Report to the U.S.Congress for the Year Ending December 31,2003

Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage

April 30, 2004

Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000

Dear Dr. Billington:

In accordance with Public Law 104-285 (Title II), The National Film Preservation Foundation Act of 1996, I submit to the U.S. Congress the 2003 Report of the National Film Preservation Foundation. It gives me great pleasure to review our accomplishments in carrying out this Congressional mandate.

Since commencing service to the archival community in 1997, we have helped save 630 historically and culturally significant films from 98 institutions across 34 states and the District of Columbia. We have produced The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, the first such publication designed specifically for regional preservationists, and have pioneered in pre- senting archival films on widely distributed DVDs and on American television. Unseen for decades, motion pictures preserved through our programs are now extensively used in study and exhibition.

There is still much to do. This year Congress will consider the reauthorization of our federal grant programs. Increased funding will enable us to expand service to the nation’s archives, libraries, and museums and do more toward saving America’s film heritage for future generations. The film preser- vation community appreciates your efforts to make the case for increased federal investment. We are deeply grateful for your leadership.

Space does not permit my acknowledging all those supporting our efforts in 2003, but I would like to single out several organizations that have played an especially significant role: the National Endowment for the Humanities, The Andrew W. Mellon Foundation, the Academy of Motion Picture Arts and Sciences, The Film Foundation, Twentieth Century Fox, the Creative Artists Agency, MGM, and the Hollywood talent guilds. This report shows what can be accomplished when the film industry, foundations, committed citizens, and the federal government work together.

Sincerely,

Roger L. Mayer Chair, Board of Directors, National Film Preservation Foundation President and COO, Turner Entertainment Company REPORT TO THE U.S. CONGRESS FOR THE YEAR ENDING DECEMBER 31, 2003

Contents

2 Film Preservation: The Federal Role

3 Preservation Grants

5 Avant-Garde Masters

6 New Preservation Guides

8 More Treasures from American Film Archives

10 The Community of Support

11 Appendixes One: Films Preserved Through the NFPF Two: Financial Statements Three: Contributors

Who We Are The National Film Preservation Foundation (NFPF) is Cover image: the independent, nonprofit organization created by the Francis Ford in Thomas Ince’s U.S. Congress to help save America’s film heritage. Working Western The Invaders (1912). This early feature, preserved by with archives and others who appreciate film, the NFPF the Library of Congress, is among supports activities that save films for future generations, the 50 films presented in the improve film access for education and exhibition, and NFPF’s forthcoming DVD set, increase public commitment to preserving film as a cultural More Treasures from American Film Archives, 1894–1931. resource, art form, and historical record. Established in 1996, the NFPF is the charitable affiliate of the National Film Preservation Board of the Library of Congress. THE NATIONAL FILM PRESERVATION FOUNDATION

Film Preservation: The Federal Role

When the U.S. Congress created the National Film Preservation Foundation in 1996, it made a historic commitment to preserving America’s film heritage. Seven years later, it is worth considering the reasons for the found- ing legislation and the difference it has made. In 1992, Congress asked the Librarian of Congress and the National Film Preservation Board to assess the state of American film

preservation. The resulting study, presented The Johns Hopkins Hospital (1932), thought to be one to Congress the following year, found that of the earliest documentaries on an American hospital, Camp Wohelo (1919), a promotional was preserved by the university with an NFPF grant. film for the pioneering girls’ camp, was films were disintegrating faster than archives preserved by Northeast Historic Film. could save them. The motion pictures most at risk were not Hollywood sound features, ensure the preservation and public accessi- which had become valuable assets for rights bility of the nation’s film heritage held at holders, but documentaries, silent-era films, the Library of Congress and other public and socially significant home movies, avant-garde nonprofit archives throughout the United films, newsreels, and independent works. States.” The legislation set aside federal Often these “orphan films” survived as one- matching funds to support programs and What Are of-a-kind copies in institutions lacking the serve as an incentive for private donors. “Preserved Films”? resources to preserve them. Seeking a solution, The charitable affiliate of the National Film the Librarian of Congress and the National Preservation Board, the NFPF started opera- Film is made of Film Preservation Board held hearings and tions in 1997 as a federally chartered non- perishable plastics. evaluated comments from more than 150 profit corporation. Archives preserve respondents. From this public process grew The preservation community has rallied old films by copying a national film preservation plan and the with us to carry out this national mission. blueprint for a new service organization for At the close of 2003, the NFPF has advanced decaying originals American archives, libraries, and museums. film preservation in 34 states and the District onto new film stock. Congress established the National Film of Columbia. In addition, we have given The new masters are Preservation Foundation “to promote and publications produced through our programs to libraries in every state and brought films then stored under saved by American archives to television and conditions that will home video audiences across the country. protect them for That we have accomplished so much in six short years testifies to the strength of the years to come. preservation partnership forged between the entertainment industry, foundations, private citizens, and the federal government through our founding legislation. This report highlights the grants and special projects A Wonderful Construction (1973), a documentary on the World Trade Center, was preserved by the Donnell made possible in 2003 through this net- Media Center of the New York Public Library. work of support.

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Preservation Grants

For more than one hundred years Americans ing day performances at the New Orleans with movie cameras, professional and ama- Jazz Museum, the art of shipbuilding, teur alike, have documented our country— Norman Bel Geddes’ documentary of his filming traditions, creating narratives, and landmark production of Hamlet, color recording the events of the day. They filmed footage of 1920s Sante Fe, and avant-garde peoples and places missed by the mainstream works by Nathaniel Dorsky, Jules Engel, media and in doing so captured the very Willard Mass, and Allen Ross—these are but rhythms and textures of the world around a sampling of the films preserved this year. them. How can we protect these films so that The full list is included in appendix 1. future generations can experience the ways At the center of our programs are the grants America lived, worked, and dreamed during funded through The National Film Preserva- the past century? tion Foundation Act of 1996. The NFPF grants Thanks to the preservation work made enable institutions to make preservation mas- possible through our programs, archives, ters and access copies of culturally and histor- libraries, and museums are taking important ically significant films that would be unlikely steps to save this heritage. Since opening our to survive without public support. doors in 1997, the National Film Preservation Announced through the Internet and Foundation has helped preserve and make professional newsletters, the NFPF grants are available more than 630 films and footage available several times each year. Applicants collections in American institutions. Every submit a brief proposal with two written cost year we assist more organizations and add to estimates. An expert panel drawn from the the range of subjects and regions represented. film community reviews the applications and Silent-era melodramas, pioneering scientific makes the awards.1 Grant winners pledge to Some of the films preserved through expeditions to Nepal and the Congo, open- share copies with the public and store the NFPF grants (from top): Crossing the Missouri, Avery Collection (ca. 1929, Nebraska State Historical Society), Excavations at Chaco Canyon, New Mexico (1932, Explorers Club), Ethnic Communities in Detroit (1952, Wayne State University).

1. The NFPF thanks those who served in 2003: Margaret Bodde (The Film Foundation), John Carlson (Monaco Film Labs), Jay Carr (National Film Preservation Board), David Francis, Dave Kehr (National Film Preservation Board), Mona Nagai (University of California, Berkeley), Michael Pogorzelski (Academy of Motion Pic- ture Arts and Sciences), Rick Prelinger (National Film Preservation Board), Wendy Shay (National Museum of American History), (Columbia University), and Ken Weissman (Library of Congress). A special thanks to the Library of Con- Theos Bernard (left) in Tibet (1937). Bernard was initiated as a lama and witnessed rituals that had been gress and the Directors Guild of Amer- seen by few Westerners. With an NFPF grant, the Pacific Film Archive preserved the footage of his travels. ica for hosting grant panel meetings.

3 THE NATIONAL FILM PRESERVATION FOUNDATION

Organizations Receiving Preservation Grants in 2003

American Museum of Natural History National Impact of NFPF Programs Appalshop Chicago Filmmakers Chicago Province Archives, Society of the Divine Word Coe College Duke University Emory University Explorers Club Field Museum Florida Moving Image Archive George Eastman House Historic New Orleans Collection Honeywell Foundation Hunter College, City University of New York The iotaCenter Japanese American National Museum Johns Hopkins University Library of Congress Louisiana State Museum Mariners’ Museum Maryland Historical Society Minnesota Historical Society new masters under conditions that will safe- As scholars increasingly use film in their MIT Museum guard them for decades to come. All told, the research, more and more archives, libraries, National Center for Jewish Film NFPF awarded $397,000 in cash and labora- and museums are turning to the NFPF for National Museum of American History, tory services grants in 2003. preservation support. Interest grows with Smithsonian Institution Public access completes the preservation every year. Since our initial grants in 1998, New Mexico State Records Center process. After duplicating the source material program participation has increased eight- and Archives on modern film stock, all grant winners make fold. Now, at the close of 2003, the NFPF New York Public Library video or film copies available in their research has assisted institutions across 34 states and Northeast Historic Film facilities and serve wider communities through the District of Columbia. Ohio State University educational programs. The largest archives, 100 Oklahoma Historical Society such as George Eastman House and the 90 Pacific Film Archive, UCLA Film and Television Archive, host University of California, Berkeley 80 regular preservation screenings and loan films Roger Tory Peterson Institute 70 of Natural History for exhibition around the world. Historical 60 Media Archive societies and museums, such as the Utah State 50 98 St. Vincent Medical Center Historical Society and the South Dakota Art 40 83 UCLA Film and Television Archive Museum, incorporate films into exhibits and lectures. Many, such as the University of 30 63 University of Alaska Fairbanks Organizations Served 47 20 University of Iowa South Carolina Newsfilm Library, encourage 31 10 University of South Carolina filmmakers to use their historical footage in 12 new documentaries and television programs. 0 University of Southern California 1998 1999 2000 2001 2002 2003 Others, such as Northeast Historic Film and University of Texas at Austin the National Center for Jewish Film, loan or The NFPF has provided preservation support Wayne State University to 98 nonprofit and public organizations. sell copies at home and abroad. Yale University On average, 16 new participants join our programs yearly.

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Avant-Garde Masters

This year marked the inauguration of the Anthology Film Archives is preserving nine Avant-Garde Masters Grants, the first national 8mm melodramas by the Kuchar brothers program specifically aimed at preserving that push and parody the conventions of influential experimental films. Funded by Hollywood. Created four decades ago, these The Film Foundation in collaboration with films have long been too fragile for public the National Film Preservation Foundation, exhibition. The grant will enable Anthology these grants enable archives to save works to create new 16mm prints and preserve the by artists important to the development of original audiotape sound tracks. The UCLA American avant-garde film. Film and Television Archive’s project involves The avant-garde film is among the motion Rabbit’s Moon, Kenneth Anger’s poetic fable picture types most at risk. Created outside of told through pantomime by and mainstream production channels, avant-garde . Though shot on 35mm, Rabbit’s Moon titles often drop from distribution after their was released only in 16mm reduction copies. “We hope that as initial screenings in galleries, museums, or UCLA will restore the film in its original news of these new underground cinemas. Years later, culturally 35mm format. Both archives are collaborat- significant works may exist only as unique ing with the filmmakers on their projects. grants spreads, more prints or production materials. The Film Foundation sees the program as filmmakers will step The 2003 awards single out works by an important way of recognizing the contri- forward to collaborate George and Mike Kuchar and Kenneth Anger bution of American avant-garde filmmakers with archives to save through grants to Anthology Film Archives and will sponsor the grants again in 2004. and the UCLA Film and Television Archive. their work.”

Margaret Bodde Executive Director The Film Foundation

Rabbit’s Moon (1950), Kenneth Anger’s only film shot in 35mm. This and nine 8mm melodramas by George and Mike Kuchar were selected for preservation through the first Avant-Garde Masters Grants.

5 THE NATIONAL FILM PRESERVATION FOUNDATION

New Preservation Guides

Composite prints, A and B rolls, edge codes, balance stripes—even experienced preserva- tionists can lose their way in the language and processes of film preservation. Now, thanks to a grant from The Andrew W. Mellon Foundation, the National Film Preservation Foundation has published a new reference tool to help archives, libraries, and museums navigate these technical waters. The Film Preservation Guide: The Basics for Archives, Libraries, and Museums traces the path of film through the preservation process, from acquisition to exhibition. Illustrated with photographs prepared by George Eastman House, the 138-page publication describes methods for handling, duplicating, making available, and storing film that are practical for professionals without prior film preserva- tion training. The Film Preservation Guide can be downloaded free The publication is the result of a collabora- from the NFPF Web site or requested by mail. tion that brought together technical experts and collection professionals from across the starting film preservation programs. Discus- country. In 2002, the NFPF began working sions expanded to include regional archivists Warpage (top) and nitrate deterioration with the L. Jeffrey Selznick School of Film and a representative from the Council on are among common types of film dam- Preservation at George Eastman House Library and Information Resources. age and decay discussed in The Film and the Image Permanence Institute at the Successful guides zero in on what their Preservation Guide. Rochester Institute of Technology to create readers need to know. Putting the intended reference tools specifically for organizations audience front and center, the group began by hosting workshops at Duke University and the Minnesota Historical Society’s History Center at which potential users talked with technical experts about the types of information that would equip them to improve the film care at their institutions. Participants asked for tools to inform deci- sion making, for troubleshooting advice as well as step-by-step explications, and for case studies and “real-world” examples. “Keep it simple!” was the message of these discussions. Over the summer and fall the guide went through many revisions, incorporating the The IPI Media Storage Quick Reference uses charts comments of Selznick School students, out- and illustrations to distill technical data relating to the preservation of motion pictures, still photographs, side reviewers, and the workshop attendees audiotape, videotape, CDs, and DVDs. themselves. It is no exaggeration to say that

6 2003 REPORT

The Film Preservation Guide represents the contribution of scores of people and organizations. Improving storage is the single most impor- tant step that institutions can take to protect “These guides will their film collections. Most archives, libraries, empower new film and museums house films as part of mixed preservation specialists media collections and need to develop storage plans that take into account the differing and break down requirements of motion picture film, glass technical barriers for Florida Moving Image Archive’s illustrated history bus plate photographic negatives, audiotape, tour is among the public film programs highlighted in research organizations videotape, paper, CDs, and DVDs. For these The Film Preservation Guide. across the country.” repositories, a second reference tool was pre- pared by the Image Permanence Institute. Connie Brooks The IPI Media Storage Quick Reference distills societies. In addition CLIR will send com- Head, Preservation Department the key preservation issues for each type of plimentary copies to 180 universities and Stanford University Libraries material and provides charts that enable users research libraries. The IPI Media Storage to evaluate how temperature affects their Quick Reference is available from the Image collections. Permanence Institute. The Film Preservation In spring 2004 the NFPF will ship free Guide can be downloaded from the NFPF copies of both publications to all state Web site (www.filmpreservation.org) or libraries, state archives, and state historical requested by mail.

Institutions unable to build special environmentally controlled vaults can adapt freezers and refrigerators for safe film storage.

The Film Preservation Guide is illustrated with photographs contributed by George Eastman House as well as numerous charts and diagrams.

7 THE NATIONAL FILM PRESERVATION FOUNDATION

More Treasures from American Film Archives

Students face huge obstacles in seeing films from the first four decades of American cinema, the period during which the United States became the leader in motion picture production. Fewer than 20 percent of our silent-era films are thought to survive, and only a small number have been reissued on commercial DVD or video. For some popu- lar silent-era , such as serials, not a single example is currently available on Dave Fleischer’s Inklings #12 (1925), good-quality video for classroom use. Mr. Edison at Work in His Chemical Laboratory (1897), preserved by the Museum of Modern The National Film Preservation Founda- a kinetoscope loop preserved by the Academy of Art, is among the animated shorts in Motion Picture Arts and Sciences. the NFPF’s new three-DVD set. tion’s forthcoming DVD set, More Treasures from American Film Archives: 50 Films, 1894–1931, will help change this situation. experimental sound shorts, rare features— The three-DVD box set with illustrated More Treasures illustrates the panorama of catalog highlights the astonishing diversity American filmmaking before 1932 through and creative energy of early motion pictures. examples preserved by the nation’s premier Serials, advertisements, cartoons, newsreels, silent-film archives: the Academy of Motion folklife footage, trailers, avant-garde works, Picture Arts and Sciences, George Eastman

“The aptly named More Treasures gives us a much wider range of works to use in the classroom and thus promises to revo- lutionize the teaching of silent-era film in American colleges.”

Linda Williams Director, Film Studies University of California, Berkeley

The Flute of Krishna (1926), an early Kodachrome experiment preserved by George Eastman House, captures the first performance on film of a Martha Graham dance.

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Contributing Commentary to More Treasures Blaine M. Bartell UCLA Film and Television Archive Jennifer M. Bean University of Washington

House, the Library of Congress, the Museum Samuel Brylawski Library of Congress of Modern Art, and the UCLA Film and Television Archive. Jay Carr The nine-hour program spans four decades, National Film Preservation Board from the earliest surviving sound film, pro- Paolo Cherchi Usai duced in 1894 as a test for Thomas Edison’s George Eastman House “kineto-phonograph,” to A Bronx Morning, Donald Crafton the dynamic urban montage created by Jay University of Notre Dame Leyda in 1931. Among the 50 works are Robert Gitt kinetoscopes of “Buffalo Bill’s Wild West” per- UCLA Film and Television Archive formers, the first surviving film version of The Stephen Gong Wonderful Wizard of Oz, a cartoon satire on University of California, Berkeley prohibition, the earliest surviving talkie of an Tom Gunning American president, Clash of the Wolves star- University of Chicago ring the original Rin-Tin-Tin, Ernst Lubitsch’s Randy Haberkamp masterful adaptation of Lady Windermere’s Academy of Motion Picture Arts and Sciences Fan, a drama staged by striking textile workers to raise relief funds, a follow-the-bouncing- More Treasures presents Hollywood promotional films Steven Higgins ball sing-along with Ko-Ko the , an preserved by the UCLA Film and Television Archive, including an action-packed reel used to convince Carla Kaplan educational film on electric lightbulbs, and exhibitors to book the now lost serial Hands Up (1918). footage of the rural South by novelist Zora University of Southern California Neale Hurston. More Treasures closes with pre- Patrick Loughney Library of Congress views for six lost features and serials. The set The project is made possible by a grant from presents films that have not previously been the National Endowment for the Humanities. Rick Prelinger available on video and stands as a reminder Many are collaborating with the NFPF on the National Film Preservation Board that America’s archives hold many more treas- production. At the Massachusetts Institute of Steven J. Ross ures that require public support to survive. Technology, 36 musicians and composers University of Southern California worked with music curator Martin Marks to Elena Pinto Simon create new music for the films without origi- Bard Graduate Center for Studies in the Decorative Arts, Design, nal sound tracks. Contributing commentary and Culture were 17 scholars and preservationists, ranging Rennard Strickland from Native American law expert Rennard University of Oregon School of Law Strickland on the early Western The Invaders to cinema historian Jennifer Bean on The Hazards of Helen and the action heroines of the silent serials. Film Technology Inc., Chace Productions, and Crest National donated technical services. More Treasures, with pro- gram notes by curator Scott Simmon and Martin Marks, will be available in September 2004 and distributed by Image Entertain- ment. As with the NFPF’s other publications, Rin-Tin-Tin dons a disguise in Clash of the Wolves Music curator Martin Marks and (1925), preserved by the Library of Congress, one of complimentary copies of the set will be given sound engineer Ken Lacouture in MIT’s four rare features showcased in More Treasures. to all state libraries. Killian Hall.

9 THE NATIONAL FILM PRESERVATION FOUNDATION

The Community of Support

The National Film Preservation Foundation Fox, Technicolor Worldwide Film Group, the depends entirely on private contributions to Cecil B. De Mille Foundation, the Creative sustain operations. We salute the growing Artists Agency, Metro-Goldwyn-Mayer, the community that makes our work possible. Directors Guild of America, the Fran & Ray Stark Foundation, Ted and Lea Pedas, the Buuck Family Foundation, the Wilding Family Foundation, Underground Vaults and Storage, and Bonded Services. Commercial laboratories play a special part. Before federal matching funding became available, the NFPF distributed grants in the form of preservation services donated by public-spirited laboratories and postproduction houses. Their ongoing gifts continue to expand the resources for the field and enable laboratories to support film preservation by doing what they do best. For a list of major supporters see appendix 3. Government employees lend a hand by donating through the payroll contribution programs of the Combined Federal Campaign (CFC number 1169) and the California State Employees’ Charitable Campaign. The gifts Fisherman of Terminal Island (ca. 1942), documented received through workplace giving increase in the Fukuzaki family home movies that were pre- served by the Japanese American National Museum. every year. Our cooperative projects are made possible through grants to the NFPF. We salute The At the heart are our founding contributors. Andrew W. Mellon Foundation for funding The Academy of Motion Picture Arts and The Film Preservation Guide, the National Sciences and The Film Foundation provide Endowment for the Humanities for produc- steadfast support and assist year after year in tion support for the More Treasures silent-era more ways than can be counted. Founding DVD, and The Film Foundation for initiat- NFPF Board member Celeste Bartos helped ing the Avant-Garde Masters Grants. launch our programs through grants con- We extend a special thank-you to our new tributed by the Pinewood Foundation 2003 donors—BluWave Audio, CinemaLab, and continues her vital role through the Leonardo DiCaprio, the Marmor Foundation, Philanthropic Collaborative. the Woodward Family Foundation Endow- Many have made multiyear gifts that have ment Fund of the Marin Community Foun- created a solid base for our work. We single dation, Cruise-Wagner Productions, and out the generous contributions of the Matthew and Natalie Bernstein—and all those Wasserman Foundation, Twentieth Century who have contributed over the past year.

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● Avant-Garde Masters Grant Appendix One: ✪ Federal grant ★ Partnership grant Films Preserved Through the NFPF ❖ Saving the Silents funding ▲ Treasures of American Film Archives funding

Alaska Moving Image Preservation Association (Alaska) The Kuchar Brothers’ 8mm Shorts (1958–63), Chicago Province Archives, nine films that explore Hollywood melodrama Society of the Divine Word (Illinois) Alaskan Statehood Convention (1955–56), conventions.● glimpse behind the scenes by delegate Steven New Guinea Fun and New Guinea Worships ✪ McCutcheon.✪ Longhorns (1951), Hilary Harris’s first film. Its Dead (1954–56), anthropologist Louis ✪ Native Alaskan Life (1955–61), footage of Memories (1959–98), tribute to Charles Luzbetak’s studies of the Banz people. ✪ Eskimo villages by a Bureau of Indian Affairs Boultenhouse assembled by Stan Brakhage. Thirty Year Man (1956–57), film about ★ teacher. Catholic missionary work among the native Once upon a Time (1974), Larry Jordan’s avant- ✪ Punahou School Trip to Alaska (1933), Yukon garde fairy tale inspired by platinum prints of peoples of Papua New Guinea. expedition by Hawaiian schoolboys.★ Fontainebleau.✪ Cleveland Museum of Art (Ohio) Relativity (1966), Ed Emshwiller’s abstract American Historical Society of Germans from Russia exploration of our relation to the cosmos.✪ Lights Out, Locked Up (1972), The Most Unforget- (Nebraska) table Tiger We’ve Known (1965), and Motion and The Soccer Game (1959), Undertow (1954–56), Norka (1927), film clandestinely shot by an the Image (1962), animation projects created by and Waterlight (1957), three films by Larry children in the museum’s education programs.✪ American in Soviet Russia to document condi- Jordan.✪ tions in his village.★ Taylor Mead Home Movies (1964–68), three film Coe College (Iowa) ✪ American Museum of Natural History (New York) diaries by the underground film superstar. Coe College (ca. 1940), promotional film ✪ Congo Peacock Expedition (1937), ornithological The Wind Is Driving Him Toward the Open Sea for the Midwestern liberal arts college. ✪ ✪ expedition film. (1968), David Brooks’s film diary. Coe College—1965 (1965), amateur documentary.✪ Anthology Film Archives (New York) Appalshop (Kentucky) A la Mode (1958), surreal animation by Appalachian Genesis (1971), documentary on Columbia University Teachers College (New York) ✪ youth issues.✪ Stan Vanderbeek. Horace Mann Collection (1936–39), footage of The Act of Seeing with One’s Own Eyes (1971), Millstone Sewing Center (1972), portrait of a the influential “progressive” elementary school.★ Stan Brakhage’s exploration of the Pittsburgh War on Poverty program through which elderly city morgue.✪ seamstresses transform hand-me-downs into Documentary Educational Resources (Massachusetts) children’s clothing.✪ Adventures of the Exquisite Corpse (1968), The Ax Fight (1971), controversial documentary experimental work by Andrew Noren.★ Music Fair (1972), profile of the first about the Yanomamo people.✪ Appalachian Peoples Music Fair.✪ Carriage Trade (1972), Warren Sonbert’s The Hunters (1957), John Marshall’s cinéma ✪ ✪ avant-garde diary. Bishop Museum Archives (Hawaii) vérité documentary about a giraffe hunt. Death and Transfiguration (1961), Fantastic Aloha R and R (ca. 1966), Hawaii Visitors Duke University (North Carolina) Dances (1971), Fathomless (1964), Light Bureau short about vacationing Vietnam Reflections (1948–52), Pennsylvania/Chicago/- servicemen.★ H. Lee Waters Collection (1938–40), 10 North Illinois (1957–59), and Sea Rhythms (1971), Carolina town portraits by itinerant filmmaker ✪ explorations with light by Jim Davis. Howland Island (1937) and Punahou School, H. Lee Waters.★ Waikiki (late 1920s), early amateur films.★ Deus Ex (1971), Stan Brakhage’s study of the West Pennsylvania Hospital in Pittsburgh.✪ Nene at Cloudbank Farm (ca. 1955), footage East Tennessee State University (Tennessee) of the captive breeding program that helped Alex Stewart: Cooper (1973), demonstration Early Abstractions (1946–57), groundbreaking save Hawaii’s state bird from extinction.★ ✪ animation series by Harry Smith.▲ of the craft of bucket and barrel making. Eyes (1971), Pittsburgh police at night as seen Brandeis University (Massachusetts) Buckwheat (1974), buckwheat harvesting and ✪ storytelling by Ray Hicks.✪ by Stan Brakhage. Golda Meir at Brandeis (1973), speech The Flower Thief (1960), Ron Rice’s feature celebrating the 25th anniversaries of both Buna and Bertha (1973), traditional ballads starring Taylor Mead.★ Brandeis and Israel.★ sung and discussed by two North Carolina mountain women.✪ Geography of the Body (1943) and Image in California Pacific Medical Center (California) the Snow (1950), avant-garde explorations by Edd Presnell: Dulcimer Maker (1973), film ✪ Willard Maas and Marie Menken.★ White Water and Black Magic (1938–39), of the noted craftsman at work. Richard Gill’s film about his expedition to George Dumpson’s Place (1964), Ed Emshwiller’s ✪ Gandy Dancers (1974), short showing railroad the Amazon to learn the secrets of curare. ✪ portrait of artist George Dumpson.▲ men singing chants as they lay track. Highway (1958), avant-garde filmmaker Hilary Chicago Filmmakers (Illinois) Ott Blair: Sledmaker (1973), demonstration ✪ Harris’s celebration of the open road.✪ of the craft of sled building. Papa (1979) and Thanksgiving Day (1979), first Hurrah for Light (1972) and Look Park (1973– and second parts of Allen Ross’s trilogy about They Shall Take Up Serpents (1973), documen- 74), abstract meditations by Ralph Steiner.✪ his dying grandfather.✪ tary on faith healers.✪

11 THE NATIONAL FILM PRESERVATION FOUNDATION

Emory University (Georgia) language music short by the New Jersey–based harassment and reformation by director Rome Film Corporation.★ John Emerson and scenarist .❖ Britain Builds Again (1946), documentary on affordable housing.✪ American Aristocracy (1916), Anita Loos’s adven- Sowing the Wind (1920), melodrama directed ture comedy, in which is by John Stahl about a convent girl who finds Housing in Britain (1942) and Prelude to Peace ❖ pitted against an international arms smuggler.❖ success on the stage. (1943), film “memos” to President Roosevelt on housing in wartime Britain.★ The Battle of the Sexes (1928), D.W. Griffith’s Stronger Than Death (1920), melodrama starring tale about a gold digger and a married man.❖ Nazimova as a famed dancer who thwarts a World War Against Slums (1934–46), footage by colonial insurrection in India.✪ public housing crusader Charles Forrest Palmer.★ The Blue Bird (1918), atmospheric Christmas ❖ fantasy by Maurice Tourneur.❖ The Struggle (1913), Western by Thomas Ince. Yerkes Primate Research Collection (1930s), early ★ The Call of Her People (1917), melodrama The Tip (1918), silent short starring comedian scientific footage of chimpanzees. ✪ starring Ethel Barrymore.✪ Harold Lloyd. Explorers Club (New York) The Colleen Bawn (1911), surviving fragment Tomato’s Another Day/It Never Happened (1930), ❖ first sound film by avant-garde pioneer James Excavating Indian Pueblos at Chaco Canyon of Sidney Olcott’s three-reeler shot in Ireland. ★ (1932), documentary on Edgar L. Hewett’s Sibley Watson Jr. ✪ A Daughter of the Poor (1917), romantic comedy excavations. written by Anita Loos about a socialist who Turn to the Right (1922), Rex Ingram’s master- converts to capitalism.★ piece about an unjust accusation that changes a Field Museum (Illinois) Connecticut village.▲ Eugene O’Neill and John Held in Bermuda Egypt: A Nile Trip on the Dahabiyeh Bedouin The Upheaval (1916), feature starring Lionel ✪ (ca. 1925), fashion photographer Nickolas ★ (1923), educational travelogue. Muray’s home movie of the playwright and Barrymore as a political boss fighting corruption. ✪ the cartoonist. A Virgin’s Sacrifice (1922), melodrama starring Film/Video Arts (New York) ❖ (1911), D.W. Griffith’s one-reeler Corinne Griffith. Film Club (1970), Jaime Barrios’s documentary ✪ about a military family besieged by Indians. The Virtuous Model (1919), Albert Capellani’s about the Lower East Side organization that drama about a sculptor and his model.❖ brought filmmaking to Latino youths.★ The Golden Chance (1916), Cecil B. De Mille’s drama about an alcoholic who plots blackmail The Voice of the Violin (1909), among the earli- Florida Moving Image Archive (Florida) when his wife unwittingly attracts a millionaire.❖ est D.W. Griffith one-reelers to survive with intertitles intact.★ Arcadia, Florida (1926), town portrait.✪ Humdrum Brown (1918), surviving reels of Rex Ingram’s story of a man who breaks free A Western Girl (1911), Western directed by Everglades National Park Dedication (1947), cer- from his “humdrum” life.▲ Gaston Mèliés in the United States.▲ emony featuring President Truman and filmed by Miami mayor William Wolfarth.✪ Kahlo and Rivera (ca. 1935), the artists at home The Willow Tree (1920), adaptation of a Broad- in Mexico as glimpsed by Nickolas Muray.✪ way play about an expatriate who falls in love Hayes Family Movies (1950s), home movies by with a magical Japanese statue.❖ a South Florida African American family.✪ Kindred of the Dust (1922), melo- drama starring as an unwed GLBT Historical Society of Northern California Hurricane Donna (1960), up-close amateur mother returning to her hometown.❖ footage taken during the storm.★ (California) The Light in the Dark (1922), Hope Hampton Key Largo Flight (1925), aerial footage of the O’Neal Collection (1938–81), home movies of ✪ production in which Lon Chaney steals the the Bay Area gay community.✪ Florida coast before development. Holy Grail to help an accident victim.✪ Le Shane Collection (1965–72), five amateur ✪ The Man in the Moonlight (1919), Royal Harry Smith Archives (New York) narratives. ❖ Mounted Police drama. Autobiography (1950s), self-portrait by Jordan Miami Beach Is Calling You (1941), travelogue Manhattan Madness (1916), satire in which Belson with glimpses of Harry Smith, Hy Hirsh, ✪ ✪ from the Miami Beach Chamber of Commerce. Douglas Fairbanks shows his “sissified” New and other San Francisco beats. Miami Canal (1930), film of Miami’s waterfront York friends how things are done out West.❖ ✪ Mahagonny (1970–80), Harry Smith’s kaleido- shot by a local charter boat skipper. scopic four-screen avant-garde epic inspired by Opportunity (1918), comedy about a young ✪ Orange Blossom Parade (1957), home movie of woman who disguises herself as a man.❖ the Brecht-Weill opera. the African American community in Overtown.✪ Paris Green (1920), love story about a GI whose Historic New Orleans Collection (Louisiana) Ringling Bros. Circus (1929), home movie of a friendship with a Parisian woman blossoms into special performance at E.F. Hutton’s estate.✪ romance in America.❖ Indian Association of New Orleans Parade (1970), footage of the African American Mardi Gras South Florida Home Movies (1925–47), 12 ama- The Penalty (1920), starring Lon Chaney as an groups famed for their costume competition.★ teur films.✪★ underworld mastermind seeking revenge on the man who amputated his legs.▲ Jazz Funeral (1963), footage of a procession through New Orleans.★ Framingham State College (Massachusetts) Phantom of the Opera (1925), silent horror Kingman Collection (1934–42), women’s classic starring Lon Chaney.★ Honeywell Foundation (Indiana) activities at Framingham’s teachers college as ✪ The Scarlet Letter (1913), fragment of a rare Honeywell Collection (1930s–40s), four films by filmed by an instructor. ▲ feature filmed in Kinemacolor. industrialist Mark Honeywell showing his com- ✪ George Eastman House (New York) Sherlock Holmes (1922), starring John Barrymore pany, estates, friends, and social concerns. as the famous sleuth.❖ The Ace of Hearts (1921), drama starring Lon Hoover Institution,Stanford University (California) Chaney as a conspirator in an assassination plot.❖ Skyscraper Symphony (1929), avant-garde celebration of Manhattan by Robert Florey.❖ Soviet Russia Through the Eyes of an American Alba Novella e Ralph Pedi cantando il canzoni il (1935), sound travelogue by mining engineer gondoliere ed il tango della gelosia (1935), Italian- The Social Secretary (1916), story of sexual Charles Stuart.★

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Hunter College,City University of New York (New York) Tatsuno Collection (1938–60), Dave Tatsuno’s Maryland Historical Society (Maryland) celebrated home movie of the detention camp Un amigo en Chicago, Un amigo en Nueva York, ▲ Bayshore Round-Up (1920), Bayshore near Topaz, Utah, and other works. Frutos del trabajo, and Invierno en Nueva York Amusement Park in its heyday.★ (1952–56), four shorts produced by the Puerto Johns Hopkins University (Maryland) Behind the Scenes at Hutzler’s (1938), celebration Rican government to prepare immigrants for life ✪ in America.✪ The Johns Hopkins Hospital (1932), thought of the Baltimore retailer’s 50th anniversary. to be one of the earliest documentaries on the Bermuda to Baltimore (1937), short celebrating ✪ The iotaCenter (California) workings of an American hospital. the inaugural flight of the Pan American Airways seaplane the Bermuda Clipper.✪ Accident (1973), Landscape (1971), Mobiles LeTourneau University (Texas) (1978), Rumble (1975), Silence (1968), Times The Picturesque Susquehanna (1928), documen- Square (1988), Train Landscape (1974), and Wet LeTourneau Machinery (1940s–50s), films ✪ tary showing the river from the Safe Harbor Paint (1977), animation by Jules Engel. documenting machines developed by R.G. Electrical Plant to Chesapeake Bay.★ LeTourneau, the inventor of the bulldozer.★ Allures (1961), Light (1973), Momentum (1968), Play Ball with the Orioles (1957), baseball film and World (1970), abstract films by Jordan promoting a Baltimore brewery.✪ Belson exploring metaphysical concepts.✪ Library of Congress (Washington,D.C.) Raising the Big Flag, VE Day (1945), film Catalog (ca. 1965), John Whitney’s psychedelic The Bargain (1914), William S. Hart’s first ✪ Western feature, filmed on location near the recording Baltimore’s celebration of the end classic. ✪ Grand Canyon.✪ of World War II. Cibernetik 5.3 (1969), film by John Stehura using color gels and computer-generated imagery.✪ Big Fella (1937), Paul Robeson’s second feature Menil Collection (Texas) made abroad.★ High Voltage (1957), abstract film created by The Hon: A Cathedral (1966), story of the con- The Blot (1921), Lois Weber’s social drama James Whitney for the Vortex Concerts in San ★ troversial sculpture created by Niki de Saint Francisco.✪ about the plight of underpaid teachers. Phalle, Jean Tinguely, and Per Olof Ultvedt.✪ Hy Hirsh Collection (1951–61), nine films by De Forest Phonofilms (1920–25), six pioneering Tinguely: A Kinetic Cosmos (1970s), footage of the abstract filmmaker.✪ sound shorts, including one of President artist Jean Tinguely at work.✪ Coolidge speaking at the White House.★ Interior (1987) and Play-Pen (1986), abstract animation films by Jules Engel.★ The Edison Laboratory Collection (1900s–20s), Minnesota Historical Society (Minnesota) footage of Edison’s later years that was rescued ▲ Cologne (1939), portrait of a German American Kang Jing Xiang (1982), meditation on “air” from the inventor’s laboratory. ▲ from James Whitney’s four-part project explor- community by the local doctor and his wife. ✪ The Emperor Jones (1933), starring Paul ing the four elements. The Great Perham Jewel Robbery (ca. 1926), Robeson in the screen adaptation of Eugene amateur narrative.✪ Lapis (1966), James Whitney’s evocation of the O’Neill’s play.▲ mandala created through computerized motion- Hampton Alexander (1973), narrative by ✪ Hellbound Train (ca. 1930), temperance film control optical printing. Timothy McKinney and the Inner City by African American filmmakers James and ▲ Permutations (1968), one of John Whitney’s ✪ Youth League. ✪ Eloise Gist. first computer animation works. Ice Harvesting on the St. Croix River (1953–54), Hemingway Home Movies (ca. 1955), ✪ 7362 (1965–67), abstract film by sculptor home movies of Ernest Hemingway by footage by photographer John Runk. ★ ✪ Pat O’Neil. A.E. Hotchner. Little Journeys Through Interesting Plants and Yantra (1950–57), film by James Whitney Processes, Gluek Brewing Company (1937), ✪ Mead Collection (1936–39), fieldwork footage ✪ accompanied by a Henk Badings score. shot in Bali by anthropologist Margaret Mead documentary on the Minneapolis brewery. ▲ and Gregory Bateson. Ojibwe Life (1936–49), five films by amateur Iowa State University (Iowa) ✪ Venus of the South Seas (1924), adventure yarn ethnologist Monroe Killy. Rath Packing Company Collection (ca. 1933), ✪ with a Prizmacolor reel. Three Minnesota Writers (1958), interviews with films of Rath’s test kitchen and packing plants.✪ African American journalist Carl T. Rowan, poet Verdict: Not Guilty (ca. 1930), commentary on ✪ Japanese American National Museum (California) the justice system by James and Eloise Gist.★ Allen Tate, and novelist Frederick Manfred. Evans Collection (1943), footage of the deten- Louisiana State Museum (Louisiana) Mississippi Department of Archives and History tion camp in Heart Mountain, Wyoming.✪ (Mississippi) The New Orleans Jazz Museum (1967), celebra- Fukuzaki Family Collection (ca. 1942), home tion of the museum’s opening day.✪ Bim Jackson’s Ruleville Movie (ca. 1940), town movies of Los Angeles’ Terminal Island before its ✪ portrait made to draw audiences to the local community was forced into detention camps. Lower East Side Tenement Museum (New York) movie house.★ Hashizume Collection (1945), home movie show- ✪ Around New York (1949), Photo League mem- MIT Museum (Massachusetts) ing life at the Heart Mountain detention camp. ber Edward Schwartz’s documentary about the Miyatake Collection (1934–58), home movies Lower East Side.✪ The Airplane at Play (ca. 1930s), stunt flying ✪ of Japanese American communities before and film by Charles Stark Draper. ▲ after World War II. Maine Historical Society (Maine) Radar Indicators (1944), World War II training ✪ Palmerlee Collection (1942–45), color films Historic Portland, Maine (1940s), footage show- film by MIT’s Radiation Laboratory. of the World War II detention facility in ing local government at work.✪ Tule Lake, California.▲ Motorcycle Hall of Fame Museum (Ohio) Mariners’Museum (Virginia) Sasaki Collection (1927–69), films of Japanese Beverly Hills Board Track Racing (1921), American communities in California and Art of Shipbuilding (1930), instructional series racing film promoting America’s first motor- Washington made by a Buddhist minister.▲ for shipyard workers.✪ cycle manufacturer.★

13 THE NATIONAL FILM PRESERVATION FOUNDATION

Museum of Fine Arts,Houston (Texas) The Portrait (1913) sioned by the War Department to explain the A Proposal under Difficulties (1912) war effort to Americans in uniform.▲ Conversations in Vermont (1969), autobiographi- The Public and Private Care of Infants (1912) cal film by Robert Frank.✪ A Serenade by Proxy (1913) National Baseball Hall of Fame (New York) Thirty Days at Hard Labor (1912) Museum of Modern Art (New York) Cooperstown, 1939 (1939), color film of the A Thrilling Rescue by Uncle Mun (1912) opening festivities of the Baseball Hall of Fame.✪ Biograph Studio Collection (1905–14), 27 films Tim (1912) ❖ by the pioneering motion picture company: The Unsullied Shield (1913) National Center for Jewish Film (Massachusetts) Almost a Wild Man (1913) A There Was (1915), steamy tale of a The Conscience of Hassan Bey (1913) Bernstein Home Movies (1947), footage on board married businessman who loses everything in ✪ The Genius (1914) ❖ the Exodus shot by crew member Bill Bernstein. The House of Discord (1913) pursuit of Theda Bara, the “Vampire.” Blau Home Movies (ca. 1930), footage taken In Life’s Cycle (1910) The Gorilla Hunt (1926), reputedly the earliest ▲ by a Jewish family in Berlin before fleeing to The Left-Handed Man (1913) film of great apes in the wild. ✪ A Limited Divorce (1912) America. The Last Man on Earth (1924), fantasy in Man’s Enemy (1914) Cantor on Trial (1931), Yiddish-language music which the only man to survive the “masculitis” My Baby (1912) short with Leibele Waldman.✪ epidemic becomes the prize in a boxing match “Oh, Uncle” (1909) ❖ One Is Business; the Other Crime (1912) between two women senators. A Day on the Featherlane Farm (1948), Jewish chicken farmers in New Jersey as seen by One Night, and Then— (1910) The Life of Moses (1909), Vitagraph film origi- Mortimer Goldman.✪ The Perfidy of Mary (1913) nally released in five parts but later shown in a The Redman’s View (1909) single screening, thus making it the first surviv- Histadrut: Builder of a Nation (1945), film pro- A Siren of Impulse (1912) ing American feature.✪ moting American immigration to Palestine.✪ The Sorrowful Shore (1913) The Squaw’s Love (1911) The Marriage Circle (1924), Ernst Lubitsch’s Jews in Poland (1956), Yiddish-language docu- comic study of the flirtatious orbit of dissatis- mentary about the brief renewal of Jewish life Strongheart (1914) ❖ ✪ Sweet and Twenty (1909) fied partners. in Warsaw under Communism. The Test (1909) Moana (1926), documentarian Robert Flaherty’s Libe un Laydnshaft (1936), Yiddish-language The Thief and the Girl (1911) legendary portrait of Samoan life.▲ melodrama about a woman who shoots her Those Little Flowers (1913) seducer.▲ (1909) The Mollycoddle (1920), adventure in which diamond smugglers are bested by a bespectacled Of These Our People (1946), Samuel Brody’s Tom, Tom, the Piper’s Son (1905) ❖ ✪ The Two Paths (1911) milksop played by Douglas Fairbanks. documentary about anti-Semitism in America. Was He a Coward? (1911) Private Life of a Cat (1947), Alexander A Tale of Two Worlds (1948), film pleading for The Wife (1914) Hammid’s poetic documentary on parental refugee assistance.✪ guidance and instruction.▲ Blind Husbands (1919), Erich von Stroheim’s Tribute to Eddie Cantor (1957), film of a ❖ directorial debut. Springtime for Henry (1934), romantic comedy benefit including remarks by Harry Truman about a rich playboy who tries to reform by on American foreign policy on Israel.✪ Blind Wives (1920), lesson on the perils of ★ consumerism, driven home to a spendthrift taking charge of his factory. ❖ Zegart Collection (1945–48), Arthur Zegart’s wife through three nightmares. The Suburbanite (1904), comedy about the trials footage of the Ebensee concentration camp ✪ ▲ The Call of the Wild (1923), adaptation of of a commuter who moves to the suburbs. and Jewish refugees. London’s classic.❖ The Symbol of the Unconquered (1920), National Museum of American History, Oscar Micheaux’s tale of a black homesteader’s Children Who Labor (1912), social-problem film ▲ Smithsonian Institution (Washington,D.C.) made by the Edison company for the National struggle on the plains. ✪ Carney Collection (1938–41), baritone saxo- Child Labor Committee. Tol’able David (1921), starring Richard phonist Harry Carney’s behind-the-scenes look The Country Doctor (1909), D.W. Griffith’s one- Barthelmess as the young David who overcomes ▲ ❖ at the Duke Ellington Orchestra. reel tragedy about a dedicated doctor.✪ his Goliath and delivers the mail. Crystals for the Critical (1951), industrial film Wild and Woolly (1917), satire scripted by The Coward (1915), Thomas Ince’s Civil War about the manufacture of oscillators for military study of a father who assumes his cowardly son’s Anita Loos in which an Easterner, played ★ ❖ aircraft radios. place in the ranks.▲ by Douglas Fairbanks, goes west. DuMont Advertising Program for 1955 (1955), The Devil’s Wheel (1918), melodrama set in the ★ ❖ National Air and Space Museum, short explaining how to sell television sets. dangerous world of Parisian gambling. Smithsonian Institution (Washington,D.C.) Groucho Marx’s Home Movies (1929–34).★ Edison Company Collection (1912–14), 20 one- Keystone Aircraft Corporation Collection ❖ Kahn Family Films (1928–34), home movies reelers by the early motion picture company: (1926–34), promotional films from the manu- of Manhattan building sites by the owner of The Ambassador’s Daughter (1912) facturer of a pioneering passenger plane.▲ At Bear Track Gulch (1913) the Godwin Construction Company.✪ Seymour Collection (1926–34), five films from Bill’s Sweetheart (1913) Shoes on the Move (1962), promotional film Bread on the Waters (1913) the early years of commercial aviation.✪ about the modern factory techniques of the A Christmas Accident (1912) World Trip Collection (1935–36), in-flight United Shoe Machinery Corporation.★ How They Outwitted Father (1913) footage of the Hindenburg taken by vacationing In a Japanese Tea Garden (1913) Western Union Corporation Collection Americans.▲ John Manly’s Awakening (1913) (1927–46), 11 shorts produced by the pio- ▲ Lady Clare (1912) National Archives and Records Administration neering communications company: The Man He Might Have Been (1913) (Washington,D.C.) Accuracy First (1929) An Old Fashioned Elopement (1912) Facsimile (1946) (1914) Why We Fight (1942–45), seven films commis- Gumming (1930)

14 2003 REPORT

Keyboard Errors (1929) White Collection (1926–33), Kodacolor footage Goodall Summertime: The Story of Warm Weather Mechanical Call Distribution System (1930) of Santa Fe.✪ Profits (1932), promotional film explaining how Mechanized Telegraph (1940) to sell Palm Beach suits.✪ The 100 Wire Concentration Unit (1929) New York Public Library (New York) Hackett Collection (1934), silent documentary Reperforator Switching (1943) Dance for Walt Whitman (1965), Negro Spirituals ▲ Speed Killers (1930) about a Maine tuberculosis sanatorium. (1964), and Ritual and Dance (1965), films of Western Union Relays, Parts I and II (1931) Historic Provincetown (1916), travelogue.▲ performances by Ben Vereen while a student at X Messages (1927) the High School of the Performing Arts.✪ Mahlon Walsh Collection (1930s), amateur film ✪ National Museum of Natural History, Fishing on the Niger (1967), International Film of Freeport, Maine. Smithsonian Institution (Washington,D.C.) Foundation documentary on the Bozo people.★ Maine Marine Worm Industry (1942), the worm digger’s craft as filmed by Ivan Flye, founder of Digging Up the Dead in Madagascar (1963), Herding Cattle on the Niger (1967), Interna- ✪ Sarajane Archdeacon’s documentary on the tional Film Foundation documentary on the a major fish-bait business. famadihana, the exhumation ceremony honor- Peul people.★ The Story of Chase Velmo: The Perfect Mohair ✪ ing ancestors. Velvet (1926), industrial film tracing the steps I Stand Here Ironing (1980), Midge Mackenzie’s ✪ Herskovits Collection (1930–34), footage taken film adaptation of Tillie Olsen’s short story, nar- of fabric production. ✪ by Melville J. Herskovits in the Sea Islands, rated by the author. A Vermont Romance (1916), social drama about Haiti, and West Africa.▲ ▲ Isadora Duncan Technique and Choreography a country girl forced to take work in a factory. Pahs and Papas (1921), travel short including (1979), demonstrations by dancers trained by Wohelo Camp (1919–26), documentation of ★ ✪ early footage of the Maori. Duncan’s own students. the all-girl camp that was an inspiration for the ✪ Philippines Footage (1930s), ethnographic films Magic Rites: Divination by Tracking Animals Camp Fire Girls. ✪ by American businessman Whipple S. Hall. (1967), International Film Foundation docu- ★ Ohio State University (Ohio) Songs of the Southern States (ca. 1926), one-reeler mentary on the Dogon people. by James A. Fitzpatrick depicting plantation life Malcolm X: Struggle for Freedom (1964), Richardson Collection (1939–41), color footage ✪ during the Civil War. Lebert Bethune’s documentary.✪ of Admiral Richard Byrd’s third Antarctica expedition.✪ Nebraska State Historical Society (Nebraska) Massine Collection (1936–38), three silent films by choreographer Leonide Massine of the Ballet Oklahoma Historical Society (Oklahoma) Increasing Farm Efficiency (1918), promotional Russe de Monte Carlo.▲ film by the owner of a Delco battery franchise Farm in a Day (1948), documentary on the ★ A Place in Time (1976), Charles Lane’s tale of a on the benefits of rural electric power. ▲ transformation of vacant land into a working young black street artist. farm.✪ Kearney and Its People in Motion Pictures (1926), “film time capsule” of the Nebraska town.★ Protovin Collection (1980s), Richard Protovin’s The Kidnapper’s Foil (ca. 1935), local production Fan Film and Cityscapes Trilogy, codirected by inspired by Our Gang.✪ Kellett Farm Crops (1930s–40s), five films Franklin Backus.▲ tracking the life cycle of sugar beets, potatoes, This Is Our City (1950), political ad urging beans, corn, and alfalfa.★ A Wonderful Construction (1973), Don Lenzer’s passage of municipal bond issues.✪ documentary on the building of the World Last Great Gathering of the Sioux Nation (1934), Trade Center.✪ dedication of twin monuments to Crazy Horse Oregon Historical Society (Oregon) and Lt. Levi Robinson as filmed by the local Columbia Villa (ca. 1940), footage of wartime ✪ North Carolina State Archives (North Carolina) pharmacist. housing construction in Oregon.★ North Carolina Town Films (1930s), portraits Lions International Convention (1924), scenes of Kannapolis and Concord/Moorsville by from the Omaha convention.✪ ✪ Pacific Film Archive,University of California, H. Lee Waters. Berkeley (California) Men’s Gymnastics (1935–48), early training films by a University of Nebraska coach.✪ Northeast Historic Film (Maine) Anselmo and the Women (1986), Chick Strand’s study of human relationships.✪ Nebraska Home Movies (1923–34), five early Amateur Exemplars (1920s–40s), home movies by the Meyer Davis family, Hiram Percy Bleu Shut (1970), absurdist comic short by examples showing barnstorming, auto touring, ▲ and college life.✪ Maxim, Adelaide Pearson, Thomas Archibald Robert Nelson. ▲ Stewart, and Elizabeth Woodman Wright. Fake Fruit (1986), Chick Strand’s documentary New Mexico State Records Center and Archives Aroostook County (1920), record of a rural about women factory workers who make papier- ▲ (New Mexico) agricultural fair.▲ mâché fruits. Dawson, N.M. (1937–38), home movies of life ✪ Benedict Collection (1920s), footage of Father’s Day (1974), Lenny Lipton’s sound short in the company-owned mining town. Monhegan Island, Maine.★ of James Broughton’s Father’s Day celebration.✪ Los Alamos Ranch School (1929–30), promotion- The Bill Wilson Story (1952), educational short Hours for Jerome (1982), Nathaniel Dorsky’s al film for the elite boys’ boarding school that by James Petrie on juvenile delinquency.✪ inspired by the medieval was closed to make way for the atomic research Book of Hours.✪ laboratory.✪ Cary Maple Sugar Company (1927), documen- tary on Vermont maple syrup products.▲ Light Years (1987), meditation on distance, Madrid Christmas Scene (1940), promotional memory, and change by Gunvor Nelson.✪ film celebrating the town’s spectacular holiday Forbes Collection (1915–28), 28mm home light displays.✪ movies of the Maine coast.✪ OffOn (1968), Scott Bartlett’s seminal work merging film and video technologies.▲ San Ildefonso—Buffalo and Cloud Dances Goodall Home Movies (1920s–30s), the Maine (1929), ceremonial dance performances filmed textile family at home and on outings with mill Theos Bernard Collection (1937), footage shot by Ansel Adams’s wife, Virginia.✪ workers.✪ in Tibet by the American scholar and lama.✪

15 THE NATIONAL FILM PRESERVATION FOUNDATION

Paso Robles Pioneer Museum (California) RFD ’38 (1938), documentary about a South Dawn to Dawn (1933), gritty farm drama Dakota farm’s recovery from drought.✪ by Russian American Josef Berne.★ Pioneer Days (1938–47), three nitrate films of Paso Robles’s Pioneer Day festivities.✪ Whitlock Collection (1936–50), Lakota life as The Fighting Blade (1923), swashbuckler starring filmed by the superintendent of the Rosebud Richard Barthelmess as a soldier of fortune.❖ ✪ Peabody Essex Museum (Massachusetts) Reservation. The Horse (1973), color short by independent ✪★ Commercial Sailing (1921–35), four reels from filmmaker Charles Burnett. ✪ Southern Illinois University (Illinois) sailing historian Giles Tod. Horse Shoes (1927), farce starring Monty Banks Katherine Dunham Dance Research (1932–36), as a rookie lawyer caught in a quagmire of Recreational Sailing in the ’20s (1924–26), ❖ ✪ home movies made by the dance luminary while double-crosses and mistaken identity. footage of yachting in New England. traveling in Haiti.★ The Hushed Hour (1919), morality tale about Pennsylvania State Archives (Pennsylvania) St.Vincent Medical Center (California) siblings who learn about themselves when they carry out their father’s dying wish.▲ The Inauguration of Governor Fisher (1927), Polito at St. Vincent’s Hospital (mid 1930s), newsreel by the Comerford Amusement Intimate Interviews: Bela Lugosi at Home (1931), ✪ the Los Angeles medical facility as filmed by ★ Company. Hollywood cinematographer Sol Polito.✪ one of a series of celebrity interviews. St. Vincent’s Capping Ceremony (1947), footage Lena Rivers (1914), early feature about a Roger Tory Peterson Institute of Natural History Southern aristocrat who struggles to keep secret (New York) of graduation festivities at one of California’s ▲ first nursing schools.✪ his marriage to a Northerner. Wild America (1953), chronicle of Roger Tory Lorna Doone (1922), Maurice Tourneur’s Peterson’s trek across the country with James Stanford University (California) romance about outlaws on the moors.❖ Fisher.✪ Richard Bonelli at the San Francisco Opera The Love Girl (1916), melodrama about an ❖ San Diego Historical Society (California) (1930s), backstage footage of the American orphan who rescues her kidnapped cousin. baritone.✪ Balboa Park after the Fire (1925).✪ The Man in the Eiffel Tower (1949), detective yarn directed by and featuring Melodramas from the La Jolla Cinema League State Historical Society of Wisconsin (Wisconsin) Charles Laughton as Inspector Maigret.✪ (1926–27), amateur theatricals.✪★ Bill’s Bike (1939), William Steuber’s tale of a ★ Marian Anderson’s Lincoln Memorial Concert Requa Collection (1935–37), Richard Requa’s boy and his bike. (1939), newsreel footage of the African record of his architectural work for the American contralto’s Easter Day concert.▲ ✪ Swarthmore College (Pennsylvania) California-Pacific Exposition. Molly O’ (1921), comedy about an Irish Ameri- Walk to Freedom (1956), documentary about San Diego Expositive Weekly News (1916), can laundress, played by Mabel Normand, who the Montgomery Bus Boycott.✪ ❖ newsreel of the Panama-California Exposition.✪ sets her heart on a millionaire doctor. Spreckels Theater: Sound Premiere (1931), Third World Newsreel (New York) Multiple Sidosis (1970), One Man Band (1965– celebration of the San Diego movie palace’s 72), and Stop Cloning Around (ca. 1980), trick People’s War (1969), guerrilla documentary by ✪★ first screening of a sound film.✪ films by amateur filmmaker Sid Laverents. John Douglas and Robert Kramer using footage from a trip to North Vietnam.✪ My Lady of Whims (1925), melodrama starring San Francisco Media Archive (California) Clara Bow as a rich girl gone bohemian.❖ Frank Zach Collection (1958–60), three films Tudor Place (Washington,D.C.) My Lady’s Lips (1925), newspaper melodrama ✪★ by amateur filmmaker Frank Zach. Tudor Place (1930s–40s), upstairs/downstairs in which an ace reporter goes underground to rescue his editor’s daughter.❖ San Francisco’s Chinese Communities (1941), look at life in a Georgetown mansion as cap- ✪ films of the Chinese New Year parade and other tured in home movies. Peggy Leads the Way (1917), feature starring public festivities.★ Mary Miles Minter as the plucky Peggy, who UCLA Film and Television Archive (California) saves her father’s ailing store.▲ San Francisco Performing Arts Library and Museum The Adventures of Tarzan (1928), 15-episode Poisoned Paradise (1924), melodrama starring (California) serial featuring Elmo Lincoln in the title role.❖ Clara Bow as the housekeeper to an artist who plans to beat the odds in Monte Carlo.❖ Anna Halprin Collection (1955–73), six studies Animated Short Subjects by Ub Iwerks (1930s), documenting the work of the modern dance ▲ Rabbit’s Moon (1950), Kenneth Anger’s fable of ★ five cartoons from the pioneering animator. innovator. an attempted suicide, filmed in 35mm and told The Automobile Thieves (1906), Vitagraph short ● ❖ through pantomime by Harlequin and Pierrot. Smithsonian Institution Archives (Washington,D.C.) about car hijacking. Race Night Films (1933), slapstick shorts from Barriers of the Law (1925), tale of a law enforc- Mann Expedition (1939), footage of the ❖ “Race Night,” a Depression-era prize-giveaway Smithsonian Zoo’s collecting expedition to er’s dangerous romance with a bootlegger. series designed to lure audiences into theaters.★ ★ Argentina and Brazil. Becky Sharp (1935), first full-length feature ★ The Roaring Road (1919), romantic comedy The Smithsonian-Firestone Expedition to Liberia in three-strip Technicolor. about a daredevil car racer who must beat the ❖ (1940), films from the trip by zoo director Bunny’s Birthday Surprise (1913), one-reeler train to win his sweetheart. ★ ❖ William Mann and his wife. starring John Bunny and Flora Finch. Ruth of the Rockies (1920), two surviving chapters of the adventure serial starring Ruth Roland.❖ South Dakota State University (South Dakota) Capital Punishment (1925), crime melodrama in which a social worker’s good intentions lead Several Friends (1969), Charles Burnett’s portrait ❖ Dunn Collection (late 1940s–54), two films to murder. of a South Central Los Angeles family.✪★ about the prairie painter Harvey Dunn.★ Crooked Alley (1923), revenge drama about an Tillie’s Punctured Romance (1914), Charlie Johnson Family Farm (1945–75), 8mm films ex-con who vows to “get” the judge who refused Chaplin’s first comedy feature, with Marie of a farm near Orient, South Dakota.✪ to pardon a dying friend.❖ Dressler in a reprise of her famous stage role.❖

16 2003 REPORT

Vanity Fair (1932), independent feature starring Wood Duck Ways (1940s–60s), Walter Brecken- guide Harry Aleson and Batman illustrator Myrna Loy as a modern-day Becky Sharp.▲ ridge’s nature film on the behavior of the wood Dick Sprang’s southeast Utah expeditions.✪ duck.✪ Vitagraph Short Films (1905–14), 13 one- Frazier Collection (1938–55), footage of and two-reelers from the pioneering movie University of Mississippi (Mississippi) Dr. Russell Frazier’s explorations of Antarctica company:▲ and Glen Canyon.★ The Ageless Sex (1914) Lytle Collection (1938–41), home movies of life Utah Canyon River Trips (1946–50), The Butler’s Secret (1913) in the Mississippi Delta.✪ Harry Aleson’s documentation of his canyon Buttercups (1913) Thomas Collection (1950s), Wall, Mississippi, explorations.✪ The Greatest Thing in the World—Love (1912) as seen by the owner of a gas station serving Hako’s Sacrifice (1910) both the white and black communities.★ Visual Communications (California) License No. 13, or The Hoodoo Automobile (1905) University of Nebraska—Lincoln (Nebraska) Cruisin’ J-Town (1976), Duane Kubo’s docu- Monsieur Beaucaire, The Adventures mentary on Los Angeles’ Little Tokyo.★ of a Gentleman of France (1905) The Rainbow Veterans Return to Europe (1930), Noah’s Ark (n.d.) amateur film of the return of 42nd Infantry Wallowa County Museum (Oregon) Division veterans to World War I battle sites.✪ Old Glory (1910) Buy at Home Campaign (1937), local short Private Bunny (1914) University of South Carolina (South Carolina) urging citizens of Enterprise, Oregon, to The Servant Girl Problem (1905) patronize local businesses.✪ The Starving Artist, or Realism in Art (1907) Airmail Service (1926), newsreel outtake of Two Christmastides (1909) Charles Lindbergh as a young mail pilot.★ Wayne State University (Michigan) War on the Plains (1912), early Western made ❖ Confederate Widow (1930), Native American Life Ethnic Communities in Detroit (1952), Detroit’s by Thomas Ince on the 101 Ranch. (1929), and Women Aviators of the Silent Era Belgian, Canadian, Chinese, German, Italian, Who Pays? (1915), Ruth Roland series that was (1920s), newsreel outtakes.✪★ Mexican, Middle Eastern, Polish, and Ukrainian ❖ neighborhoods before urban renewal.✪★ among the first to explore social issues. Reunion of Confederate Veterans (1930), veterans and former slaves retell their Civil War experi- University of Alaska Fairbanks (Alaska) ★ West Virginia State Archives (West Virginia) ences for Fox Movietone News. Alaska 49th State (1959), celebration of the new Barbour County (1935–44), amateur film state by Fred and Sara Machetanz.✪ University of Southern California (California) documenting a one-room schoolhouse.▲ The Chechahcos (1924), first feature shot entirely And Ten Thousand More (1949), plea for im- New River Company Collection (ca. 1940), in Alaska.▲ provement of public housing in Los Angeles.✪ two coal-mining films.✪ Inupiat Dances (1950s), color films by Sammy Bunker Hill 1956 (1956), documentary on the Safety Is Our First Consideration (1941), Mogg, thought to be the first native Alaskan impact of urban renewal in the Los Angeles Safety Meet (1940), and Yard and Garden filmmaker.✪ neighborhood.✪ Show (1940), regional events filmed by the White Oak Fuel Company.▲ People of the Tundra (ca. 1956), Col. “Muktuk” Chavez Ravine (1957), portrait of the Mexican Marston’s documentary about indigenous American neighborhood before the building of See Yourself in the Movies (1937), portrait Alaskans’ participation in World War II.▲ Dodger Stadium.✪ of Elkins, West Virginia.▲ Seppala Collection (1926–46), home movies A Place in the Sun (1949), view of an alternative Whitney Museum of American Art (New York) by Leonhard Seppala, the Alaskan musher who jail program using farming as rehabilitation.✪ ★ The Desert People (1974), confessional road inspired the Iditarod dogsled race. Ride the Golden Ladder, Ride the Cyclone (1955), movie by artist David Lamelas.✪ Trip to Cleary Hills Mine (1935), introduction to surreal coming-of-age film.✪ the famous gold mine, produced for investors.▲ Shutter Interface (1975), Paul Sharits’s double- University of Texas at Austin (Texas) screen abstract film.✪ Will Rogers and Wiley Post (1935), last known moving images of the humorist and the aviator Norman Bel Geddes Collection (1920s–30s), Sotiros (1975), lyrical film by Robert Beaver.✪ before their air crash.★ short films by the visionary designer.✪ Yale University (Connecticut) University of Iowa (Iowa) Norman Bel Geddes’ Hamlet (1931), the designer’s documentary of his landmark Ripley Expedition to Nepal (1947–48), ornitholog- Iowa Test of Motor Fitness (1960), physical edu- stage production.✪ ical expedition documented by S. Dillon Ripley.✪ cation film for schoolchildren.✪ University of Texas at San Antonio (Texas) Yale Class Reunions (1920s–40s), some of the Thesis Films (1939), dance shorts reputed to earliest Ivy League reunions on film.★ The World in Texas (1968), promotional film be among the first films submitted as master’s Yale-China Collection (1928–47), life in China ✪ for HemisFair, San Antonio’s World Fair.★ theses in the U.S. as filmed by teachers and medical personnel sent ★ University of Minnesota (Minnesota) University of Washington (Washington) by the Yale-China Association. Island Treasure (1957), naturalist Walter Eskimo Dances (1971), eight traditional dances Breckenridge’s study of the natural history of performed by King Island Inuits.★ Casey Island, on the upper Mississippi River.✪ USS Constitution Museum (Massachusetts) Migration Mysteries (1960s), Walter Brecken- ridge’s documenting animal migra- USS Constitution at Sea (1931), footage of the tion across Minnesota.★ visit by “Old Ironsides” to Portland, Maine.★ Spring Comes to the Subarctic (1955), Walter Utah State Historical Society (Utah) Breckenridge’s short film about the flora and fauna of Canada’s Churchill Region.✪ Canyon Surveys (1952–53), footage of river

17 THE NATIONAL FILM PRESERVATION FOUNDATION

Appendix Two: Financial Statements

The following tables, extracted from the audited financial statements prepared by Blanding, Boyer, and Rockwell, LLP, show the financial position of the National Film Preservation Foundation as of December 31, 2003. Several significant program milestones are reflected in these statements. Over the past year the NFPF received $500,000 in federal funding authorized by The National Film Preservation Foundation Act of 1996 and secured through the Library of Congress. The NFPF awarded $250,000 as preservation grants in 2003 and will distribute the remaining funds in 2004. In addition we gave out more than $100,000 in preservation services donated by laboratories and postproduction houses and announced the first winners of the Avant-Garde Masters Grants, a new program made possible through Beverly Hills Board Track Racing (1921), preserved the support of The Film Foundation. Also in 2003, the NFPF expended $131,861 by the Motorcycle Hall of Fame Museum. of a $165,000 grant from The Andrew W. Mellon Foundation to develop The Film

Statement of Financial Position

Year Ending December 31, 2003

Assets Current Assets: Cash and cash equivalents $ 1,097,622 Investments 630,620 Pledges receivable–current portion 203,100 Accounts receivable 29,142 Prepaid expenses 7,652 Total current assets 1,968,136

Pledges receivable–long-term portion 97,000 Office equipment 3,665 Other assets 14,620 Deposits 1,633 Total assets $ 2,085,054

Liabilities and Net Assets Current Liabilities: Accounts payable and accrued expenses $ 37,166 Grants payable 237,858 Total current liabilities 275,024

Net Assets: Unrestricted 1,210,877 Temporarily restricted 599,153 Total net assets 1,810,030 Total liabilities and net assets $ 2,085,054

18 2003 REPORT

Preservation Guide and the IPI Media Storage Quick Reference and received $56,037 of a $200,000 grant from the National Endowment for the Humanities to produce the More Treasures from American Film Archives DVD set. Following standard accounting practices, a discount formula has been applied to all current and long-term pledges. Only those donated services related directly to program activities are reflected in the financial statements. This past year, 89.5 percent of NFPF expenses were program-related; administration and development accounted, respectively, for a modest 7.8 percent and 2.7 percent of the total expenses. As of December 31, 2003, the NFPF has advanced film preservation projects in 98 nonprofit and public organizations across 34 states and the District of Columbia. A copy of the complete audited financial statements is available from the NFPF.

Statement of Activities

Year Ending December 31, 2003

Temporarily Unrestricted Restricted Total Support and Revenues: Contributions $ 256,648 $ 54,197 $ 310,845 Government grants 329,709 250,000 579,709 Donated services 86,214 28,614 114,828 Program service fees 18,720 18,720 Investment income 18,781 18,781 Miscellaneous income 243 243 Net assets released from restrictions 257,593 (257,593) Total support and revenues 967,908 75,218 1,043,126

Expenses: Programs 867,975 867,975 Development 26,673 26,673 General and administrative 75,280 75,280 Total expenses 969,928 969,928

Changes in Net Assets (2,020) 75,218 73,198 Net Assets–beginning of year 1,212,897 523,935 1,736,832 Net Assets–end of year $ 1,210,877 $ 599,153 $ 1,810,030

19 THE NATIONAL FILM PRESERVATION FOUNDATION

Appendix Three: Contributors

The National Film Preservation Foundation gratefully acknowledges all those who have supported film preservation since 1997.

Benefactors ($50,000 or more) Supporters ($5,000 to $49,999) Writers Guild of America, west, Inc. Academy Foundation Audio Mechanics WRS Motion Picture and Video Laboratory The Andrew W. Mellon Foundation BluWave Audio YCM Laboratories Celeste Bartos, through the Pinewood Fund Bonded Services Friends ($500 to $4,999) Cecil B. De Mille Foundation Buuck Family Foundation Adobe Systems, Inc. Chace Productions, Inc. CinemaLab Michael Backes Cineric, Inc. Cinetech Matthew and Natalie Bernstein, Cinesite, A Kodak Company Colorlab Corp. in honor of Harold P. Bernstein Creative Artists Agency Combined Federal Campaign contributors Bono Film and Video Services Directors Guild of America, Inc. Consolidated Film Industries Cruise-Wagner Productions Entertainment Industry Foundation Crest National Digital Media Complex Leonardo DiCaprio The Film Foundation Deluxe Laboratories Freedom Forum Film Technology, Inc. DJ Audio Alexis Hafken Metro-Goldwyn-Mayer, Inc. DuArt Film and Video John F. Hammond National Endowment for the Arts John and Susan Ebey I. Michael Heyman National Endowment for the Humanities EDS Digital Studios Hollywood Classics The Pew Charitable Trusts Erickson Archival Telecine Hollywood Vaults Pinewood Foundation FotoKem Film and Video Dennis T. Gallagher Screen Actors Guild Foundation Four Media Company/Image Laboratory Jeanne Gerhardt Memorial Robert B. Sturm The Fran & Ray Stark Foundation Jon Ealy Memorial Technicolor Worldwide Film Group Fuji Photo Film Canada/Fuji Photo Film The Hon. Robert W. and Dorothy Twentieth Century Fox USA, Inc. Kastenmeier Wasserman Foundation Haghefilm Conservation Wiley David Lewis and Stefanie Ray y Velarde Hershey Associates LOA Productions, Inc. Interface Media Group Jane Loughry International Photographers Guild David and Helen Mayer, Iron Mountain in memory of Jane Rothschild Mayer Marmor Foundation Michael W. McMillan Roger L. and Pauline Mayer Annette Melville and Scott Simmon Monaco Film Labs Microsoft Giving Campaign New Line Cinema Ken and Marjorie Miyasako NT Audio Video Film Labs Quark, Inc. Pacific Title/Mirage Studio Quigley Publishing Company, Inc. Ted and Lea Pedas Budd and Mary Reesman Pittard Sullivan George and Gwen Salner, Jon Reeves in memory of Douglas W. Elliott SF Interactive, LLC Edward and Rebecca Selover Sony Pictures Entertainment Seymour Zolotareff Memorial Triage Motion Picture Services Christopher Slater Turner Classic Movies Christien G. Tuttle Underground Vaults and Storage, Inc. Wilding Family Foundation The New York Public Library Dance Collection preserved three films featuring early performances by Ben Vereen Vidfilm Services, Inc. Woodward Family Foundation Endowment (center), then a high school student. The Wallace Alexander Gerbode Foundation Fund of the Marin Community Foundation

20 Board of Directors and Staff

Chairman of the Board Roger L. Mayer

Directors Laurence Fishburne I. Michael Heyman The Hon. Robert W. Kastenmeier Cecilia deMille Presley John Ptak Robert G. Rehme Eric J. Schwartz Martin Scorsese James H. Billington, The Librarian of Congress (ex officio)

Staff Annette Melville, Director Jeff Lambert, Assistant Director David Wells, Programs Manager Rebecca Payne Collins, Office Manager

Except as noted below all images were provided by the organization cited in the accompanying caption.

Page 3 (bottom): Courtesy of the Theos C. Bernard–G. Eleanore Murray Collection, University of California, Berkeley. Page 6 (bottom): Courtesy of Image Permanence Institute, Rochester Institute of Technology Page 9 (top): Courtesy of the Academy of Motion Picture Arts and Sciences; (bottom right): Photograph by Jay Fedigan.

Copyedited by Sylvia Tan Typeset by David Wells Printed in the USA by Great Impressions National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102

T: 415.392.7291 F: 415.392.7293 www.filmpreservation.org