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Ransom Center to host more than 80 scholars in fellowship program’s 25th year

By Bridget Ground

The Ransom Center will support more than 80 research fellows for 2014–2015, the 25th anniversary of the fellowship program. Since the program’s inception, the Center has awarded fellowships to more than 900 scholars from around the world.

 

The fellowships support research projects in the humanities that require substantial on-site use of the Center’s collections of manuscripts, rare books, film, photography, art, and performing arts materials.

 

The 2014–2015 fellowship recipients, more than half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “J. M. Coetzee and the Idea of the Literary,” “Imagined Heartlands: Post-Postmodern Literature and the American Midwest,” “The Films of Powell and Pressburger,” “Norman Hall: Photo-Editing and International Connections in Mid-Twentieth Century Photography,” and “Dawn of a New Day: New York City Between the Fairs.”

 

The fellowships range from one to three months in duration and provide $3,000 of support per month. Travel stipends and dissertation fellowships are also awarded.

 

The stipends are funded by individual donors and organizations, including the Andrew W. Mellon Foundation, the Creekmore and Adele Fath Charitable Foundation, the American Society for Eighteenth-Century Studies, and The University of Texas at Austin’s Office of Graduate Studies, Schusterman Center for Jewish Studies, and program in British Studies.

 

The Ransom Center will host eight additional scholars in collaboration with the Arts and Humanities Research Council (AHRC) International Placement Scheme (IPS). This program, funded and administered by the U.K.-based AHRC, offers early-career researchers and AHRC-funded doctoral students from U.K. universities the opportunity to enhance their research with a fellowship at one of its six participating host institutions.

 

Image: Cover of Eric Gill’s Twenty-five Nudes (1938; reprint, London: J. M. Dent & Sons Ltd., 1951); James Salter’s notes on possible titles for his novel Light Years, ca. 1974–5; cover of Paul Hayden Duensing’s 25: a quarter-century of triumphs and disasters in the microcosm of the Private Press & Typefoundry of Paul Hayden Duensing (Kalamazoo, Mich.: The Private Press and Typefoundry of Paul Hayden Duensing, 1976); signaled message from the Royal Air Force to John Pudney requesting a poem for the organization’s 25th anniversary, March 24, 1943; photograph of 25th Street Theater, Waco, ca. 1962.

 

See designs for ‘The Red Shoes’ and view a restored version of the film

By Steve Wilson

The Alamo Drafthouse Cinema will be screening a restored version of The Red Shoes (1948) on Thursday, August 5. Through August 1, visitors to the Making Movies exhibition can view Hein Heckroth’s storyboards for The Red Shoes and a “picture script” from the movie.

Hein Heckroth was a Surrealist painter and set designer who lived and worked in Germany in the years after World War I.  Building on the then-radical theories of Edward Gordon Craig and Adolphe Appia, he earned an international reputation working with the Kurt Jooss dance company creating avant-garde sets and costumes for their productions.

In 1933, Heckroth left Germany when he was blacklisted by the Nazis for refusing to leave his Jewish wife, the artist Ada Maier.  They moved to England where Heckroth designed operas for Kurt Weill, Carl Ebert, and others, and continued working with the Jooss dance company, which had also moved to England.  In 1943, production designer Vincent Korda saw Heckroth’s design work in a stage production of War and Peace and hired him to work on Gabriel Pascal’s film Caesar and Cleopatra (1945).  Soon he was recruited by Alfred Junge, the head designer for The Archers, the production unit founded by Michael Powell and Emeric Pressburger.  There he designed costumes for A Matter of Life and Death (1947) and Black Narcissus (1949).

Given his experience with avant-garde theater and designing for dance, he was the natural choice for production designer for The Red Shoes. Powell and Pressburger gave him enormous freedom to experiment, and he created beautiful surreal sets and costumes with materials such as chiffon, gauze, and cellophane.  His stunning designs for The Red Shoes won him an Oscar for color art direction in 1948.

These two designs and the “picture script” for the dance sequence in The Red Shoes come from the collection of Heckroth’s colleague Edward Carrick, another important production designer in England at the time.

Please click on the thumbnails below to view full-size images.

 

Production Design: Alfred Junge's Oscar-winning design for "Black Narcissus"

By Alicia Dietrich

Arguably Britain’s greatest production designer, Alfred Junge was born in Germany and spent his teenage years working as an apprentice to a painter. At eighteen he was “kissed by the Muse” and began working in theater, painting sets, designing costumes, and operating special effects. In the late 1920s he began working with British International Pictures and later Gaumont British where he gained a reputation not only for his brilliant designs but also for his organizational skills in running a large staff of art directors and craftsmen.

Junge’s best known film work is on Black Narcissus (1947), the story of emotional tensions among a group of Anglican nuns who try to establish a convent in the remote reaches of the Himalayas. Director Michael Powell gave Junge unusual freedom in terms of color, composition, and technique, and Junge received the Academy Award for Best Art Direction for the film in 1947. Audiences are still surprised to learn that the film was not shot on location in the Himalayas but on sound stages in England.

The scene painting shown here of Mother Dorothea’s office not only sets up the color and composition of the scene, it also provides important cues for set construction, set decoration, lighting, and cinematography.

This is just one item from the “Production Design” section of the Making Movies exhibition, which opens February 9 at the Ransom Center. Follow our RSS and Twitter feeds or become a fan on Facebook to see new items from the exhibition revealed each day for the next few weeks as part of “Script to Screen.”

For Central Texas readers, join us on the red carpet for a special opening celebration for the Making Movies exhibition on Friday, February 12. Details at www.hrc.utexas.edu/redcarpet.