©Activity Connection Care Package - Approved for Free Distribution Early Life and Big Breaks

Total Page:16

File Type:pdf, Size:1020Kb

©Activity Connection Care Package - Approved for Free Distribution Early Life and Big Breaks OLIVIA DE HAVILLAND ©Activity Connection Care Package - approved for free distribution Early Life and Big Breaks Olivia Mary de Havilland was born July 1, 1916, in Tokyo, Japan, to British parents Lilian Augusta (Ruse), a former actress, and Walter Augustus de Havilland, an English professor and patent attorney. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California. page 1 Olivia was raised to appreciate the arts, beginning with ballet lessons at the age of four and piano lessons a year later. She learned to read before she was six, and her mother, who occasionally taught drama, music, and elocution, had her reciting passages from Shakespeare to strengthen her diction. page 2 After graduating from high school in 1934, Olivia enrolled in Mills College in Oakland. There she performed in A Midsummer Night’s Dream and was spotted by Austrian director Max Reinhardt. Photo by Sanfranman59 page 3 Reinhardt was so impressed that he offered her the second understudy position for the role of Hermia in his own stage production of the play. One week before the premiere, both the understudy and lead actress left the project, leaving 18-year- old De Havilland to play Hermia. After that performance, Reinhardt offered her the part in the Warner Brothers film version of the play. Again, she was so impressive that Warner executives signed her to a seven-year contract. page 4 In 1935, Warner Brothers cast de Havilland opposite a young and then-unknown actor—Errol Flynn—in the adventure epic Captain Blood. The film was a huge success, receiving four Academy Awards nominations, including Best Picture. The couple’s chemistry was undeniable, and they went on to star in seven more films together. One of those was The Adventures of Robin Hood, one of the most popular adventure films in Hollywood history. page 5 In 1939, Warner Brothers loaned De Havilland to David O. Selznick for the classic film Gone with the Wind. For her performance as Melanie Hamilton, Olivia received her first Academy Award nomination for Best Supporting Actress. Her star was rising. After Gone with the Wind, Olivia returned to Warner Brothers and continued to churn out films, including Hold Back the Dawn, which resulted in her second Oscar nomination, this time for Best Actress. page 6 There was always rivalry between Olivia and her younger sister (by 15 months) who also became an actress. She was known as Joan Fontaine because her mother favored Olivia and refused to let her use the family name. Both Olivia and Joan were nominated for Best Actress at the 1942 Academy Awards ceremony. Though Olivia was expected to win, Joan took away the honor. The feud between the sisters began when they were children and lasted throughout their adult lives. page 7 More Success Despite these successes, De Havilland questioned her time with Warner Brothers, which continued to cast her in ingénue roles. Olivia wanted meatier roles and began refusing the lighter parts she was offered. When her contract was up, she was ready to move on. Warner had different ideas and informed her that they had added six months to her contract for the times that she refused a part. page 8 De Havilland filed suit against the studio, and in November 1943, the Superior Court ruled in her favor. The decision was one of the most significant and far-reaching legal rulings in Hollywood, reducing the power of the studios and extending greater creative freedom to performers. That ruling, and the subsequent law, is still referred to as the De Havilland Law. Warner Brothers reacted by blacklisting the star, and as result, De Havilland did not work for nearly two years. page 9 Unable to work, De Havilland still made good use of her time. She had become a naturalized citizen of the United States in 1941. During the war years, she joined a three-week train tour of the country, selling war bonds. Later she attended events at the famous Hollywood Canteen, entertaining and dancing with the troops. In December 1943, De Havilland joined a USO tour that traveled throughout the United States and the South Pacific. She later remembered, “I loved doing the tours because it was a way I could serve my country and contribute to the war effort.” page 10 When she returned to the screen in 1946, Olivia made up for lost time. She appeared in To Each His Own, which finally won her the Oscar, and The Snake Pit, which garnered her yet another nomination for Best Actress. In 1949, she appeared in only one film—The Heiress, but her performance earned her another Academy Award for Best Actress. page 11 In 1953, the French government invited her to appear at the Cannes Film Festival. There she met Pierre Galante, who was executive editor of the French journal Paris Match. The couple was married in 1955, and De Havilland moved to Paris, where she has lived since. page 12 From that point on, she made few appearances on the screen but appeared on Broadway and television. In 1964, however, she returned to feature films to appear in two psychological thrillers—Lady in a Cage and Hush, Hush, Sweet Charlotte. The latter was with her close friend Bette Davis. The film earned seven Academy Award nominations. page 13 Her last screen appearance was in The Fifth Musketeer in 1979, and her last career appearance was in the TV movie The Woman He Loved in 1988. On July 1, 2019 Olivia will be 103 years old. Her sister Joan died on 12/15/2013 and so, in terms of longevity, Olivia wins the contest. page 14 A Bit of Trivia • During her career, De Havilland won two Academy Awards (To Each His Own and The Heiress), two Golden Globe Awards (The Heiress and Anastasia: The Mystery of Anna), two New York Film Critics Circle Awards (The Snake Pit and The Heiress), the National Board of Review Award, and the Venice Film Festival Volpi Cup (The Snake Pit), plus a Primetime Emmy Award nomination (Anastasia: The Mystery of Anna). page 15 • Olivia married twice, had two sons (one from each marriage), and dated a number of famous men including Howard Hughes, John Huston, and Jimmy Stewart. • In 2003, De Havilland made a special appearance at the 75th Annual Academy Awards. She received a standing ovation that lasted over six minutes. • De Havilland’s star on the Hollywood Walk of Fame is at 6764 Hollywood Boulevard in case you ever decide to visit. page 16 • Sibling rivalry has long been a theme in De Havilland’s life. When she was nine years old, she made a will in which she stated, “I bequeath all my beauty to my younger sister, since she has none.” • De Havilland enjoys citizenship in three countries. She is British by birthright, American by naturalization, and French by marriage and residence. page 17 • Olivia de Havilland’s thought on dying: “I would prefer to live forever in perfect health, but if I must at some time leave this life, I would like to do so ensconced on a chaise longue, perfumed, wearing a velvet robe and pearl earrings, with a flute of champagne beside me and having just discovered the answer to the last problem in a British cryptic crossword.” • Once asked what she wanted out of life, De Havilland replied, “Respect for difficult work well done.” She has certainly received that. In 2008, she received the National Medal of the Arts, the highest honor conferred upon an individual artist on behalf of the people of the United States. page 18 • In 2010, French President Nicolas Sarcozy appointed De Havilland a Chevalier (knight) of the Legion d’honneur, the highest decoration in France. Sarcozy said, “You honor France for having chosen us.” • In 2017, De Havilland was appointed Dame Commander of the Order of the British Empire. She is the oldest woman ever to receive the honor. In a statement, she called it “the most gratifying of birthday presents.” page 19 Intermission • Do you have a favorite Olivia de Havilland role? If so, what is it and why is it your favorite? • In 2017, De Havilland filed a lawsuit against the FX network for inaccurately portraying her in the series Feud: Bette and Joan. In her suit, she claimed, “Studios, which choose to chronicle the lives of real people, have a legal and moral responsibility to do so with integrity. They have a duty not to steal the value of an actor’s identity for profit.” Although she initially won her case in court, an appeals court later affirmed the right of filmmakers to embellish the historical record and decided that such portrayals are protected by the First Amendment. What is your opinion? page 20 Intermission • De Havilland’s mother named her Olivia after the heroine in William Shakespeare’s Twelfth Night. Do you know the origin of your name? • Mexican actor and director Emilia Fernandez lived in Mexico City on a street with no name. He received permission to name the street “Dulce Olivia,” Spanish for “Sweet Olivia,” after her. What is something that might be named for you? Explain. • Olivia de Havilland is descended from the Haverlands of Normandy, one of whom (the Lord of Haverland) accompanied William the Conqueror in his invasion of England in 1066. What do you know about your own ancestry? page 21 Can You Guess? 1. De Havilland won an Oscar for her role in To Each His Own and was nominated for her role in The Snake Pit.
Recommended publications
  • See It Big! Action Features More Than 30 Action Movie Favorites on the Big
    FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films
    [Show full text]
  • Concetta E. Ribaudo Scrapbook on the Hollywood Canteen 7093
    http://oac.cdlib.org/findaid/ark:/13030/c8474hpv No online items Finding aid for the Concetta E. Ribaudo scrapbook on the Hollywood Canteen 7093 Bo Doub USC Libraries Special Collections 2019 June Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding aid for the Concetta E. 7093 1 Ribaudo scrapbook on the Hollywood Canteen 7093 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Concetta E. Ribaudo scrapbook on the Hollywood Canteen creator: Ribaudo, Concetta E. Identifier/Call Number: 7093 Physical Description: 0.21 Linear Feet1 box Date (inclusive): 1938-1944 Abstract: The Concetta E. Ribaudo scrapbook on the Hollywood Canteen includes a variety of memorabilia collected by Ribaudo, who went by the stage name Connie Roberts, during her employment as a hostess at the Hollywood Canteen during World War II. The Hollywood Canteen was a converted barn that operated at 1451 Cahuenga Boulevard in Hollywood from October 3, 1942 to Thanksgiving Day 1945 as a club offering food, dancing, and entertainment for more than three million servicemen. A military uniform served as ticket for admission and everything at the canteen was free of charge. The collection includes Ribaudo's nametag and identification card, letters she received from servicemen she met at the Canteen, news clippings, and various other forms of ephemera and memorabilia. One pilot who went by the name "Crash Clark" wrote to Ribaudo: "You are an OK kid in my books and I can not tell you just how much fun we had at the canteen.
    [Show full text]
  • Role of the Archives in the Future
    … You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the time…” Abraham Lincoln ( 1809 – 1865 ) FACTS AND FICTION- ARCHIVAL FOOTAGE HISTORICAL EVENTS AND TELEVISION AND FILM PRODUCTIONS Media Archeology Movies and television productions are released and transmitted each year dealing with historical events or public personalities like politicians , military leaders, revolutionaries, and people with a record of special achievemments. The aim of my presentation is to make you aware of different possibilities in reusing archival footage in movies. It is my intention to inform you about the importance of the audiovisual archives and how to reuse transmitted programmes or real shots of life in new productions. It is not my intention to evaluate real shots in historical movies and to report about facts and fiction in those films. The subject is dealt with in the book called: PAST IMPERFECT. History According to the Movies. 1995, and my own paper on the same subject: HISTORY AND MOVIES: An evaluation of the information of historical events, of international known personalities and of famous sites and buildings describes in movies. External links: ( Contact: http://www.baacouncil.org/ or [email protected] for copy of the paper) Television companies should be proud of their collections of transmitted programmes. Because I have worked for televison archive for about 29 years I have viewed a lot of television programmes and movies. Some years ago I started to question the reuse of transmitted television programmes and also the active reuse of news in new productions.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • Transatlantic Antitrust and IPR Developments, Issue 5/2018 Stanford-Vienna Transatlantic Technology Law Forum 3
    Stanford – Vienna Transatlantic Technology Law Forum A joint initiative of Stanford Law School and the University of Vienna School of Law Transatlantic Antitrust and IPR Developments Bimonthly Newsletter Issue No. 5/2018 (November 2, 2018) Contributors: Gabriel M. Lentner, Jonathan Cardenas, Kletia Noti, Marie-Andrée Weiss Editor-in-chief: Juha Vesala 2 Contents INTELLECTUAL PROPERTY ............................................................................................... 5 United States .......................................................................................................................................... 5 A Study in Trademarked Characters ................................................................................................... 5 There is Such Thing as Bad (Right of) Publicity ................................................................................. 9 What’s New in the US-Mexico-Canada Agreement (USMCA) .......................................................... 13 OTHER DEVELOPMENTS ..................................................................................................15 United States ........................................................................................................................................ 15 Olivia de Havilland Asks Supreme Court to Review Docudrama Right of Publicity Case ................ 15 European Union ................................................................................................................................... 18 The UK House
    [Show full text]
  • Swing: from Time to Torque (Dance Floor Democracy at the Hollywood Canteen)
    KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen) by Sherrie Tucker 2013 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Sherrie Tucker. (2013). “Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen.” Daedalus: Journal of the American Academy of Arts & Sciences 142(4):82-97. Published version: http://www.dx.doi.org/10.1162/DAED_a_00243 Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml KU ScholarWorks is a service provided by the KU Libraries’ Office of Scholarly Communication & Copyright. Swing: From Time to Torque (Dance Floor Democracy at the Hollywood Canteen) Sherrie Tucker Abstract: The Hollywood Canteen (1942–1945) was the most famous of the USO and USO-like patriotic nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations during World War II. It is also the subject of much U.S. national nostalgia about the “Good War” and “Greatest Gen- eration.” Drawing from oral histories with civilian volunteers and military guests who danced at the Hol- lywood Canteen, this article focuses on the ways that interviewees navigated the forceful narrative terrain of national nostalgia, sometimes supporting it, sometimes pulling away from or pushing it in critical ways, and usually a little of each. This article posits a new interpretative method for analyzing struggles over “democracy” for jazz and swing studies through a focus on “torque” that brings together oral history, improvisation studies, and dance studies to bear on engaging interviewees’ embodied narratives on ideo - logically loaded ground, improvising on the past in the present.
    [Show full text]
  • Here Are a Number of Recognizable Singers Who Are Noted As Prominent Contributors to the Songbook Genre
    Music Take- Home Packet Inside About the Songbook Song Facts & Lyrics Music & Movement Additional Viewing YouTube playlist https://bit.ly/AllegraSongbookSongs This packet was created by Board-Certified Music Therapist, Allegra Hein (MT-BC) who consults with the Perfect Harmony program. About the Songbook The “Great American Songbook” is the canon of the most important and influential American popular songs and jazz standards from the early 20th century that have stood the test of time in their life and legacy. Often referred to as "American Standards", the songs published during the Golden Age of this genre include those popular and enduring tunes from the 1920s to the 1950s that were created for Broadway theatre, musical theatre, and Hollywood musical film. The times in which much of this music was written were tumultuous ones for a rapidly growing and changing America. The music of the Great American Songbook offered hope of better days during the Great Depression, built morale during two world wars, helped build social bridges within our culture, and whistled beside us during unprecedented economic growth. About the Songbook We defended our country, raised families, and built a nation while singing these songs. There are a number of recognizable singers who are noted as prominent contributors to the Songbook genre. Ella Fitzgerald, Fred Astaire, Rosemary Clooney, Nat King Cole, Sammy Davis Jr., Judy Garland, Billie Holiday, Lena Horne, Al Jolson, Dean Martin, Frank Sinatra, Mel Tormé, Margaret Whiting, and Andy Williams are widely recognized for their performances and recordings which defined the genre. This is by no means an exhaustive list; there are countless others who are widely recognized for their performances of music from the Great American Songbook.
    [Show full text]
  • Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
    The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair­ banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills.
    [Show full text]
  • On This Date Daily Trivia Happy Birthday! Quote Of
    THE SUNDAY, AUGUST 1, 2021 On This Date 1834 – The Emancipation Act was Quote of the Day enacted throughout the British “Study as if you were going to Dominions. Most enslaved people were live forever; live as if you re-designated as “apprentices,” and were going to die tomorrow.” their enslavement was ended in stages over the following six years. ~ Maria Mitchell 1941 – The first Jeep, the army’s little truck that could do anything, was produced. The American Bantam Happy Birthday! Car Company developed the working Maria Mitchell (1818–1889) was the prototype in just 49 days. General first professional female astronomer Dwight D. Eisenhower said that the in the United States. Born in Allies could not have won World Nantucket, Massachusetts, Mitchell War II without it. Because Bantam pursued her interest in astronomy couldn’t meet the army’s production with encouragement from her demands, other companies, including parents and the use of her father’s Ford, also started producing Jeeps. telescope. In October 1847, Mitchell discovered a comet, a feat that brought her international acclaim. The comet became known as “Miss Mitchell’s Comet.” The next year, the pioneering stargazer became the first woman admitted to the Daily Trivia American Academy of Arts and Sciences. The Jeep was probably named after Mitchell went on to Eugene the Jeep, a Popeye comic become a professor strip character known for its of astronomy at magical abilities. Vassar College. ©ActivityConnection.com – The Daily Chronicles (CAN) UNDAY UGUST S , A 1, 2021 Today is Mahjong Day. While some folks think that this Chinese matching game was invented by Confucius, most historians believe that it was not created until the late 19th century, when a popular card game was converted to tiles.
    [Show full text]
  • Selling Masculinity at Warner Bros.: William Powell, a Case Study
    Katie Walsh Selling Masculinity at Warner Bros.: William Powell, A Case Study Abstract William Powell became a star in the 1930s due to his unique brand of suave charm and witty humor—a quality that could only be expressed with the advent of sound film, and one that took him from mid-level player typecast as a villain, to one of the most popular romantic comedy leads of the era. His charm lay in the nonchalant sophistication that came naturally to Powell and that he displayed with ease both on screen and off. He was exemplary of the success of the new kind of star that came into their own during the transition to sound: sharp- or silver-tongued actors who were charming because of their way with words and not because of their silver screen faces. Powell also exercised a great deal of control over his publicity and star image, which is best examined during his short and failed tenure as a Warner Bros. during the advent of his rise to stardom. Despite holding a great amount of power in his billing and creative control, Powell was given a parade of cookie-cutter dangerous playboy roles, and the terms of his contract and salary were constantly in flux over the three years he spent there. With the help of his agent Myron Selznick, Powell was able to navigate between three studios in only a matter of a few years, in search of the perfect fit for his natural abilities as an actor. This experimentation with star image and publicity marked the period of the early 1930s in Hollywood, as studios dealt with the quickly evolving art and technological form, industrial and business practices, and a shifting cultural and moral landscape.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]