Thanks to the generous donations of more than 600 supporters from around the world, the Ransom Center is delighted to announce that the fundraising goal to preserve the Gone With The Wind costumes has been reached. From Alaska to Florida, from Australia to Ireland, the response to this project has been enthusiastic and widespread. Although we knew there were legions of devoted Gone With The Wind fans, the overwhelming concern and support for these costumes provides tangible evidence of the power of movies to strike a deep and lasting chord in our collective consciousness. We deeply appreciate the many calls, letters, and emails, which further bolster our commitment to ensuring that the costumes from the David O. Selznick collection will be preserved for future generations to enjoy.
As Gone With The Wind costume designer Walter Plunkett had remarked, “I don’t think it was my best work or even the biggest thing I did… But that picture, of course, will go on forever, and that green dress, because it makes a story point, is probably the most famous costume in the history of motion pictures.”
To those of you who contributed to the project, thank you for helping to preserve these iconic Hollywood treasures. We look forward to seeing you at our exhibition in 2014 celebrating the 75th anniversary of Gone With The Wind.
The Ransom Center recently received a grant from the Tinker Foundation, based in New York City, to restore and make accessible four films by Jorge Prelorán. The series, “The Argentine Gaucho Today,” resides in the Edward Larocque Tinker collection at the Ransom Center.
Born to an Argentine father and Irish-American mother, Prelorán held both American and Argentine citizenship. He grew up in Buenos Aires, studied architecture and then film at the University of California, Los Angeles in 1961, began filming at the University of Tucumán, and moved to Los Angeles in 1976 to teach at UCLA until he retired in 1994. Prelorán died in 2009.
A cultural icon in Argentina, Prelorán donated his archive to the Human Studies Film Archives at the Smithsonian Institution in 2008. He is celebrated for having developed a cinematic genre known as ethnobiography.
What makes this grant special is that the Tinker Foundation provided the original grant to Prelorán to produce the films in 1961. “The Tinker Foundation has come full circle in that it supported the creation of the films, and now it is making certain that the films will continue to benefit students and scholars interested in documentary film well into the future,” said Steve Wilson, Curator of Film at the Ransom Center. “Not only will students and scholars be able to study the films at the Ransom Center, but through our collaborations with the Smithsonian Institution, they will also be available for exhibitions and dissemination via video, television, and the Internet,” he added.
Prelorán’s interest in documentary film production was fueled by work in Hollywood as an assistant director for documentary films and television. In 1961, he received an opportunity to further develop his documentary talents: a $35,000 grant from the Tinker Foundation to make a film on gauchos in Argentina. In an interview, Prelorán recalled, “With $8,000, a borrowed jeep, and seven hours of film, I set out with Horst Cemi, also a UCLA graduate, to discover my country, Argentina.”
The result was not one film, but a four-film series on the gauchos found in representative cattle raising areas.
Among his many honors, Prelorán received the Golden Astor award for life achievement at the Mar del Plata Film Festival in Argentina (2005) and was also declared a Distinguished Citizen by the City of Buenos Aires (2005). In 2008, Prelorán was awarded the International Cinema Artist award by the UCLA School of Theater, Film and Television. A feature-length Argentine documentary film on Prelorán’s life’s philosophy, Huellas y Memoria (Footsteps and Memory), was released in 2009.
Learn more about the Ransom Center’s film collections.
As an avid reader of Denis Johnson’s work (I bought my first Playboy magazine to read Nobody Move in serial form), I was thrilled to have the opportunity to go through his papers. Seeing Johnson speak at the 2008 Flair Symposium, “Creating a Usable Past: Writers, Archives, & Institutions,” had amplified, for me at least, the desire to know as much as one can about a favorite author. Flair’s intimate venue and Johnson’s candidness about his own archive gave mystique to his lost work and to what he has decided to save—for with Johnson, this decision is both deliberate and thoughtful. For those who weren’t there, here is a video of Johnson discussing his past habit of throwing away drafts and one of his more recent decisions to destroy a notebook, essentially censoring his own archive.
Two years after Flair, among the most exciting finds in Johnson’s papers were two pages of a draft of “Emergency,” a story from Jesus’ Son, which had been severely crumpled and then smoothed out to fit in a folder with other drafts of the story. One can only speculate as to why these pages were crumpled, but perhaps they are a testament to Johnson’s statement that, after hearing that poet Donald Justice received $17,000 for the drafts of one of his books, Johnson “went upstairs and emptied his wastebasket.” Scholars and fans alike will be grateful that he did.
There are treasures relating to his early life and even some drafts dated before 1992 (Johnson included a note with several stacks of floppy discs stating “These discs are the only copies of any drafts from before 1992″). There is a binder of press clippings housed with a mother’s devotion in neat, plastic sleeves; letters, report cards, and other mementos of Johnson’s youth; a draft of the story “Happy Hour,” from Jesus’ Son, dated 9-26-1991, and another draft bearing the alternate title “Electric Child on Bad Fun”—a draft that proved to be quite different from its published form.
Johnson said that it was “liberating” to throw away drafts because they “were like skins [he] was shedding and leaving behind.” He adds that this process of shedding skins did more for him as an artist than his drafts could for a researcher. But after Johnson decided to save his skins, his awareness of his papers’ archival destination raises an issue new to the modern area: censorship. It’s hard to imagine Evelyn Waugh or Charlotte Bronte experiencing self-consciousness about writing in a journal because a scholar might someday read it and scoff, but many of today’s top authors are aware that placing their papers at libraries engages part of an important branch of scholarship (and occasionally comes with a pay-off). What does this self-awareness mean for them as artists and archivists, and what does it mean for the future of archives? I’m not one to speculate, but I expect that as more living writers place their archives at libraries, the nature of the archive will evolve, for better or worse.
The Ransom Center has acquired the papers of National Book Award winner Denis Johnson, author of Jesus’ Son and Tree of Smoke.
The collection includes manuscripts, typescripts, research materials, journals, correspondence, family photos and juvenilia, press clippings, books, and other items. Many of Johnson’s pre-1992 works exist only in digital form, and bundles of floppy disks with manuscript drafts are part of the archive. An early scrapbook includes baby footprints, Johnson’s birth certificate, family photos and correspondence between Johnson and his family.
We have read thousands of letters to and from Knopf authors, editorial reports, publicity materials, and sales accounts. Despite having lived in their “house,” read their personal letters, and viewed Alfred’s photographs, I don’t feel that I understand either of the Knopfs particularly well. Both were temperamental and rife with contradictions. This may explain why despite their importance in the history of publishing, the Knopfs have yet to be the subjects of a book-length biography, although there have been attempts, and several projects are currently underway.
Alfred and Blanche Knopf were both notoriously demanding of themselves, their editorial staff, and their authors. When Knopf, Inc. burst onto the American publishing scene in 1915, the couple were among the few Jewish publishers. Alfred was famously denied admittance to a lunchtime circle of publishers, whereupon he formed his own. Their status as outsiders may have something to do with their aggressive, take-no-prisoners business style. Or to put it another way, the Knopfs had ‘tude. And they had style. In a button-down world of publishing, Alfred stood out with his lavender shirts and strident ties; a London tailor once refused to make a shirt out of some brightly hued cloth the publisher had chosen. Blanche, attired in Parisian haute couture, lived near the edge, subsisting largely on salads and martinis. As a female publishing executive, she too was a pioneer with something to prove.
Yet the Knopfs had a softer, gentler side. By the 1920s, they had decided to live independent lives in separate apartments, but on weekends they generally retired to “The Hovel” up the Hudson, in Purchase, New York, to live an apparently tranquil country life. There they frequently entertained their friends and authors, who were often the same people. The Knopfs had a knack for engaging their best authors on a personal level, wining and dining them (Alfred was a noted gourmet and oenophile) and exuding charm. Blanche bought a trenchcoat for Albert Camus and gloves for Elizabeth Bowen. Alfred took snapshots and made home movies of the guests. The devotion of these authors and others, such as Carl Van Vechten and H. L. Mencken, radiates from their letters. As Alfred Knopf maintained, “a publishing house is known by the company it keeps,” and by that measure both the Knopfs were the greatest publishers of their day.
[Also, see earlier blog post about the friendship between Blanche Knopf and Albert Camus.]
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In February, MSD Capital L.P., Magnum Photos and the Ransom Center announced that the collection would reside at the Ransom Center pursuant to an agreement with its new owner, an affiliate of MSD Capital, which had recently acquired the prints from Magnum Photos.
The Ransom Center’s online finding aid includes descriptive text derived from collector’s notes and a lengthy subject index. Each record in the finding aid also includes a link to the related image. ARTstor’s digital library provides advanced search functions and the ability to group selected images for PowerPoint display in classrooms, with images at high resolution.
The invention of the printing press in the fifteenth century and the resultant cultural phenomenon called “Popular Imagery” is a perfect example of cause and effect. Like printed words, unlimited reproductions of images helped bring about the development of a new visual language in early European society and a burgeoning cultural renaissance. The broad scope of the collection, whose origins include nine European countries, illustrate this fact. Prints make up the bulk of the popular imagery collection, with 686 intaglios (including 17 mezzotints), 115 woodcuts, one wood engraving, and six lithographs. Researchers will find an abundance of subjects, from political satire on kings, rulers, revolution, and war to social satire on gender, marriage, and domestic life; from religious studies and their allegorical themes on vice and virtue to numerous motifs on “The Ages of Man,” and “The Dance Macabre” or “Dance of Death.” Great moments in science and technology are visually well-represented in the collection, as are entertaining designs for buildings, board games, and signs of the Zodiac.
While some of the works in this collection were created anonymously—often to protect the creator from ridicule, incarceration, or worse—the collection also includes imagery by many significant artists of the time period, including Albrecht Dürer (1471–1528), Hans Holbein (1497–1543) and Lucas Cranach, the Younger (1515–1586).
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The fellowships support research projects in the humanities that require substantial use of the Center’s collections of manuscripts, rare books, film, photography, art and performing arts materials.
The scholars, almost half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “William Faulkner’s Early Career: A Chronology,” “Cogs in the Dream Machine: Jack Harris and the Role of ‘Still Men’ in Promoting Hollywood Cinema,” “Jimmy Hare and the Beginnings of Photojournalism” and “Raymond Chandler’s Los Angeles.”
The fellowships range from one to three months in duration, offering funds of $3,000 per month. Travel stipends and dissertation fellowships are also awarded. All fellows, with the exception of those selected for dissertation fellowships, are post-doctorates or independent scholars with a substantial record of scholarly achievement.
The medieval and early modern manuscripts collection contains 215 items dating from the eleventh to the seventeenth centuries. It comprises items from various collections, including those of George Atherton Aitken, W. H. Crain, Carlton Lake, Edward A. Parsons, Sir Thomas Phillipps, Walter Emile Van Wijk, Evelyn Waugh, John Henry Wrenn and others.
The Ransom Center is in the process of digitizing all of the collection items, which will be added to the database as they are completed. At present, digital images are available for 27 of the items for a current total of 7,288 pages.
The database contains item-level descriptions for all 215 items, and the collection is searchable by keyword and any combination of the following categories: name, country of origin, century, language, format (such as charters or diaries), subject, and physical features (such as musical notation or wax seals).
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The Ransom Center has acquired the manuscripts of anthropologist Claude Lévi-Strauss’s major and minor doctoral theses. The typed theses, annotated with handwritten corrections, were presented by Lévi-Strauss at the Sorbonne University in Paris in 1948 upon completion of his doctorate in humanities. Lévi-Strauss’s major thesis, “Les structures élémentaires de la parenté,” was published in English as “The Elementary Structures of Kinship” in 1949. In the thesis, he proposed the “alliance theory,” a structuralist model for the anthropological study of relations and kinship. His minor thesis, “La vie familiale et sociale des indiens Nambikwara” (“The Family and Social Life of the Nambikwara Indians”), is an ethnography of an indigenous group of the Brazilian Amazon.
Frequently referred to as the father of modern anthropology and structuralism, Lévi-Strauss is known for works such as A World on the Wane (1955), The Savage Mind (1962) and the four-volume Mythologiques series, completed in 1971.