Running Header: LORE & ORDER TEAM PROJECT 1
A Glimpse of Hollywood: Uncovering History at the Margaret Herrick Library
Lore & Order Team Project Nick Casarez, Angela Brown, Eileen Urrutia, and Amy Rogers
LIM 502 University of Southern California November 22, 2019
LORE & ORDER TEAM PROJECT 2
Organization Information
The Margaret Herrick Library
The Margaret Herrick Library (MHL) is a non-circulating reference and research collection dedicated to the “history and development of the motion picture as an art form and an industry” (“Margaret Herrick Library,” n.d.). The MHL was founded in 1928, a year after the
Academy of Motion Picture Arts and Sciences (AMPAS) was founded and was eventually named after Margaret Herrick, the Library’s first librarian. The library was “established to assist the organization’s mission to advance the arts and sciences of motion pictures, the library began building a comprehensive research and reference collection of film-related paper materials”
(Mehr, 1996, para. 2). It is currently located on S. La Cienega Blvd in Beverly Hills, where it has been since 1991. The library has many rare items in their extensive collection such as photographs, portraits, periodicals, clippings, posters, and special correspondence between filmmakers, executives, and actors. The library also has an extensive poster collection, art materials, costume drawings, music and recorded sound, and a digital collection that is browsable online. Many collections are available for visiting patrons onsite like books, manuscripts, and other internal databases, but many special collections are only available through email or phone requests a few days in advance.
Users
Anne Coco, Director of the Graphic Design Collection, and Rachel Bernstein, the Head of Reference and Public Service, both stated that the users that frequent the MHL are researchers, students, film schools, or people in the film industry. Currently, the library is seeking to diversify its user base and focusing on elementary schools in the area to encourage LORE & ORDER TEAM PROJECT 3 field trips to teach young scholars how to use the library and learn how to do research (Personal
Communication, Oct 11, 2019).
As the MHL holds many rare and unique items, there are a number of guidelines patrons must adhere to when entering the Library to use the items. These guidelines ensure the items are protected and the library stays open to users. When users walk into the building, they must check in with a photo-id at the front desk and sign in/sign out on a sheet. A locker is assigned to patrons to put their belongings in. The only items that are allowed in the actual Library are a photo ID, paper and pencil, and a laptop without a case. When entering the Library on the second floor, patrons must turn in their photo ID in exchange for a library pass they can use for the day. When they plan on leaving the Library for the day, their photo ID is returned, and all patrons must sign out after retrieving their belongings from their assigned lockers.
A few collections and databases are available to browse online from the MHL website, but the majority of items and databases can be accessed onsite. Additionally, many special collections can only be requested via email a few days in advance. Users need to make an appointment to view the requested items, to give time for the Special Collection Librarians to gather items for the patron, and have them ready to view the day of their appointment. Patrons are only allowed to view one box at a time and must handle all items with special care, including wearing gloves to view any photographs. Patrons can visit the library on the days they are open,
Monday, Tuesday, Thursday, and Friday from 10 am to 6 pm. Patrons can also contact the
Archives staff at [email protected] or (310) 247-3000 x 3345.
Current Collections
“Today the library boasts nearly 42,000 monograph volumes, more than 2,400 periodical titles,
10 million photographs, 300,000 clipping files, 80,000 screenplays, and 35,000 movie posters” LORE & ORDER TEAM PROJECT 4
(Kinder, 2010 pg. 264). The Library also maintains production files, general subject files, and books on anything that has to do with film including production, the art of filmmaking, improv, comedy, and film/Academy history. Additionally, “There are over 1000 special collections,” available by appointment that “document the product and activities of motion picture companies and organizations as well as the careers of individual producers, directors, writers, actors, cinematographers, art directors, costume designers, composers, makeup artists, animators, columnists, publicists, executives, and others who have made a significant contribution to the industry” (Mehr, 2009, p. 31). Many of these Special Collections are only viewable onsite and for a short period of time and must be handled with special care.
Collection Development Policy
The mission of AMPAS is “to recognize and uphold excellence in the motion picture arts and sciences, inspire imagination, and connect the world through the medium of motion pictures” (AMPAS, 2019a). The MHL supports this mission in its efforts to “collect, preserve, and make accessible materials” that document the history of motion pictures (AMPAS, 2019a).
The library demonstrates their commitment to supporting their parent organization and user community through a detailed and organized collection development policy (CDP). According to Johnson (2018), a CDP should “describe(s) the library’s mission and user community and provide(s) guidance for developing and managing a collection” (p. 122).
The CDP describes the provision of access and collection selection criteria. As the library collection is primarily comprised of historical legacy materials, it is important to communicate usage policies and guidelines to their stakeholders, while also ensuring maximum access to a wide audience. The non-circulating materials of the library are accessible to the public, and attention must be paid to copyright, privacy, and the long-term preservation of such LORE & ORDER TEAM PROJECT 5 materials. Specific collection areas are identified in the policy, each described with further detail, selection criteria, and notated exclusions. The CDP describes how selected material will contribute to and support the overall mission of the MHL.
Through a detailed description of the cultural heritage materials which the Library acquires and preserves, and the ways in which these materials support AMPAS and their user communities, the MHL can make itself visible and emphasize its value to target user groups. In this way, the CDP can be utilized as a tool to shape future outreach and marketing activities which can serve to connect their communities.
Outreach Initiatives and Opportunities
Social Media
We recommend the implementation of a strong Social Media program that will be used as the main form of outreach for the MHL, providing an easily accessible platform for anyone to use. Social Media, in all of its forms, allows for a virtual community to exist and it is “important for a library, a community institution, to be available in all the locations where people are”
(Vatter, 2016, para. 3). The use of this platform would allow the MHL to increase the visibility of their collection and reach a broader group of people who are unfamiliar with the library, as well as keep current patrons updated on the goings-on within the library and its collection.
Employing Social Media would be a fast, simple, and inexpensive mode of promotion for the library and any additional exhibits the MHL would host using its collection.
Our suggested platform of choice is Instagram, as it provides a number of advantages specific to our plan, incorporating both ease of use for the administrator and audience as well as promotional strength. It should be noted that the focus of this particular Social Media platform is on the sharing of photos and videos. According to Kit Smith (2019), Instagram “is one of the LORE & ORDER TEAM PROJECT 6 best platforms to advertise on – a Forrester report has shown that engagement with brands on
Instagram is 10 times higher than Facebook, 54 times higher than Pinterest, and an astonishing
84 times higher than Twitter” (para. 2). Instagram also promotes “follows” to achieve a greater network. This feature would allow the MHL to follow other libraries, directors, universities, and archival institutions to ensure that they are connecting with their target audience. This aligns with the manner in which we wish to showcase MHL’s various items and collections: providing a single or set of photos and/or videos of a selected item; a brief description of the item explaining what it is and why it is important; and finally, the ability to directly link the audience to additional relevant information within the MHL or to an external website, such as the director or costume designer’s web page. Additionally, this platform provides seamless integration with
Facebook (NA, 2016), which is important as, according to Johnson (2018), “the goal is to create content compelling enough that users will share it with their social networks” (Johnson, 2018, p.
267). This could increase the audience, increase awareness and use of the MHL, and further promote any exhibits that the MHL is showing or connected with. Please see Appendix B for direct links to the MHL Digital Collection.
We have outlined a sample of topics that would be essential to highlight in our Social
Media campaign, in order to communicate the value of our collection to our users:
1.The Margaret Herrick Library
The Library was established in 1927, after the founding of the Academy, and eventually named after its first librarian, Margaret Herrick, 1936 - 1943. In its infancy, the Academy was most concerned with “establishing standards for film sound and projection ratios,” (“Margaret
Herrick, the Academy’s first librarian,” 1999. para. 4), and collected materials pertaining to such. From here, the Library grew, including periodicals and other documentation pertaining to LORE & ORDER TEAM PROJECT 7 the production of films and later increasing its scope of included materials. Today, the MHL is
“the world’s preeminent facility for research and reference on multiple aspects of world-wide cinema” (“Margaret Herrick, the Academy’s first librarian,” 1999. para. 3).
2. Margaret Herrick, Librarian
Margaret Herrick’s influence stretches even beyond the Library, eventually becoming the
Executive Director of the Academy and is credited for providing the Academy Award of Merit statuette its common nickname, Oscar-stating “it resembled her Uncle Oscar,” according to
AMPAS (2019b). The Academy’s official adoption of the moniker was not until 1939, although
Oscar was well known by 1934 as “Hollywood columnist Sidney Skolsky used it in a piece referring to Katharine Hepburn’s first Best Actress win” (AMPAS, 2019b, para. 5).
3. Walt Disney
Walt Disney was born on December 5, 1901, in Chicago Illinois, and is best known for creating the Mickey Mouse character and for planning and opening Disneyland. After his family moved to Missouri when he was a young boy, he took an interest in drawing. After returning from the First World War and moving to California, Walt Disney opened a small shop with his brother and another artist, Ub Iwerks. Disney and Iwerks started creating characters and eventually started drawing shorts with the sound that become the infamous Mickey Mouse. Walt
Disney provided the voice for Mickey Mouse until 1947 (“Walt Disney | Biography, Movies, &
Facts,” n.d.). Walt Disney continued to create characters we all love, which turned into movies like Snow White and the Seven Dwarfs, Pinocchio, Fantasia, and Dumbo. Walt Disney currently holds the records for the most Academy Awards won by an individual. In 1955, Walt Disney expanded his empire to include the famous Disneyland, which is full to capacity almost every day. The MHL is proud to hold many photographs, scripts, books, and rare correspondence LORE & ORDER TEAM PROJECT 8 items with Walt Disney’s name on it. His legacy lives on in the world today and can be researched at our very own Library.
4. Gone with the Wind, Film
David O. Selznick’s film interpretation of Margaret Mitchell’s novel Gone With the Wind was released on January 17, 1940. The film shattered box office records and, accounting for inflation, remains the highest-grossing film to date (Palotta, 2019, and Juddery, 2008). The film was nominated for a record 13 Academy Award nominations, with 8 wins, including Best Film.
“Technically a great achievement, MGM studios spared no expense on the production...it was filmed in Technicolor (uncommon for the time) and featured spectacular sets designed to satisfy both the audience’s appetite for glamour and Mitchell’s insistence on authenticity” (Juddery,
2008, p. 37). Walter Plunkett (costumes) and William Cameron Menzies (production design) worked together to create and design the artistic look and feel of the production. At the MHL, we have carefully preserved and made available a vast collection of original material from the film, including costume design drawings by Plunkett and production designs by Menzies and his team.
5. Hattie McDaniel, Actress
Hattie McDaniel was born on June 10, 1895, in Wichita, Kansas. Her role as Mammy in the 1939 film Gone with the Wind earned her an Academy Award for Best Supporting Actress, and she became the first African American to win an Oscar. “When I read the book...I was fascinated by the role of ‘Mammy’...I naturally felt I could create in it something distinctive and unique” (McDaniel, as cited by Watts, 2005, p. 129). Despite McDaniel’s strong and memorable performance, Jim Crow laws were still in place in the South at the time, and she was denied the ability to attend the world premiere on December 15, 1939, in Atlanta, GA (Andrews, 2018, LORE & ORDER TEAM PROJECT 9 para. 10). Her portrayal of Mammy was seen as a symbol of progress for the African American community, instilling “a mood of rising expectations in young blacks on their way up in the entertainment and business worlds” (Encyclopedia of World Biography, para. 20). In 1947, she took over the starring role in the CBS radio production of The Beulah Show, becoming “the first black to star in a radio program intended for a general audience” (Encyclopedia of World
Biography, para. 22). McDaniel passed away on October 26, 1952. The MHL is home to a variety of materials that provide context to McDaniel’s legacy. These materials, including family photographs, film stills, and sound recordings, are available by request for viewing and research.
6. History of Costume Design
Creating the Illusion: A Fashionable History of Hollywood Costume Designers, Book
This book highlights the history of costume design spanning more than 100 years. It showcases classic moments such as James Dean in his red nylon jacket from Rebel Without a
Cause and Marilyn Monroe in the white halter dress. The reader will also learn of untold stories of costume designers beginning in the Silent era through the Modern era. “Among the book’s sixty-five designer profiles are Clare West, Howard Greer, Adrian, Walter Plunkett, Travis
Banton, Irene, Edith Head, Cecil Beaton, Bob Mackie, and Colleen Atwood” (Creating the
Illusion: A Fashionable History of Hollywood Costume Designers, 2015). These are stories about how the designers started their careers, stories of how they interacted with the stars they dressed, and what it was like in Hollywood working behind the scenes.
Edith Head, Costume Designer
During her nearly 50-year career designing costumes during the Golden Age of
Hollywood, Edith Head created a name for herself by creating costumes for stars such as Grace LORE & ORDER TEAM PROJECT 10
Kelly, Betty Davis, and Audrey Hepburn. According to Ferrero-Regis (2018), Head was the
“longest-serving costume designer in Hollywood history and the most decorated” (p. 122). She received 35 Academy Award nominations for Best Costume Design and won a total of 8, more than any other woman in the history of the Oscars (Wasson, 2011, p. 55). She became acquainted with the humanity of the actor, the needs of the story, and the motivations of the character, incorporating these elements into her designs. Her ability to build and maintain relationships with the actors carried beyond the projects themselves and developed into lifelong relationships, as evidenced by continued personal correspondence between Head and Grace
Kelly, years after their time working together. Examples of this correspondence, along with many of Head’s costume design sketches and photographs, are collected, preserved, and available for viewing by request at the MHL.
Bob Mackie, Costume Designer
Unmistakably Mackie: the fashion and fantasy of Bob Mackie, Book
This book, a celebration of the fashion icon Bob Mackie, is an example of research available at the MHL. It has photographs and sketches of the designs by Mackie. It showcases the influence his designs have on fashion for over 3 decades. Mackie has won 7 Emmy Awards and was nominated for an Academy Award for Costume Design for his work with Diana Ross on
Lady Sings the Blues. However, prior to designing the clothes for Lady Sings the Blues, Mackie designed the costumes for Diana Ross and the Supremes circa 1969. Mackie first started sketching at Paramount Studios in 1963. In 1965, Mackie returned to Paramount to sketch under
Edith Head in A New Kind of Love (Jorgensen, Scoggins, & Donald, 2015).
He began his career as a costume designer and considers himself today a costume designer, despite currently having his own designer brand. LORE & ORDER TEAM PROJECT 11
* see appendix B # 6: Bob Mackie for the video interview link
7. The Endurance: Shackleton's Legendary Antarctic Expedition, Script
This expedition was the first time any man set foot on Antarctica. This voyage began on
August 1, 1914, and the entire expedition lasted 22 months. The screenplay was based on the book written by Caroline Alexander. The screenplay was co-written by Caroline Alexander and
Joseph Dorman. The book published some previously unseen photographs taken by Australian photographer Frank Hurley. Alexander “gives a riveting account... of one of history’s greatest epics of survival” (https://www.goodreads.com/book/show/537375.The_Endurance).
MHL has the script that was used to create the documentary. Liam Neeson narrates the documentary film which is also available on VHS tape in the Academy Film Archives located in
Hollywood. The Archives may have additional information and supplemental materials.
8. Influential Women: Directors
Nora Ephron
Nora Ephron was best known for writing romantic comedies including such titles as
When Harry Met Sally or Sleepless in Seattle. She was nominated for three Academy Awards for Best Writing. She was first nominated in 1983 for the film Silkwood that was co-written with
Alice Arlen. She was a noted playwright; she would receive a nomination for a Tony Award posthumously for the Best Play, Lucky Guy. Ms. Ephron’s scripts can be viewed at the library. Many of the scripts from her best-known films can be discovered at the MHL.
Carroll Parrott Blue
Carroll Parrott Blue wrote, directed, and cast the film that is an exploration of her family history and African American history in Houston: The Dawn at My Back: Memoir of a Black LORE & ORDER TEAM PROJECT 12
Texas. The film stars such legendary African American actors as Ossie Davis, Ruby Dee, and
Debbie Allen (UCLA, 2014).
An African American woman director whose book was developed into a DVD-ROM is currently being highlighted in an exhibition at UCLA in the L.A. Rebellion: Creating a New
Black Cinema. The history of her family is woven within the history of the African American community in Houston. The book can be located in the MHL.
9. Influential Women: Actors
Hedy Lamarr
Born Hedwig Eva Maria Kiesler in Vienna, Austria on November 9, 1914, and lovingly referred to as the “Mother of Wi-Fi” (Cheslak, 2018, para. 2) and credited for the creation of frequency-hopping technology that would later be used in modern technologies such as
Bluetooth, Wi-fi, and GPS. Sadly, her inventions were initially rejected by the military during
World War II, and the patent on her work eventually expired, although the Electronic Frontier
Foundation later awarded both Lamarr along with her friend and known composer George
Antheil (Eds. 2019) for their joint work with the Pioneer Award in 1997. Additionally, Lamarr was also the first woman to receive the Invention Convention’s Bulbie Gnass Spirit of
Achievement Award in 1997, “considered the "Oscars" of inventing” (Steiner, 2019, para. 9), and later inducted into the National Inventors Hall of Fame in 2014, years after her death
(Cheslak, 2018).
Katharine Hepburn Katharine Hepburn won her second Academy Award for Best Actress in 1968 starring in
Guess Who’s Coming to Dinner, 1967. This controversial and revolutionary film marked the first interracial on-screen kiss during a time when “more than a dozen states had laws against miscegenation” (Kennedy, 2017, para. 10). Hepburn maintained an unconventional attitude and LORE & ORDER TEAM PROJECT 13 was also known to challenge the social norms such as refusing to wear makeup at all times (on and off-screen) or choosing to wear pants as opposed to a dress. In some instances, she would receive push-back for her actions, to which she would always have a strong response such as walking around the RKO studio in her underwear or refusing to put on any clothes until she received her slacks, which had been stolen by the costume department.
10. Alfred Hitchcock, Director
Alfred Hitchcock was born in Leystone, England on August 13, 1889, and had originally trained as an engineer from a young age before his entry into Hollywood in 1920, as the Title
Designer of The Great Day (1920), directed by Hugh Ford. He later went on to direct over fifty feature films and host the long-running television show, Alfred Hitchcock Presents (1955-1961) where he directed 17 of those episodes, (IMDB, 2019). He is well known for his mastery of
“suspense, twist endings, and dark subject matter” (Alfredhitchcock.com, 2013, para. 4).
Hitchcock’s achievements consist of winning two Golden Globe awards, eight Laurel Awards, and five Lifetime Achievement awards over the course of his lengthy career. He is also a five- time Academy Award nominee for Best Director, although it was Rebecca (1940) that won the
Academy Award for Best Picture. In 1980, Hitchcock received knighthood from Queen
Elizabeth II. (Alfredhitchcock.com, 2013). Beyond his directorial accolades, Hitchcock is also
“credited with the pioneering many camera and editing techniques” (Alfredhitchcock.com,
2013.). Here we have clippings from Motion Picture’s Studio Insider magazine from May 1936 depicting a youthful Alfred Hitchcock.
* see Appendix C for the full text 10. The Exhibition History of Costume Design LORE & ORDER TEAM PROJECT 14
For one quarter, an exhibit will showcase the work of a costume designer at the Academy of Motion Picture Arts & Science property, The Pickford Center. Along with historical facts and paraphernalia, three other vintage theatres will be screening a film featuring the costume designs of the featured designer. A short film of the exhibit will be shown in the lobby of three vintage theatres. Attendees will have a souvenir pamphlet of the exhibit included in the price of their admission. The exhibit will highlight the plethora of research material available at the MHL.
Please subscribe to our email list so you can join us for an opening night reception at the
Pickford Center. We look forward to your response to our reception invitation.
Marketing and Promotional Program
Our plan includes having a yearlong exhibit of costume design at the MHL. There would be a revolving exhibit of the costume designs every quarter corresponding with a film. For example, in January the premier exhibit would feature a holistic view of the works from designers Walter Plunkett. This designer played an important role in the costume production of
Gone with the Wind. The exhibits would be a showcase of not only the costume design but the history behind the scenes including photos, newspaper clippings, books, costume sketches, and actual costumes, providing a glimpse of the designers’ lives. A holistic view of their lives will provide the context in hopes to inspire further research.
The exhibit would be at the Pickford Center along with a showing of the film for that quarter. The Linwood Dunn theatre is one of the Academy of Motion Pictures’ newest theatres.
It is located on the corner of Vine and Fountain, housed in 1948 what was considered to be one of Hollywood’s largest studios built for simultaneous television and radio transmission. Newly renovated it has the capacity to hold 268 seats inside its screening room. It is equipped to accommodate the digital age. LORE & ORDER TEAM PROJECT 15
Simultaneously, in three Vintage theatres in two locations in Los Angeles, and one in
Coronado, they would show the film. Prior to the screening, attendees would view a short film of the exhibit on display at the Pickford Center for those who are unable to attend. The exhibition film would be featured in the lobby, playing on a continuous loop. This will allow the audience the opportunity to see behind the film to understand how the magic of the film is manufactured. It is an opportunity to showcase the rich history stored in MHL.
The Vintage Cinemas are three renovated theatres that have kept the old Hollywood feel.
The theatres are available for rental as a venue to host the vintage movies that would correspond with our large exhibit at the Pickford Center. The Vista Theatre is located between Sunset
Boulevard and Hollywood Boulevard. Its first showing was in October 1923. Los Feliz is located below the Griffith Park Observatory and its first showing was in 1934. The Village is located on the island of Coronado near San Diego and its premier showing was in 1947.
We recognize that our proposed programs would require staff training and development in order to fully promote the value of our programs to our audience. We would implement
Theatre staff training for the vintage theatres which will be limited to directing guests toward the short film and hand out the pamphlet and for further questions to the MHL social media and website.
Conclusion
Our team has identified an opportunity for the MHL to expand their outreach and marketing to include a strong social media presence and coordination of exhibitions and film screenings. These programs would allow the MHL to connect with new audiences and current users in exciting and engaging ways. We recommend that the MHL take steps now to implement LORE & ORDER TEAM PROJECT 16 their social media channels in order to build a strong audience base prior to the development of exhibitions, screenings, and other future activities.
The Margaret Herrick Library is a vital cultural and historical resource. The Library carefully acquires, preserves, and makes accessible a vast collection of materials that provide context to the lives and experiences of filmmaking history. These culturally significant materials are of vital importance to the community. Through these programs, the MHL can demonstrate their commitment to supporting the mission and goals of the Academy and make visible the collection which provides such depth of context to the rich culture of motion picture history.
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Appendix A: Budget
Personnel Expenses
Our personnel budget will cover the work of our Exhibition Curator, who will manage the workflow and execution of each exhibition. The Curator will be supported by two Exhibition Assistants. Our exhibition staff will be involved in many other Academy projects, and their time will be split with at least 10 hours per week dedicated to this project. The Curator and Museum Technicians will provide the most support during the week of installation and removal of each exhibit. An intern will be hired to work part-time and assist the Archivist. The Pickford Center will provide additional on-site personnel and security, and as it is an Academy facility, will not incur any additional costs to us. We will employ a part-time Social Media Intern to work directly with the MHL and the Academy to ensure factual, relevant posts are made and to engage with followers. These costs will cover the first year of this program.
Cost Personnel Expenses Hours Units (USD) Total Cost Exhibition Curator* @$35/hour 10 hours/week 52 weeks $18,200 Exhibition Assistant 1 @$18/hour 10 hours/week 26 weeks $4,680 Exhibition Assistant 2 @$18/hour 10 hours/week 26 weeks $4,680
Conservator* @$25/hour 20 hours/week 8 weeks $4,000 Museum Technician 1* @$25/hour 20 hours/week 8 weeks $4,000 Museum Technician 2* @$25/hour 20 hours/week 8 weeks $4,000 Social Media Intern @ $15/hour 10 hours/week 52 weeks $7,800
Total Cost $47,360.00
*Salary estimates based on reports by the Bureau of Labor Statistics
Direct Project Expenses
Our direct project expenses will include the rental of three vintage theatres for one screening night per exhibition. Our advertising expenses can be kept low, as we will utilize our Social LORE & ORDER TEAM PROJECT 18
Media presence to leverage awareness. We will print our exhibition pamphlets with VistaPrint. The flat rate included for catering will cover our costs for each opening reception event (Pickford location only). This budget also accounts for the estimated costs associated with the professional handling, crating, round-trip transportation, and delivery of exhibition objects (estimate provided by Crozier Fine Arts, personal communication, September 30, 2019). Video production and editing costs are estimated through DreamStone Video. These costs will cover the first year of this program.
Cost Direct Project Expenses Units (USD) Total Cost
Theatre Rental 12 $1,500.00 $18,000.00
Print Materials Trifold Glossy Pamphlets 8,000 $5,625
Reception Catering Budget 4 nights $1,000
Artwork Transportation Roundtrip 10 miles 4 $2,230.00 $8,920
Video Production Services 4 hour flat rate and editing $1,090
Total Cost $34,634.96
Administrative and Overhead Expenses
As our exhibition and reception events will be taking place at an Academy facility, our administrative and overhead expenses will be covered by the support of our parent organization. These costs would be incurred if the events were held through other facilities. Administrative and overhead costs incurred through the external screenings will be covered by the flat rate theatre rental costs outlined in Direct Project Expenses.
15% Contingency $12,299
Total Project Cost $94,294.00
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Appendix B: Direct links to the MHL digital collection 1.The Margaret Herrick Library
● Exterior of Library from website https://www.oscars.org/library
● Interior of Margaret Herrick Library (1991) http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll4/id/5885/rec/23
2. Margaret Herrick
● Margaret Herrick (second from right) -- 1935, 8th annual academy awards http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll9/id/282/rec/127 1
● Margaret Herrick and ‘Colonel’ William Selig (1948) http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll4/ihttps://www.g oodreads.com/book/show/537375.The_Enduranced/5889/rec/2003
● Margaret Herrick by herself (1956) http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll4/id/5899/rec/24 70
3. Walt Disney
● Walt Disney at Disneyland http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll34/id/1304/rec/5 4
● Walt Disney and Mickey http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll9/id/272/rec/962
● Walt Disney during Bambi production http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll34/id/1556/rec/1 635
4. Gone with the Wind ● Costume Design - Walter Plunkett, for Viviene Leigh https://collections.new.oscars.org//Details/Archive/70075307
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● Photograph, Vivien Leigh, Walter Plunkett https://collections.new.oscars.org/Details/Archive/70153793
● Production Design Drawings Rhett Butler’s House https://collections.new.oscars.org/Details/Archive/70154965
5. Hattie McDaniel
● Film Still, Hattie and Clark Gable https://collections.new.oscars.org/Details/Archive/70187511
● Publicity Photograph, Los Angeles Premiere https://collections.new.oscars.org/Details/Archive/70013637
6. Costume Design: Edith Head
● Photograph of Edith Head and Grace Kelly during production https://collections.new.oscars.org/Details/Archive/70051570
● Correspondence, Grace Kelly and Edith Head https://collections.new.oscars.org/Details/Archive/70079602
● Costume design, for Grace Kelly https://collections.new.oscars.org/Details/Archive/70317684
Costume Design: Bob Mackie
● Barbara Streisand in Funny Lady (1975)
● Diana Ross and the Supremes (1969)
● Creating the Illusion: A Fashionable History of Costume Designers
● Video interview: https://www.bobmackie.com/videos.
7. The Endurance: Shackleton’s Legendary Antarctic Expedition
● Photo of book that documentary script was written (https://www.goodreads.com/book/show/537375.The_Endurance
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8. Influential Women Directors: Nora Ephron and Carroll Parrott Blue
● Carrol Parrott Blue film showcase at UCLA https://www.cinema.ucla.edu/la- rebellion/films/dawn-my-back-memoir-black-texas-upbringing
9. Influential Women Actors: Hedy Lamarr
● Hedy Lamar. ca (1941) http://digitalcollections.oscars.org/cdm/singleitem/collection/p15759coll21/id/199/rec/4
● Hedy Lamarr publicity photo for Samson and Delilah (1949) https://collections.new.oscars.org/Details/Archive/70102893
● Edith Head Sketch of Peacock dress https://blogs.iu.edu/aplaceforfilm/2018/03/05/edith- head-an-icon/the-peacock-costume-1o1qorl/
Influential Women Actors: Katharine Hepburn
● Katherine Hepburn, During the production of Guess Who’s Coming to Dinner (1967) https://collections.new.oscars.org/Details/Archive/70043476
● Katherine Hepburn and Katharine Houghton, during the production of Guess Who’s Coming to Dinner? (1967) https://collections.new.oscars.org//Details/Archive/70043478
● Spencer Tracey and Katherine Hepburn on the set of Guess Who’s Coming to Dinner? (1967) https://collections.new.oscars.org//Details/Archive/70000178
10. Alfred Hitchcock
● Motion Picture Studio Insider (May 1936), Pg. 30 & Pg. 62 http://digitalcollections.oscars.org/cdm/fullbrowser/collection/p15759coll11/id/9768/rv/c ompoundobject/cpd/9805/rec/1 *see Appendix C for the full text
● Hitchcock at home during the production of Rebecca (1940) https://collections.new.oscars.org//Details/Archive/70181107
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● Hitchcock and Judith Anderson during the production of Rebecca (1940) https://collections.new.oscars.org//Details/Archive/70181115
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Appendix C: Alfred Hitchcock Article
Alfred Hitchcock (continued from pg. 8)
It reads:
“Alfred Hitchcock, whose direction of GB's " The 39 Steps" and "The Man Who Knew
Too Much" recently won him Honorable Mention as one of the best directors of 1935, was trained, not in the theatre, but in engineering. Son of a London shopkeeper, Hitchcock was sent first to a Jesuit school, and then to engineering school. There he specialized in mechanical drawing and draughtsmanship, which perhaps accounts for his present ability to visualize completely the background for any scene he is about to make. This special training also got him a badly paid job in an advertising agency, but he supplemented his meager earnings by becoming a "captioneer" for the silent films. He did so well at the manufacture of sometimes-hysterical catchlines and titles, that Famous Players offered him a job. It was here, at the Gainsborough
Studios in Islington, that Hitchcock first became acquainted with Michael Balcon and Victor
Saville. His first opportunity at direction… was standing pictures, among them "Ever, green,"
"The Man Who Knew Too Much," " Little Friend," " Chu Chin Chow," "The 39 Steps," and others. His foresight and keen mind have contracted for GB pictures such well-known stars as
George Arliss, Richard Dix, Walter Huston, Madge Evans, Constance and Joan Bennett, Robert
Donat, Madeleine Carroll and others too numerous to mention. It was Michael Balcon, incidentally, who gave Alfred Hitchcock, ace director, his first chance. In the old silent days,
Hitchcock was a caption writer. Today, he is one of the leading directors of the industry and is under contract to GB. Happily married, Balcon is the father of two children. He has a beautiful home in the Kent countryside and spends as much time there as a busy film producer's life will permit. LORE & ORDER TEAM PROJECT 24
ALFRED HITCHCOCK "The Pleasure Garden," followed by the successful silent version of "The Lodger" with Ivor
Novello. He directed the first really successful British talkie, "Blackmail," and anticipated the method of Eugene O'Neill's "Strange Interlude" by several years when, in "Murder," he put a man's thoughts on the screen. Herbert Marshall was the star of this sensational picture. Hitchcock directed "Waltzes from Vienna," with Jessie Matthews, but after that turned to mystery films, which he most enjoys doing, and to which his unique style of rapid cut is best adapted. "The Man Who Knew Too Much," with Peter Lorre, Leslie Banks, and No, va Pilbeam, and "The 39 Steps," with Robert Donat and Madeline Carroll, be, came internationally popular.
"Hitch," as he is affectionately known, is now engaged with the screen adaptation of Somerset
Maugham's "Secret gent," with Peter Lorre, John Gielgud, Madeleine Carroll, and Robert
Young. He is only thirty, five years old, and is not only the most celebrated director in England at present but a striking personality. Ruddy, complexioned, apparently grave and quiet, he is a tremendous man with a multitude of chins and a wicked sense of humor. He is married to Alma
Reville, a well-known scenario writer. They live on the top floor of a six-story West End building, particularly chosen by "Hitch" because it has no elevator. He says the climb is good for his girth, but so far it had had no noticeable effect. (British, 1936)
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