATIONS: Association of Moving Image Archivists (AMIA). AMIA Newsletter. 1990 – Present. Adelstein, P.Z., et al. IPI Media Storage Quick Reference. Rochester: Image Permanence Institute, 2004. Berriatua, L., et al. All the Colours Of the World – Colours in Early Mass-Media 1900-1930. Italy: Diabasis. Bigourdan, J.L., and J.M. Reilly. “Effectiveness of Storage Conditions in Controlling the Vinegar Syndrome: Preservation Strategies for Acetate Base Motion-Picture Film Collections.” Image and Sound Archiving and Access: the Challenges of the 3rd Millennium. Proceedings of the Joint Technical Symposium. Eds. M. Aubert and R. Billeud. Paris: CNC, 2000: 14-34. Davidson, Steven, and Gregory Lukow, Ed. The Administration of Television Newsfilm and Videotape Collections: A Curatorial Manual. Los Angeles, CA: American Film Institute, 1997.

121

Film Preservation Bibliography (continued) ADDITIONAL PUBLICATIONS: (continued) Gamma Group. The Vinegar Syndrome, A Handbook – Prevention, Remedies and the use of the New Technologies. 2000. Houston, Penelope. Keepers of the Frame: the Film Archives. London: British Film Institute, 1994. Image Permanence Institute (IPI). IPI Project Reports: Preservation of Safety Film and Environment and Enclosures in Film Preservation. Rochester: Rochester Institute of Technology, 1997. Library of Congress. Film Preservation 1993: A Study of the Current State of American Film Preservation. Washington DC: Library of Congress, 1993. Library of Congress. Television and Video Preservation: A Study of American Television and Video Preservation. Washington DC: Library of Congress, 1997. Library of Congress, and Annette Melville. Redefining Film Preservation: A National Plan: Recommendations of the Librarian of Congress in Consultation with the National Film Preservation Board. Washington DC: Library of Congress, 1994. McGreevey, Tom, and Joanne Yeck. “How Films are Preserved and Restored.” Our Movie Heritage. New Brunswick: Rutgers University Press, 1997. Melville, Annette, and Scott Simmon. “Film Preservation 1993: A Study of the Current State of American Film Preservation.” Report of the Librarian of Congress. 4 vols. Washington, DC: Library of Congress, 1993. Meyer, M.P., et al. The Use of New Technologies Applied to Film Restoration: Technical and Ethical Problems. Gamma Group, 1996. National Film Preservation Foundation. The Film Preservation Guide: The Basics for Archives, Libraries, and Museums. San Francisco, CA, 2004. Read, Paul, and Mark-Paul Meyer. Restoration of Motion Picture Film. Butterworth-Heinemann: Oxford, 2000: 1-99. Reilly, James M. IPI Storage Guide for Acetate Film. Rochester, NY: Rochester Institute of Technology, 1993. Reilly, James M., et al. New Tools for Preservation: Assessing Long-Term Environmental Effects on Library and Archives Collections. Commission on Preservation and Access. Smither, Roger, ed. This Film is Dangerous. International Federation of Film Archives, 2002. “The Journal of Film Preservation.” FIAF. 2004. Brussels: FIAF.

122

Resources for Visiting Researchers

123

Film and Television Research Resources in Los Angeles Please contact institutions directly for specific access policies, procedures, and availability. MARGARET HERRICK LIBRARY 333 South La Cienega Blvd. Beverly Hills, CA 90211 Phone: (310) 247-3027 Ref. Assistance: (310) 247-3020 Fax: (310) 657-5431 Websites: http://www.oscars.org/mhl/ http://www.mhlcardcat.org

UCLA LIBRARY – DEPARTMENT OF SPECIAL COLLECTIONS A1713 Charles E. Young Research Library Box 951575 Los Angeles, CA 90095 Phone: (310) 825-4988 Fax: (310) 206-1864 E-mail: [email protected] Website: http://www.library.ucla.edu/libraries/special/scweb/

Collection includes film and video titles, books, periodicals, screenplays, clipping files, lobby cards, press books, photographs, and other special collections.

Collection includes scripts, production records, memos, correspondence, stills, and other special materials.

AMERICAN FILM INSTITUTE Louis B. Mayer Library American Film Institute 2021 North Western Avenue Los Angeles, CA 90027 Phone: (323) 856-7654 Website: http://www.afi.com/about/library.aspx

UCLA ARTS LIBRARY SPECIAL COLLECTIONS 22478 Charles E. Young Research Library Box 951575 Los Angeles, CA 90095 Phone: (310) 825-7253 Fax: (310) 825-1210 Website: http://www.library.ucla.edu/libraries/arts/

Collection includes books, periodicals, scripts, storyboards, stills, artists’ correspondence, scripts, and other production materials.

Rare book holdings, manuscripts, photographs, negatives, ephemera, maps, works of art, architectural drawings and models, and other graphic arts material in over 200 personal paper collections.

ACADEMY FILM ARCHIVE Pickford Center for Motion Picture Study 1313 North Vine Street Los Angeles, CA 90028 Phone: (310) 247-3016 Website: http://www.oscars.org/filmarchive/index.html

USC CINEMA – TELEVISION LIBRARY AND ARCHIVES OF PERFORMING ARTS 3305-B South Hoover Blvd. Los Angeles, CA 90007 Phone: (213) 740-8906 Fax: (213) 740-3994 Websites: http://www-cntv.usc.edu/resources/resourcesmovingimage.php http://cinema-tv.usc.edu/Archives/

Extensive moving-image collection , including Academy Award-nominated films in all categories and the collection of the International Documentary Association. THE MUSEUM OF TELEVISION AND RADIO 465 North Beverly Drive Beverly Hills, CA 90210 Phone: (310) 786-1000 or 25 West 52nd Street New York, NY 10019 Phone: (212) 621-6600 Website: http://www.mtr.org

Collection includes scripts, production records, memos, correspondence, stills, scrapbooks, pressbooks, drawings, music, scores, editing notes, and other materials.

Extensive television programming collection. Available for onsite viewing on a walk-in basis.

124

Accommodations

UCLA GUEST HOUSE 330 Young Dr. East Los Angeles, California 90095 Phone: (310) 825-2923 Fax: (310) 825-6108 E-mail: [email protected] Website: http://www.hotels.ucla.edu

BEST WESTERN WESTWOOD PACIFIC HOTEL 11250 Santa Monica Blvd. Los Angeles, California 90025 Phone: (310) 478-1400 Fax: (310) 478-1401 Website: http://www.bestwestern.com 76-room hotel located around one mile from the campus of UCLA. Reservations are available online or through Best Western’s toll-free reservation line: (800) 780-7234

The newly renovated UCLA Guest House is a 61-room hotel located on the grounds of the UCLA campus. It provides a convenient and affordable housing option to guests visiting the area for campus-related activities.

HOLIDAY INN BRENTWOOD – BEL-AIR 170 North Church Lane Los Angeles, California 90049 Phone: (310) 476-6411 Fax: (310) 472-1157 Website: http://www.ichotelsgroup.com

HILGARD HOUSE 927 Hilgard Ave. Los Angeles, California 90024 Phone: (310) 208-3945 Fax: (310) 208-1972 Website: http://www.hilgardhouse.com/

Recently renovated 211-room facility two miles from the campus of UCLA. Complimentary shuttle service is available to UCLA, Westwood, Brentwood, and the Getty Museum from the hotel. Reservations are available online or through Holiday Inn’s toll-free reservation line: (800) 465-4329

European-style hotel situated at the southern edge of the UCLA campus. Reservation requests are available online or through Hilgard’s toll-free reservation line: (800) 826-3934 CLAREMONT HOTEL 1044 Tiverton Ave. Los Angeles, California 90024 Phone: (310) 208-5957 Fax: (310) 208-2386 Website: http://www.claremonthotel.net/ Established in 1939, the Claremont is a 53-room facility located at the south end of the UCLA campus. Reservations are available via mail, fax, or through the Claremont’s tollfree reservation line: (800) 266-5957 DOUBLETREE HOTEL LOS ANGELES – WESTWOOD 10740 Wilshire Blvd. Los Angeles, California 90024 Phone: (310) 475-8711 Fax: (310) 475-5220 Website: http://doubletree.hilton.com/en/dt/index.jhtml Boutique-style hotel with 55 rooms and 55 suites located within one mile of the UCLA campus. Reservations are available online or through Double Tree’s toll-free reservation line: (800) 222-8733

125

Transportation Information

PARKING OPTIONS AT UCLA UCLA Transportation Services 555 Westwood Plaza, Box 951305 Los Angeles, CA 90015-1305 Phone: (310) 794-7433 Website: http://www.transportation.ucla.edu/parking/Parking.htm

Additional Resources The following is a list of some of the taxi companies providing service to the UCLA-Westwood area: YELLOW CAB Phone: (877) 733-3305 Website: http://www.layellowcab.com

For information regarding parking rates and availability on campus at UCLA, please consult the UCLA Parking Service through their information line or website.

BEVERLY HILLS CAB COMPANY Phone: (800) 273-6611

UCLA COMMUTER GUIDE Website: http://www.transportation.ucla.edu/cguide/Cguide.htm

BELL CAB Phone: (888) 235-5222 Website: http://www.bellcab.com

The UCLA Commuter Guide is a helpful information source for transportation options at UCLA. The guide features information on the UCLA campus, parking, campus shuttles, an outline of major transportation options servicing the university, and much more. The guide is available through the UCLA Transportation Service Administration’s website.

INDEPENDENT TAXI COMPANY Phone: (800) 521-8294

PUBLIC TRANSIT Phone: (800) 266-6883 Website: http://www.mta.net The City of Los Angeles’ public bus and rail service is run by the Metropolitan Transportation Authority (MTA). For more information regarding fares and routes, please consult the MTA through their toll-free information line or website. TAXI SERVICES Website: http://www.taxicabsla.org For information regarding taxi service options in the City of Los Angeles, please consult the Department of Transportation Taxi Services’ website.

126

Index

127

Index 35mm and 16mm Print Rental Resources, 116

NAPA Search Guide, 8 Newsreel Footage Licensing Resources, 110 Newsreel, Third World Newsreel, California Newsreel, 49

Accommodations, 125 African-American Film and Television, 12 Amos ‘n’ Andy, 78 Animation, 15 Archive Events, 74 Arzner, Dorothy, 17

Pal, George, 51 Paper Collection and Stills Research Resources, 104 Paramount, 53 Pre-Code Era, The, 55 Preservation, 57 Professional Film Preservation and Restoration Services, 120 Public Domain Resources, 109

Benny, Jack, 19, 80 Borzage, Frank, 21 Burns and Allen, 82 CBS Radio Mystery Theater, 84 Chinese Film 1930s – 2000s, 23 Columbia Films, 27 Commercial-Retail Sources for Still Photographs, 117 Crosby, Bing, 86

Quick Start Guide, 3 Radio Research Resources, 101 Renoir, Jean, 59 Resources for Screenplays, 105 Retail Sources for Hard-to-Find Films, 107 Retail Sources for Vintage TV Programming, 108 Ripstein, Arturo, 61 Russian Cinema Resources, 97

Decade Under the Influence, A, 76 DeMille, Cecil B., 31 Denove, Jack, 33 Dragnet, 88 Early Television, 35

SAG Foundation: “Conversations,” 29 Soundies, 63 Sports Film Licensing Resources, 111 Still and Paper Collections at UCLA, 103 Studio Licensing Resources, 113 Sundance, 65 Suspense, 90

FAQ: Archive Research and Study Center, 7 Film and Television Research Resources in LA, 124 Film Archive Resources, 95 Film Noir, 37 Film Preservation Bibliography, 121 Film Preservation Information Resources, 119

Television Commercial Licensing Resources, 114 Television Commercial Research Resources, 99 Television Commercials, 67 Television News Footage Licensing Resources, 115 Television Research Resources, Additional, 98 Transportation Information, 126 Twentieth Century-Fox, 69

Hallmark Hall of Fame, 39 Hearst Metrotone Newsreels, 41 Hermosillo, Jaime Humberto, 61 Hollywood Reporter’s Key Art Awards, 43 Lantz, Walter, 48 Latin American Film, 47 Latin American Film Resources, 96

Warner Brothers, 71

Mexico in Focus: Ripstein and Hermosillo, 61

Your Hit Parade, 92

128

Smile Life

When life gives you a hundred reasons to cry, show life that you have a thousand reasons to smile

Get in touch

© Copyright 2015 - 2024 PDFFOX.COM - All rights reserved.