For 75 days, the Harry Ransom Center is raising funds for its 2014 exhibition The Making of Gone With The Wind. Opening on September 9, 2014, The Making of Gone With The Wind will reveal stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released. Items from film producer David O. Selznick’s archive provide a behind-the-scenes look into the making of the film. Donations will help support outreach, additional exhibition tours, a published exhibition catalog, and complimentary programming and presentations.
Although at least 14 writers, including F. Scott Fitzgerald, worked on Gone With The Wind, Sidney Howard’s version was the basis for the screenplay, and he received sole credit. Writers were often “typecast” as being particularly good with dialog for example, or story structure. This list of suggested writers for GoneWith The Wind also mentions working methods and personal habits.
For Sinclair Lewis, notes indicate that he “might be either a little too political-minded or a little too gin-minded for this job,” and William Faulkner is characterized as not very reliable.
The Making of Gone With The Wind will include over 300 original items from film producer David O. Selznick’s archive housed at the Ransom Center, including photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Vivien Leigh as the beautiful and ambitious Scarlett O’Hara. The newly conserved costumes will be displayed together for the first time in more than 25 years.
Turner Classic Movies (TCM), the Peabody Award-winning network that is the leading authority on classic films, is a premier sponsor for the Harry Ransom Center’s exhibition The Making of Gone With The Wind, which opens September 9, 2014.
In its 20th year of presenting uncut and commercial-free films, TCM also hosts events such as the TCM Classic Film Festival. At the 2014 film festival, TCM will commemorate the 75th anniversary of Gone With The Wind (1939) with a screening of a recent restoration of the film in collaboration with Warner Bros. Studios.
Held in Hollywood April 10–13, the 2014 TCM Classic Film Festival will celebrate its fifth consecutive year of bringing together legendary stars, award-winning filmmakers, and classic movie fans. TCM host and film historian Robert Osborne serves as official host of the TCM Classic Film Festival.
TCM’s sponsorship will support the Ransom Center, which plans to exhibit more than 300 original items from Gone With The Wind film producer David O. Selznick’s archive housed at the Center, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, fan mail, and gowns worn by Vivien Leigh. Donations for the exhibition will contribute to tours, an exhibition catalog, and programming.
James Salter, author of A Sport and a Pastime and the acclaimed new novel All That Is, will discuss his life and work with Professor Thomas F. Staley tonight at 7 p.m. at the Ransom Center. Salter’s archive resides at the Center. Below, he updates Cultural Compass on what he’s been up to this year.
Following a long period of writing, I’ve finally gotten around to some reading.
I’ve been reading a book, not yet published, about the artist-heroes in the works of Thomas Mann. There are so many magnificent German names and cultural references that I decided to read Doctor Faustus in the Vintage edition, or maybe The Magic Mountain. I like the intoxicated feeling of having a great number of things I want to read and the excitement of beginning. A French writer, Jacques Bonnet, in a book called Phantoms on the Bookshelf writes about the pleasure and great burden of owning a huge collection of books, that is to say books made of paper. He likes to surround himself physically with books that over the years have come to fill every available foot of wall space in his house. He likes to be able to see all the books, let his eye fall on them and when reading them feel the pages in his hand. It was in Bonnet’s book that I came across the names of many writers, usually European, I had never heard of, but also some Japanese writers including one named Kafu Nagai who had lived in the United States for a time, wrote about the Floating World, and sounded interesting. I’ve always liked Japanese writers, not only the famous ones but also some little known, such as Masuji Ibuse and Motojiro Kajii.
I ordered a book by Kafu Nagai and it arrived, but before I could begin reading it, an obituary appeared in the paper a few days ago for Marcel Reich-Ranicki who had died in Berlin at the age of 93. I am 88, so I felt a kinship. Reich-Ranicki was the pre-eminent German literary critic, born in Poland, Jewish, who miraculously survived the war and devoted his life to the literature of a people he never stopped fearing. He had written a highly praised autobiography, which I learned had been translated. I looked it up on Amazon. It was for sale for $5,700. Instead of pursuing that astounding discovery or misprint, I settled for ordering another of his books instead, Thomas Mann and His Family, six children, several of them becoming writers themselves, two of them committing suicide. I am half way through it, and as soon as I finish must get back to Nagai.
Writer James Salter, whose archive resides at the Ransom Center, will discuss his life and work with Professor Thomas F. Staley on Thursday, November 7 at 7:00 p.m.
Salter is the author of A Sport and a Pastime and the acclaimed new novel All That Is. He received the 1989 PEN/Faulkner Award for his collection Dusk and Other Stories,as well as the 2012 Pen/Malamud Award, which honors excellence in the art of the short story.
A book signing of All That Is will follow the lecture.
In honor of his appearance, the Ransom Center is giving away a book signed by Salter. Email firstname.lastname@example.org with “Salter” in the subject line by midnight CST on Thursday, November 7 to be entered in a drawing for the book. Attendees will also have the opportunity to win an autographed copy of A Sport and a Pastime and From Gutenberg to Gone with the Wind: Treasures from the Ransom Center.
Doors open at 6:20 p.m. for members and at 6:30 p.m. for the public. Complimentary parking for members is available at the University Co-op garage at 23rd and San Antonio streets.
This Harry Ransom Lecture is presented by the University Co-op.
As cataloging of the Texas collection of comedias sueltas continues at the Harry Ransom Center, new features about these plays continue to be identified. The sueltas collection comprises nearly 14,000 titles published from the second half of the seventeenth century through the early twentieth century. More than half of the collection’s cataloged works were published between 1850 and 1900, which isn’t surprising as theater was the center of cultural and social life in nineteenth-century Spain.
The nineteenth-century witnessed the building of new theaters, a growing audience, an increasing number of highly prolific writers, and the development of new techniques of staging and dramatic performance. One of the most prominent developments, however, was the blossoming of lyric theater, which in Spain reached its pinnacle with its very own national genre: the zarzuela.
Lyric theater has existed in Spain since the 1630s, when King Philip IV started hosting performances at his hunting lodge near Madrid, known as La Zarzuela because of the brambles (zarzas in Spanish) that surround it. One of the earliest known performances of this genre is El jardín de Falerina written by Calderón de la Barca with music by Juan Hidalgo. In fact, Calderón became the most prominent lyric theater author, and some of his later works, such as El Laurel de Apolo,were already being referred to as zarzuelas.
When Italian opera was brought to Spain at the beginning of the eighteenth century, its popularity overshadowed the baroque zarzuelas. In the 1850s, while some intellectuals in Madrid were trying to create a truly national Spanish opera, other less ambitious composers revived the zarzuela. It was in the second half of the nineteenth century that zarzuelas would reach their Golden Age with authors such as Francisco Asenjo Barbieri, Tomás Bretón, Federico Chueca, Amadeo Vives, and Ruperto Chapí.
Differing from opera because it included dialog alongside singing, the new zarzuela had an excellent reception in Spanish society. At that time, Spain was going through a tumultuous period marked by the Revolution of 1868, an economic crisis, political instability, and the eventual crisis of identity brought on by losing the Spanish American War of 1898. Zarzuelas were an escape for the nineteenth-century Spanish theatergoers, much in the same way that musical films were for the American postwar public of the 1940s and 1950s. Zarzuela themes—usually love stories—were based on Spanish folklore and set in familiar Spanish locations. The plots, set mostly in the working-class districts, ranged from the buffa, or comic style, to the extremely dramatic. They were sung in Spanish and frequently included folkloric dances and costumes. Some of the most popular titles like La verbena de la Paloma, La Revoltosa, La Gran Via, or El barberillo de Lavapies are still being performed today in Madrid at theTeatro de la Zarzuela, open to the public since 1856.
The librettos and music were generally sold separately, and the rights of reproduction were held by different entities, as can be inferred from the catalogs printed on the wrappers and the dealers’ stamps found in the cataloged zarzuelas. However, some of the copies in the Ransom Center’s collection include additional pages with printed or handwritten scores and lyrics.
The hundreds of zarzuelas in the Ransom Center’s sueltas collection provide an excellent example of this genre’s popularity and reach. Without a doubt, these works constitute a valuable source for the study of Spanish popular culture of the period, as well as for the understanding of specific matters related to nineteenth-century theater as an organized entertainment industry.
The cataloging of the comedias sueltas is supported by a grant from the Council on Library and Information Resources Cataloging Hidden Special Collections and Archives.
The exhibition, organized by the National Gallery of Art in Washington with loans from private and public collections, emphasizes the rich and varied works on paper produced in Renaissance Augsburg. “One of the oldest cities in Germany, Augsburg was founded as a Roman military fortress in 15 BCE,” said Catherine Zinser, the Blanton’s curator of exhibitions. “During the reign of Holy Roman Emperor Maximilian I (1459–1519), Augsburg hosted the Imperial Council and became the center from which the emperor organized all of his print and armor commissions. The combined influences of this important seat of government and Augsburg’s location at the crossroads of international trade manifested a diverse artistic community and a thriving art market.”
The Nuremberg Chronicle, an illustrated world history spanning from the biblical Creation of the world to its publication in 1493, depicts Augsburg as a walled city with many churches. One of Nuremberg’s leading artists, Michel Wolgmut, and his stepson, Wilhelm Pleydenwurff, were commissioned to illustrate the publication, which would become the largest book project of its kind in the late fifteenth century. Together, with a workshop of artisans, including a young Albrecht Dürer, Wolgmut and Pleydenwurff created more than 1,800 illustrations from 645 wood blocks. The Nuremberg Chronicle highlights important Western cities, and Augsburg’s prominent, two-page spread speaks to the city’s position as a major center for trade, manufacturing, and publishing.
The Ransom Center holds more copies of the Nuremberg Chronicle–one of the earliest printed books and the first with an existing design–than any other library in the country. The Nuremberg Chronicle along with other prints, drawings, and artifacts are on view at the Blanton Museum through January 5.
This October, Jayne Anne Phillips has released her newest novel, Quiet Dell. Described by Stephen King as “a compulsively readable story,” the novel is based on the true and mysterious murder of a widow and her children living in Quiet Dell, West Virginia.
Phillips, whose archive resides at the Ransom Center, is the author of six novels and short story collections and the recipient of literary prizes including a Guggenheim fellowship and two National Endowment for the Arts fellowships. Her novel Lark and Termite was a finalist for the 2009 National Book Award.
Although best known for his 1848 novel Vanity Fair, William Makepeace Thackeray was not always a writer. After college and a brief stint studying law, he moved to Paris to try his hand as a painter. Gambling and unsuccessful business ventures decimated his inherited fortune, however, and Thackeray was forced to move to London, where he supported his new wife by becoming a journalist.
Despite a career change, Thackeray did not forget his artistic background. His collection at the Ransom Center contains a number of sketches, including proofs of illustrations for comic tales and quick drawings in the margins of his letters. The archive also houses a small journal from 1840 that Thackeray might have taken with him on his travels. Within its three-inch-tall covers are pencil sketches of sailors lounging on the deck of a boat, a woman bent over a writing desk, and a child’s cradle. Although some drawings are more finished than others, all display a steady hand and an eye for form.
Thackeray also illustrated several of his own novels. The spooky sketch pictured above is one such illustration, taken from his 1859 novel The Virginians: A Tale of the Last Century. As its name suggests, the book was set chiefly in colonial Virginia and follows the family of an English colonel, the title character from an earlier Thackeray novel The History of Henry Esmond. If these witches bear a resemblance to those from Macbeth, it might not be coincidence—in The Virginians, several characters attend a performance of the play.
For more sketches by Thackeray, as well as manuscripts of writings, drawings, and letters by and about this English author, explore his archive.
Blood runs through the archive of renowned actor Robert De Niro. From bloodstained props to grisly costumes, artifacts of some of Hollywood’s most iconic thrillers are preserved at the Harry Ransom Center. Although the fake blood that marks these materials might share a similar chemical makeup, each bloody stain has its own secrets.
One such artifact is a shirt De Niro wore in a Cape Fear (1991) fight scene that has several gashes surrounded by fake blood. Twenty years later it is still sticky to the touch, which has posed complicated housing issues. The tackiness of the blood is what made this artifact a preservation challenge because traditional archival materials used to cushion textiles were adhering to—rather than protecting—the shirt. I learned that silicone-coated polyester film proved to be the best storage solution.
I learned that fake blood recipes vary depending on the specific effect a director or special effects supervisor aims for in a movie. For instance, in the film 15 Minutes (2001), the blood contained titanium oxide to give it an opacity that would photograph better. In the film Ronin (1998), the fake blood’s consistency enabled it to splatter from an explosive blood bag apparatus in the armpit of De Niro’s jacket.
These “bloody” artifacts have proven to be a puzzle to conservators and curators since knowing the makeup of these fake blood recipes poses issues when it comes to storing and exhibiting cinema history.
In 2012, Magnum introduced the sale of carefully reproduced contact sheets, offering “the opportunity to own a piece of Magnum’s history.” Indeed the digital turn in photography has forced the contact sheet, once an inextricable part of the photographic process, into obsolescence. Contact sheets, made when negatives are printed directly in contact with photographic paper, gave photographers a first look at their images and provided an important tool for editing. They also serve as artifacts, revealing how photographers approach a subject and work through time and space.
In a statement for the 2011 group publication Magnum: Contact Sheets, edited by International Center of Photography Curator Kristen Lubben, Jonas Bendiksen (b. 1977) marveled at his apparent hesitancy to “use up” too much film on any one scene. He recalled, “here we were in a cloud of white butterflies circling the remains of a Soyuz space rocket’s second stage, while local farm boys were gutting it for scrap metal. In total I shot less than half a roll of film. From the basic angle and composition from which I got the final selection, I clicked the shutter three times. That would not have happened today.”